Author: kamys

The Bamboo Magic

I was lucky to see Tanabe Chikuunsai IV’s installation in Osaka

Bamboo.  Such a common plant.  I grew up surrounded by so many things made of bamboos, such as scoops, collators, chopsticks, coasters, baskets, bags, bento boxes, flower vases, benches, brooms,  fences… People have been making practically anything necessary for their everyday lives out of bamboo.

It was rather strange, therefore, to learn that many museums in the world collect objects made of bamboo as work of art. 

Tanabe Chikuunsai IV’s exhibition was held at the art gallery floor in Osaka Takashimaya, a prestegious department store, and I happened to see it while I was visiting Osaka.  The installation in the main gallery space was nothing like what I was familiar with before. 

The two main pillars in the center of the gallery were covered with organic shaped object, comprising so many bamboo sticks, each meticulously, thinly split, about 7 feet long.

Utilizing such common materials and traditional techniques, Chikuunsai transformed the entire space.  What an artist he is!

I felt so lucky to have encountered his exhibition.  And it was free admission!

I would love to see this type of installation and exhibition at the international airports in Japan.

Three Dances with Wisteria Flowers

This is how I enjoyed its short but gorgeous bloom

It’s been a while since I last wrote about the 64th Annual Exhibition of our Ikebana International Seattle Chapter 19.  Did the wisteria flowers last throughout the exhibition?  The trick is to dip the cut stem in alcohol for a while.  Did it work?

Well, not quite.  It got unusually hot on that weekend.  The air condition didn’t work in the venue somehow.  I ended up making a different arrangement every day, using wisteria flowers.

On Friday morning I cut a curvy branch of wisteria and place it in a square container with wavy design.  I liked the combination very much, and was hoping that the arrangement would last through Sunday. 

On Saturday morning I cut out a long branch of wisteria and brought a matching long-neck container to the exhibition venue, just in case.  Well, that just in case became the reality.  The wisteria flowers of the previous arrangement wilted quickly over night.  I had to replace it with my new arrangement. 

On the final day, I ended up arranging a new one again.  I had no more long branches of wisteria flowers.  Short stems were all I had left.  To counter act the shor and bulky wisteria flowers, I chose a longer branch of rhododendron and placed it on the opposite side. 

The vase  needed to be tall enough so that the wisteria flowers would touch the table surface.  I chose this vintage bamboo container with lacqerware. 

I learned that wisteria flowers, no matter how careful you treat them, have short lives once they bloom.  Rather than trying to prolong them forcefully, why not enjoy the short but gorgeous peak to the full? 

Thank you, wisteria, for your company.  See you again next year!

Kurama 鞍馬 : A Mountain Where Tengu 天狗 Lives

A hike in this sacred mountain in Kyoto gave me magical power

The folklore says that Tengu lives in Mt. Kurama.  I didn’t see it, but I definitely felt its magical power when I hiked in the mountain.

Mt. Kurama is located in the north part of Kyoto City.  It takes about 45 minutes from the city center by train.  I was planning to simply visit the temple with a friend of mine from Tokyo.  Due to the typhoon, the Shinkansen (bullet train) stopped, she didn’t arrive in Kyoto until later in the evening.  Left alone, with the beautiful weather with typhoon already passed, I decided to take a hike from Kurama to Kifune.

I was previously told that the route from Kurama to Kifune is an easy, flat, an hour-long hike.  Dead wrong!  Especially for me who haven’t done even much walking lately.  The trail was either steep uphill or downhill steps.  No flat path. 

So many times I almost gave up moving forward one more step.  But whenever I felt hopeless, fresh breeze came.  The branches of the tall trees swayed, making gentle sounds.  As if the wind was pushing me gently on my back, I made another stride.

Fudodo 不動堂: Photo by Author Akemi Sagawa

After reaching Fudodo, the path became downhill, till I finally heard the stream of Kifune River.  An hour-long hike ended up about two and a half hour.  My right calf was aching.  My left hip was aching.  Walking along the river, I felt exhausted.

The destination was a restaurant called Sagenta 左源太.  The owner and a friend of mine was waiting for me at 2 pm.  I barely made it.

The eating place was literally above the river.  In the summer time, the restaurants in Kibune spread the platform above the river so that the guest can enjoy the meals while feeling the cool breeze.  It’s a great escape from the scorching heat and humidity felt in the city of Kyoto. 

The bento box lunch with a fresh grilled Ayu fish was divine.  By the time I said thank you and goodbye to my friend, the fatigue of my body was completely gone!  I regained so much energy that I felt I could go back hiking the same route that I had barely made it (well, I didn’t). 

My friend said, “There must be a reason for you to come here, hiking, alone.  You may call it serendepity.  The Mountain has chosen you today.” 

I totally believe that.  I simply bow down to Mt. Kurama and Kifune River.   

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.