The pond was covered with snow during my last few walks. It was popular now that the ice was thick enough to be safe. But the path around the pond had been compacted to ice which made for slippery walking.
It was the fallen branches that caused me to pause. There was something about the contrast with the textured white snow that made these complex objects stand out so I could notice them and see that their beauty deserved my attention.
I have always been attracted to abalone’s iridescent interiors, but I had no idea about the range of patterns and colors that nature creates on their outsides until I started collecting these shells. Although there are commonalities among the suborders of the Haliotidae family, each individual shell is unique. And the outsides of the shells can change color based on the types of algae the abalone has been eating.
There is often a beauty to both sides of natural objects. In these days of deep divisions, I find that to be a most refreshing idea to keep in mind.
Arranging rocks so shapes, colors and patterns complement can be an interesting and absorbing challenge. In times of dramatic change, that can take me beyond our limited human perspective on time.
All of the rocks in the arrangements below are agates. The first photo shows a bowl with small cut and polished agates from around the world. The next three show specific types of agate – bubblegum, Fairburn, and Lake Superior agates, respectively. For the most part, these agates were left as they were found with colorful patterns natural on the surface or revealed by abrasion. I find the matte finishes and rounded shapes of the natural stones to be particularly appealing.
Take your time with what can be a visual adventure. You can learn something about agates, of course, but also about your particular tastes. Perhaps you will catch a hint of the slower “life” in these stones that might provide a bit of calm in these turbulent times.
I wondered what the beginnings of winter would look like on this crisp morning in early December. After several inches of snow followed by thawing and freezing, I expected snow on the pond banks.
As I entered the park, I noticed certain rocks were beginning to become familiar friends. But I fought against all such expectations, all such stories. Walking for my health here in these times of pandemic provides opportunities too precious to waste. Most of all now, I long to be open; to not even know where I am going.
I noticed the pond had a skim of ice, but only in certain places. Scattered ice fragments captured light. The few dog walkers I encountered understood the preciousness of solitude. Offering quick greetings in soft voices, they did not disturb the infinite sweetness of the melancholic luxuriance.
As the place, itself, took over as my guide, shifts in light and mood signaled when to stop and look deeper. I aimed my camera with awe and humility knowing I was a participant observer, not separate from such generous grace.
Now that the peak leaf colors and our election in the United States have passed, there is a softer, not so urgent feeling. The burnished colors have their own appeal as does not knowing yet what will happen. Come with me on my walk. Everything can change with just one small foot step.
It is hushed and quiet by the pond at this early hour. You can hear the ducks’ small sounds. And perhaps notice that reflecting on reflections is nothing new.
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 bricks to form a low cylinder with gaps and chinks in its walls. Into this cylinder is layered sawdust or straw and leaves along with the bone dry bowls. The top of the pile is lit, and covered with a lid. Once smoke rises steadily, the kiln is simply left to fire at a low temperature. The resulting gray pieces may have hints of other colors or shadows left by leaves. I attended a class where we made tea bowls in this way. We removed and cleaned the fired bowls before immediately drinking tea from them. Japanese gardens often use locally available materials; in this case transformed to evoke much more than the sum of the individual parts.
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 included gray and blue green, brown, cream 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 issue of the Journal of Japanese Gardening which has since been renamed, Sukiya Living; The Journal of Japanese Gardening.
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 issue of 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 whimsey is one of the more appealing human traits.
The gentle art of whimsey 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?
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.
Radiant Refuge 