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Updated: May 2, 2025
Most of the decorative work of these marble pavilions is directly derived from Persian art, and inspired by the Persian love of flowers which almost amounted to flower-worship.
We must remember, however, that the flower-worship of the tea-masters formed only a part of their aesthetic ritual, and was not a distinct religion by itself. A flower arrangement, like the other works of art in the tea-room, was subordinated to the total scheme of decoration. Thus Sekishiu ordained that white plum blossoms should not be made use of when snow lay in the garden.
In spite of the trees being at least seventy years old, the common people claim the greatest antiquity for the shrine, and tradition says that the three trees that now mark the spot neither grow thicker nor increase in height, but remain the same for ever. A few years ago Dr. George Birwood contributed to the Athenaeum some interesting remarks on Persian flower-worship.
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