Gardens in front of reception rooms at temples or residences in pre-modern Japan were to be viewed from one side. In some cases the garden scenery is easily recognized as a miniature landscape and formal composition may hint at Chinese ideas on perspective in landscape painting. Studying the composition of garden scenery in the garden of Chishaku-in, Kyoto, we can see that treatment of perspective and space is the same as in the Chinese landscape painting theory as formulated originally by Guo Xi. This analysis, in addition, gives an important clue that could motivate a restoration of a part of the garden that has been lost.