Sairyuka - Art and ancient Asian philosophy rooted in nature KARIN-en vol.６

Sairyuka No. 35 Supplementary Karin-en News No. 6, January 2018

Ikebana / Paintings / Vessels ... The Karin Ikebana Exhibition

Kanazawa / Tokyo

“ Ikebana / Paintings / Vessels - The Karin Ikebana Exhibitions” were held in Kanazawa and Tokyo, co- inciding with the Hina festival and Boy’s Day celebration (Sairyuka No. 35). This page and the next show designs from the Tokyo

exhibition.

Sairyuka - Ikebana of the Wind Camellia (single-variant); by Karin Painting (hanging scroll) - “Sea bream”; by Karin Mounting by Akira Nagashima Vessel: Boat-form ceramic vase and square/circular stand (thick board) Design by Karin Production by Yatomi Maeda (ceramics), Kazuhiko Tada (stand)

Koryu Association, Komagome, Tokyo 23 November Held together with the Koryu Ikebana Exhi-

bition (continued on p2)

Jiyuka (versatile arrangement); by Risei Morikawa Pine, camellia, eucalyptus, lily, soaproot, kori willow, other Vessel: Reika - beech, other; by Box-form ceramic vase Design by Karin Hosei Sakamoto Painting Production by Yatomi Maeda (hanging scroll) - “frog”; by Positioned at the venue entrance Karin Mounting by Akira Na- gashima Vessel: Ceramic “ kagamigata ” (parabolic) vase Design by Karin Production by Yatomi Maeda 1

Exhibition Ikebana Karin The

23 November

Continuedfrom page1

Koryu Association, Komagome, Komagome, Association, Koryu

Sairyuka - Five Ikebana: Camellia (single tone) (From left: Wind Ikebana, Water Ikebana, Sword Ikebana, Earth Ikebana, Fire Ikebana): by Karin, Kyuuka Yamaki, Kyuuka Higashimori Paintings (hanging scroll) - From left: Enso-Wind, Enso-Water, Enso-Sword, Enso-Earth, Enso-Fire: Karin

Mounting by Akira Nagashima Vessel: Square-circular ceramic vase Design by Karin Tokyo Production by Yatomi Maeda

The Tokyo “Karin Ikebana Exhibition” was held on 23 【Right】 November at the Koryu Reika - (Japanese yew), other: by Association in Komagome, Ribin Okamoto alongside the established Painting (hanging scroll) - “sword”; Koryu Shoseikai Ikebana by Karin exhibition. With Karin’s Mounting by Akira Nagashima Sairyuka as the main focus, Vessel: Ceramic “kagamigata” Reika and Koryu Ikebana (parabolic) vase were matched with Karin’s Design by Karin paintings and calligraphy. Production by Yatomi Maeda

Four-legged stand

【Bottom】 Ikebana - Right: “Rosho” (Japanese red pine); by Risyou Makino Left: Japanese white pine; by Rifumi Matsui Calligraphy (hanging scroll) - “hime-matsu” (Japanese white pine); by Karin Mounting by Akira Nagashima Vessels - Right: Four-legged ceramic vase Design by Karin Production by Yatomi Maeda Left: Lacquer-Coated copper vase

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Honren Temple, Fukatani, Kanazawa

27-28 August

Tanabata Festival (Lunar calendar)

“Adorning of the Three-Headed Daiko- kuten”

Adorning of the three-headed Daikokuten Left: Sairyuka - "Fire Ikebana”; by Shoka Arashi Right: Sairyuka - “Water Ikebana"; by Kyuka Higashimori Tsuihei (opposing vessels) were arranged in front of the three-headed Daikokuten Reika - Camellia (single-variant); by Shoka Arashi Vessel: Decora- tive 4-legged square ceramic vase (legs attached) Koryu Ikebana Left: Disanthus, Eustoma, other; by Seiko Koizumi Right: Jasmine, lily; by Fuka Koshiyama Vessels: Four-legged ceramic vase

Design by Karin Placed in opposing positions in front of a hanging scroll reproducing the three-headed Daikokuten

Following tradition, the wishes of guests were written on the back of mulberry leaves (not Kaji leaves) using a

brush.

Bamboo & paper installation “Milky Way”, by Katsumi Nakamura. Positioned opposite the Daiko- kuten.

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KarinThe Ikebana Exhibition

The adorning of the well known three-headed Daikokuten of Kanazawa’s Honren Temple was the theme of this Ikebana exhibition, which coincided with the Tanabata Festival (lunar calendar). Sairyuka and Reika shone beautifully in the vastly different old and new main temples. (The previous page shows the old main temple, this page shows the new main temple.) Tea parties and work ex-

planation sessions were also held by Ka- 27 Kanazawa - rin and chief priest Chikei Araki, with a 28August talk on “Tanabata” from Asuko Araki (chief priest’s wife) and “incense woods and orihime” by aroma instructor Toyoko.

Continuedfrom p3 HonrenTemple

Sairyuka - Camellia (single variant). Right: “Sword Karin at the tea party Ikebana”, Left: “Earth Ikebana”; by Karin Paintings (hanging scroll) - From left: “Enso-Fire”, “Enso-Sword”, “Enso-Water”; by Karin Vessels: Kagamigata (parabolic) ceramic vase, fan-shape ceramic vase Design by Karin Sairyuka - “Water Ikeba- Positioned at the altar of the new main temple na” - Camellia (single var-

iant); by Rikei Yamazaki Calligraphy (hanging scroll): “Hagoromo”; by Karin

Reika (left, right) and Koryu Ikebana in front of gold leaf-covered folding screens in the new main hall. Featuring Karin’s paintings. Right: Begonia in a woven basket. 4

Karin-en Public Lecture Extracts(A summary of content touched upon in the lecture) Lecturer: Karin A Discussion on “Numbers”

Numbers hold deep meaning in ancient Asian that of Einstein is of the mi-cro/macro scale, philosophy. In the following paragraphs, the detached from the human senses. Situations issue regarding the “15th” being more im- consistent with ancient asian philosophy portant than the full moon is explained, and (once considered superstitious) are increas- even and odd numbers are also touched upon. ing at an uncanny rate, in particular within Even numbers are called “yin numbers”, and micro scale sciences. odd numbers “yang numbers”. In Japan, it is customary to hold yang numbers in high re- Numbers have a very strong presence in gard. The following festivals fall upon yang micro sciences. For example, the difference numbers (in the lunar calendar): Hina Festi- betweens atoms (such as hydrogen and oxy- val (March 3rd; 3/3), Boys’ Festival (May 5th; gen) are the differences in the numbers of 5/5), Tanabata Festival (July 7th; 7/7) and the electrons, protons and neutrons that make Chrysanthemum Festival (September 9th; up the atoms. There’s no differences in the 9/9). New Year’s Day also falls on a yang actual electrons and protons themselves, number. “Otsukimi” (moon viewing events) only in the numbers of each. Through this occur on the nights of odd days; the 15th (Ju- difference in numbers alone, various atoms goya) and 13th (Jusanya). Also, many people are produced. And then by combining a consider it customary to give an odd amount of number of these atoms, molecules are made. money as a congratulatory gift. For example, water (H2O) is made by com- Interestingly, even though 2 is an even num- bining two hydrogen atoms and one oxygen ber, at times it’s treated as an odd number. It atom. If we pursue these differences of mat- is the only even number treated this way. ter, we eventually arrive at the conclusion Conventional post-Edo period Ikebana that this difference in numbers of identical (“Seika”) consists of an odd number of ar- electrons, protons and neutrons lies precisely ranged stalks; however, in exceptional cases in the realm of buddhist philosophy, namely only two may be used. For congratulatory that “form is emptiness, emptiness is form”. monetary gifts also, many regions consider it The fact that the earth (a stage for human okay to give money including a “2” (as well as emotions), various materials, and the human odd numbers). body are all created according to this differ- In fact, there is a quite strongly implied tra- ence in numbers of protons, neutrons and dition in the interpretation of the number 2; electrons, is a quite a beautiful story. namely, “there is a 0 hidden within 2”. Ac- cordingly, in the five elements of Chinese The color of light (violet, green, red etc.) is philosophy, 2 is applied to “fire” (repre-senting also determined by differences in its wave- yang), and from time immemorial the shape of lengths (frequencies). Large frequencies re- “火 (fire)” has been expressed as a triangle. sult in violet, small frequencies in red. Even In traditional culture, the are uncountable larger frequencies result in ultra-violet rays rules and anecdotes related to numbers. For and x-rays, invisible to the eye, and even example, there are many ways of thinking smaller frequencies result in infrared rays regarding the number of heavens and earths; and electromag-netic waves. Said another 8 and 9 are considered important; and there way: the human body is created so that fre- are fixations concerning combinations of 3/5/7, quencies are sensed as colors. and the number 33. Just recalling these briefly brings about deep reflection. There is no limit to the discussion of num- Changing the direction of thought completely, bers. I also intend to continuing studying in let’s consider the scientific aspect. If we con- this field... sider the early physics and science of Newton as the human scale, modern science such as

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Karin-en Public Lecture Extract (October 2017) Moon viewing events and yin-yang philosophy Lecturer: Karin

Jugoya and Jusanya

Moon viewing events (Otsukimi) in Japan take place on Counting from the day of the new moon, they are Jugoya and Jusanya (15 August and 13 September, the 15th and 13th nights, respectively. Jogoya respectively, in the lunar calendar). Jugoya occurs tends to be considered as a full moon, however this widely across Asia, whereas Jusanya is unique to Japan. is not always the case. The full moon is sometimes Jugoya refers to the night of the 15th day of the lunar delayed until the 16th night. Nevertheless, Jugoya calendar, and Jusanya the night of the 13th day. is the night that has come to be cherished. Ancient Counting from the day of the new moon, they are the asian astronomy is exact, and misinterpreting the 15th and 13th nights, respectively. Jogoya tends to be full moon is inconceivable. In this it can be seen considered as a full moon, however this is not always the that ancient Asian philosophy placed more empha- case. The full moon is sometimes delayed until the 16th sis on numbers above all else. night. Nevertheless, Jugoya is the night that has come to The Japan-specific Jusanya Otsukimi was started be cherished. Ancient asian astronomy is exact, and in 919 (Engi period) by the Heian period Emperor misinterpreting the full moon is inconceivable. In this it Udo (who went on to became a monk). This was can be seen that ancient Asian philosophy placed more around half a century after the custom of Jugoya of emphasis on numbers above all else. the eighth month had arrived from China; and thus The Japan-specific Jusanya Otsukimi was started in 919 we do not know the extent to which it had become a (Engi period) by the Heian period Emperor Udo (who definitive event among the Japanese aristocracy, went on to became a monk). This was around half a during this delicate period. The Japanese envoy to century Moon viewing events (Otsukimi) in Japan take Tang dynasty China had been repealed over 20 place on Jugoya and Jusanya (15 August and 13 Sep- years prior, and the so-called “Kokufu-bunka” (na- tember, respectively, in the lunar calendar). Jugoya tional culture) was being fostered. This presents a occurs widely across Asia, whereas Jusanya is unique to fascinating backdrop for the birth of the Ja- Japan. pan-specific September Jusanya custom. Jugoya refers to the night of the 15th day of the lunar Emperor Udo is known for trying to achieve balance calendar, and Jusanya the night of the 13th day. between the powerful Hokke (Fujiwara) clan and 6

Karin-en’s public lectures explain traditional cultures and performing arts in accordance with Asian/Japanese philosophy (yin-yang, wu xing etc.), in which the roots of these disciplines lie. At the same time, while also looking at the state of nature within those philosophical foundations, and its agreement with scientific facts, the correct states of incidentally transformed traditional cultures are also considered.

the promotion of Sugawara no Michizane and other up- traces of another Todaiji Indian monk can be found.2 standing people to positions of trust. Under his reign, Thus the influence of ancient Indian culture through many great cultures were born, and the Kokufu-bunka Buddhism can be felt within the culture of Nara. The was fostered. During his abdication, he retired to Ku- arrangement of yin-yang in ancient Hinduism is con- mano, and also devoted himself to the Shingon esoteric sistent with that of Nara, and since the Heian period buddhist teachings left behind by the buddhist monk the arrangement in Japan has been consistent with that Kukai at Kyoto’s To-ji temple. The land of Mt. Koya of ancient Chinese traditions and Japanese myths of the where Kukai built the Kongobuji temple is at same lineage. the southern tip of the tall mountain district of the Kii Kukai was very much aware of this. It is thought that Peninsula, a location stretching out to Mt. Tamakisan, his bringing back of the two Mandalas of Garbhadhatu the Kumano inner sanctuary. In other words, Kukai’s and Vajradhatu was strongly related to this aware- destination can be thought of as the Kumano interior, ness.3 And also worthy of special mention are the cul- and due to this it is possible to believe that the reasons ture of placing importance on odd numbers (which Emperor Udo admired Kukai were due to his faith in didn’t exist in Nara) and the changeover of the yin-yang ancient Kumano and culture/philosophy regarding arrangement, which occured in succession during the mountain worship. Heian period. Approximately one century prior to this, Emperor Saga Emperor Udo, who appreciated deeply the philosophy of reigned while ancient Kyoto was being built. Emperor Kukai at To-ji and Kumano, or alternatively as if pos- Saga, who lived during the same age as Kukai, also be- sessed by Kukai, held Otsukimi on Jusanya in addition lieved strongly in him. In early letters between the two, to Jugoya. That this new custom became established in Kukai’s wording was humble. However, later on this Japanese society speaks of the mystery of the country of reversed, with Emperor Saga’s language perfectly re- Japan. Thus, one can feel that there are several reasons sembling that used towards a teacher. We can assume why Jusanya is in September, and why Jugoya (and not that via Emperor Saga, Kukai’s views and work at To-ji the full moon) is in the August. These factors include: temple had a large influence on the city and cultural the application of wu xing to the months of the lunar frameworks of ancient Kyoto. calendar; the importance of and energy within numbers; pproximately one century after this, Emperor Udo was and the difference in the moon’s altitude when crossing enthroned, however he abdicated 15 years later, leaving the meridian according to the season (as we approach

the capital. For this reason, Sugawara no Michizane winter, the altitude becomes higher). However, ulti- (whom he had great confidence in) fell victim to the tricks mately all of these factors relate back to one thing; a of the Fujiwara clan and was demoted, prompting Em- way of thinking which can interpret both the compli- peror Udo to reclaim influence over the imperial court cated and mysterious, and the simple and clear. Such a once again. Jusanya Otsukimi began at around this time. way of thinking can be found in ancient Asian philoso- Thus, we can assume that Kukai’s ideology had a large phy. influence at several critical junctures during the Heian period. Kukai’s presence, both while alive and after (Photo taken during this year’s Jusanya, by Karin) death, cannot be ignored; particularly within the roots of Notes establishment of Japanese culture. 1. In many cases in Nara, in the left-right arrangement, “a-yang” is on Now I will compare Kyoto with Nara. It is understood the left and “un-yin” is on the right. The reversal of this was established in that the left-right arrangement of the “A-un” guardian the Japan post-Heian period. During the Edo period, cases in which the gods and dogs, typical in Japan since the Heian period, is calligraphy of an art object for a tokonoma was yin for the primary room the reverse of that during the nara period. The A-un and yang for the secondary room can also be seen. arrangement is synonymous with the yin-yang ar- rangement, and in places such as Wakasa (Fukui Pre- 2. The creator of Todaiji temple Shuni-e was “Jichu” (according to fecture) where Nara culture is pronounced, examples Wakasa (Fukui Pref.) folklore, an Indian monk). Jichu’s mentor was the showing a yin-yang arrangement that is the reverse of founder of Todai-ji (Roben, from Wakasa). Considering the depth of the what became typical after the Heian period can be seen.1 relationship between Shuni-e and Wakasa, it cannot be understood with a The emphasis placed on even numbers and odd numbers meer twist in the theory. is also a difference between the Heian and Nara periods. The Nara Shuni-e (buddhist ceremony) is also considered 3. It is considered that Nara culture corresponds to Vajradhatu, and to stress the “importance of the February”, and is de- Heian culture corresponds to Garbhadhatu. scribed as imitating Indian culture. However, a connec- tion with Indian monks can actually be seen in the early stages of the Todaiji temple, and in Wakasa too, where

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Karin-en Public Lecture Extract (November 2017) From “Peninsula Plants - Hanoki and Japanese laurel” Lecturer: Karin

Hannoki

い く 林( を す と を て エ 柳) 流 生 切 が 素 ま 部 ま 火 も Hanoki仲 榛 (Japaneseに 感 alder)大 grows。 な in 発 infertileお キ land, “koban通 け willow”.り マ It’s肥 pineか-coneし sh分apedす seeds山 ofち theハ possessing a “pioneering”純 character, so to speak.」 地previous year present an exotic expression. How- 間 の 磯 じ き る 生 く ゾ な 域 に 花 花 ン 沃 ら た 的 。 灰 ま ン

In recent years,林) I have seen a great number ever if placed in a warm location for long periods, 。 木 浜 さ な こ し と チ ど に 出 の と サ に 養 。 に 白 の す ノ growing写 。 inの theを volcanicせ 木 ash onと theま Miyake花 ッ-jima its回 flower花 budsし ク growな and分 sag,根 and崩 a 山largeや amount。 キ の よ 近 volcanic真 カ island,海 形 whichま でerupts everyが す20 years芽 ク or so.名 っof る pollen材 isて producedを る whenを に it 壊 finallでy blooms.せ Inは Linesは バ of hanok岸 成i alsoす suddenlyは 判 jump。 intoが viewな on recentこ にyears生 it 少wasに discovered作 『 toし be もa large地 cause年 や 前 て は Mt.石 Hakuノ 近’s mountain。 松 trails; perhaps明 近 these伸 表 areas of とallergicは reactions.け し 従 り 窒 て 、 に せ す で は 二 川 キ く る 荒 の し 年 び 情 も な る 大 い 出 素 や 山 多 地 were created from partial collapses of the moun-出 ハ 十 県 科 が の れ よ ま で て を あ り と ぶ 、 す 固 せ 道 数 に tain, exposing infertile地 stratum. Nitrogen‐fixing回 ンWhen growing large,他 it develops bark similar年 to bacteriaの 、 that多 produceを nutrientsう し fromは the垂 nitrogenみ り ノthatる ofに pine,葉 producingり こa little定 personality.た で 生 Hinoki生 南 い で よ く は に の と 細 地 突 え ほ え in theハ air live目 in the rootな s of hanoki.た こ Asれ theせ landま キare often seen forming forests (pure forests), how- 端 で 他 う い 早 し 植 が 菌 層 如 て ど 、 ン に 木 。 れ 、 ま す でever this may be 物because it’s difficult for の other becomes、 ノ し fertile,す hanokiの 肌 are 花 replacedが し by す other で の め た で 』 が ハ い い plants. 木 。 はtrees to penetrate に barren land. Hinoki are 周 quite 加 キ ょ る と 芽 か ま が 松 な す で に よ き が 現 ン る わ い う が numerous。 nearbyう rockyと coastlines in particular.期 ば 属 こ な が な い 、 か す 垂 る 共 れ ノ の Hanoki’s shape and入 leaves resemble a somewhat く っ で ま 。 か と り 伸 り に 温 さ 「 が れ な そ 生 た キ を パ largeし witch。 hazelり tree, however if cut for ar- Hanoki belongs枝 to て the birch family of the 噴 alnusイ ヤ も 、 び の 開 か 状 、 て う し 場 の 目 込 コspecies. Alnus firma代 is closely related. These火 pho- rangementた シ its多 leaves quicklyち sag.始 Forア this花 reasonい の バ 芽 き ぶ で て 所 列 に オ 。 み tos wereだ takenま り at Kasanoわ す Caいpe,な in southernを し す Ishi-ニ it’s difficultャ toい use forょ Ikebana;め レ howeverし 場 it 去 is ン ら る ブ よ に っ た ル て 所 年 kawa onし 16す April.と Japanese。 て laurel,の 目cloveた cherriesア sometimes seen usedく when sprouting. ヤ れ 三 シ う と ら ギ 大 に の and raspberriesの 。 葉 were alsoそ in、 bloom.か に こ 的 い ナ る 宅 Dependingな on でthe region,し it may要 go ーby the量 name長 実of ギ こ そ で し 空 と し と な た ( の 島 ど す た 注 の の く な ろ の す て 中 推 、 が 性 め 小 が で で 格 が 。 風 意 原 花 生 ど に た す 土 の 測 山 あ は か 判 は め 、 地 窒 し が り を が 近 と 、 格 で 因 粉 け 。 、

Karin-en News No. 6 Issued 20 January 2018 (electronic version)

Editing by Karin & Karin-en Production by Akira Kaiki (Kaiki Technology) Published by Karin-en 9 Daikumachi, Kanazawa, Ishikawa 920-0982 Tel・Fax (076) 265‐6531 Email: [email protected] Website: karin-en.jp “Sairyuka Karin-en”