News and Events

Visitors to the Sensory Gardens are quickly entranced by the scent, colours, textures and sounds of the carefully chosen plants, water features and garden elements.

The Melaleuca quinquenervia commonly known as the Broad-leaved Paperbark was chosen for the Sensory Gardens because of its aromatic leaves, long flowering period and a textured bark which is so visually attractive that it is almost impossible to resist touching it.

Multiple thin layers of soft pliable bark part from the trunk like the leaves of an ancient tattered book – an appropriate metaphor because this tree has a fascinating story.

Melaleuca quinquenervia is native to New Caledonia, Papua New Guinea and coastal eastern Australia, from Botany Bay NSW into Queensland.  It is widespread in coastal swamps and along lake margins. It grows 10-15m high and can live for over one hundred years.

Flowering occurs from autumn to winter. The scented white or cream flowers are arranged in cylindrical brushes at or near the end of the branches. They are followed by small woody seed pods containing many tiny seeds which are easy to collect and grow.

It is known for its ability to withstand drought and flood, and to quickly regenerate after fire. Its native habitat in Australia is under threat but it has been classified as a noxious weed in six US states.

Melaleuca quinquenervia has multiple uses, and is widely used traditionally by indigenous Australians.

The soft pliable bark was used for sleeping mats, lean-to shelters, dressing wounds and for wrapping food for cooking.

Crushing the leaves releases the aromatic oils which were traditionally used to relieve headaches, blocked sinuses, and coughs.
 
The wood is suitable for light construction but contains silica, which blunts saws and planes.

The essential oil of Melaleuca quinquenervia is used in cosmetic products.

The Sensory Gardens has a small stand of Melaleuca quinquenervia near the white, rose covered arbour.

                                                                                                                            By Ian McAlister & Karen Hagan

Shoyoen (the Japanese Garden) is a work of art. The plants chosen for Shoyoen frequently have symbolic attributes and literary references as well as being valued for their physical characteristics such as colour, shape and size.

Certain plants are iconic and often associated with Japanese gardens. These include the cherry tree (sakura), bamboo (take), plum tree (ume) and pine tree (matsu). In East Asian Culture the grouping of the bamboo, plum tree and pine tree is regarded as particularly auspicious. Motifs combining these three plants occur regularly on Japanese Imari porcelain.

Cherry, plum and pine trees all grow in Shoyoen. The cherry blossom was considered an especially beautiful and important symbol for Japanese samurai because at the height of its beauty it would inevitably fall to the ground to die. Samurai also had to be willing to sacrifice themselves in their prime.

Plum trees have many symbolic references but are often associated with spring.

In traditional Japanese aesthetics matsu (pine) represents “long life”, but its homonym is the verb matsu meaning “to wait”. Accordingly, in many Japanese poems, pine trees are represented as waiting for something or someone.

Bamboo has significant cultural, economic and historic importance in Asia. It serves in the Japanese tea ceremony both as a material and as a design motif. Bamboo is also used throughout Shoyoen to provide ornamental fencing and was used in the construction of the new gate, the sukiyamon.

The Japanese Red Pine (Pinus densifola), Japanese Black Pine (Pinus thubergii) and Japanese White Pine (Pinus parviflora) are all popular in Japanese gardens. The Japanese Black Pine and Japanese Red Pine grow in Shoyoen. They represent the coastline and the mountains respectively, a reference to their natural habitat.

Visitors entering the sukiyamon of Shoyoen are symbolically leaving behind the chaos of the world and entering a place of reflection imbued with thousands of years of Japanese cultural and religious history.
                                                                                                                          By Ian McAlister & Karen Hagan

While most of us are wilting in the heat the magnificent Indian Summer Crepe Myrtles in the Dubbo Regional Botanic Garden could hardly look more gorgeous. They are covered in fresh delicate blooms despite the rising mercury.

The Indian Summer range of Crepe Myrtles are hybrids of the common Crepe Myrtle (Lagerstroemia indica) and the Japanese Crepe Myrtle (Lagerstroemia fauriei).  The combination has produced trees that resist powdery mildew, a fungal disease that can be seen on some older crepe myrtle varieties. Each cultivar is named after an American Indian tribe. The trees have a compact vase-like shape and range in size from around 3-6m fully grown.

Take a moment to look closely at the flowers. The distinctive petals of crepe myrtles are crinkly just like crepe paper, and come in almost as many different colours. There are deep reds, hot pinks, purples and white. 

The abundant and beautiful long lasting blooms of the crepe myrtle have earned it a place in the top ten flowering trees of the world.

But the show won’t end with the summer. Most varieties colour well in autumn with leaf colours ranging from bright red, deep maroon, vibrant yellow, pink and burnt orange, all on the one tree. The bark is also beautiful, exfoliating early summer to reveal a bold, gnarled, sinuate and twisted trunk in mottled colours.

Their beauty, compact size and hardiness have made crepe myrtles popular street trees in Dubbo. They have been planted outside the Central Administration Building of Dubbo City Council and along Bourke Street.

Crepe Myrtles may be found in the Sensory Gardens and Shoyoen.
                                                                                                                        By Ian McAlister & Karen Hagan

John Oxley was the first explorer to venture into the Macquarie valley beyond Wellington. On the 12th June 1818 he reached the area now occupied by Dubbo and recorded in his journal that he had passed that day “over a very beautiful country, thinly wooded and apparently safe from the highest floods...”

The fertile soils of the grassy woodlands admired by Oxley, supported a highly diverse vegetation community. Grassy woodlands are categorised as open canopy forests because the trees are typically spread out and their canopies do not touch. They are dominated by eucalypts, typically boxes and red gums, with sparsely distributed shrubs, tussock grasses and herbs. Ephemeral grasses and herbs appear from seed banks following rain, and ground orchids and lilies produce a spectacular floral display following fires.
 
By 1840 the vast bulk of the river frontages and much of the adjoining country had been taken up by squatters. Initially grazing was concentrated upon the grassy woodlands because they needed little clearing.

The detrimental impact on the ecology was immediate and intensified when the availability of superphosphate and better agricultural machinery opened up the area to intensive wheat farming. By 1907 the country west of Wellington was described as “thickly occupied” by wheat farms.

Excessive clearing and continual cultivation resulted in serious soil erosion. Topsoils were stripped away by wind and rain, reducing productivity. 

Less than one percent of the grassy woodlands admired by Oxley now remain. Some of them have been listed as endangered ecological communities under state and Commonwealth legislation in recognition of the need for greater protection, management and restoration.

The grassy woodland area forming part of the Biodiversity Garden in the Dubbo Regional Botanic Garden is an important education resource. Promoting understanding of the value of grassy woodlands and the impact of past farming practices will help inform and encourage future conservation.

                                                                                                                            By Ian McAlister & Karen Hagan

The design of Shoyoen, Dubbo Regional Botanic Garden is rich in symbolism. Some of the animals that live in Shoyoen are also important in Japanese cultural history. Of particular note are the dragonfly, the turtle and the visitors’ favourite, the koi (carp).

In samurai culture, the dragonfly has a unique word “kachimushi”. Kachimushi literally means “the bug that wins” or more commonly “Victory insect”. Dragonflies are revered for their agility, vigour and for only flying forwards. Dragonfly motifs are often found on samurai swords.

Incidentally, the spear of the ferocious samurai, Honda Tadakatsu was named Tonbo-Giri  (Dragonfly Cutter) because it was said that its tip was so sharp, that once, when a dragonfly landed on it, it was cut in two.
Dragonflies are also a common motif on kimonos and other traditional garments worn during late summer and early autumn. In folktales it is associated with joy and the bringing of wealth.

An Eastern Snake-necked Turtle is a regular visitor to Shoyoen. Turtles are referred to in stories belonging to Hinduism, Taoism, Confucianism, and Buddhism. Consequently, when a turtle motif is used, its full meaning may not be obvious. However, it is primarily a symbol of longevity and felicity. One of the groupings of stones in the Zen Garden represents a turtle.

The word koi comes from Japanese, simply meaning "carp." In Japan, the colourful koi at Shoyoen are referred to more specifically as nishikigoi.

In Japanese, koi is a homophone for another word that means "affection" or "love"; koi are therefore symbols of love and friendship in Japan.

In art, koi are often depicted in motion, arched upward with sprays of water. This suggests the virtues of a determined warrior. A design of carp ascending rapids symbolises the Children’s Day Festival in May and images of carp are often found on young boys’ kimono.
                                                                                                                By Ian McAlister and Karen Hagan

Brachychiton rupestris (Queensland Bottle Tree) is one of Australia’s most visually arresting and affectionately regarded native trees. Its common name refers to its characteristic bulbous trunk which can grow to over six metres in circumference.

It is one of 31 species of Brachychiton, with 30 found in Australia and one species in New Guinea.
Brachychiton rupestris is endemic to a limited region of Australia namely Central Queensland through to northern New South Wales. Yet the tree is quite hardy and can tolerate a variety of climates and soil types. It has been widely cultivated all over the world as an ornamental tree.

The tree grows to 18-20 m and the canopy spans 5-12 m in diameter. It will drop its leaves before the flowering period, which are between the months of October and December. It will also drop its leaves to conserve water during periods of drought. The characteristic bottle shape should develop in approximately five to eight years.

Another striking characteristic of Brachychiton rupestris is that its swollen trunk is made of a spongy pumpkin-like fibre, filled with moisture and water. In times of drought, settlers would cut down bottle trees and peel off the bark to expose the fleshy fibre for their cattle to eat. It is said that a large tree could satisfy a hungry, thirsty herd for weeks.

Aboriginal people historically carved holes into the soft bark to create reservoir-like structures. The seeds, roots, stems, and bark have all been a traditional source of food for people and animals alike. The fibrous inner bark was also used to make twine or rope and even woven together to make fishing nets.

Brachychiton rupestris has been planted near the beautiful sandstone gecko in the Sensory Gardens and in the Oasis Valley, just beyond the entrance of the boardwalk on the right hand side. 
                                                                                                                             By Ian McAlister and Karen Hagan

The Oasis Valley has been designed to inform visitors of Australia’s biogeographical history and raise awareness of the importance of Australia’s dry rainforests. 

The term “dry rainforest” may sound like a misnomer but not all of Australia’s rainforests grow in areas receiving evenly distributed, abundant supplies of rainfall. There are four major types of rainforest in Australia and several sub groups.

The majority of native plant species making up the different types of Australian rainforest evolved from the ancient subtropical Gondwana rainforests which covered most of Australia 40-50 million years ago. The plant families in these ancient forests included Nothofagaceae, Araucariaceae, Podocarpaceae and Proteaceae.

As the climate became less suitable for rainforests, those species best suited to the arid conditions and changing environment survived and evolved creating the native species we are familiar with today.

Dry rainforests grow in regions with distinct wet and dry seasons. They are classed as rainforest mainly because of the closed canopy as well as genera composition that is largely similar to that of 'normal' rainforest.

Dry rainforests have been reduced to tiny remnants scattered across the Kimberley, Top End, Cape York, North Hunter Valley and down the east coast of Australia.

The Oasis Valley contains over 40 different dry rainforest species representing 16 families and 27 genera. The plantings have been grouped together according to their families to make it easier for students of biology and botany to compare their characteristics.

Near the beginning of the boardwalk, on the right hand side, visitors may observe the variation in the Brachychiton genus. Although closely related, Brachychiton acerifolius (Flame Tree), Brachychiton discolour (Queensland Lace bark), and the Brachychiton rupestris (Queensland Bottle Tree) differ greatly in foliage, habit, and bark. Each has evolved to survive under particular environmental conditions.

The relatively new Oasis Valley brings an exciting dimension to the Dubbo Regional Botanic Garden and as the trees grow, eventually dominating the boardwalk, visitors will enjoy a unique rainforest experience.

                                                                                                                                                                                                                                                                    By Ian McAlister & Karen Hagan

Biodiversity is the term given to the variety of life on Earth.   Biodiversity comprises all the millions of different species that live on our planet, as well as the genetic differences within species. It also refers to the multitude of different ecosystems in which species form unique communities, interacting with one another and the air, water and soil.

Australia is home to large numbers of species that occur nowhere else in the world.   The Dubbo region is home to an extraordinarily diverse range of native plants, with over 1,300 species recorded.  More than 55 of these plant species are on display within the Biodiversity Garden.  

The clearance of mature bushland and the consequent occurrence of dryland salinity is a threat to our local biodiversity. Some native plant species have been lost and others pushed close to extinction.

The Biodiversity Garden at the Dubbo Regional Botanic Garden supports native plant conservation through education.  The major plant communities of the Dubbo region are represented in the garden. As visitors wander through the garden, they gain an insight into the diversity of native plants living in grassy white box woodlands, in wetlands and on rocky volcanic slopes.

The natural wild spaces represented within the garden have vibrant complex ecosystems.  Where possible the garden has been allowed to mimic the natural cycles and processes present in the wild. Plant species have been allowed to propagate themselves. Dead trees have been left in place to return nutrients to the soil and provide habitat for bugs, birds and lizards.

The success of this approach is reflected in the variety of small native birds which are attracted to the Biodiversity Garden. The garden is often alive with birdsong.

This "safe" area of wilderness with its representative plant communities provides an exciting and informative outdoor classroom for a wide range of curriculum -linked school programs.

                                                                                                                                                                     By Ian McAlister & Karen Hagan

The powerful juxtaposition of the Tea House and the huge dry stone wall in Shoyoen, Dubbo Regional Botanic Garden serves as a reminder that the elaborate and refined Japanese Tea Ceremony was developed during a time of social upheaval, political intrigue and military conflict.

From the middle of the 15th century to the beginning of the 17th century, powerful feudal lords, known as daimyo fought among each other for military supremacy. The daimyo ruled most of Japan from their vast, hereditary land holdings.

Three warlords are credited with unifying and bringing peace to Japan: Oda Nobunaga, Toyotomi Hideyoshi and Tokugawa Ieyasu.  Oda Nobunaga was the most terrifying, ruthless and cunning of the three warriors.
As he conquered Japan, Oda Nobunaga amassed great wealth and built extensive gardens and opulent castles. These were great works of art and intimidating symbols of his power and prestige.

Oda Nobunaga’s Azuchi Castle was built to a revolutionary design. It had massive stone foundations. Azuchi Castle set the standard for subsequent Japanese Castles which are now famous for their huge wooden structures atop incredibly high stone walls.

The great dry stone wall next to the Tea House is of a similar design, albeit in miniature, to the castle walls built by Japanese war lords.

Sen no Rikyū who became famous for perfecting the Tea Ceremony and raising it to an art form, was the tea master and subject of Oda Nobunaga and his successor Toyotomi Hideyoshi.

Oda Nobunaga used the Tea Ceremony as a way to talk politics and business. The Tea Ceremony is now used to promote peace and cultural understanding between Japan and other nations.

The enduring perfection of the Tea House next to a symbol of ancient defences – the stone wall – reinforces the peaceful message of the Japanese Tea Ceremony.
                                                                                                                     By Ian McAlister and Karen Hagan

Preferred numbers and golden ratios in the botanic garden

Have you ever wondered why four leaf clovers are so rare? It may be because four is not a Fibonacci
number.

The Fibonacci sequence is named after Leonardo Pisano Bigollo known as Fibonacci, a twelfth
century mathematician born in Pisa. Fibonacci is best known for spreading the Hindu‐Arabic number
system (ten digits and a decimal point) in Europe superseding the Roman numeral system.

The Fibonacci sequence begins with 0 and 1. The next number is found by adding the previous two
numbers, and then this pattern is repeated.

0,1,1,2,3,5,8,13,21,34…and so on. Fibonacci numbers regularly occur in nature.

The flowers in the daisy family (Asteraceae) one of the largest if not the largest of all plant families,
often have 21, 34, 55 or 89 petals. These numbers are the 8th, 9th, 10th, and 11th numbers in the
Fibonacci sequence. Try counting the petals of the lilac coloured Brachysome Daisy (Brachyscome
multifida) near the turtles in the Sensory Garden.

Fibonacci numbers can also be seen in the arrangement of seeds on flower heads. If you study a
sunflower you will notice that the seeds are packed in clockwise and anti‐clockwise spirals. The
numbers of spirals in each direction are (almost always) two numbers which are next to each other
in the Fibonacci sequence. Look for spirals obeying the same rule on pine cones and pineapples.

The regular occurrence of Fibonacci numbers is not restricted to plants. Take a look at your body:
one body, two arms, three segments to each arm and five digits!

Preferred numbers, golden ratios and golden sections (arcs) occur throughout nature, art,
architecture, poetry and music.

In some plants the correlation may just be a coincidence. In other situations, preferred numbers and
ratios may exist because particular growth patterns are more effective at enabling maximum
exposure for light‐hungry leaves and optimal seed arrangement.
                                                                                                                            By Ian McAlister & Karen Hagan