LA VILLA KATSURA, UNE ARCHITECTURE MODERNE

VILLA KATSURA, A MODERN ARCHITECTURE

La villa impériale de Katsura (桂離宮, Katsura Rikyū) est l'un des plus beaux exemples d'architecture et de conception de jardins japonais. La villa et le jardin dans leur forme actuelle ont été achevés en 1645 en tant que résidence de la famille Katsura, membres de la famille impériale du Japon.

Situé dans un environnement boisé dans l'ancien périmètre de la capitale impériale, Kyoto, le rikyu

(ou résidence séparée) du palais de Katsura est le meilleur produit d'une tradition séculaire et non officielle. Il a été construit au XVIIe siècle par Kobori Enshu, maître et architecte de la cérémonie du thé, qui cherchait à exprimer ses idéaux de simplicité rustique et de nature pittoresque à une plus grande échelle qu'auparavant. Katsura n'est pas attribuable à un style architectural unique, ni à un projet unique ou à un seul auteur, avec son mélange extrêmement hétérogène d'éléments de composition, mais à l'époque parfaitement intégrés les uns aux autres.

Katsura Imperial Villa (桂離宮, Katsura Rikyū) is one of the finest examples of Japanese architecture and garden design. The villa and garden in their present form were completed in 1645 as the residence for the Katsura Family, members of Japan's Imperial Family.

Set in wooded surroundings within the ancient perimeter of the imperial capital, Kyoto, the rikyu, or separated residence, of the Katsura Palace is the finest product of a secular and unofficial tradition. It was built in the 17th century by Kobori Enshu, tea ceremony master and architect, who sought to express his ideals of rustic simplicity and picturesque nature on a larger scale than had been attempted before. Katsura is not attributable to a single architectural style, nor to a unique project or to a single author, with its extremely heterogeneous mixture of compositional elements, but at the time perfectly integrated one with one another.

FULL BLOOM

“If I were asked to explain the Japanese spirit, I would say it is wild cherry blossoms glowing in the morning sun!” — Motoori Norinaga (1730-1801), nativist thinker and poet

The cherry blossom is not just another pretty flower. Pause to consider, as you feast, drink and carol beneath the blushing petals this season, how ancient a rite of spring your frolics are perpetuating.

Not infinitely ancient — the Nara Period (710-784), being Chinese in orientation, imitated China in preferring the darker, more fragrant and more assertive plum blooming a few weeks earlier on similarly leafless branches.

It was courtiers of the succeeding Heian Period (794-1185) who began making of ethereal sakura (cherry blossoms) what they later became in all their glory — living poems, living symbols of beauty, life, evanescence, death, “Japanese spirit.”

But how stately, how ceremoniously elegant Heian celebrations were in comparison with our modern madcap revels!

“… the festival of the cherry blossoms took place in the Grand Hall. The empress and the crown prince were seated to the left and right of the throne. … Adepts at Chinese poetry, princes and high courtiers and others, drew lots to fix the rhyme schemes for their poems.

“I have drawn ‘spring,’ said Genji, his voice finely resonant in even so brief a statement.

” … The emperor had of course ordered the concert to be planned with the greatest care. ‘Spring Warbler, ‘ which came as the sun was setting, was uncommonly fine.” — Court lady Murasaki Shikibu in her novel “The Tale of Genji” (11th century)

The sakura banquet retained its aristocratic aura until the rambunctious Edo Period (1603-1867), when commoners, in their coarse and spontaneous way, began to ape their betters.

Long before that, in the 14th century, the priest Kenko, in jottings known to posterity as the “Grasses of Idleness,” complained of “rustic boors who take all pleasure grossly. They squirm their way through the crowd to get under the trees; they stare at the blossoms with eyes for nothing else; they drink s

The cherries’ only fault: the crowds that gather when they bloom” — Saigyo, 12th-century poet

MINGEI ATMOSPHERE: KAWAI KANJIRO’S HOUSE

One of the most underrated places in Kyoto must surely be the Kawai Kanjiro Memorial Museum—or more simply, Kawai Kanjiro’s House. Kawai Kanjiro was a legendary potter, writer, artist, and key figure in the mingei or folk art movement. His house is testament to the way he lived his life: in pursuit of beauty and creativity, embodying joy found in all of life. Fortunately for us, his family decided to preserve and open up his gorgeous wooden townhouse to the public.

One of the most striking things about the house of Kawai Kanjiro is the sheer amount of light that comes into the house. It’s a little unusual for traditional houses in Japan to have this many windows, and this much light streaming into the indoor spaces—mostly because it’s rather cold otherwise!

The shoji paper screens diffuse harsh sunlight beautifully. Indeed, the interplay of light and shadow inside the house is a real joy to behold. We could spend ages just watching the light change indoors. Additionally, some of the windows and doors open up onto beautifully-framed views of the courtyard garden and other plants.

There are many small details to notice and enjoy while exploring the house, from the simplicity of the white-tiled sink to the hand-carved low tables and chairs in front of the open hearth. Beauty in all shapes and forms greet you at every turn, wherever your eyes alight.

One of the most impressive parts of the house must be the large noborigama or climbing kiln at the back of the house. It’s one of the few remaining ones of this kind in Kyoto that are apparently still in use. There are about 9 levels to this kiln set on a slope.