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Some, like Rikiu, aimed at utter loneliness, and claimed the secret of making a roji was contained in the ancient ditty: "I look beyond; Flowers are not, Nor tinted leaves. On the sea beach A solitary cottage stands In the waning light Of an autumn eve." Others, like Kobori-Enshiu, sought for a different effect.
In that interesting work, Vikramadytia welcomes the Saint Manjushiri and eighty-four thousand disciples of Buddha in a room of this size, an allegory based on the theory of the non-existence of space to the truly enlightened. Again the roji, the garden path which leads from the machiai to the tea-room, signified the first stage of meditation, the passage into self-illumination.
One may be in the midst of a city, and yet feel as if he were in the forest far away from the dust and din of civilisation. Great was the ingenuity displayed by the tea-masters in producing these effects of serenity and purity. The nature of the sensations to be aroused in passing through the roji differed with different tea-masters.
The roji was intended to break connection with the outside world, and produce a fresh sensation conducive to the full enjoyment of aestheticism in the tea-room itself.
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