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Outdoor tea in the spring sun, Keemun đź’•

Chabako bon

Unexpextedly, I was contacted by an old teafriend, who was trying to find a new home for her teathings due to moving. She, apart from other things, gifted me with this beautiful teabox set, chabako. It meant to be taken outside on picnic trips – very stylish picnic trips… But I chose to stay inside this time. Isn’t it marvellous? Thank you, Karen!

Er ved at oversætte netop dette kapitelfra min bog “PUDER AF MOS – japanske meditationer gennem detdanske ĂĄr” …

MARTS-TANKER IV

  • og tanker om helligsteder

Efter mødet med de japanske templer kommer jeg til at fundere over betydningen af “hellige steder” for mennesker. Landskaber, grotter, stenformaioner, templer og landsbykirker, helligkilder og gravhøje, hvor mennesker i generationer har følt et særligt tilhørselsforhold, en fascination, tiltrækningskraft. Naturligt opstået eller menneskeskabt, og passet på igennem lang tid. Mange møder har efterladt deres energi. Jeg svæver i tankerne igennem et par af stederne, og finder en fællesnævner
her: Alle disse steder giver mennesker lov til at blive stille overfor noget, der er større og smukkere, måske lidt skræmmende også, men smukt. De giver én lov til at åbne sig for dette større, åbne sig og lade noget andet synke i. Det føles ligesom et hul igennem “til den anden side”, dette “større”, at få kontakt med det, her på dette sted. At lytte, og lade sig påvirke af det, der kommer ud. Og her bliver “den anden side” så ét med én selv, alt går i ét, tid og rum mister mening.

Det fascinerende er, at mennesker selv kan skabe rammerne for, at dette kan indtræffe. I naturen, i haven, i hjemmet. Eller i te-rummet. Her samler man udvalgte genstande til denne ene lejlighed – blomster, kalligrafi, keramik, te-redskaber – som er behandlet med respekt og kærlighed gennem tiderne. (…)

mindful #mindfulness #march #seasons #holyplaces #cocreation

Nice and fresh morning, still enjoying green crystals and snowdrops, now in a vase… Lu An Gua Pian, now brewed after So Hans green tea instructions, ‘touch and go’, 7 seconds max, with gives a great result, three brews. Then 2013 Pasha Mountain Raw Pu Erh, not on pictures. Love your sharings, have a great day!! 🌱🍵

Following a friend in her path with ceremonial cacao, I was inspired to upgrade my tea space with some of my crystals and objects, I had packed away for moving. Today I am drinking Elton Powells ‘Taiwan He Huan High Mountain Oolobg Tea’, in a porcealain gaiwan. It is soft and fresh, matching the colours of the japanese green chabu, fluorite and green aventurin, and the scent of pinetree essential oil.

My friend shared some emails about the wisdom of cacao, where the facilitators were drawing on parallels to western wisdom traditions, as those of Teresa of Avila, mentioning Unio Mystica, the Mystic Union, and the Gospel of Maria Magdalena. I am again present to, how much the old traditions have to give us, if we just look. They contain guidance, that many lack in the western world – step by step guidance, towards the core, the place where vertical and horisontal worlds meet, the experience of being one with the universe. It is good to find them again, and work with them, playing, exploring, full of curiosity and deep joy.

For me, a long journey began 20 years ago, with Tao Te Ching, Zen meditation, and the study of Japanese tea ceremony. All of them were paths that pointed into ego-lessness, being in the present, focus, joy, passion. To be quiet, and create from there, as an artist and poet. A few days ago, browsing through beautiful tea images on the internet, I found these words for me, drawing me into the present, and the future: “BE IN STILLNESS / BE IN BEAUTY / CREATE / AND BE KIND”

Thank you all for sharing this tea journey… and have a great weekend.💕🍵

Pu erh again

Green Jasmin and Da Xue Shan Sheng Pu Erh 2012, and black on a walk later : )

Green jasmin

Today I tasted a green jasmin tea, I was gifted by the leader of the haikugroup I’m in. I had completely forgotten, how much I loved it, like… 20 tears ago : ) Round, soft, but also deep, with a long aftertaste. New incense ordered from Germany, same we used do use under zen meditation, ‘Extra Kobunboku’, ‘Plumtree’, with sandalwook, cinnamon, anisseed, benzoe, campher and chinese herbs. Reading Tao Te Ching no 65.

(28. febr 21)

March 6th, another day in the seasonal chinese calender, with the another poetic name “The awakening of insects”. The sky is clouded, and only drinking tea and reading poetry can lift ones spirits. Reading about seasonal words used in the japanese tea-ceremony this month (kigo), deeper feelings and thankfulness arise, despite the fog. Or – because of the fog, with the fog, in the fog. 
 
The sensitivity of japanese poets and tea people is simply amazing. In haiku, the pure description of what is, weather phenomena, birds or other things worth noticing, brings your awareness to them, small things, one normally might overlook. But in their language, japanese seem to have a larger range of words at their hand, that capture some of these phenomena in just one short word. The fact, that these words have been developed by them, shows their sensitivity. And the fact, that we lack them in our western languages, shows, that we havn´t even developed the sensitivity to feel them at all, in the first place. Look at them! For example:
 
“Ururaka” – the sky clearing up, the sunshine being mild and everything feeling bright and beautiful (reading this, the sky actually clears up!)
“Nodaka” – an awareness of time and the spring day being slow, long and balmy 
“Shun-gyo” – in the spring the dawn is the most beautiful, the air being “bewitching”, as mentioned in the “Pillow Book” by Sei Shonagon
“Shun-getsu” – “Because there is much water vapour in the atmosphere, the spring moon looks as though it is veiled in light silk; sweet and charming.”
“Haru-sama” – a soft rain, the makes grasses grow and cherry buds swell
“Sako-hime” – the princess of Sako, the godess of creation, “who veils mountains with mist and causes flowers to bloom in spring”
“Haru no yama” – a poem by Ryota: “The spring mountain BEAMED as I stood before them, brush in hand” 
 
The feeling that the mountains BEAM, the feeling of the energy present, lingering in front of it, no, IN it. This sensitivity is in all this. Out of that: the awareness of BEAUTY.
 
Blyth was worried about, that the poetry-reading part of the population was getting smaller, both in Japan, and in England. Can it be, that that part of the population can understand the more complicated philosophies of life, because they ‘work themselves around’ all the intellectualism and theory? Because they perceive ‘the truth’ directly through their senses, through their being. Nature just IS. Haiku, or all poetry, says Blyth, is best, when it also IS nature. And not only understanding poetry should come naturally: Also the writing of them should. Thoreau is said to having written in “A Week on the Concord”, that like an acorn develops on an oak, a poem should develop naturally, popping out of a human being, just like that. Naturally.
 
Poetical sensitivity, Blyth says, “needs to be cultivated to be able to open up for it, you need to know to empty yourself (…)” The question is: IF we should have a chance at all in the west of developing just a bit of this sensitivity – where would it come from? Is it in our upbringing, our education? Is it up to coincidences, books we fall over, poetry books we get recommended? Or is it from extended walks, from observing natures phenomena, with an empty mind, encouraged by meditation and mindfulness? A bit of both?
 
I will now go for a walk, and see for myself… 
(March 6th, 2021)

PS. Have been drinking GABA Oolong from StĂ©phane Erler, a very meditative sesshion, enjoying the pussy willows and a piece of bark, I found in an enchanted forest yesterday…

The other day I was reminded by the leader of the haiku group I am in, that expressed my “theory” of the importance of writing haiku IN a haiku moment. Finish it there – and then not change it afterwards. She appreciated my musings on haiku in prose form – but didn´t agree with me on one thing: that the haiku couldn´t be edited or changed after the haiku moment itself. Always shunning away from disagreeing, I said, “Oh, sometimes I DO change a bit.” She smiled: “Now you are not sticking to your own theories, then?” – Me: “Just changing a TINY little bit, sometimes, then!” 

Yesterday was a full moon in the zodiac sign of pisces, February, and I had my dinner, I returned to the kitchen and gave the bowl and spoon a washing up in the sink. Suddenly I am becoming aware of, that the light, I am washing up IN, is not the kitchen light – but the silvery light of the moon. It casts shadows. A haiku moment hits me. And the situation occurs – I don´t have a pencil by my side to write it down, it´s late – I and postpone the actual writing the haiku down, hoping to remember it the next day. The next day comes, and luckily, at least, I remember the haiku moment itself, and the intent to write a haiku about it. And that´s where the other challanging thing comes in, and which outcome is less lucky: I can´t find the right words. Searching for them, it becomes “work”, frustrating and unsatisfying. The words don´t come by themselves anymore. The result was this:

Moon in pisces – 
its light is flooding the bowl
I am washing up 


It has something about fish, floods, light – but something is missing. So yes, the importance of writing the haiku down IN the haiku moment itself… 

(27. februar 2021)

February Chaji

Japanese food and a japanese tea-ceremony…