Feng shui has become a phenomenon in the west over the last few decades, as discussed here. To cover the wide range of subjects and styles associated with the approach, there are now over 40 feng shui books sitting in my bookshelf. All are based on the ancient Chinese art of placement used to create harmony in our environment through the manipulation of energy. In Japan feng shui is called fusui (wind-water). Fusui has had a long history and wielded considerable influence from ancient to contemporary times. Like other practices that involve the five Chinese elements in Japan, such as traditional Japanese medicine, the art of fusui has had limited exposure outside of the country. Based on the information I’ve been able to find in English, a summary follows of what I have learnt so far. It represents the first steps in an ongoing journey of discovery.
My post ‘Taiko and tea’ shares my first impressions about the relationship between tea and the elements in Japan. My concluding comments were ‘Five elements and six senses. A heady mix.’ Since then I have had many more opportunities related to tea, thanks mostly to Allan Halyk, a Urasenke Tea Master based in Hobart. In October 2016 I spent 10 days in Japan with Allan, two of his students and a friend. We walked many miles in Osaka, Kyoto and Uji to immerse ourselves in tea. It helps to be with those who are familiar with the way.
The Teshima Art Museum provides an organic setting where water, wind, wood and light are works of art. I learnt about this enticing concept from a French couple I met in Japan in mid 2016. Sibylle and Bernard called it the Raindrop Museum – an evocative description. They were close to the mark. The brief given to the architect Ryue Nishizawa and artist Rei Naito was to create a design of free curves, echoing the shape of a drop of water. Knowing my interest in the elements, my French friends strongly recommended that I make the Museum a priority to visit. So in early October that’s what I did. The Museum has other attractions – its location on an island in the Seto Inland Sea provides an experience of some of the coastline, waterways and islands of Japan, an important part of the elemental story. The Art Museum is also a major draw-card of the Setouchi Trienniale, an art festival designed to reinvigorate local communities that has many lessons to teach us.
October 1st 2016 marked the first day of my return trip to Japan to continue my exploration of the elements. In contrast to my last visit when I was based in Kyoto (see my first 8 posts) this time I am on the move! I have identified a number of places and traditions with specific connections to the elements to visit and interact with over the next two months. And then there are those delightful serendipitous opportunities that seem to arise quite often.
‘A destiny drawn by nature‘ is the first chapter of a book titled ‘The Dawns of Tradition‘, published by the Nissan Motor Company in 1983. I knew that this publication was an important discovery when I read the introductory words “Even more than most peoples, the Japanese have been shaped by their environment. From the dawn of their history, close communication and an oftentimes precarious coexistence with nature have dominated almost all aspects of the national character and culture.” Viewing Japanese culture through the lens of the environment (in my case using the elements as a framework) is also the focus of my book and blog on elemental Japan. While the approaches taken differ in many ways, the basic sentiment is the same.
Japan is a land of forests. Sixty seven percent of the country is covered with trees, only second behind Finland when ‘developed’ nations are compared. Currently the forests are vibrant and green, you can’t help but notice them on the mountains and in the Shrine and Temple forests as you travel around. Both mountains and trees are worshipped in Japan to varying degrees. Given the abundance of forests it is not surprising that wood and related materials play such an important cultural role. This is the element that has particularly caught my attention during late June and early July. Here are my impressions, once again a diverse mix. The many connections between wood and fire demonstrates the inter-relatedness of the elements. As always with these informal posts, it is only part of the story.
It’s the fourth week of June and it is the rainy season in Japan. The season is known as Tsuyu, meaning “plum rain”, because it coincides with the season of plums ripening. It is hot, sticky and very wet at times. It also means long days, vibrant vegetation, misty mountains, rice fields in flood, hydrangeas, the refreshing of water supplies and more. As you might expect, my thoughts over this period have turned to the element of water. I am using illustrations to help tell this part of the story of elemental Japan.