Plants with a story that begins in Japan. This collection gathers the trees, shrubs, and perennials of Japanese origin and heritage, from garden classics refined over centuries to the wild species behind them.
There is a strange romance buried in this plant's history, and 'Golden King' sits on the male side of it. Aucuba japonica reached England in 1783 as a single female, the yellow-flecked gold dust shrub that Victorians went on to plant by the thousand. Aucuba carry their sexes on separate plants, and for eighty years every aucuba in the country was a clone of that one female, waiting on the famous red berries that never came, because Japan had sealed its borders and no male could be had.
There is a book about Aucuba japonica called A Virgin for Eighty Years, which sounds like a romance novel and is, instead, one of the strangest stories in horticulture. The species arrived in England in 1783 as a single female plant. Aucuba is dioecious, male and female flowers on separate plants, so for the next eighty years every aucuba in English gardens was a clone of that one original female. Gardeners knew the plant was meant to bear bright red berries, since reports came back from Japan, but Japan had closed its borders, no male could be had, and they simply waited.
Bred by Les Jury in New Plymouth, New Zealand, first flowered in 1971 and registered in 1976, 'Jury's Yellow' is the camellia that finally cracked the yellow code, or came as close as Western breeders could get before the Chinese yellow species (Camellia nitidissima) made the leap from botanical archive to nursery bench. Jury worked only with white japonicas, betting that the gold of the stamens could be coaxed to bleed into the petaloids at a flower's center. The bet paid off. The result is an anemone-form bloom, nine clean white petals cupped around a thick boss of cream-yellow petaloids, the color of fresh butter rather than crayon yellow.
The name means peacock camellia, and the vanity here is all in the foliage. Long, narrow leaves with peculiar fishtailed tips drape from the branches in a pronounced weeping habit, more willow than camellia, more Japanese woodblock print than Southern border. This is not the camellia a grandmother grew.
Chamaecyparis obtusa 'Filicoides', the fernspray hinoki cypress, is grown for one quality above all: foliage held in flattened, fern-like sprays that gather along the branches in dense, layered clusters and cascade in soft, pendulous fans. The effect is unmistakably oriental, deep green the year round, and unlike anything else in the conifer border.
Japanese cedar is a tall, pyramidal to conical evergreen conifer, and the great timber tree of Japan, where the sugi soars past a hundred feet and lines temple avenues and mountain forests alike. The blue-green needles are held close and awl-shaped, taking on a bronzy, purple-bronze cast through cold winters before recovering their color in spring. The reddish-brown bark peels in long fibrous strips down a straight, buttressed trunk.
Ilex 'Sparkleberry' is the aristocrat of the winterberries, a vigorous hybrid holly bred from the native winterberry, Ilex verticillata, and the Japanese winterberry, Ilex serrata, and introduced by the U.S. National Arboretum. The cross brought hybrid vigor and a heavier, longer-holding crop: tall, upright stems that shed their leaves in fall and blaze with bright red fruit, persisting so well that the berries often hang on into spring.
In Japan they call the shrub tobira, short for tobira no ki, the door tree, because the cut branches were hung in the doorway at Setsubun to turn back demons at the threshold of spring. The broken wood smells rank, which was rather the point: bad spirits, like most of us, would rather not walk through a bad smell. The genus name is kinder and more exact, pitta and sporos, pitch and seed, for the resin that coats the black seeds and glues them to whatever bird carries them off.
Rohdea japonica, the sacred lily or Nippon lily, is a bold, slow, tufted evergreen perennial grown above all for foliage, and this selection carries the darkest leaves of all, an almost black, glossy green that anchors a shaded planting through the whole year and lights up a winter landscape when little else holds. Rather sizeable red berries ripen in tight clusters, half-hidden at the base of the leaves, a quiet second season for anyone who looks closely.
Salix chaenomeloides, the Japanese pussy willow, is a fast-growing shrub or small tree native to Japan, Korea, and parts of China, long valued in East Asian gardens for the show the plant makes in the depths of winter. Well before the leaves break, the bare branches set fat, silvery-white catkins with a soft, velvety nap, the largest and most striking of any pussy willow, and the branches are cut by the armful for early-spring arrangements.
This plant is a botanical time machine. Sarcandra glabra belongs to the Chloranthaceae, a flowering-plant family with only four surviving genera worldwide and a fossil record reaching back into the Early Cretaceous, more than a hundred million years ago. Pollen and floral fossils of the Chloranthaceae are among the earliest evidence of flowering plants anywhere on Earth, and the family was already abundant when the dinosaurs were only in their middle age. Today Sarcandra is one of just four genera left from a lineage that once spread across what is now Portugal, Spain, and eastern North America, and most of that Cretaceous diversity is gone. The little plant in the garden is a quiet survivor of a family that mostly did not make it.
Ardisia japonica 'Hinode' is a variegated form of the Japanese marlberry, each glossy, dark green leaf marked with a broad gold band down the center. Low and slowly spreading, this evergreen carpets shaded ground at eight to twelve inches, lit by the gold variegation and dotted in fall with bright red berries that hold into winter.
The cast iron plant earned the name honestly. Aspidistra elatior is the toughest of evergreen foliage plants, sending up broad, glossy, dark green blades straight from the soil and holding strong form year round in conditions that defeat almost everything else. A Victorian parlor favorite for surviving gaslight and neglect, the cast iron plant is just as valuable in the deep shade of the garden.
'Imura' is a refined white form of Camellia japonica, grown for elegant semi-double pure white flowers set against narrow, glossy evergreen leaves. The clean white bloom and slightly fine-textured foliage give the plant a quiet, luminous presence in shade, a contrast to the heavier reds and pinks that dominate the genus.
'Tama no ura' is among the most celebrated of all wild-found camellias, and the story is part of the plant. In 1947 a charcoal worker came upon a single old Camellia japonica, by repute some two hundred years old, growing deep in the forest near Tamanoura on Fukue Island in the Goto archipelago, off Nagasaki. The flowers stopped him: single, bright red, and edged crisply in white, a clean picotee never before recorded in the wild. Selected and propagated from that one tree, the camellia was exhibited in Nagasaki in 1973 and carried to America by Nuccio's Nursery in 1975.
Two Hall of Fame inductions hang on Leslie Ann's lineage, though neither is for a flower. The award stamped on her record, the Ralph Peer Sasanqua Award, carries the name of the man who in 1923 hauled recording equipment south to Atlanta and captured the first commercial sides of country and blues. Ralph Peer pioneered field recording and sits in both the Country Music Hall of Fame and the Blues Hall of Fame, then turned that same restless curatorial instinct on camellias late in life, founding the Los Angeles Camellia Society in 1948 and rising to president of the American Camellia Society by 1957. The man who recorded the Carter Family also decided which sasanquas deserved to be remembered. In 1961, one of them was this one.
'Misty Moon' is a relatively new selection of the favorite fall-blooming sasanqua, an upright, bushy evergreen carrying large, rounded, single to semi-double flowers in a soft lavender-pink with gently wavy petals. The fading flowers do something unusual, taking on a cool grayish-blue cast before the petals drop, the detail that earns the name. Woodlanders has grown 'Misty Moon' in the ground for many years here in Aiken, and the old-nursery specimen has become a real showstopper just as the rest of the garden winds down for the year.
Carya aquatica, the water hickory or bitter pecan, is a large native tree of the walnut family, reaching ninety feet and more in the wild. Across the American South the species dominates clay flats and the backwater ground near streams and rivers, reproducing aggressively by seed and by sprouts from roots and cut stumps, and forming a major part of the region's wetland forests, in part because the more marketable timber trees around the water hickory have so often been logged out.
Cephalotaxus harringtonia 'Prostrata' is the spreading Japanese plum yew, a low, wide-growing evergreen prized for lush, dark green, needle-like foliage and an easy way with shade. Where the species and its columnar forms stand upright, 'Prostrata' lays out horizontally, three or four feet high and twice as wide, layering into a handsome evergreen groundcover or low border.
For a week or two in late spring, the Chinese fringetree disappears under snow. Chionanthus retusus var. serrulatus is a deciduous small tree of East Asia, native to China, Korea, and Japan, and the great show is the flowering: dense, lacy, fringed panicles of pure white, each petal narrow and strap-like, smothering the canopy so thickly that the foliage all but vanishes. The genus name says as much, from the Greek chion, snow, and anthos, flower.
