Saturday, 30 November 2013

Trayscapes; Landscapes In Your Hand

Trayscapes, or bonkei (盆景) in Japanese, are an excellent way to practise the fundamental elements of design, and in particular rock arrangement – without straining muscles or budgets. Bonkei are essentially very small garden landscapes that can be created from the comfort of a chair if you so wish! Bonkei use plants and small rocks in the depiction of landscapes. An allied art form, bonseki 盆石 is very similar, but uses fine white sand on black lacquered trays to depict landscape scenery. The sand is manipulated with tools such as feathers in the creation of artworks that are not dissimilar to paintings. Sometimes this may involve also using small rocks to represent mountains or islands. Bonkei are more akin to three-dimensional sculptural pieces, and may include among the planted areas scaled down buildings, also animal and human figures set in the landscape settings. Bonkei and bonseki have a long history in Japan, and they have been created since at least the 13th century, and have been very popular with many classes of society. The idea of bonkei or creating reductive versions of landscapes probably originated in China, where they are called peng jing, though they are found through history all across south-east Asia (there is a long tradition of creating trayscapes in Vietnam).  In essence these miniaturized depictions of landscapes were an extension of the use of the garden to depict images or models of a paradisial state, and in doing so, to bring the qualities of the existence of such a state into the daily lives of those who made and tended such ‘landscapes’.

Trayscapes were seen to be a way of concentrating the life-giving forces contained within the landscape. To Taoist adepts dew was considered to be a drink of the immortals. Stones were placed (also mirrors too) in trays to catch dew, which was believed to originate from the moon. By this means the stones themselves were considered to have sacred qualities, and these qualities would pass on to collectors who displayed trayscapes in their homes. If stones can be endowed with sacred qualities then it is the same for plants that grow on them. One often used plants associated with trayscapes are bonsai pine trees. The pine in itself has many associations with longevity. Very old pines have a bark texture that is ‘stone like’ in appearance, and they can be to be found growing in narrow cracks in rock faces, where the tree and rock become inseparable one from the other.

As a garden apprentice in Japan one of the ways our sensei would explain the principles of stone arrangement was by demonstrating with using small pieces of stones and ordinary building sand. Work time was not considered a suitable occasion for lengthy explanations of what he was doing by way arranging stones, an apprentice was expected to obey orders swiftly, not to puzzle over what one’s teacher was doing. But come a rainy day when site work was not possible then getting a small group of apprentices together, and working with a handful of small stones our teacher could set out his ideas in an immediate and graphic way.

In the Zen temples of the early medieval period in Japan there was much interest in way of depicting of landscape in both paintings and bonkei. It was a means for some Zen monks to highlight and explore important ontological and aesthetic issues concerning the nature of reality and its depiction. In Buddhism there is a perception of the manifestation and perception of the world as being illusory, when seen from a viewpoint of ultimate truth. So the creating of gardens or trayscapes both of which depicted ‘landscapes’ was to the Zen monks an excellent way of challenging fixed notions of what reality was. It also allowed them to view landscape gardens, trayscapes and landscape paintings as being more than simply symbolic representations of landscape. But to also provide them with a means to break through conventional perceptions and notions to grasp something of the essence of landscape, and to be able to engage with the concept of the essence of landscape itself. As Joseph Parker writes; “Both illusion and playfulness entail an intrinsic sense of movement and transformation that erodes or breaks by means of disjunction and juxtaposition the rigid, clinging grasp of attachment and the rigid bifurcations of deluded, discriminatory thinking.”[1] In Zen thinking it is considered essential if one is pursing the idea of enlightenment that it is vital to break through attachment to conceived notions.

It is simple to use the term ‘minature landscape’ in association with bonkei, but I am not sure this is quite appropriate, and not actually misleading a term. Miniature implies something that is essentially reductive in size; whereas what is being attempted in a bonkei is to create a work that bears all the hallmarks of landscape. The method of delivery may be reductive, but the ambition is not, the essence of what is being presented to the viewer is not reductive at all. The bonkei presents one with sufficient material to engage the mind of the viewer, to stimulate his or her imagination in creating around those elements presented a much greater picture that will incorporate corporeal memory and experience of landscape itself. The bonkei scenery evokes landscape and stimulates the viewer to re-experience landscape, to reconnect with the landscape of body-mind.

Kokan Shiren (虎関師錬), 1278–1347) was an important figure in the Zen Buddhist world of Japan, who was responsible for establishing many Zen temples across the country at a time when Zen was beginning to become an established form of Buddhism in Japan. He was also regarded as a great poet in the Chinese style. Circa 1300 Shiren wrote a piece entitled ‘Rhymeprose On a Miniature Landscape Garden’, in which he details the response of a visitor to a trayscape he had constructed with small stones on a green celadon tray filled with white sand. Whilst Shinren felt the resulting landscape was successful, his visitor was less impressed, and commented the trayscape was “a little bald”, that is, lacking in planting.
Shinren responded ….“You see a pile of stones and fail to see the mountains. The marvelous thing about miniature landscape gardens is that they are imitations of mountains and streams. The base is made to look flowing waves and the cliffs are made to seem covered with vegetation. Sometimes you can see miniature gnarled pine or knobby plum. You might see unusual blossoms or strange new shoots from their trimmed branches. Of course you will discover the utter vexation of your creations withering and wilting due to carelessness of slow watering and tending. If you fail to exert yourself, then you will simply fail to fashion a magnificent mountain and a smaller world among the smaller mounds and hills.

“…. These stones then, just a number of inches tall, and this tray roughly a foot across, they are nothing short of a mountainous island rising from the sea! Jade-green peaks penetrate the clouds and are encircled by them. A blue-green barrier, immersed in water, is standing straight up. There are caves as if carved in the cliff sides to hide saints and immortals. Jetties and spits flat enough and long enough for fishermen. The paths and roads are narrow and confined, yet woodcutters can pass along them. There are lagoons deep and dark enough to hide dragons….

“Another thing, do you think this miniature landscape is big? Do you think it is small? I will blow on the water and raise up billows from the four seas. I will water the peak and send down a torrent from the ninth heaven! The person who waters the stones sets the cosmos in order. The one who changes the water turns the whole sea upside down. Those are the changes in nature that attain a oneness in my mind. Anyway, the relative size of things is an uncertain business. Why, there is a vast plain on a fly’s eyelash and whole nations in a snail’s horn, a Chinese philosopher has told us. Well what do you think?”
My visitor got up from his seat and made his excuses. He saw that these stones purified my senses and purified my intellect. He realized that events are really not what they seemed and yet they enriched me. I told him that he only understood what he perceived with his own eyes and did not understand my point of view at all. I asked if he wouldn’t like to sit for a while longer and study the matter afresh. He said he would, but there were no waves for him. He said nothing more and I was silent. After a while my visitor left without another word.”[2]

From these extracts we can see that Shiren is looking beyond the limitations of a mechanistical interpretation of the trayscape, one that only sees small stones and white sand on a celadon tray. In Shiren’s perception, his imagination conjures up a landscape in all it magnificent detail. More than that it is a landscape in which he is completely and utterly immersed, there is no separation between the landscape and Shiren, they become one and the same; it is therefore an immersive, haptic landscape, as much as an act of imagination. Shiren’s writings have had a profound influence on the development of the Japanese garden, particularly the karesansui or ‘dry landscape garden, which are in many respects trayscapes writ large, and likewise on the perception of these gardens.

Containers for trayscapes need not be trays. In fact nearly any manner of container can be turned to use in creating a trayscape. Dishes that are suitable for bonsai planting are very suitable, they are available from many sources, and are available in a wide variety of sizes, depths and colours. Containers can also be created out of timber, particularly if one is creating trayscapes that are not destined to contain planting. Karesansui, or ‘dry landscape’ style trayscapes are suitable for placing indoors, on balconies, or any location that may not be conducive to the use of plants, which will require light and regular watering. The size and configuration of the container can be of any dimension, there is no reason to constrain oneself, rather it is a question of using what is available, else creating a container for a specific location if the trayscape is to be a long term exhibit. Most bonkei will have a relatively short life span, and the materials and layout can be changed or reassembled anew.

The design principles for creating trayscapes are just the same as have been outlined for the creation of stone arrangements.  The selection of stones is always important and for trayscapes this is particularly so, as the stones will be observed at close quarters. It is not always necessary to use small stones in relation to the size of the container, as this will generally have the effect of emphasizing the limited dimensions of the container. Where the stones dominate the space they are displayed in then the stones will have a greater visual impact, this is particularly the case when using relatively tall upright stones in a container. As noted above, a viewer will likely be looking at the stones in some detail, so if one can find stones will interesting textural effects then they will make good subjects for a trayscape.

Traditional bonkei use fine sand, often white in colour. This is principally because the trays themselves are covered by black lacquer, in such a case the white sand shows in stark contrast and make good visual impact. Where the container is ceramic or composed of wood, then the range of sand or fine gravels are greater. If gravel is chosen then generally a maximum particle size of 8-10mm works best. Anything over this will look very coarse, and be out of proportion unless the container is large, and even then it is probably better to stay with a finer, 8-10mm, gravel in all cases. It is of course possible to create trayscapes using simply different gravels and not using stones to create vertical planes. In such a case then the design and layout of the gravels or sands can work well in creating abstract flowing patterns within the container. Although it is taking the trayscape idea beyong representations of landscapes, or landscape features, it is interesting to also look at Tibetan Buddhist sand mandalas. These are complex and intricate geometric patterns that are depicted by using coloured sands, some designs can take several weeks to complete. The sand mandalas are ritualistically destroyed when the accompanying viewing ceremonies are completed, this is intended to reinforce the Buddhist conception of the transitory and ephemeral nature of all material things.

Where planting is used in trayscapes it needs to be proportional to the container. In Chinese peng jing bonsai trees are used to great effect to create at times visually complex and dramatic landscape scenery. In general evergreen material works well, though there is no need not to also incorporate deciduous material too. Leaf size is important, and in general small, fine leaved plants, such as Buxus sempervirens, Hebe raikiensis, and Ilex crenata, work well. Other species to consider can include heathers (Erica spp.), dwarf Spirea, and evergreen Japanese Azalea. If the arrangement is only for a limited time then it may be interesting to consider other options such as grasses and other herbaceous material, even bulbs and corms such as small leaved cyclamen could be incorporated. Then there is a very large range of alpines that can be incorporated into trayscapes.  A visit to a local garden centre or plant nursery will invariably turn up a range of interesting material. Bear in mind to look for plants that will be in the correct proportion to the trayscape, also bear in mind the fewer different species works better than trying to mix a number of different species together. Many trayscapes incorporate small bonsai trees, and these are excellent to create the impression of a landscape. In peng jing arrangements trees are planted into small pockets, either natural or hollowed out in stones, or trees can be planted and nurtured to grow over a rock, so that in time they will ‘grasp’ the rock.

One of the great joys of creating trayscapes is that there is a great sense of creative freedom. You can make your own rules; most trayscapes are small in size and require limited materials so one can allow the imagination to run with the idea. Also consider incorporating overlooked materials such as broken pieces of moss covered concrete, gathering stones out of the garden or picking pebbles up on country walks. The world is literally in your hands.

[1] Joseph Parker, ‘Zen Buddhist Landscape Arts of Early Muromachi Japan’, State University of New York Press, 1999
[2] Saihokushu. The Princeton Companion to Classical Japanese Literature’. Milner, Odagiri, Morrell. Princeton University Press, 1985.

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Wednesday, 27 November 2013

Hakaze-an; Tea Pavilion Part 3

The building Hakaze-an is almost completed, just a very few minor details need to be finished. Originally the commission was to create the building with a small amount of landscaping around it. This has now been extended to add a large pond that will lap up close to the side of the building. The intention being that when the pond is filled with water the surface will catch a reflection of the building. The water surface will also add a air of mystery and calmness to the outlook from within the building. The pond will feature an island, which will be linked by stepping stones to the shoreline, allowing for a circular walk around the garden as a whole.

The tokonoma or alcove is for displaying a flower arrangement, a piece of pottery or a scroll painting.  The floor of the alcove is of cherry wood, and the white lime washed wall catches natural light from above. One last detail is to be added to complete the tokonoma, which will be shown in the next blog instalment.
Walls being rendered with lime plaster . The drainage gully filled with polished black pebbles has not been installed in this photograph.
Projects, be they gardens or buildings, the best of projects evolve in their own right. One can as the designer, visualise and conceive of a concept for a building or garden, but what happens in the best of circumstances is that the building or garden is recognised as having an independent life or being of it's own. This demands a leap of faith by the client, the designer and the builder, also a level of sensitivity in how to manage the 'inner' expression of the building or garden. It is ultimate a fine balance, as the work requires guidance, yet equally sufficient space to establish its own sense of being. 

The shaped roof was covered with a 150mm (6") deep layer of free draining material and then sheets of pre-grown sedum matting was laid over. The green roof absorbs and retains water, it also allows the building with its curved roof to blend elegantly into the surrounding landscape.

The roof is covered with Sedum matting, retained by a copper edging. Also visible is the window inserted to allow natural day-light to illuminate the tokonoma alcove.

                               The drainage gully can be seen, it catches water dripping from the roof.
The level of love, care and attention that has gone into the building has been a measure of developing its own identity. Respecting the qualities of the materials is also an important aspect. All material have their own 'life', and when approaching the creation of a building as a work of art, then these qualities need to be respected and incorporated into the unfolding of the finished form. The rendering of the walls is done with lime plaster, a traditional material that has been used in buildings in England for centuries. Lime plaster breathes, that is it allows the passage of water through the material. It hardens in time through a process of carbonification. Once the two coats of render have been applied and have dried  then a colour wash is applied. On the walls of Hakaze-an four coats of a neutral colour lime wash were applied to colour the walls. All the timbers have been treated with oil to bring out their colour and the detail of the grain of the timber.

All the main structural beams are held together with oak pegs.
Detail of roof supports
A hallmark of the whole ethos of the building has been to create a simple structure of fine natural materials, allowing as far as possible to allow the materials to reveal their own qualities. To enrich the eye and heart of the visitor by their presence and individual qualities. In approaching the landscape treatment of the exterior of the building it was conceived that here there would be more in the way of detail. Hence the detailed stonework of flat black and white pebbles have been set on edge to create the notion of flow. This detail actually starts within the entrance (genkan) 'flows' out to meet the path leading up to the entrance. The dry stream of pebbles then splits to the right and left; to the right it meets two large boulders set as guardian spirits, and to the left the stream flows towards the water basin arrangement, a traditional feature of the Japanese Teahouse architecture, where guests would perform a ritual ablution of hands and mouth.

The completed landscaping of the entrance to the building. The drainage gully can also be seen

Detail of the completed 'hard' landscaping immediately to the front of the building.

A water-basin arrangement to one side of the building. The basin (centre) is carved from a glaciated boulder.
 The approach to the building is calm and measured, principally laid with York stone flags of various sizes as stepping stones. The entire design of building and garden draws upon both Eastern and Western sources for inspiration. The whole is intended to find a meeting of Eastern and Western conceptions.
A stepping stone path of flagstones leads the visitor to the main entrance. Sagina subulate has been planted between the stones. The water-basin arrangement is to the right side behind the planting of dwarf rhododendrons

In the next blog post further details of the pond construction will be shown. The pond will have an island and a 3waterfall. The pond is intended to be a shallow pond, used mainly for its reflective surface, but with the inclusion of two deep areas. A specimen pine has been sourced to be planted on the island.

The pond will come quite close to the building. The island is the area where the surveyor's tripod is stood.(centre left). The concrete shelves will support stonework once the liner has been laid into the pond.

Looking out from the main space towards the pond and island being excavated. 

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Saturday, 23 November 2013

Wind Stories

Arcing into light
Soft footfall at daybreak,
Pushing on the open door.

Arcing into dark
Searching for fuel for warmth,
Closing the door

The last of the crab-apple leaves
Spinning wildly on their stems -
A sudden gust of wind.

Slipping into the cave for winter
Withdrawing the roots
Withdrawing the stems
Silence lit by a single flame.

Wind crossing open space
Bending grasses
Scattering the frost –
Receiving the gift of change.

How long ago it seems
That distance was closed
Corporeal tenderness unbound
Memory’s binding blessing -
Song of the birds at first light.

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Sunday, 17 November 2013

This Breathing Earth

This breathing earth
The medium by which we exist
This transient mind
The medium by which we perceive –
Dry leaves rustle underfoot.

Night falls early these days,
The sun folds its light into night
Withdrawing into the cave
Into the self of being.
A quarter moon shrouded by milky clouds,
Ahh, dreaming of wind on naked skin.

Almost bare of leaves
Stripped back to its essential frame
Black against the sky,
Shivering in its apprehension of winter
The chestnut tree patient
Roots reaching deep for spring.

How is it that words, patterns of words,
Bear within them meaning
Feelings of love and hurt,
Sense and lost-ness.
River flowing without mind
Or am I mistaken in that too?

Shifting to position and rhythm
Seeking out pauses between the notes
The silences that define
Words curving into emptiness
Echoes shape shift in return,
Day dissolving seamless into night
Autumn in to winter.

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A Work In Progress

Coming Soon!

A current project I am working on is to write an e-book on the art of arranging stones in a Japanese style gardem. I am trying to distill over 30 years of experience of being involved in the creation of this type of gardem. The selection and placement of stones is one of the most crucial aspects of creating such gardens, and the manner in which it is done is key. It is a fascinating subject, and throws a lot of light on the whole aesthetic of such gardens. The book will be a manual for anyone interested in creating a Japanese style garden, and also for any one with a passing interest in the subject. 

At present the text is still being laid out, and then will come the work of illustrating the text with photos and diagrams. So far so good, but there is some way to go yet. The book will be made available in a variety of formats. Look out here for further announcements. I will keep you posted when it becomes available.

In the meanwhile keep checking out the blog, and please enjoy a taste....


Arranging Stones In A Japanese Style Garden

Stones are a paradox, they appear inert and unyielding, yet they are capable of expressing movement and so they can move us, and we can move with them. Their weight and mass connects powerfully with the earth, yet they seem to soar towards the heavens. They are capable of expressing distance, depth and seem to stir memory of deepest time, and make connections within own minds. A stone will occupy and dominate, even define space, become a point marked, as if punctuation mark in a sentence. A centre, and so according to Mircea Eliade, becoming something sacred, a voice with something to say. Rock arrangements suggest something primal, mysterious, yet redolent with continuance. A voice coming to us borne by the wind, even if the words are indistinct to our ears. Yet, when we learn to hear those words, what wonderful songs, what wonderful music it makes.

In Japan the skill of a garden creator has traditionally been measured by their ability in setting stones. Master the setting of stones, then the garden will master itself, that seems to be the line of thought involved with creating gardens in Japan. It is certainly a characteristic of the Japanese gardens that one notices almost immediately; the way and manner with which stones are used is very different to the way they are used in the Western garden. For one thing, stones are not used to simply create rockery features in gardens, but seem to be integral to the concept of what a garden is in Japan.  The stones arranged in the garden carry meaning as well as being compositional elements. It is often remarked that the arrangement of stones form the ‘skeleton’, the underlying infrastructure of the garden arrangement, and the planting (the more familiar aspect of a garden in Western eyes) is overlain on top of this structure. Where the planting forms the ‘flesh over the bones’. There are many garden arrangements in Japan that dispense with planting altogether, these gardens are usually found in Zen temples, where it is a characteristic of that particular aesthetic to pare down the design to its fundamentals, dispensing with anything other than the absolute essential elements. The world famous garden at Ryoan-ji temple in Kyoto is an example of this approach, where in the courtyard garden it is composed of fifteen stones and raked garden, there is no planting apart from a pool of moss at the base of the stone groups. There are other even more extreme examples one could cite, where even the stones have been omitted and the garden is simply composed of raked gravel alone, Tokai-an (Myoshin-ji temple), and Ryugin-an (sub-temple of the Tofuku-ji complex), both in Kyoto are examples of this approach. In this work the intention is to examine the role of stone arrangement and see how it performs in this role of creating a basic structure from which the garden emerges in its totality. The manner and principles with which stones are arranged are common to design principles as exhibited in a number of the Japanese arts, and may also be found in painting, flower arrangement and so on.

In traditional Japanese gardens what the viewer is presented with is a composed and framed view, or a series of interlocking views. A critical aspect to the make up a garden view is the placement of stones within the garden space. The pattern of their interrelationships creates a variety of 'physiological' structures, which are presented in a logical and sequential order that in turn aids to order the view; so structuring a view, making it authentic, visually logical and so harmonious to the perception of the viewer. The garden is rarely revealed in the whole, rather it is presented in such a way as to allow the viewer to re-create the totality in his or her own imagination. A view is built up, by the play of layer upon layer of scenery, adding depth and visual complexity each time. The mind though, seems to fall into a sense of equilibrium, perceiving movement yet stillness, 'equal play'. What the mind signals is that it's perceiving is something balanced, something where all the forms are in harmony. This opens the door for the viewer, now he or she can become a part of the garden. All manner of landscapes and gardens will have a similar effect on the experiencing viewer, but the Japanese garden uses this aspect with a particularly deliberate effect. 

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Wabi; Spirit Unbound


Wabi (usually written in hirigana as above, but also sometimes written with the character   ) is one of the crucial aesthetic terms in Japanese culture, and fundamental to an understanding of any of the arts, including gardens. It may be particularly applied to the world of the Tea garden, though its scope is clearly wider than being restricted to a single expression of garden art. The form of Tea ceremony developed by the master Sen no Rikyu is often referred to as 'wabi cha', the tea of wabi. It is a term that is closely associated with another term, sabi (さび). Sabi refers to the quality of been worn or well used, the 'not newness' of something, and is particularly associated with patina and the feeling of that comes from something that is well used. The term sabi will be explored in another blog post later.

Wabi may be translated as 'loneliness', 'poverty', 'subdued taste', or 'simplicity'. All of these terms offer some guide to the meaning of the concept without actually defining it absolutely. All of these tentative definitions must be understood in the spiritual or metaphysical sense.  The 'loneliness' that is referred to, is a sense of detachment from the everyday world, both in the manner of a physical separation, as well as a separation that is brought about by a conscious act of intention. It is not a detachment of unsociability, rather a conscious withdrawing from the hustle and bustle, in order to seek out a space wherein the mind and spirit may achieve a sense of peace, through a lessening of distraction. Tea is after all a social occasion that will be shared with others. Likewise the appreciation of the garden is not by definition a solitary activity, but one that may be shared and enriched by the presence of others of a like mind. There is a long tradition of the 'hermit-poet' in Japanese culture, though these were not by any means people who were driven to such a state by a feeling of malice toward their fellow men, rather people who sought out quiet places in order to sharpen their perception and thereby be capable of seeing and understanding deeper the human condition. Thus the garden may be seen to be a place that offers refuge, and the material composition of the garden a path toward that quiet space, which ultimately lies within. The poet Ryokan expresses it this way;

    "Truly, I love this life of seclusion.
     Carrying my staff, I walk toward a friend's cottage.
     The trees in his garden, soaked by the evening rain,
     reflect the cool, clear autumnal sky.
     The owners dog comes to greet me:
     Chrysanthemums bloom along the fence.
     These people have the same spirit as the ancients;
     An earthen wall marks their separation from the world.
     In the house volumes of poetry are piled on the floor.
     Abandoning worldliness, I often come to this tranquil place-
     The spirit here is the spirit of Zen."  

Likewise the 'poverty' that is spoken of is not the poverty of destitution, rather is is a deliberate turning away from the world of ostentation and glamour. It is a recognition that the generation and accumulation of wealth in this world is a temporary experience that has no depth in the metaphysical sense. To the Buddhist or Taoist, reality lies in the recognition of the non-absolute ( 'emptiness' ) as the only constant. When everything is in a state of constant change then the path toward enlightenment lies in detachment from acquisition and accumulation of material objects, as these ultimately have no true reality.  This has a bearing on the form of the garden, whereby the intention is to present the garden free of ostentation ( ego ) and glamour, the 'hands of the garden-creator' are hidden. Nature itself remains the prime source of inspiration of motif and the ultimate model for garden builders, the garden-creator is simply the facilitator, working as a medium through which the garden form will emerge.

Likewise the interpretation of wabi as 'subdued taste' or 'simplicity' may be understood in the light of what has been set out above. The materials chosen for the garden are of the simplest kind, earth, stone, plants and water, presented in a manner that resolves to express something of the spirit of the landscape, rather than being a detailed reconstruction of  landscape scenery. Naturally we see here an influence of Zen Buddhism, in particular the concept of presenting those elements that are deemed absolutely essential and avoiding all extraneous material. By this process of reduction there is an allowance made for the imagination of the garden viewer to have maximum scope for involvement in recreating within his own heart the landscape scene that is being presented. The potential for distraction from this course is thereby minimised, through the discipline of 'subdued taste' that a greater freedom of expression may be acquired.

It is in these ways that the concept of wabi may be understood to have a strong bearing on the creation and appreciation of the garden as a whole. Though wabi is associated in particular with the world of Tea, its resonance goes far beyond that particular aspect of the Japanese garden tradition. There is a poem by  that is much beloved by the Tea masters for its capacity to capture the essence of wabi

All around, no flowers in bloom are seen,

Nor blazing maple leaves I see,
Only a solitary fisherman's hut
On the sea beach, in the twilight of this autumn eve. 

Lord Teika  1162-1241

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Thursday, 7 November 2013

Simple Beauty

Arriving to this ancient space
Where many dreams exist -
Coalescing in shadows
Gathering strength as soft breezes.
Themes of loss, gain, love and redemption.

Raising the bowl to drink
the scent of tea comes first -
the last of the white camellia flowers.

The orange peel
comes off in one piece-
the cat remains unimpressed.

A crown of flies
accompanying every step-
walking meditation.

A moment of such simple Beauty
when the bell was struck
so releasing the sound within.

I, the bell; you, the bell,
the bell neither you nor I.

Still the sound resonates unbroken
penetrating the heart
emptying the vessel even of itself.

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