Saturday, 13 July 2013

Electric Orange



Trent Bridge Test
Ashes day two
Australia stumble in trouble –
A bottle tossed into an ocean.


Electric orange
The thorax of the fly
Resting on a stick –
The sunny-side of the garden.


Taking the old road, the one which winter storms had gradually eaten into; hence on a hot summer's day you threw up a plume of dust as you went down it. Past the the last gasp dying grip of the town, a torpid brownfield site, where nothing seems to move, the industry of not much. There was a gate but someone had forgotten to close it a long time ago, and now the gate itself was slipping into a collective amnesia with its tendril cloak of inquisitive bindweed testing the air. Several bends later the body of water appears on your right, with its skin of finely wind chopped cloud reflecting thousands of gunmetal greys and silvers. This is the territory of a moorhen skittering with her chicks.

My world is orderly in its striving and chaos, improvisation and the hope, I watch and listen with two eyes and ears, here in this place things are aware of my presence with compound eyes that are bright orange or brilliant emerald green, lest they appear to be. Things live under the water, and view the air with the eyes of death, even the wind has been conquered by things that can glide. Things that move through the ground at my feet that I can not even begin to imagine. Things pass through me even as I try and move. My world, the one I claim ownership of, is just another temporary perception, one living nested with in all these others, the fleeting, the momentary, and the transient. Here at the edge where we intersect, nothing stays still for long. 


Meaning is not provided
Some things you have to find for yourself -
as patterns become our stories.


Wind tears at the window
Butterflies in shadows dwell,
Rain cuts the empty road
Moonlight and all has been said.



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Thursday, 11 July 2013

Meetings And Mountains; another Shigoto extract



No one appeared at the entrance to greet them; even so Sensei bowed deep and offered a short prayer of thanks for their safe delivery. Shigoto was tired and somewhat confused after the long journey, his throat was dry, his stomach empty, and his legs stiff and aching for rest. “Shigoto, do you forget your manners, do you not bow to greet our kind host?” He bowed toward the empty porch out of a sense of duty, but as he straightened up there in the entrance way stood a figure of an elderly man, dressed with a simple kimono of a dark colour. Looking Shigoto directly in the eye, his voice was soft, yet firm, ‘Greetings young man, so kind of you to bring this rascal to visit. Please forgive the humbleness of this abode.” Before he had time to reply, Maguro Sensei had slipped off his sandals and entered the cottage leaving him standing outside. Gingerly picking up the two sacks again, pushing his aching limbs into action once more he followed the two men inside.

Leaving his sandals neatly next to Sensei’s he entered the dark interior, following the sound of voices toward the back of the building. There he found the two men comfortably settled on thin cushions, an iron kettle suspended over a few coals sighing softly to itself. He dropped the two sacks softly to the bare wooden floor, and took a place slightly to one side and behind Sensei; at last he could rest his limbs. The two men seemed to be already deep in conversation, a creeping tiredness washed over Shigoto’s body, he was pleased that he was not required to make polite conversation. The room was as simple as could be, bare polished wooden floor, a low writing desk with ink stone and a ceramic pot with a few hair brushes of different sizes were the only pieces of furniture. The paper screens had been opened completely to allow an unobstructed view of the landscape beyond. Mountain after mountain stretched as far as the eye could see, between the mountains, valleys plunged steep sided, the bottom of the valleys were filled with various shades soft verdant greens. The house seemed to be perched at the very edge of the world itself; the sound of running water in the distance was both refreshing and calming.
  
The two older men's conversation seemed to merge with the warming kettle, Shigoto was deeply weary after the journey, and tiredness was now dragging heavily at his limbs and his eyes. They were sat in a simple room with open views out where the paper-covered doors had been slid back. The floor was plain boards polished by use, in the centre of the room was a sunken hearth, above which was suspended a large black stained kettle. On one side of the room the wall was lined with shelves, crowding onto the shelves were what seemed like hundreds of ceramic jars of myriad colours and shapes with lids, though he looked, he could not find two the same. The room had an atmosphere of deep rural quiet, and a sense of peacefulness and tranquillity that mirrored its isolated position, as Shigoto took in the space where they sat, he was aware that the whole room was pervaded by a scent he could not quite trace the origin of. There was an earthiness, a faintly sweet fragrance that reminded him of plants and flowers, with out bringing neither a clear recognition of either the source or the precise constituents of the complex makeup of the scent. In one corner of the room was the tokonoma, an alcove in which a piece of calligraphy composed of a few dynamic strokes was hung, below it was a small vase with a handful of simple leaves and a shower of tiny white flowers held aloft by the thinnest of stems.

 His attention drifted away from the alcove toward the paper-covered screens that made up the remaining interior walls of the room they sat in.  At first glance he thought the paper was streaked with age or stains, then as he peered closer he realised that in fact they had been painted in a soft, thin pale ink, in some parts the ink so barely stained the water that it hardly marked the paper with ghostly shapes that seemed to exist only at the fringes of the perception. Yet, the more he looked though, the more he began to see, the paintings were landscapes, with mountains, streams, forest and mists. A small bowl of tea had been placed in front of him, the vapours from which rose up to him brought to mind the scent of spring moss after a shower of rain. His eyes roamed from the paintings to the scenery beyond the veranda and back to the paintings, there hardly seemed to be any difference between one and the other. Perhaps Kirifuda san had made the painting by looking out onto that very same view Without having to move a muscle, he found himself travelling effortlessly through the landscape before him, from mountain peak to mountain peak, roaming the thickly forested valley sides, seeing the fish beneath the clear rushing water of the streams, it was as if he was a bird, completely free to go wherever he choose to. High or low, it was all the same somehow. First he drifted up one valley, its sides were thickly crowded with trees, and the sound of the hurrying river below, no more than the sighing of a kettle. Then he turned about and followed the flow downstream, the river joined with another and the valley broadened out. If he glanced upwards he could see the mountains rising way above him, their peaks garlanded with wreaths of cloud.

“So, young Shigoto, I hear that you wish to become a garden maker following the path of your Sensei.” Kirifuda spoke in a quiet voice that held its knowledge and authority in reserve. The words of their host brought him back to the room.

“Tell me, what do you think of my efforts then?”  The older man was sat cross legged on a thin cushion floor, comfortably cradling a small rough ceramic bowl in his two hands, his quiet eyes looking toward Shigoto.

Shigoto did not know quite how to reply, did he mean the paintings? But Kirifuda san’s thin arm stretched out to indicate the space beyond the veranda, as he looked again Shigoto realised that beyond the veranda lay a small carefully tended garden, but only a matter of only a few paces deep. In his shock and confusion Shigoto mumbled something indistinct, and then Maguro Sensei straightened his posture as he sat, a smile playing about his lips. 

“Kirifuda san, forgive us, this young man has made a long journey. Finish up your tea Shigoto, your horse will be pining for company. Then perhaps when you have checked on the beast, you had better get some rest yourself.”

“Yes, Sensei.” Still uncertain as to where he really was and what it was he had really been looking at, Shigoto swallowed the now stone-cold tea in one awkward gulp, and then hurried out to see to the horse. 

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Watching The Spider Cross The Brick Path


Electric dragonflies.
Here one moment ..
.. gone the next.
Thick summer reed beds.


In the wetlands
the heron searching shallow waters -
 refuge reclaimed 
from what was taken.


He in his ...
or me in mine ...
Watching a spider cross the brick path.
When do we get to meet?


The hum of the city
All movement creates sound.
Looking for that still place
That knows all this as flow.


when you stand in another place
look from another point -
what changes
is what you see the same ?
Buddleia almost in flower.







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Tuesday, 9 July 2013

This City Of Dreams


Light curving and quivering
across the drum tight skin,
it carries the sky with ease,
yet a falling leaf
creates ripples.


the city is for hustlers
everyone wanting to 'get on',
find that better life -
windows open, different tongues.


This silence
has been so long -
fruit flies settling on the pears.


Its a long stretch
from the fence to the washing line-
the spider dancing in the breeze.


The evening is warm
voices across the gardens -
the blackbird too.



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Saihō-ji Moss Temple




                          西芳寺


The renowned temple and garden, also popularly known as the “Moss Temple” or Kokedera is one of Kyoto's most extraordinary spaces. Its appeal stems from the depth of atmosphere which surrounds the garden area. Stepping into the gardens the visitor has a definite sense of making a quantifiable leap into what feels like another world all together. Time seems to come to greet one at the entry gateway, stepping into the garden it is almost impossible not to be moved by a sense of history. At first glance there is not much to see in the way of garden features, the visitor simply follows a path leading around a large pond, under the dense cover of trees including many maples, there are several elderly buildings; but what grasps the attention of visitors is the powerful ambience of the place. History is not something that stretches back away from the present moment away from the viewer, but at Saihō-ji one senses the presence of centuries past very much alive in the present moment. Many of the greatest religious teachers in Japan have been associated with the place, the site's attraction runs deep indeed.

The site of about four and a half acres has indeed had a very long history. On the hillside above the lower garden area are the remains of kofun (chambered) tombs dating to the period 250-552 AD, thus the temple may have initially developed as a means of regulating access to a different world, the world of souls who have passed through life.



It is generally agreed that the founding of Saihō-ji was during the Nara period (AD 710 to 794)  by the priest Gyōki, who established many temples and other institutions across Japan, as well as helping to improve agricultural practices, and to spread Buddhist teachings. Gyōki was know to have established ponds at other temples, the practise had pragmatic uses as well as aesthetic ones, a nearby source of water was valuable in case of fire in wooden buildings.  Kūkai (Kōbō-Daishi) 774–835, the founder of the Shingon sect of Buddhism is said to have stayed at Saihō-ji, so the temple must have been an important centre of learning at that time. Following Kūkai's stay the temple was give to a pupil of Kūkai, Prince Shinnyo Shinno, son of Emperor Heizei. The prince is reputed to have planted many cherry trees in the area. Prince Shinnyo died in China on a pilgrimage to India, and never saw the trees mature.



Until the 1190's the temple lay abandoned when the priest Hōnen (1133 –1212), the founder of the Pure Land Buddhist sect (Jōdo-shū) restablished the temple and named it Saihō-ji ('Temple of the Western Paradise'), a reference to the direction from which Amida Buddha will arise to lead all beings to paradise. Hōnen built an Amida Hall (the principal worship location) overlooking the pond, as well as a series of other notable buildings.



 In 1399 major works of rebuilding the garden were undertaken by the priest Muso Soseki (1275-1351), a pivitol figure in the Zen Buddhist world, and at the time the acclaimed abbot of nearby Tenryu-ji temple, where he had also rebuilt the gardens. Soseki had a long record of creating gardens in the locations he visited. It seems that his plans for Saihō-ji were to make it a place where he could retreat to and meditate, a place detached from the press of his acolytes, and the intricate politics of religion. Soseki saw the whole picture, a garden of two parts. At that time the grounds of the temple extended to include the entire mountain. The mountain side would have had winding paths for walking in contemplation, and at the summit Soseki had a small pavilion created. Soseki was surely well aware the upper part of the mountain was the abode of the deceased, of spirits, and so belonged to another dimension. At the crux between the Lower and Upper garden Soseki had a gate built, the Kōjō-kan ('Upward Leading Gate'). 



This small tiled-roof gateway is a significant element of the whole as it stands as a point of transition between the world of the living, the world where humans lived in hope of paradise, and the world of the dead. To reach the gateway the path crosses a thin stream, probably intended to perform a ritual ablution, washing off the dust of this world before one stepped through the threshold.


The Lower garden has a pond at its centre a highly irregular pond, it was possibly originally dug out of the clay during the Heian period, and began life in a much smaller and simpler shape. It would have seen many alterations and extensions, probably the last major alterations being made in the 14th century under the supervision of Soseki. The pond today, which is practically divided by two islands, is often interpreted as being a representation of the character ‘shin’ or ‘kokoro’, meaning ‘heart’ or ‘spirit’, which was certainly a popular feature of the 12th and 13th centuries. The site is densely wooded with many maples and gives an immediate sense of enclosure and ‘separateness’ from the world outside, the ground is entirely covered with an extraordinary patchwork of verdant mosses. 


Very little in the way of features of earlier gardens remain, though one can pick out where buildings have stood in the past. yet what cannot be taken away is the extraordinary atmosphere  and sense of mood that Saiho-ji is capable of. The fall of the light through the verdant greens of the tree cover being reflected from the tapestry of mosses, can alter one’s perception by several degrees.  The garden we see today is the result of centuries of upheaval and change, and yet we can experience a profound, almost supernatural, stillness, where one's senses become extraordinarily alive. It has an atmosphere that is quite unique.



                                                                 Taking the steps up from the Kōjō-kan the path winds through the trees past a superb stone arrangement which suggests Tortoise isle paddling lazily through a pea soup green ‘sea’. Further steps zigzag up the hillside to a small hall, Shitō-an ('Pointing East Hermitage')                                             


Beside the building there is a complex  karesansui stone arrangement that can be made to represent water flowing down a broad stream with several shallow pools. It is suggested that this arrangement is the reworking of the remains of collapsed kofun, and is the work of Soseki himself. Not far away on the other side of the building is a large flat topped stone that sits by a spring source. It is thought this is one place Soseki would come to meditate. In the realm of the dead, he sits by a spring source to meditate. Soseki was reaching beyond this world to search for solutions to questions arising in this.


Ironically the presence of the mosses, and the unique state of Saihō-ji is essentially due to a long periods of neglect. Human hands and a great deal of serendipity, the microclimate, the presence of the ponds all these factors and who knows what else has combined to create an environment utterly unique. The garden has lost and gained beyond imagining, hence we can only really deal with that which is in front of us moment to moment. No doubting though Saihō-ji is a powerful place with a strong presence of the ethereal.  

Sunday, 7 July 2013

Kobori Enshu

Portrait of Enshu wearing black cap of officialdom status
小堀 遠州


Kobori Enshu a brilliant star in the tradition of the Japanese garden. 

Born in 1579 in Omi (now Nagahama, Shiga Prefecture, close to the NE banks of Lake Biwa) to a samurai family of solid connections. His work was primarily associated with castle building and architecture, but he is also remembered as an exceptional garden creator. He is also remembered as an influential figure in the world of Cha no Yu (tea ceremony), and could count on meeting Sen no Rikyū, as well as studying under Furita Oribe too. Records show Enshu held about 400 tea ceremony sessions in the course of his life, the guest lists reveal him to be comfortable in the company of shoguns, nobles, priests, ranking feudal lords, scholars, merchants and artisans. Enshu was embedded in the society of his day.
View from tea room, Koho-an, Kyoto
Enshu's aesthetic style is characterised as ' graceful simplicity', in Japanese kirei sabi. Enshu moved away from Rikyū's stark, pared down, sensibility, and in doing so brought a sophisticated openness and brightness. Above all Enshu found a new language for straight lines and graceful curves. In that sense Enshu can be seen today as a Modernist in taste certainly. He re-established an objectivity in the tea ceremony, after the strict subjectivity of Rikyū and Oribe, and above all, he saw tea as a means of communication, of bringing people together in pursuit of harmony.

Sento Gosho Palace, Kyoto
Sento Gosho Palace, Kyoto

Kirei sabi is characterised by its play with light and the quality of lightness. Rikyū's tea house interiors were deliberately dark and subdued places,, whereas Enshu opened the space up, introduced windows, and employed a strong awareness of seasonality through the use of poetry. Each of the utensils used in a ceremony were designated poems with a seasonal reference to the moment. With Enshu form never overcomes function, they are both equally recognised and appreciated, hence Enshu's mastery in the use of paths. Form and function are never held in a equal balance, rather it is the tensions between the two that are fully resolved in Enshu's hands.
Raikyu-ji, Okayama Prefecture
Raikyu-ji, Okayama Prefecture


As a garden creator Enshu was capable of rising to what ever situation presented itself. He built gardens for the highest in the land. He developed a surety of touch, a boldness without bombast or showiness. He knew how to manage impact and spectacle. The garden spaces are an extension of the architectural forms he was principally concerned with. From architecture Enshu seems to have absorbed a sense of order and logic, that may at first seem surprising, yet soon settles in the mind as being the 'right answer ' to the space. It was not simply a matter of connections in high places, in the end it was his talent and vision that came to the fore and was recognised. His star rose quickly, at the age of 26 following the death of his father he inherited the family fortune and the position of manager of Bitchu Takamatsuyama castle. Very little remains of the castle today, but the Raikyu-ji garden is attested to be the work of Enshu.

Nanzen-ji Hojo, Kyoto
Enshu was multi talented, that is clear, he was a renown tea master, accepted as someone who brought new thinking to Tea, he was also a noted calligrapher and a poet. He mixed with people who were curious about many subjects, artistic, practical and philosophical. He lived through a period of political settlement which allowed an emphasis to be placed on the arts, after a long period of instability, peace was returning. Unusually for the time Enshu had a broad perspective which incorporated an interest in the West, in his collection of tea ware were Chinese, Korean, South East Asian pieces, but also Delftware pottery which orginaly must have been traded with  the Dutch merchants in Asia.


Turtle island, Konchi-in, Kyoto

As with an art form as delicate and subject to change as gardens, it is never going to be easy to picture exactly what the gardens of Enshu's time looked like. We have the skeleton, but did Raikyu-ji really have those great calligraphic swathes of trimmed azaleas in his day? Or is it a feature of the garden that has developed over the years? It is impossible to say with certainty, but the existing hedges seem to work. Perhaps this is a testament to the underlying strength of the design vision, that something of its spirit has been able to transcend time. The rock placements will likely be original and Enshu's bold ishigumi still holds power and grace today.


Katsura Rikyu, Kyoto

Katsura Rikyu, Kyoto
Enshu had a painter's eye, he seemed to love open spaces in his gardens, the negative space, that holds a composition together. Perhaps this is a landscape memory that was embedded in him as a child? Living where he did, he must have been impressed upon by catching sight the 'sea-like' expanses of Lake Biwa so near to his home. Like so many East Asian artists, Enshu's art utilised the landscape as a medium, as a language in itself. Drawing on memory and experience, as much as cultural learning, the artists looked deeply into the relationship between man and landscape, and created forms of gardens that have been classical in the sense they are able to transcend both time and space. They have become embedded in part of our memory too.
Manshu-in, Kyoto

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Saturday, 6 July 2013

Flattened Light



No one to disturb
The reclining Buddha,
Shadows from the prayer flags
Rippling across the courtyard.


Heat of summer
The sirens seem less -
Flat light at midday.


A few petunia flowers
stare open mouthed into the room
surprised by its very existence perhaps,
the half open window.



Being aware of the bond
created by sharing exploration
held by kinship forged of the urge
to know.



Washing the child
this time without tantrum tears -
probably a blackbird.


Awake at dawn
as I piss
the scent of stephanotis lingering
even half awake.





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Thursday, 4 July 2013

Fire Within The Sea


Where does mind begin its dawn ?
As a seed contains its own entire history 
I create the mirror.

The skin of the pond
Mask of unknowing, just one atom thick,
only what is above is revealed
the rest is our desire for union.



In the curve of the year

Streaming consciousness into mind
To dissolve the veils,
Opening and closing of doors.


To trace the image to source,
Find the opening of the mountain
The fire within the sea -
Branches this way and that.


Sails cutting across the wind
Fire eyes piercing stone and silence,
All shades of temptation
As the sun breaks through the long wait.





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