Katsura Rikyu : An Architectural Display of Zen Ideals

Originating from Chinese architecture, the Japanese form of architecture developed over time with the help of several dynamic changes throughout history. A key element of traditional Japanese architecture is its heavy influence from Zen Buddhism. One great example of such spiritual forms of architecture is the Katsura Imperial Villa, constructed in early 1600 C.E. Designed by Prince Hachijo Toshihito and his son, Toshitada during the Heian period, The Katsura Imperial Villa helps evolve social life through the enhancement of peace and tranquility, which are considered to be goals of Zen Buddhism, as one goes moves from the gate, through the entire complex.

It is often noted that the main ideas behind The Katsura Rikyu were the concepts of Zen Buddhism, a religion through which, if followed accordingly, bestows upon the follower the state of enlightenment. It understates theoretical knowledge by means of realization, through meditation and right conduct, called “Dharma”. By attaining “enlightenment”, one achieves total detachment from desires and needs and hence obtains total satisfaction.

In order to attain what is considered “enlightenment”, one must be in an environment of complete and total tranquility, with all objects in one’s surroundings pleasing to the eye. Right-angled rooms are not only idealistic in their aesthetic quality; they provide residents with maximum use of space in that particular room, thus pointing out the functional aspect of the right angle. This can be observed from the highly orthogonal plan of the Katsura Rikyu Complex. From the exterior wall of the entire structure to the angle between the walls of each room to even the placement of materials on the floor, right angles have been implemented all over the Villa, thereby enhancing the peacefulness one asks for to achieve enlightenment. Minimal angles are also considered pleasing, as an untrained eye will capture only drastic changes in the angles of a room. As a result, the front of the Ko-shoin that faced the pond was set at an angle of 19 degrees southeast, which was considered the best for observing the reflection of the mid-autumn moon on the pond (Hashimoto et al).

Clearness and clarity are also important aspects of Zen Buddhism in view of the fact that a clear mind is one that is devoid of distraction and desire, giving one a clear view of their goals and thus, a clear path to enlightenment. In order to implement this idea of a clear view, Princes Toshihito and Toshitada provided the Ko-shoin and Chu-Shoin with a feeling of emptiness, and the Shoji screens alleviate the bright sunlight that encompasses all the rooms. The Chu-Shoin, on the other hand, is covered with a mild yellowish mud from Osaka that imparts a feeling of nature in the Villa, and somehow gives off an impression of lucidity (Isozaki et al 2005).

The garden enclosing the Katsura Imperial Villa in the center of the complex is truly spiritual in nature. Possibly Designed by Kobori Enshu, one of Japan’s most renowned landscape architects, this garden has been designed such that a visitor may not have a complete view of the entire Villa until the very end (Ching et al 2007). There are stone slabs set in a particular pattern, set to ”take” the visitor to a specific area of the Villa, as well as smaller pebbles set in a specific order to point to a deviation. This garden possesses the Villa to such an extent that the walls appear designed due to the reflection off of the pond. The well-known Moon Viewing Platform, or “Tsukimidai” is a significant element in the Katsura Imperial Villa, as one obtains a full view of the pond from the platform, an ideal location for one to feel attached to nature and experience oneness with it. The Tsukimidai was used to observe the Moon during certain times of the year, and was considered a great event in traditional Japanese culture. It also pertains to Zen Buddhism through the idea that the Moon is considered a source of enlightenment in Zen literature and stories.

The five teahouses spread out in the Katsura Complex hold great importance in both traditional Japanese culture and Zen Buddhism. Developed through time, the Japanese tea ceremony, called “Chado” is a means to attain inner peace by preparing tea, leading to the path of true “enlightenment”. The two most well-known of the five teahouses are the Geppa-Ro, known for its distinct L-shaped structure on an artificial hill, and the Shoken-Tei, also well known for its unique blue and white checkered panels painted onto the tokonoma and fusuma. These are followed by the Shoka-Tei, constructed on the highest ground of the complex, the Onrin-Do, a shrine built in honor of the Hachijo-No-Miya clan and Shoi-Ken, known for its extravagant velvet wall design. These teahouses emphasized the gravity of importance of the tea ceremony in Japanese Imperial culture giving the royalty the idea of being closer to enlightenment than the ordinary people (Okawa 1975).

Another fascinating aspect of The Katsura Imperial Villa is the placement of the three main shoins – The Old Shoin (Ko-Shoin), The Middle Shoin (Chu-Shoin) and New Shoin (Shin-Goten). The three shoins, although built in a certain order, rather form a path, as if passing through life and time – the past, the present and the future. Regardless of the fact that the shoins may not have any specific distinctions from each other, save the height of the roofs, it has been created so as to inculcate the passage of man through life, childhood, middle age and old age, giving one the feeling of passing through time and contemplating the change within himself, but also the change in Japanese architecture through time. The Shin-Goten, designed by Prince Toshitada was designed with a greater sense of dynamics than his predecessor, Toshihito. This is noticeable in the Katsura Imperial Villa, as the Shin-Goten is more decorative compared to the Ko-Shoin and Chu-Shoin. It has also been found that the Shin-Goten was used as a more private space.

On noticing how one edges closer to enlightenment as soon as they enter the gates of the Katsura Rikyu, one notices how Princes Toshihito and Toshitada implemented the ideas of peace, tranquility and contemplation, all considered to be ideals of Zen Buddhism, and came to create what is considered to be the pinnacle of Japanese architecture in the Heian Period.

Bibliography:

1. Hashimoto, Fumio, and H. Mack Horton. Architecture in the shoin style: Japanese feudal residences. Tokyo: Kodansha International;, 19811980.

2. Isozaki, Arata, and Virginia Ponciroli. Katsura imperial Villa. Milan: Electa Architecture ;, 2005.

3. Ōkawa, Naomi. Edo architecture, Katsura, and Nikko. New York: Weatherhill, 1975.

4. Ching, Frank, Mark Jarzombek, and Vikramaditya Prakash. A Global History of Architecture . Hoboken, N.J.: J. Wiley & Sons, 2007.

Katsura Rikyu : A description

Japanese Architecture (VDA #131) is different from other regional forms of architecture by its distinct lightness (VDA #38), simplicity and refinement (VDA #58). The first image that comes to mind when one thinks of Japanese architecture is the intricate design that adorns the façade (VDA #24) of the structure. However, one such structure (VDA #53) that defies that idea is the Katsura Rikyu, a villa meant to be an abode of luxury and tranquility for its designers, Prince Hichijonomiya Toshihito and his son, Prince Toshitada.

The Katsura Rikyu, also called the Katsura Imperial Villa and the Katsura Detached Palace, was built in the 17^th century in Kyoto, Japan. One would enter the complex through the gates and come face-to-face with the villa, which consists of three main buildings, namely the “Old Shoin” (Hashimoto), “Middle Shoin” (Hashimoto) and “New Shoin” (Hashimoto) as well as the main entrance, called the “Miyuki-mon” (Hashimoto). These structures, which are made of orthogonal rooms, connected through a zigzag pattern, direct from the southeast to the northwest direction. The entire complex makes use of two main forms of Japanese architecture, the shoin (VDA #137) style and the sukia (VDA #176) style. The villa was designed based off of the principal ideas of Zen Buddhism (GHA #513), attempting to exude a feeling of tranquility, which is supposed to help during the auspicious tea ceremony. There were seven teahouses, containing rooms called “Chashitsu “(Hashimoto) designed all throughout the complex. The guests would enter these auspicious buildings through the “nijiriguchi” (Hashimoto) to perform in this important ceremony. There are also three main structures in the middle of the gardens called “Furu-shoin”, “Naka-shoin” (Hashimoto) and “Miyuki-den” (Hashimoto). On the whole, the villa is composed of several large structures with very geometric (VDA #52) organizational (VDA #53) qualities.

Materials (VDA #161) have been given a lot of importance in the Katsura Rikyu, as is important in traditional Japanese architecture. The complex was designed with natural materials such as wood (VDA #276), bamboo, stones (VDA #236) and vegetation (GHA). The villa and teahouses were designed with plastered (VDA #188) earthen (VDA #221) walls (VDA #266), giving the walls a contrast with the raw wooden post-and-beam construction (VDA #106) that constitutes the pitched (VDA #209) roof (VDA #208). The shoji (VDA #137), or movable screens in the house are made of translucent rice paper (GHA #515). On the whole, the building gives off a rustic look with the thatched (VDA #107) roof and wooden flooring (VDA #94).

The gardens within the Katsura Imperial Villa are stunning, to say the least. This complex reflects the ideas of the relationship between nature and architecture as shown in several forms of traditional Japanese architecture. Kabori Enshu, one of Japan’s most popular landscape architects (VDA #11) of his time planned out the complex. It covers over 50,000 square meters. And goes around the complex in a clockwise direction. The stones placed on the grass that seem to have been placed randomly are in fact set as footprints wandering through the compound. There are hedges with particular apertures in them that provide certain views (VDA #59) of the lake and the villa. For example, at a certain point on the path, there is a pine tree that blocks and gives importance to the view. One notices the careful balance planned out around the complex and the stones slowly change to stairs as one climbs onto the deck. Throughout the garden is a stone path that is outlined by moss, pebbles (VDA #224) and gravel (VDA #224).

The interior of the Katsura Rikyu also reflects the Zen Buddhism ideas of peace and tranquility. The villa was measured and planned the traditional way, using tatami (VDA #137) mats. The rooms are separated using sliding doors (VDA #62).

The teahouses in the complex are considered to be the most important structures in the whole imperial compound. The most important tea pavilion (VDA #24,27) at the villa is said to be the “Shokin-Tei” (Hashimoto). It is said to be a typical Japanese pavilion, and has different perspective (VDA #59, 72, 73) views from each side. What is unique about the Shokin-Tei is the door to the “Ichi-no-ma”, or first room. It has a very unique blue and white-checkered (VDA #184) pattern (VDA #53, 265) that stands out against the plain textured (VDA #52, 53) surface of the shoji screens in the shoins.

Another critical structure in the Katsura Rikyu is the “Furu Shoin” (Hashimoto), which contains a platform that extends out past the deck (VDA #93), or “engawa” (VDA #137) and is used for observing the moon.

After observing the Katsura Detached Palace, one can see how traditional Japanese Architecture was highly worked out but simple in structure, and so subtly applies Zen Buddhism and nature as architectural elements.