Month: May 2023

Cool Breeze – Rare In Japan’s Humid Summer

Four poems about breeze found in Hyakunin Isshu 百人一首

Summer in Japan is unbearably hot and humid.  Now that I’m living in Seattle, where I can enjoy the most comfortable and beautiful summer in the world (in my opinion), I refuse to go back to Japan in the summer. 

It is not surprising, therefore, that I found only 5 poems about summer in Hyakunin Isshu 百人一首, a classical Japanese anthology of one hundred waka poems by one hundred poets compiled in the 13th century. In contrast, there are 20 poems about autumn and 9 about spring.

Out of four poems that read about the wind, only one clearly indicates the season, which is summer.  Was the cool breeze a rarity in the summer in ancient Japan as well as in the present days?

12/100 僧正遍昭 by Sojo Henjo

あまつ風  Amatsu kaze
雲のかよひ路 Kumo no kayoiji
吹きとぢよ  Fuki tojiyo
 をとめの姿Otome no sugata
 しばしとどめむShibashi todomemu.

The following is the English translation by William N. Porter (1909).

OH stormy winds, bring up the clouds,
  And paint the heavens grey;
Lest these fair maids of form divine
  Should angel wings display,
  And fly far far away.

58/100 大弐三位 by Daini no Sammi

ありま山 Arima yama
ゐなの笹原 Ina no sasawara
風吹けば Kaze fukeba
いでそよ人をIde soyo hito wo
忘れやはするWasure yawa suru.

The following is the English translation by William N. Porter (1909).

As fickle as the mountain gusts
  That on the moor I’ve met,
’Twere best to think no more of thee,
  And let thee go. But yet
  I never can forget.

74/100 源俊頼朝臣by Minamoto no Toshiyori Ason

うかりける Ukari keru
人を初瀬の Hito wo Hatsuse no
山おろし Yama-oroshi
激しかれとは Hageshikare to wa
祈らぬものをInoranu mono wo.

The following is the English translation by William N. Porter (1909).

OH! Kwannon, Patron of this hill,
  The maid, for whom I pine,
Is obstinate and wayward, like
  The gusts around thy shrine.
  What of those prayers of mine?

98/100 従二位 家隆 by Junii Ietaka

風そよぐ Kaze soyogu
ならの小川のNara no ogawa no
夕暮は Yūgure wa
みそぎぞ夏のMisogi zo natsu no
しるしなりけるShirushi nari keru.

The following is the English translation by William N. Porter (1909).

THE twilight dim, the gentle breeze
  By Nara’s little stream,
The splash of worshippers who wash
  Before the shrine, all seem
  A perfect summer’s dream.

Koryu School – Keep the Natural Beauty of Flowers

Introducing another Ikebana school

The 64th annual exhibition of Ikebana International Seattle Chapter finished the first day with so much excitement.  For the first time in three years, we got together in-person and appreciated the beauty of 27 displays of flower arrangements from different schools.

Two of the arrangements are works of Koryu古流、one of the oldest Ikebana schools. 

Koryu dates back to 1770, when the picture of an Ikebana arrangement by the founder Imai Isshiken Sofu appears in the book published that year. 

Koryu emphasizes the way flowers exist in nature.  Without bending or altering too much, Koryu pursues to follow natural laws as much as possible. 

The photo above is one example of Koryu style.    

Here is another example.  They don’t use too many different kinds of materials.  Simple, yet harmonious beauty is created. I hope you enjoy both of them.

Welcome Spring with Beautiful Flower Arrangements

Ikebana International Seattle Chapter 19’s 64th annual exhibition this weekend

Photo by Author Akemi Sagawa

Among many events held in Seattle, two of them particularly remind me of the joy of spring.  One is Cherry Blossom Festival in April, the other is Annual Exhibition held by Ikebana International Seattle Chapter 19 in May.

At the Cherry Blossom Festival, I enjoyed making five Ikebana arrangements on stage in 45 minutes.  You can see four of the arrangements I had prepared at home the day before the demonstration.  I would say, the demonstration was 80 % successful.  It took longer than I had planned to make the first two arrangements.  Well, happenings were to be expected. 

All the arrangements were to be taken down immediately after the demonstration was over.  At least I didn’t have to worry about stability of the arrangements too much. 

The annual exhibition this weekend, however, has a different challenge.  I have to create only one arrangement, but it will be displayed for two full days.  Many people will come to the event.  There will be “please do not touch” signage, but visitors don’t necessarily follow such signs. They might touch the flowers.  At the exhibition, the stability of each arrangement is a much higher priority than with the demonstration. 

I spent some time this afternoon contemplating what kind of arrangement I should make. I imposed on myself two requirements.  First, do not buy flowers, but cut out whatever is in bloom in the yard. Second, use a container that I haven’t used for a while.

These three flowers are available: azalea, wisteria, and Mexican orange, as shown in the photo above.  How should I combine these three flowers? 

This is what I came up with.  The natural curve of the wisteria branch kind of repeats the surface design of the container. How do you like it?

Wisteria tends to wilt quickly.  After I cut the end of the stem underwater, I dipped it in sake for about 15 seconds.  In addition, I added a little bit of sake to the container of the water.  Use sake to prolong wisteria, is one of the tips I learned from my Ikebana teacher. 

Let’s hope the wisteria flowers will stay fresh!  (I will report to you if the flowers were kept in good shape for two days.)

The Joy of Cooking, like The Joy of Painting

I’m not a good cook.  I can’t taste the difference between good wine and bad.  I don’t have a keen pallet that can discern hidden spices and ingredients in the sauce.  I don’t have the patience of marinating for days and cooking for hours. 

But I still enjoy cooking.  Cooking for me is almost painting… What do I mean by that?  Let me show you an example: This is how I prepared for our dinner tonight!

I start with what I find in the fridge.  Kabocha squash, asparagus, and hakusai (nappa cabbage).  I like the color combination of the three vegetables.  Especially the bright yellow of kabocha and fresh green of asparagus.  How can I let these colors stand out?

Selection of the plates is the key! I pick out bowls and plates that go with the vegetables.  The white plate in the center has an interesting shape. how should I display the veges?  That’s a challenge.

Notice none of the plates and bowls have the same design or color.  Different colors, shapes, and textures.  Yet you want to achieve some kind of harmony. The dark brown bowl is made of wood and coated with Urushi lacquer.  Ideal to keep miso soup warm.

Sesame oil, soy sauce, mirin (sweet sake), salted seaweed, and garlic.  That’s all I use as spices today.

The one on the right is dried seaweed, and the one on the left is dried fish.  I always make broth for miso soup using only these two ingredients.  I simply put them in a pot of water and simmer it (don’t let it boil!) for 10 minutes. 

I normally put dried wakame and also dried tofu (called Koya Tofu) for miso soup. 

Here it is!  The one on the left is rice, 50% white and 50% brown.  Rice and miso soup are must items for a Japanese meal!

As you see, my cooking is 30 % taste and 70% presentation.   Which plate to use? How to place the veggies on the plate?  Thinking about it and executing accordingly is the fun part. Oh, hopefully, everything tastes good enough.

Sunrise – Dreadful Time for Lovers

So I was taught at school

Photo: Genjimonogatari Emaki by Wikipedia

I first learned about Hyakunin Isshu 百人一首, a classical Japanese anthology of one hundred waka poems by one hundred poets compiled in the 13th century, in junior high school.  Learning Hyakunin Isshu meant learning about the sex life of ancient Japanese aristocrats and court ladies.    

In ancient Japan,

  • virginity was not highly valued by men or women.
  • monogamy was not highly valued, either.
  • a man visits a woman at her house at night and goes home at dawn. 

The sunrise, therefore, was a departing time for lovers. And if a woman makes a poem about sleeping alone at dawn, she must be full of jealousy.   

The following 5 poems are examples of such love poems in Hyakunin Isshu.    

21/100 素性法師 by Sosei Hoshi

今こむと Ima kom to
言ひしばかりにIishi bakari ni
長月の Naga-tsuki no
有明の月をAriake no tsuki
待ちいでつるかなWo machi izuru kana.

The following is the English translation by William N. Porter (1909).

THE moon that shone the whole night through
This autumn morn I see,
As here I wait thy well-known step,
For thou didst promise me—
‘I’ll surely come to thee.’

30/100 壬生忠岑 by Mibu no Tadamine

有明の Ariake no
つれなく見えしTsurenaku mieshi
別れより Wakare yori
暁ばかりAkatsuki bakari
うきものはなしUki-mono wa nashi.

The following is the English translation by William N. Porter (1909).

I HATE the cold unfriendly moon,
That shines at early morn;
And nothing seems so sad and grey,
When I am left forlorn,
As day’s returning dawn.

52/100 藤原道信朝臣 By Fujiwara no Michinobu Ason

明けぬれば Akenureba
暮るるものとはKururu mono to wa
知りながら Shiri nagara
なほ恨めしきNao urameshiki
朝ぼらけかなAsaborake kana.

The following English translation is by Clay MacCauley (1917)

Like the morning moon,
Cold, unpitying was my love.
Since that parting hour,
Nothing I dislike so much
As the breaking light of day.

53/100 右大将道綱母 by Udaisho Michitsuna no Haha

歎きつつ Nageki-tsutsu
ひとりぬる夜のHitori nuru yo no
明くるまは Akuru ma wa
いかに久しきIkani hisashiki
ものとかは知るMono to kawa shiru.

The following is the English translation by William N. Porter (1909).

ALL through the long and dreary night
I lie awake and moan;
How desolate my chamber feels,
How weary I have grown
Of being left alone!

59/100 赤染衞門 by Akazome Emon

やすらはでYasurawade
寝なましものをNenamashi mono wo
小夜ふけて Sayofukete
かたぶくまでのKatabuku made no
月をみしかなTsuki wo mishi kana.

The following is the English translation by William N. Porter (1909).

WAITING and hoping for thy step,
 Sleepless in bed I lie,
All through the night, until the moon,
  Leaving her post on high,
  Slips sideways down the sky.

Want Your Happiness? Then Forget Yourself 

Life is full of paradox

When do you find yourself most happy?

When I’m watching beautiful flowers.

When I’m creating Ikebana arrangements.

When I’m writing.

When I’m gardening.

When I’m serving tea.

When I’m cooking…

When I’m so immersed in whatever I’m doing, I forget time passing by.  I forget about myself.  And that’s when I feel most happy. 

When I’m thinking about myself, worrying about myself, happiness never visits me.

Life is full of paradox. 

Sen no Rikyu, an Avant-garde

(Image: Sen no Rikyu by Hasegawa Tohaku, Wikimedia)

Sen no Rikyu 千利休 (1522–1291), a person who can never be separated from Japan’s tea ceremony. What’s his contribution?  Let’s see how his 15th-generation descendant describes him.

To recount his (Rikyu’s) personal history and the contributions he made to the practice of Tea would take volumes.  Suffice it to say here that it is Rikyu’s organization and blending of the many styles of Tea practiced up to his time, along with their philosophy, procedures, and histories, that we today know as the Way of Tea. 

Rikyu identified the spirit of the Way of Tea with four basic principles of harmony, respect, purity, and tranquility.  These four principles underlie all the practical rules of Tea and represent at the same time its highest ideals.

“Tea Life, Tea Mind” – by Soshitsu Sen XV

Rikyu was one of the wealthy merchants in Sakai.  There is no way of knowing if he was for or against surrendering to Oda Nobunaga, but Rikyu became one of the three main people responsible for conducting tea ceremonies for Nobunaga.

After Nobunaga was killed, Toyotomi Hideyoshi 豊臣秀吉(1536-1598), one of Nobunaga’s subordinate samurai, gained power.  One story goes that Hideyoshi was overjoyed when Nobunaga granted him the right to conduct his own tea ceremony.  Under Hideyoshi, Rikyu established himself as the tea master.  

How much did Hideyoshi rely upon Rikyu for many critical decisions, not only regarding the tea ceremony but also politics? Why did Rikyu fall out of Hideyoshi’s favor? What was the real reason for Hideyoshi to order Rikyu to commit seppuku (death by hara-kiri)? There are so many books,  movies and comics about Rikyu.  But the mystery of his death has never been solved.

Why is Rikyu considered the pinnacle of the tea ceremony when there were many others practicing tea during his life?

Rikyu introduced and implemented numerous new concepts into tea ceremony, including:

  • Smaller tearooms小間…. with two or three tatami mats
  • Nijiriguchi躙口…. A tiny entrance that requires one to crawl into the tearoom
  • Murodoko室床….A simpler, abbreviated alcove

I imagine Rikyu might have been an otaku (a Japanese word, similar to nerd or geek).  His pursuit of simplicity and humbleness seems extreme.  Maybe there was no such word as “compromise” in his dictionary.

Rikyu also intrigues me that he commissioned a roof tile maker Chojiro長次郎 to create a tea bowl.  Tea bowls in Rikyu’s days were mainly imported from China or Korea.  They were mostly cone shape.  But the bowl that Rikyu commissioned looked square, and it was much thicker.  Every tea ceremony practitioner agrees that it is much easier to whisk tea in a bowl designed by Rikyu.  Also, if you hold Rikyu’s bowl, your hands don’t get too hot and the tea stays warm. 

The new type of tea bowls commissioned by Rikyu became Raku ware楽焼.  Chojiro was the first generation, and currently Raku ware still thrives under the sixteenth-generation master craftsman.

Rikyu was an inventor, nonconformist, and innovator who challenged the status quo.  He was an avant-garde. 

How Practical Is Kimono?

For no reason, I woke up in the morning and told myself, “I will spend the whole day wearing kimono!” And I actually did!

Before Japan opened its doors to the Western world about 150 years ago, everybody in Japan was wearing it.  My grandmother used to wear it every day.  It was not something she wore only for special occasions.

By the time I grew up, people’s perceptions changed.  For me, for the longest time, it became something archaic, not cool, not hip, a thing of the past. 

If you visit Japan now, what percentage of Japanese people are wearing kimono? Maybe most people walking in kimono in Kyoto are foreign tourists? Is it OK?  If it’s not OK, how come I don’t wear it more often?  Can I walk the talk? 

It took me more or less thirty minutes to put on this kimono.  Once I wore it, I sat on the desk most of the day, I cooked, I cleaned the house, and I even took for a walk in the neighborhood. 

I didn’t have much inconvenience doing all that.  When I did the house chores, I wrapped around the sleeves with a rope in the shape of the number eight (or infinity?).  It is called “tasuki gake.”  With tasuki gake, my sleeves were never in the way. 

The obi (the sash around the waist) was not too tight.  I didn’t have any problem breathing or eating.  With the obi, I could keep my back not hunching.  A great support for a good posture!

I’m beginning to realize more benefits of wearing kimono.  Let me do it more often…

Sunset is a Picture of Melancholy

Photo by Author Akemi Sagawa

Whenever I see the sunset, I feel as if a tiny part of my heart is taken away.  Something is going away, never coming back.  Me, left alone here…

In Hyakunin Isshu 百人一首, a classical Japanese anthology of one hundred waka poems by one hundred poets compiled in the 13th century, there are four poems that read about sunset.   And they are all poems of autumn.

70/100 良暹法師 by Ryo-zen Hoshi

さびしさに Sabishisa ni
宿を立ちいでてYado wo, tachi-idete
ながむれば Nagamureba
いづくも同じ Izuku mo onaji
秋の夕暮れ Aki no yūgure.

The following is the English translation by William N. Porter (1909).

THE prospect from my cottage shows
  No other hut in sight;
The solitude depresses me,
  Like deepening twilight
  On a chill autumn night.

71/100 大納言 経信 by Dainagon Tsunenobu

夕されば  Yūsareba
門田の稲葉 Kado-ta no inaba
おとづれて  Otozurete
あしのまろ屋に Ashi no maroya ni
秋かぜぞ吹く Aki kaze zo fuku.

The following English translation is by Clay MacCauley (1917)

When the evening comes,
  From the rice leaves at my gate
Gentle knocks are heard;
  And, into my round rush-hut,
  Autumn’s roaming breeze makes way.

87/100 寂蓮法師 by Jakuren Hoshi

むらさめの  Murasame no
露もまだひぬ Tsuyu mo mada hinu
まきの葉に  Maki no ha ni
霧たちのぼるKiri tachi-noboru
秋の夕暮 Aki no yūgure.

The following is the English translation by William N. Porter (1909).

THE rain, which fell from passing showers,
  Like drops of dew, still lies
Upon the fir-tree needles, and
  The mists of evening rise
  Up to the autumn skies.

98/100 従二位 家隆 by Junii Ietaka

風そよぐ  Kaze soyogu
ならの小川のNara no ogawa no
夕暮は  Yūgure wa
みそぎぞ夏のMisogi zo natsu no
しるしなりけるShirushi nari keru.

The following English translation is by Clay MacCauley (1917)

Lo! at Nara’s brook
Evening comes, and rustling winds
Stir the oak-trees’ leave;–
Not a sign of summer left
But the sacred bathing there.

What’s so special about the sunset in autumn, you may ask.

Because, that famous Sei Shonagon 清少納言 had said so in her famous essay Makura no Soshi (The Pillow Book). 

In autumn, it is the evenings (that is most beautiful),  when the glittering sun sinks close to the edge of the hills and the crows fly back to their nests in threes and fours and twos; more charming still is a file of wild geese, like specks in the distant sky. When the sun has set, one’s heart is moved by the sound of the wind and the hum of the insects.

Source: The Pillow Book of Sei Shonagon, translated by Ivan Morris

All four poems above were written after the days of Sei Shonagon.  Once the influential court lady had declared, no poet in Japan’s autocracy would dare refute.     

Blue – The Color of My Fond Memory

Photo by Author Akemi Sagawa

It was the summer of 1991.  I flew from Tokyo to make a presentation to the group at the headquarters.  My very first business trip to Seattle.  Alone. 

The presentation was over. Relieved, I took advantage of the half a day left for me in Seattle to do some sightseeing.  Destination?  Where else?  Pike Place Market!

There were quite a few people on the street, but nobody I knew.  Every building, every store was new to me!  I walked along, thoroughly enjoying my solitude.

The sun was warm and bright.  I walked up the little park next to the market, then was taken by the big, vast blue!  The blue sky, and the blue sea, separated by the white snowcap of the mountains. 

“How wonderful would it be if I could see this view every weekend!”  Looking at the woman walking a dog in the park, I felt so envious of her. How lucky she is!  She must live here.

I was young then.  And ambitious.  But moving to Seattle to live was only a faraway dream.

Last week I visited Pike Place Market alone.  The market had been renovated here and there, but the main structure is kept mostly the same.  I walked up to the newly-added open sitting area with benches facing Puget Sound.

The same huge blue.  The horizontal stripe of blue, white, and blue. The view that I now feel almost at home.  I’m not as young, not as optimistic, but looking at this huge blue still brings back my memory of seeing it for the first time thirty-some years ago.

I just wonder why there are negative connotations with the word “blue”.  Blue color should be treated more fondly, in my humble opinion.