As I start my early morning walk, I notice it is quieter with fewer cars starting up. In my Arlington MA neighborhood, dog walkers have always been out and about at dawn. Seeing them now provides a most welcome sense of normalcy.
As I approach, Robbins Farm Park has a view of soft pinks over Boston framed by deep red leaves. Dogs romp as their owners call out greetings, recognizing each other despite their masks. A playground attracts a few children with its long slide and harvesters in the community garden seem most appropriate for a park that was once a farm.
Continuing down the sidewalk, I come to Menotomy Rocks with its glacier-carved granite outcrops rising here and there. Fallen logs molder on either side of a wide path as yellow leaves glow on the living trees. Dogs seem to love it here and families come down to watch ducks swimming through vivid reflections.
Despite all of this radiance, the dogs and their owners are what speak most to my heart. Even from a safe “social distance,” there is no mistaking their contagious joy and contentment. They know how to live in the moment.
Sometimes, and especially now, I find it helpful to get back to basics. Remembering what is still here for us in this most troubled world has been helpful when there is so much to be worried about
A tea bowl, especially one containing a pool of frothy bright green tea is full of landscapes. This is literally true as well as being true on a more poetic spiritual level. In thinking about this concept, and comparing tea bowls and Japanese gardens, I found I was better able to appreciate both.
My favorite type of tea bowl speaks of the earth. Such bowls are honest about the malleable clay from which they are made. One can see the soft bowl from the potter’s hands in the final product just as one can see evidence of geological processes in a landscape. When bowls are fired, color “blooms” and rough textures may result. Such “kiln events” cannot be planned in advance, but only appreciated when they do occur. Even when dramatic kiln events are not present, the process of firing adds depth to the natural feel of the bowl. In the garden, time, mosses, lichens and weathering do the same thing.
Tea bowl shapes remind me of valleys or deep canyons. The shapes are functional to be sure. The sloping sides of the summer bowl are designed to cool the tea faster, while the more vertical sides of a winter bowl retain warmth. The curves and shapes of individual bowls vary. To raise one while holding it in both hands is to bring a valley pool to one’s lips.
Tea ceremony tea is actually finely ground green tea leaves. Hot water is added and then whisked to form an emulsion. The color is like sunlight through leaves. One guest, upon tasting it for the first time said, “It is like drinking a meadow.” Simple, pure details of nature matter in Tea, as well as in the garden.
During the formal ceremony, there is a pause to think with gratitude about all that went into creating the tea. This includes all contributions including the fertile earth, the sun, and those who planted, plucked, dried and ground the tea. Drinking tea is to drink in the landscape with an expanded awareness of what that means. I also try to hold that attitude of expanded appreciation when walking in a beautiful garden.
It is possible to create a tea bowl using materials readily available from the countryside. Clay deposits are not rare. A primitive kiln may be made by piling up rocks or bricks to form a low cylinder with gaps and chinks in its walls. Into this cylinder is layered sawdust or straw and leaves with the bone dry bowls. The top of the pile is lit, and covered with a lid. Once the smoke rises steadily, the kiln is simply left to fire at a low temperature over night. The resulting gray pieces will have shades of many colors and perhaps patterns of leaves on them. In a class I attended, we made tea bowls this way, cleaned them and immediately drank tea from them. In the same way, the elements of a Japanese garden are often available locally and when combined in the right way create a magical transformation.
Steven Murphy, a professional potter who studies the tea ceremony, explains that tea bowls must be quiet, but interesting. They cannot shout. An untrained person might find a tea bowl boring. Tea bowls are best appreciated by those with an eye for nature.
He reminded me that more than just shape is considered in selecting a tea bowl appropriate to the season. A bowl the color of new leaves in the rain might be used in early spring. A bowl with a deep glowing brown glaze might be chosen to contribute a feeling of warmth on a cold winter morning. Seasonal changes with their many moods are consciously planned for in Japanese garden design.
Like walking in a natural landscape, turning the bowl in one’s hands brings new views and surprises. The light, mood, and evolving taste can teach us to appreciate a familiar bowl in a new way. In some cases, a tea bowl literally changes with use as cracks in the glaze turn brown. A broken tea bowl may be mended with gold. The mended bowl continues to be prized all the more. It is only with use that a tea bowl becomes a real tea bowl. Just as it is only with tending and time that a Japanese garden becomes truly itself.
Tea bowls have faces called shomen which are turned toward the guest. The same word can be used to refer to the side of a tree or rock which is placed toward the the viewer of a garden. The shomen of a tea bowl may be obvious when a new bowl is taken from the kiln, or it may take some time to appreciate which side is the “face” of the bowl.
When making a tea bowl, Steven mixes one type of clay with another so that the color is not exact. He might even mix in something potentially destructive like tiny chunks of stone. The clay is made very wet which allows the clay and potter to work together. I have heard some garden designers talk about the importance of working with a sense of freedom.
After making twenty bowls, Steven waits a day and feels the bowls all over to determine which might become cereal bowls and which might become tea bowls. He smashes any rejects. This is like the gardener who never hesitates to remove a plant that does not fit in the garden.
Making ash glazes involves a number of steps. First wood or leaves are burned to produce ash. This is sifted, feldspar added and the mixture is ground to a fine powder. Lye is leached out, and the glaze is sieved. When Steven dips a bowl in his finished glaze, drips or streaks may happen adding a feeling of spontaneity.
Volcanic ash produces pale green or yellow; oak wood, lichen colors; oak leaves, a transparent spring green. Browns come from mixed leaves of maple, oak, sycamore, poplar, white pine needles and “mystery” leaves thrown in for good measure. Spruce and fir needles produce pewter tones. The reddish-orange heart wood of Balm of Gilead Poplar results in yellow, blue, pink or white, but there is no way to predict which color will result. The remarkable Poplar glaze can also produce gold flecks if the bowl is cooled very slowly so that iron in the glaze crystallizes.
It was a great joy to visit Steven’s studio to view the variety of landscapes in his finished work. There were bowls with sky images, wind images, and the moon viewed through streaked branches. The inside of one bowl had the feeling of looking up under a weeping beech tree. Pieces had very tactile satin and rough finishes in great variety. Some had bits of feldspar creating tiny light bumps on the surface. Colors were all ranges of gray and blue greens, browns, blues, creams and others with gradations and mixtures. Nothing was jarring or artificial. Some bowls had feet with bumps and fissures in the glaze which gave a very ancient feeling.
Both tea bowls and Japanese gardens use human perception and distillation to create highly refined art forms using natural materials. Both accept and joyfully use qualities that are not entirely under human control. Steven Murphy writes, “My teacher, Keiichiroh Satoh of Nagano, Japan once said, ‘You and the clay have to agree on what it will become. Forcing it only makes pottery with no inner beauty.’” In the same way, a deep understanding of the site is required to create a beautiful garden.
If I had to spend some time in an ugly part of a city doing stressful things and could not visit a Japanese garden or beautiful natural landscape, drinking tea from a lovely bowl would be my choice of compensation.
This article first appeared in the March/April 2000 issueof the Journal of Japanese Gardening which has since been renamed, Sukiya Living; The Journal of Japanese Gardening.
Signs are sprouting up everywhere in my neighborhood near Boston. The presidential election is coming up soon and that would certainly inspire signs. However many serious issues concern us these days. I have never seen so many signs on my morning walks.
This noble and often charming clamoring includes statements of appreciation. It reminds me to never take for granted our precious right to speak what is on our minds.
When walking about in nature, I respond to the visual beauty of shapes and colors, the effects of light, and the motion of trees and water. The fresh scent after a rain or the call of a bird may add a grace note. The slower natural rhythms and quiet provide a soothing contrast to visually jarring aspects of the constructed world, tight schedules, and everyday stress. But on the other hand, when exploring in nature, one can suddenly come across a jutting cliff, or a rushing waterfall which has a sense of pure natural power which is anything but tranquil.
When I visited Japan to view a number of famous gardens, I was expecting to experience integrated compositions of beauty, tranquility and harmony. I found these in abundance. I learned for example, that massed contours of clipped azaleas can make one feel levitated – like floating on clouds – and that some gardens unfold horizontally, as one might view a scroll in a sequence of linked images.
With these gardens, a vision is being shared and yet each person experiences the garden from their own individual perspective. In a way, a living dialogue happens. I observe and respond to the garden moment by moment, and the garden moves and changes as I move my eyes and feet. This provides delight, energy, grounding, peace, comfort and wonder.
Upon reflecting back upon the many experiences of the trip, perhaps the least expected was the depth of my response to specific areas of Shinto shrines. These sites were not gardens but ancient sacred sites. Stone steps set in the earth led up a short way into the woods to a small square space marked off with a simple straw rope. Within this space was a low boulder.
Nearby was an enormous tree that curved up from a rectangular bed of gravel. The tree was circled by a rope from which hung white paper constructions. At yet another site, I saw a sacred spring that was noted with a sign.
For me, as a foreign tourist with no background in Shintoism, these ancient sites, with their trees and boulders, had a basic and primal quality which was very compelling. I responded to their simplicity, clarity of form, and relationship to the natural setting where dappled light through the leaves enhanced their ancient feeling. They had dignity and great power.
It is interesting to speculate whether these ancient sites have had an influence on the design of gardens created primarily for aesthetic purposes. In Japanese gardens, tress and other natural objects are used with great respect for their essential qualities, and boundaries are normally strong and clear.
When I returned to the United States, I went looking for places that had some of the natural power of these ancient sacred sites. I found that energy when viewing large boulders that had been jumbled together and left by the glaciers.
I began to wonder if some of that power could be brought into a designed garden and whether it would prove to be peaceful or unsettling. The additional question arises of whether being unsettled in such a way would be a good or bad thing. The answers may vary from person to person, but it is always good to remember that we have a fundamental relationship with the pure power of nature.
This article first appeared in the May/June 1999 issueof the Journal of Japanese Gardening which has since been renamed, Sukiya Living; The Journal of Japanese Gardening.
Many of us are attracted to the playful, quaint and fanciful. Children take to it naturally, of course, but you can also find it in New Yorker cartoons and a satirical print of a calligraphy class – see detail below. I think that is a good thing. A taste for whimsy is one of the more appealing human traits.
The gentle art of whimsy can provide an appreciated point of light in these dark times of pandemic. During a virtual church service, two children vigorously “played” a large organ displayed behind them in their little Zoom rectangle.
When is the last time you engaged in banter or added a whimsical touch where it could bring you and others who come across it a moment of joy?
Japanese tea ceremony’s flowing process for preparing a bowl of tea may strike one as elegant or beautiful. However, for those unfamiliar with the art, just viewing a demonstration may not provide much insight into the depth that lies just below the surface.
Tea practice evolved over time. After it was introduced to Japan from China, tea was grown at Zen monasteries. Processed and ground tea leaves were mixed into hot water to support the monk’s alertness during meditation. This emulsion supports considerable and sustained calm awareness all by itself. It was also used as a form of medicine – matcha has many health benefits.
When the warrior elite adopted the drink, they delighted in collecting and showing off costly tea utensils. These objects were used as proof of political authority, and given to generals as rewards.
In the 1500’s, merchants with Zen training adopted a style of sharing tea imbued with refined rustic simplicity. All social classes and women were invited to participate. In this space apart, all present were honored and treated with great respect. Sen no Rikyu brought this style of tea preparation to its peak. Since that time, standards for Japanese tea ceremony have been maintained by hereditary tea schools.
Business executives adopted the way of tea followed by young women who would often return to it after raising their children. Learning about the many arts (like flower arranging, brush painting and ceramics) that tea ceremony employs was another way to fill free hours. Urasenke, the largest tea school, established chapters outside Japan in 1951. They recently began publishing books in English with detailed instructions and extensive photos starting with the styles of preparing tea that beginners learn first.
Tea practice in my tea hut (see the photo above) brings me into this season, and this time of day, embodied and grounded. There is something about the natural movements that brings one into accord with nature’s rhythms. Many comment on how time seems to slow down. With attention fully directed to what one is doing in the moment, there is no bandwidth left over for worrying about how one is perceived, or ego posturing. While you might think tea ceremony’s proscribed procedures would make it feel stiff or impersonal, it actually feels surprisingly intimate. Despite the formality, the caring generosity built into the practice is very real.
Under the right conditions, awareness may broaden to encompass everyone in the tearoom, the mossy tea garden and then expand outward from there. Even when mistakes occur or the right utensil is not available (creative improvisation is definitely appropriate per the tea literature), tea practice consistently brings me centering peace.
From tea ceremony I learned how bringing attention and intention to potentially annoying everyday activities can transform them. Washing dishes can become joyful service and meditative play. Tea ceremony teaches that it is possible to live life more like an intentional work of art with deep respect for the potential in each moment.
I find Morrisonite to be particularly rich in details. Both the jasper and the beautiful location where it is found stimulate the imagination. I can count on delightful surprises when I attempt to capture its endless patterns and colors in closeup photos.
The slabs shown below include an entire cross section of a jasper seam. The second photo shows a small section of a slab. Several examples exhibit the overlapping egg pattern that also occurs in several other types of jasper.
Lapidary artists find a great deal to select from. While the finished cabs can be set in jewelry, the best are often acquired by collectors who prefer to keep these little works of natural and lapidary art just as they are.
As soon as I started the photo series, I was totally entranced. There were worlds of dazzling design in the abalone shells’ spiraling concave interiors. I might discover an area of delicate veiled dreams or bold drama. Taking closeups and seeing what the camera had captured became an addiction.
I began to sense how the shimmering designs carried the rhythm of the tides that the abalone depended upon for all their needs. There were encoded hints of whale song yearning and how our planet breathes as it dances with its companion moon.
Turn a piece of Labradorite and you can sometimes see flashes of bright color. The crystal structure selectively reflects these colors to the eye in an effect called “labradorescence”. A valuable variety from Finland known as “Spectrolite” has colors that stand out against a darker background.
While this stone has been compared to the Northern Lights and some prescribe to it protective or visionary qualities, Labradorite’s colors alone are enough for me to want to spend time with it.
Now we are keeping to our homes, animals are coming closer. During solitary dawn walks to listen to the bird chorus, I come across rabbits just sitting there in the middle of the road. A neighborhood fox ran across adjoining backyards. Our generation has access to so much recorded history and information, and to so many things. Yet nature has her own inescapable ways and her own time table.
My most recent post was about what happened after I removed a fence I had allowed to decay naturally. The table in the photos below will likely be around much longer. Lichens will shun it. If we are indeed living in twilight times, I cannot help hoping that dappled light will still find the shiny objects humans leave behind.