Japanese tea gardens. Tea consumption culture

In the XV-XVI centuries. The tea ceremony turned into a kind of ritual-philosophical mini-play, in which every detail, object, order of things had its own special, unique meaning. Tea masters paid close attention to the organization of the space around the tea house, as a result of which a special tea garden  (tyaniva), spread from the end of the XVI century.

If the basis for the emergence of a specific form of the tea house was the previous architectural experience embodied in the Buddhist and Shinto temple, the form of the tea garden developed on the basis of a long tradition of garden art. Before the type of the actual tea garden was formed, in Japan for many centuries the art of gardens developed as an independent branch of creativity.

Constructed, as a rule, at first a small plot of land between the main buildings of tea houses had at first only a narrow approach in the form of a walkway (roji). By the end of the XVI century, the tea garden got a more expanded form. He began to share a low hedge with a gate into two parts ?? external and internal.

The passage through the garden was the first step of detachment from the world of everyday life, a switch of consciousness for the fullness of aesthetic experience. As conceived by the masters of tea, the garden became the boundary of two worlds with different laws, rules, and norms. He physically and psychologically prepared a person for the perception of art and, more widely ?? beauty.

Since tea houses were built in cities, close to the main apartment building, usually surrounded by at least a small garden, the idea of ​​a special tea garden gradually arose, the design of which was subject to the rules of the ritual.

The design of the tea house and the device of the adjacent garden were associated with the aesthetic categories of sabi and wabi, denoting a harmonious fusion of refined and simple, calm and sad, hidden beauty, laconicism, muted colors.

Through a small garden adjacent to the pavilion where the tea ceremony was held, there was a path of stones, stone lanterns and just stones covered with moss stood in the garden. The stones on the path were laid as if by chance, each at some distance from the other. According to historical legend, the device of such a path goes back to large pieces of white paper that were put on wet grass so that the dew would not soak Shogun Yoshimasy Ashikagi’s clothes when he went to the tea ceremony. And, as if in memory of this event, the path is called “rhoji”, which means “the ground, moistened with dew”. Later, the word “rodzi” began to denote not only the path to the tea house, but the whole garden around it. Of particular importance were stone vessels with clear water Tsukubai On such a well-vessel lay a small scoop of bamboo with a long handle. Each guest was obliged to wash his hands, face, rinse his mouth, then, in a special way raising a dipper with water, to wash after himself the dipper handle.

Nowadays, vessels with water ("Chosubachi") ?? an indispensable part not only of the tea garden, but of any temple. In the garden usually planted pines, cypresses, bamboo, evergreen shrubs. All elements of the tea ceremony garden had to create a special mood of concentration and detachment. Thanks to Rikyu, the sabi principle was interpreted as a new type of beauty, embodied not only in the architecture of the tea house and the tea garden, but also in the selection of all items: caddies, kettle for boiling water, cups for tea. In the tea ceremony, according to Rikyu, everything was supposed to be a single artistic ensemble.

Tea became widespread in Japan since the XII century, when it was brought from China and began to be grown at Zen Buddhist monasteries. At first it was used only in religious ceremonies: they brought it to Buddha and drank during meditations. In the XIII century, the custom of tea drinking penetrated among the aristocrats and samurai. By the brilliance of the tea ceremony and by the number of guests they judged the owner himself - her organizer. Ceremonies in this style were called syn-mi  ("Palace" style). Guests guessed varieties of tea - this fun also came from China. Tableware for the tea ceremony was very expensive, they valued it no less than with a sword. Tea ritual became a symbol of aristocratic pastime.

In contrast to the lush tea ceremonies of high-ranking persons, the meetings of ordinary people over a cup of tea, called bitches, were much more modest. In the XV century (the era of Momoyama) priest Murata Juko  (1422-1502) a new kind of tea ceremony was created. He enriched the art of tea drinking philosophy and aesthetics of Zen Buddhism. The tea ceremony began to be perceived as a way to get rid of the worries and burdens of the bustling world. Dzuko formulated 4 basic principles of the tea ceremony: harmony, reverence, purity and peace and quiet.

Sen no Rikyu  in the 16th century, he developed rules for the tea ceremony and the design of tea gardens, based on the principle of wabi - restraint and simplicity. He said: “Receive your guests so that they feel warm in winter and cool in summer. Put charcoal to boil water and make tea to make it tasty. There is no other secret. ” . Sen-no-Rikyu ended his life tragically - he made himself a hara-kiri. The reason was a gross violation of the rules of the tea ceremony by his disciple Toyotomi Hideyoshi. The warlord Hideyoshi was of humble origin, but was very fond of luxury and honor. After one major victory, he gave a tea party for 5,000 people with music and entertainment. The protest of the spiritual mentor cost the master of the tea ceremony of life ...

In the Edo epoch, the tea ceremony became more secular and became more like the tea parties of the Heian epoch. The size of the tea house increased, and the procedure itself was enriched. The details of the tea gardens were carried out with Sitle. kirei Sabi   ("Elegance and antiquity"). Items artificially aged. Famous personality of that era - master Furuta Oribe  (1544-1615), who received the official title of "high master of tea ceremonies."

To this day in Japan, there are several schools of tea.

There is a beautiful parable that helps to understand the deep philosophical meaning inherent in Japanese gardens.

Once a teacher instructed a student to clean the garden. The disciple very carefully chalked the paths, removed fallen leaves from the grass and the garden became spotlessly clean. But the teacher was not satisfied, something prevented him from feeling complete harmony. He slightly shook the flowering cherry tree, and several petals fell to the ground. Now the picture in the garden was perfect.

Nothing is eternal. Nothing is finished. Nothing is perfect.

The classic tea garden is called roji. All elements of the garden were familiar and everyday, but here they acquired a special meaning. Tea Garden is a stage for a philosophical performance with deep meaning. Each element here must be in its place and perform a specific function.

The tea garden is divided into two parts: the outer rodzi and the inner rodzi. They should vary in style. In the outer part there must be an arbor for waiting and a decorative restroom. The courtyard houses a well, a decorative garbage pit, a tsukubai (bathing place) and a tea house ( tatsitsu). The outer and inner roji are separated by a simple hedge, in which there is a double gate. In the tea gardens of one of the schools, the gate is a hole for climbing. High and flat stones are set in front of him and behind him as stairs.

All elements are interconnected tobi ishi  (walking path of individual large flat stones). The path is very important, it symbolizes the path of tea - action, leading to purification.

The tea house itself is a small, modest structure. The entrance to it is made low so that a person can get inside only by bending over. This ritual equalizes all participants in the tea ceremony. Both the commoner and the prince must bow in order to get into Tatsitsa. Previously, near the entrance, a shelf for swords was made, all guests had to enter the station unarmed.

Tsukubai - a place for ablution. Guests should squat, take water from a stone bowl, wash their hands and rinse their mouths. This is a rite of purification. Form tsukubay can be any. A stone lamp of oribe-toro is placed next to Tsukubai. According to legend, the master Furuta Oribe was a Christian. This religion was banned in Japan. Oribe cut out the image of the Virgin Mary on the pin of the lantern, worshiped her, but no one guessed it. Lantern Oribe-toro always set next to Tsukubai. The bottom of the lantern should be covered with foliage. In the tea garden, in addition to Oribe-toro, there are other stone lanterns, which illuminate the area at night.

The principles underlying the tea garden:

Wabi and Sabi   - modesty and simplicity

Shibuy   - beauty of naturalness

Yugen   - the charm of understatement, the hidden beauty of things.

In tea gardens, as in other gardens in Japan, there are three possible degrees of composition elaboration: syn  - complete, gyo  - half shortened and with  - abbreviated. At the core of this view lies the triad of grave where the deity can appear like a mountain, like a hill surrounded by mountains ( ivasaka ) or even as a flat place covered with pebbles ( siki ).