This paperweight was on the window sill for a while before I noticed its changeable personality. Two curved layers with outer films of dichroic glass reflected and transmitted light. Now that I looked more closely, depending on the light and the angle, everything changed.
I got out my camera to see what the super macro setting would capture. How could one small object do all of that?
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.
No live Christmas concert this year – It was simply not safe.
Park Avenue Congregational Church’s (PACC’s) Christmas concert had been going on for 29 years now as a gift to the community. Even though donations were voluntary, we always got contributions. They were used to maintain our treasured Skinner pipe organ and for our music program. Doing something now seemed all the more important. Christmas music could bring light to this particularly dark season during a global pandemic.
So we two coproducers put our heads together. A virtual concert might work. We had a great archive of music from past Christmas concerts. We considered that physical CDs and DVDs have a certain appeal. They can be given as gifts. That makes them feel more grounded than clicking around in cyberspace, even though great music is certainly available that way.
We decided on “A Christmas Quilt” for our theme – Something warm and cozy you can wrap up in while social distancing at home, maybe with a favorite drink by a fire. The quilt idea worked for the diversity we wanted to include and DVD slideshow images could be used for quilt squares.
But would people send in enough photos? We needn’t have worried. Photos poured in; children making snow angels, pies being baked, Christmas trees and sheep (we needed sheep). There were photos of the church decorated for Christmas, of choir singing, of our music directors playing instruments and more. Photos of snowy landscape paintings created by the father of a church member also seemed perfect. We added in some charming public domain art, photos of period Christmas cards and images of composers and their scores.
The practical logistics seemed to be coming together as well. Or so we thought.
The folks who do such a great job of printing posters and programs for our live concert series had ordered blanks to print stick-on disk labels. The blanks they ordered had a large hole that would land plunk in the middle of the square quilt “logo” that was centered on the disk labels.
With orders still coming in and time slipping away, the coproducers declared the larger hole DVD labels would be fine. But the talented and generous Concert Committee member who had carefully aligned our quilt image on the disk labels, responded (and I quote), “We can use the wide, gaping, cavernous, quilt-eating, big-hole labels if you want ;-). I’ll Just close my eyes ;-).”
A new supply of blanks with smaller holes arrived in time. We also had some of the large-hole labels printed just in case – the DVDs were proving quite popular. In the last few days before Christmas, we were still burning DVDs like crazy, and then Christmas eve was upon us.
I was very touched by the two who volunteered to hand deliver CDs and DVDs around town on a cold Christmas eve in the middle of a pandemic when they could have been at home with family. But I will also never forget that wonderful comment about the cavernous quilt-eating holes.
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 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 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.
Creative dialogue during tea and dialogue (photo by Jeff Klein)
Lidia Kenig-Scher painted while Jim Flavin played various instruments. Here, Jim improvises on the didgeridoo while singing bowls respond sympathetically.
In April and May of 2019, four of us worked on a project to capture footage of a creative variation of tea and dialogue while a painting emerged in response to our topic, “the unending sea of blessings” (a Japanese scroll saying). Besides contemplation of this topic, we were supported by Gregory Kramer’s Insight Dialogue guidelines – Pause, Relax, Open, Attune to Emergence (previously Trust Emergence), Listen Deeply and Speak the Truth. The video at the link below provides an idea of what occurred over three sessions that included spoken reactions and discussion:
After we shared tea in her living room, Lidia Kenig-Scher worked on the painting in her studio as Jim Flavin played a variety of instruments in the next room and videographer, Jeff Klein, captured the action. The materials, tools, and physical effort gave a grounded, down to earth quality to this multimedia dialogue. The video shows how the rhythms and the feeling of the music influenced Lidia’s brush strokes. Jim mentioned feeling connected to the painting process even though he could not see the painting as it evolved.
The tea we drank at the start of the second session had four ingredients. Since there were also four of us, that seemed a great metaphor for our communal awareness that retained what we each contributed to the blend.
We experienced a particularly vivid example of the stages described by Mitchell Kossak in Attunement in Expressive Arts Therapy: Toward an Understanding of Embodied Empathy where periods of seeking safety and risk taking ultimately result in an experience of the universal. Some time ago, Lidia had put up a quote about the wisdom of trusting emergence rather than forcing things on her studio wall. Jeff trained his camera on that quote and his comment about how well that quote expressed what happened the previous day is included in the video soundtrack.
After the doubt and empathic support, followed by effortless expansive flow, the completion of the painting recognized by a hug, felt particularly powerful. That hug also perfectly symbolizes the closeness the practice supports. I could not help but be grateful that we had captured all of it on video.
I am glad we discussed our common belief that creativity is not just for professional artists. Nor is it just for the young. Contrary to what younger people might believe, older adults can actually experience reduced anxiety and increased life satisfaction; they may no longer care as much about what others think about them, bringing a new and most welcome sense of freedom that supports creativity. In fact older adults bring a number of gifts to tea and dialogue practice. Creative tea and dialogue is certainly not just for professionals as is clear from this joyous example of collaborative storytelling with musical emphasis.
I am most grateful for the generosity of these talented artists:
Jim Flavin is a musician and certified practitioner and teacher of Jikiden Reiki. He collects percussion instruments from all over the world and shares them with others in the drum circles he leads. His work as a contractor provides many opportunities for the practical application of mindfulness. He believes in spreading unconditional love through expressing respect, kindness and honesty in all relationships.
Lidia Kenig-Scher is an award-winning mixed media artist and transformational catalyst. Her intuitively conceived works are installed in the interiors of successful homeowners and entrepreneurs, many of whom claim that the art emits a vibration capable of positively affecting their lives and the spaces where the art is installed. This highly decorated interior designer and Feng Shui master also teaches people to “paint from the heart,” a meditation-based technique grounded in more than 40 years of Buddhist practices and intense spiritual work. Lidia notes that her artworks invite personal growth because she too starts by opening her heart and trusting her brush to paint the truth.
Jeffrey Klein is a bilingual videographer with a 25-year career in multi-media production in Japan and the United States including podcasts and videos intended for retail, business, entertainment and educational contexts. Samples of his work are available at his website.
A video of how this painting on the theme of “The Unending Sea of Blessings,” by Lidia Kenig-Scher* was created is available here.
Photo of Lidia’s painting by Jean Abate, Framing & Fine Art Reproduction Specialist, Northeast Digital Imaging, Salem, NH
According to William Scott Wilson in The One Taste of Truth: Zen and the Art of Drinking Tea, page 135:
“The Unending Sea of Blessings
This phrase from the Kannon-kyo is the summation of the life, free of obstructions, that we can have if we put faith in the Bodhisattva Avalokitesvara.
If, in a lawsuit, you stand before a magistrate,
Or are in dread and fear on the battlefield,
Think upon the power of Avalokitesvara,
And all the myriads of enemies and their hostilities will retreat and disperse.
The wonderful sound, the Perceiver of the World’s Sounds,
Brahma’s sound, the sound of the tidal sea
Surpasses the sounds of the world
And for this reason, should be constantly kept in mind,
Thought by thought, never giving rise to doubts.
Perceiver of the World’s Sounds, pure wisdom:
When in pain, suffering, or close to death,
He is able to provide a foothold and support,
Provided with all merit and virtue;
His compassionate eyes never leave sentient beings:
An unending sea of blessings.
For this reason, you should bow with deepest respect.
It is also a recognition that despite all our grousing and discontent, we are already fully blessed. To truly understand this, however, we must get past our egocentric selves. Avalokitesvara, the Bodhisattva of Compassion, enjoins us to act not in response to our own pain and suffering, but to that of all other sentient beings. This Bodhisattva is often depicted with a thousand eyes with which to see suffering the world over, and a thousand arms with which to act for its cessation.
In some understandings of Buddhism, all Buddhas, bodhisattvas, and attendant gods are reflections of our own potentialities. In this way, Avalokitesvara is the Unending Sea of Blessings, and we ourselves are Avalokitesvara, and are ourselves the source of unending blessings.”
*Lidia Kenig-Scher is an award-winning mixed media artist and transformational catalyst. Her intuitively conceived works are installed in the interiors of successful homeowners and entrepreneurs, many of whom claim that the art emits a vibration capable of positively affecting their lives and the spaces where the art is installed. This highly decorated interior designer and Feng Shui master also teaches people to “paint from the heart,” a meditation-based technique grounded in more than 40 years of Buddhist practices and intense spiritual work. Lidia notes that her artworks invite personal growth because she too starts by opening her heart and trusting her brush to paint the truth.
With its seeming love for the one-of-a-kind and constant change, the natural world can be quite worthy of our detailed inspection. Even an oddly unique, or broken and incomplete natural object can be so beautiful it can take our breath away. So can an ordinary vista or an object that has been eroded by time. There is a story about Sen no Rikyu, a famous Japanese tea ceremony master – he shook a few leaves onto the moss after a tea garden was cleaned a bit too perfectly. Leaving a few fallen leaves on the moss points to the wonder and mystery of reality as it really is.
We care about others’ approval because we need others in order to survive, and that can have us wanting to be perfect. But perfection in the abstract is a rather odd concept when you think about it. Toward what end? According to what standards does it operate, anyway? What matters to one person may not matter at all to another and different cultures value different things.
I have found that people actually love it when we can accept ourselves, imperfections and all, and when we are open about feeling vulnerable at times. Those who can accept their own imperfections tend to have an easier time accepting them in others which can be a great relief given how much we tend to fear being negatively judged.
Japanese tea ceremony teaches many lessons through the actions involved in sharing tea while engaging with various objects. Take, for example, the beautiful tactile tea bowl below that was made by my Japanese tea ceremony teacher, Giselle Maya. While it is misshapen and has imperfections in its glaze that resulted from a collaboration with the kiln fire, irregularities and burnishing from age add depth to its beauty, something that we can learn to appreciate in each other as well as in tea bowls, even mended ones.
Many viewing stones are completely natural. Some are cut to have a flat base that fits into a carved wooden stand. Viewing stones may suggest a mountain rising above the clouds, a waterfall, or even human figures and animals. Stones with interesting surface patterns are also collected. All are valued for their ability to evoke a response in the viewer, rather than for being literally like what they may resemble.
A tiny metal animal or human figure is sometimes added to bring out the mood of a particular stone. Larger viewing stones are sometimes displayed outside in gardens. A number displayed together on a stand can make for a most interesting “conversation” among the varied shapes, colors, and textures.