The concept behind Rikugien Gardens is the embodiment of the poetic world that Yanagisawa Yoshiyasu cherished. Initially, the name of the gardens was called as “mukusa no sono.” This name originates from the Kokin Wakashu poetry anthology, which refers to six poetic styles derived from the Chinese classification system.
The landscape of Rikugien is designed to evoke the scenic beauty of Wakanoura, Kumano, and Yoshino—celebrated places in Wakayama Prefecture that have been immortalized in classical poetry.

Fujishiro-toge 藤代峠 is the highest artificial hill in Bunkyo-ku, standing at approximately 35 meters. (In Wakayama Prefecture, along the Kumano Kodo pilgrimage route, there is a similarly spelled 藤白峠Fujishiro-toge.) From this vantage point within Rikugien, you can see azaleas planted throughout the garden.
This is just my speculation, but about a 10-minute walk from Komagome Station, on the opposite side, there is a monument called the “Somei Ueki no Sato Hi” (Somei Nursery Memorial). During the Edo Period, this area was a hub for nurseries, where azaleas and satsuki rhododendrons were extensively cultivated. It is possible that trees and shrubs from this nursery were used in the construction of Rikugien.

The stream flowing from the Takimi-no-chaya teahouse area is a recreation of “Kinokawa” river (in Wakayama). During the Edo Period, water was drawn from the Senkawa Aqueduct to create this artificial flow, which was designed to resemble the Kinokawa River and lead into Daisensui large pond of Wakanoura. The large rock placed here is called “Mizuwakeishi” (water-dividing stone), which beautifully splits the stream into two directions. This style of naturalistic waterfall representation can also be seen in other gardens, such as Koishikawa Korakuen.

The central island in Daisensui large pond represents “Imo no yama” and “Se no yama,” recreating Imoseyama, a well-known scenic spot in Wakanoura. In many gardens, Nakanoshima is meant to Horaijima. Rikugien also features a rock formation representing Horaijima, but this element was added in the Meiji Era when the Iwasaki family took ownership of the gardens.

To the southwest of the Fukiage-chaya teahouse lies “Hanatofukomichi,” a section designed to resemble the mountains of Yoshino. It was once planted with cherry trees, and a stream known as Suikonoe used to flow through it. In previous nighttime illuminations, blue lighting was used to recreate the effect of flowing water.

Throughout Rikugien, stone pillars mark locations that recreate landscapes celebrated in waka poetry. Originally, there were 88 of these sites but only 32 remain today. The earliest pillars have triangular tops, while the later reconstructed ones have flat tops. Some of these pillars are located in areas not open to the public, making it impossible to see all of them.

The “Rakushido Nenroku,” a chronicle of Yanagisawa Yoshiyasu’s life (1702, Collection of Public Interest Incorporated Foundation Koriyama-jo Shiseki Yanagisawa Bunko Hozonkai), includes a “Map of Rikugien.” For the 2013 special exhibition “Hanahiraku Edo no engei” (Flowers in Bloom: The Culture of Gardening in Edo), I visited Yamatokoriyama City in Nara Prefecture to view this document. The map indicates that twelve pines, each named after waka poetry, were planted in the garden. Today, only one remains—the “Fukiage-no-Matsu” (Fukiage Pine) near the Fukiage-chaya teahouse. The passage of time has erased the others.

To fully appreciate Rikugien, it may be helpful to explore it with someone knowledgeable about waka poetry or familiar with the Wakanoura region (in Wakayama). However, there are the large number of 88 sites, and the poems referenced do not originate from a single anthology.

Near the entrance, an informational panel introduces some of the scenic locations, serving as a helpful guide. As you wander the paths of Rikugien, let the stone pillars be your markers, leading you through landscapes immortalized in waka poetry.

Rikugien, along with Koishikawa Korakuen, is regarded as one of Edo’s two great gardens. Both are strolling gardens featuring artificial hills and ponds. However, they differ in character: Koishikawa Korakuen is designed with striking contrasts, making use of the natural elevation along the Kanda River, while Rikugien is composed of soft, rounded contours that create a gentle, harmonious atmosphere. Despite their contrasting styles, both follow the same garden design principles.

Another distinctive feature of Rikugien is its red pines, which stand out more than black pines. While black pines have dark, rugged bark, red pines have a reddish hue and a lighter, more delicate appearance, lending the garden an airy brightness. It is unclear whether red pines were originally planted here during the Edo Period, but they certainly complement the lyrical ambiance of waka poetry.

Through lectures with “Edo-Haku Culture” program and a series of Tokyo Art Navigation, I have come to appreciate that no two Japanese gardens are truly alike. At first glance, they may seem similar, but the arrangement of water, stones, and plants—and the impressions they evoke—differ greatly depending on the owner’s taste and vision. Understanding these nuances makes the experience of exploring gardens all the more fascinating.