The Tea ceremony garden
Towards the end of the Momoyama period, in the late 1500,s, the
Zen monk Sen no Rikyu, perhaps as a reaction to the exuberant
tastes of the period, developed the Tea ceremony and laid down
the principles of the Tea garden or Roji. The drinking
of tea was synonymous with Zen, monks would sip tea to fend of
drowsiness during long periods of meditation and it was natural
that these tea masters who were often garden designers would
integrate the ideas of the ceremony into their garden designs
(Underwood 1996). The idea was to create a small, distinct garden
area leading to the tea room, separate from the residence. For
the tea room, simplicity was the key, simple furnishings,
interior dimensions limited to four and a half mats (6x3 ft) and
a simple garden. There was to be a single window, enough for
light, but not to distract and a single door for entry with no
verandah. The door is very low, forcing the visitor to bow in
humility to enter. The tea garden was to be a passage-way to an
event, a space which the visitor should proceed physically,
aesthetically experiencing the gradual shredding of the world's
concerns, while proceeding towards the tea house. (Cave, p.56)
The term roji means a cottage path and the path to the
tea house had a specific purpose. The path would often wind to
obscure the approaching view and the use of screens and bamboo
fences serves to heighten the impression that one is leaving the
every day world by degrees and entering a more simplistic,
contemplative environment.
The garden was designed to represent a rustic glade, a setting
for a hermits hut. Stones are unobtrusive and flowering plants
are avoided, being a distraction. Rather, the preferred plants
are common evergreen varieties that grow naturally along paths in
the countryside (Bring 1981).
The synthesis between the ceremony and the garden is achieved
through the application of two artistic concepts with which the
ceremony is associated, these are termed wabi and sabi.Wabi
has been variously described as rustic simplicity, poverty of
spirit and an appreciation of the common place. The poet Basho in
his story Records of a travel worn satchel cites Sen no Rikyu
when he states that ' all those who achieve greatness in art..are
one with nature'.
Together with the concept of simplicity the idea of sabi or
naturalness create the attitude of the tea garden. Garden
materials should be weathered, moss covered. This patina of age
is meant to ' inspire feelings of profundity and deep
contemplation' (Bring 1981).
The shinto rite of purification required a hand washing ceremony
and stone wash basins were incorporated into the tea garden, as
were the stone lanterns that were used to light the visitors way
at night. It is ironic that the design of the humble tea ceremony
garden has given rose to the ubiquitous use of stone ornaments in
many Japanese and Japanese influenced gardens although their
restrained use can often accentuate a feature or add to a sense
of simplicity to a garden.
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