Pine Needles in Tea and Zen

Ga-ran-dō, 伽蘭洞, Attend-orchid-cave; kake-jiku, 掛軸, hang-scroll, with calligraphy, ‘Shō-fu-za’, 松風坐, Pine-wind-sit, by Nyo-kyō(?), 如郷, Like-village. L. 5 shaku kane-jaku.

Top: shi-fuku, 仕覆, serve-cover, silk drawstring bag tailored to fit a cha-ire, 茶入, tea-receptacle: the himo, 紐, or o, 緒, cord stretched loop length is 6 sun kane-jaku. Shifuku fabric pattern is Ichi-matsu takara don-su, 市松宝緞子, City-pine treasure damask-of.

Middle: eda-zumi, 枝炭, branch-charcoal, for ro, 炉, hearth; 6 sun kane-jaku. The edazumi is made of a tsu-tsuji, 躑躅, azalea twig that is made into charcoal and covered with go-fun, 胡粉, foreign-flour, made of burned oyster or clam shells ground to a chalk white powder. The shells from the sea help to metaphorically fend off fire. Azalea stems are bound with wire to growing cedar tree trunks to create a textured surface for toko-bashira, 床柱, floor-post, and other wooden objects. Azalea wood repels water and can withstand being subject to the elements, whereas other woods may disintegrate. Metal rods are often used in modern times in lieu of the azalea branch.

Bottom: design of a two-tine pine needle, matsu-ba, 松葉, pine-leaf, with one broken needle crossing the other. The two-part saya, 鞘, sheath, is exaggerated, perhaps for some symbolic meaning. The broken pine needle emblem is identified with Japanese Sō-tō-shu, 曹洞宗, Community-cave-sect Buddhism. The pine needle motif is symbolic of mortality, terminated infinity. It is, in a sense, a broken ‘hachi’, 八, eight, symbolically identified with Infinity in Space. 

The splayed open two-tine pine needle, matsu-ba, form is like the Kanji for eight, hachi, 八, which is symbolic of Infinity in Space. In Japanese, hachi, is a manifestation of sue-hiro, 末広, ends-wide, a sign of felicitation and longevity being evergreen,  jō-ryoku, 常緑, even-green.

Pair of kan, 鐶, metal ring, in the form of circular matsu–ba, 松葉, pine-leaf: diam. 2.7 sun kane-jaku, by Ō-mi Hō-chō, 近江保長, Near-bay Keep-long. Used in Chanoyu to move the kama, 釜, kettle.

Pair of hi-bashi, 火箸, fire-rods, blackened steel, with eyelet finials; L. 9.5 sun kane-jaku. Used to aid in building the charcoal fire in the fu-ro, 風炉, wind-hearth. The pair of hibashi resemble the Japanese number hachi, 八, eight, symbolic of Infinity in Space, and may be likened to a two-tine pine needle.

Cha–wan, 主茶碗, tea-bowl; cream-colored ceramic with gray glaze patches, H. 2.7 x 3.7 sun kane-jaku, by Wa-da Tō-zan, 和田桐山, Harmony-ricefield Paulownia-mountain, signed, calligraphy “Matsu-kaze,” 松 風, Pine-wind, by MoriShō-un, 森松雲, Woods Pine-cloud, abbot of Gyoku-rin-in, 玉林院, Jewel-grove-temple, sub-temple of Dai-toku-ji, 大徳寺, Great-virtue-temple, Murasaki–no, 紫野, Purple-field, Kyōto.

One of the most poetic Japanese expressions has its source in the pine tree, matsu-no-ki, 松の木. The wind blowing through the pine needles and branches is called ‘matsu–kaze’, 松風, pine-wind. It is the sound of longing and pining for loss and desire and yet has a calming reassurance. The murmuring of the hot water in the kama soothes one’s spirit, and in a practical way indicates that the temperature of the water is appropriate for making a bowl of Tea.

Sen-su, 扇子, fan-of, paper and blackened bamboo; L. 7 sun kane-jaku: with calligraphy, ‘ko-kon shiki’, 無古今色, past-present color, written by Hōunsai XV, with a pattern of fallen matsu-ba, 松葉, pine-leaves. The words come from the Zen phrase ‘Matsu ni ko-kon iro nashi’, 松無古今色, Pine no past-present color. The form of the open fan is symbolic of Infinity in Space, and the auspicious sue-hiro, 末広, ends-wide.

The fan has thirteen ribs and two covers. This may refer to the jū-san-butsu, 十三仏, ten-three Buddhas, thirteen Buddhas who preside over 13 periods of mourning.

Raku-su, 絡子, camlet-surplice, wrap-of; fabric worn like an apron, by Buddhist clergy and laity at informal occasions. Rakusu is a smaller version of a ke-sa, 袈裟, camlet-surplice, which is worn at formal occasions. 

The double straps are held together by a piece of fabric called a maneki, マネキ, which has a design of a two-tine pine needle, 松葉, pine-leaf. The pine needle motif is shown reversed, from the inner side of the maneki. This motif rests at the location of the seventh cervical vertebrae: C7 kei-tsui, 頸椎, neck-spine. In some spiritual traditions this bone represents the unification of mind and heart.

Left: Maneki, マネキ, 招, invite; fabric loop on the strap of a Buddhist ke-sa, 袈裟, camlet-surplice, apron-like apparel, and located at the nape of the neck. Raku-su, 絡子, worn by laypeople, and is a smaller and informal kesa, outer ceremonial robe. The maneki fabric attachment is on the strap of a Buddhist kesa, with a basted thread design of a broken pine needle as seen from the back of the wearer. This motif rests at the location of the seventh cervical vertebrae, which is believed by some to be a spiritual anchor between the physical body and the ethereal realms. 

Right: kō-tsutsumi, 香包, incense-wrapper, heavy paper folder, for holding sen-kō, 線香, stick-incense, etc. made by Kun-gyoku-dō, 薫玉堂, Fragrant-jewel-hall, for Higashi Hon-gan-ji, 東本願寺, East True-vow-temple, Kyōto. 

The sizes, proportion, and construction of the maneki is the same as the sizes and folds of the kō-tsutsumi, which is folded in half to be the same as the maneki.

A stylized design of a bifurcated pine needle may be embroidered on the back of the double straps of a Buddhist kesa. The dimensions are highly specific, including its orientation.

The broken pine needle that is sewn onto the maneki, マネキ, has special significance. It is important to note that with regards to the Buddhist kesa, the term maneki appears in katakana, indicating that it could be a derivative of a foreign word. In Buddhist terminology, this term may be a combination of two words, ma-ni, 摩尼, demon-nun, wish-fulfilling, jewel, and ki, 生, life force. 

There is another thought on the meaning of maneki. Perhaps the flap of the maneki is a highly stylized and symbolic bow to ‘tie’  or unite the straps. The pine needle stitch is to be sewn on by the owner of the rakusu. Regardless of the design motif, the stitch secures the maneki in place at the back of the neck.

Figure of a maneki neko, 招き猫, beckoning-cat; painted ceramic, 3.3 x 3.15 x 6 sun kane-jaku: Edo Period. The cat is holding a coin inscribed hyaku-man-ryō, 百万両, hundred-ten thousand-‘coin’. The cat’s collar and bib have a stylized design of shō-chiku-bai, 松竹梅, pine-bamboo-‘plum’: the green bib may evoke the evergreen pine. The bib is a kind of kesa, with a bow at the back of the neck that might allude to Buddhist maneki, invitation. Attached to the collar is a suzu, 鈴, bell, which is rung to invite the gods.

Each of the papers nine rectangles are of different proportions. A rectangle or square of nine squares or rectangles in Buddhism is identified with the Kon-gō-kai Man-da-ra, 金剛界曼荼羅, Gold-strength-world Wide-weed-spread, and other mandalas, as well as the nine half-tatami of the ideal yo-jō-han cha-shitsu, 四畳半茶室, four-mat-half tea-room. Nine also represents one surrounded by eight, or 1.8. Eighteen or ten-eight is the number identified with Infinity in Space.  

Senkō is made in a variety of sizes, and some lengths are related to the length of time that it can burn. This is identified with the time allotted for zazen. A standard senkō length is 1.5 sun kujira-jaku, which may be identified with the one and a half cha-shaku, 茶杓, tea-scoops, of matcha for one fuku, 服, dose, of usu-cha, 薄茶, thin-tea. A stick of senkō such as the one illustrated above, burns for about 12 to 13 minutes.  

In meditations derived from Hindu and Buddhist traditions there is a concept of time used that is referred to as the ghatika. This Sanskrit word generally references a measurement of 24 minutes, though it is acceptable in many traditions to either add or subtract in increments of six minutes, six being representative of Infinity in Time. The senkō above burns for 12-13 minutes is borrowed from this ancient tradition. In past times, temples kept time as in shown in the Kanji for time, ji, 時, which is composed of nichi, 日, sun, and tera, 寺, temple.

Kō-ro, 香炉, incense-hearth, celadon with two sticks of sen-kō, 線香, stick-incense, laid flat on a bed of ash. This is in the manner and custom of Jō-do Shin-shū, 浄土真宗, Pure-land True-sect, which is the sect of Higashi Hon-gan-ji, 東本願寺, True-vow-temple.

A  single stick of incense represents one needle of the two-needle pine needle, which itself represents Infinity in Space. Separated or crossed or broken needle represents mortality. Another prominent Buddhist symbol is the five needle pine cluster called go-yō-matsu, 五葉松, five-leaf-pine, which can evoke the Go-rin, 五輪, Five-rings: Earth, Water, Fire, Wind, and Void, and the Go-gyō, 五行, Five-transitions: earth, water, fire, metal, wood. 

In certain sects of Buddhism, one or more sticks of senkō are laid flat on the ash bed in a kō-ro, 香炉, incense-hearth, rather than standing the stick upright in the ash. This manner allows the entire stick to burn, whereas, the end of a stick stood upright often remains unburned. The stick is lit and laid with the burning end to the left. The left is identified with north, just as the body of Buddha was laid with his head toward the north, lying on his right side facing the west and the Goku-raku Jō-do, 極楽浄土, Extreme-pleasure Pure-land of Amida.  

The five elements of the schematic thread pine needle may be identified with the Go-rin, 五輪, Five-rings, of Buddhism: Earth, Water, Fire, Wind and the Void. The Void develops into a sixth ring that is identified with Shiki, 識, Consciousness. Each of the six threads of the matsuba sewn onto a maneki is doubled, indicating it dual aspects. A circle that has been stretched to form a single line, much as the loop of the cord of the shifuku. One of the thread lines is broken, but still attached, showing the connection between Consciousness and the Void, undifferentiated In and Yō. 陰 and 陽, receptive and penetrative. The two threads making up each line manifest In and Yō moving in opposite directions at the same time.

The anatomy of a two-needle pine, futa-ba matsu, 二葉松, two-leaf pine, includes the saya, 鞘, sheath, fascicle, the sheath the holds two or more individual needles together this word in Japanese translates to bun-satsu, 分冊, division-volume, such as the Shō-bō-gen-zō, 正法眼蔵, True-law-eye-treasury, ‘The Treasury of the Dharma Eye’ by Dō-gen Zen-ji, 道元禅師, Way-origin Zen-master, includes a great number of sections referred to as the bunsatsu. The Kanji for volume is representation of a thread, suture, that holds together the pages of a sutra. The etymology of ‘sutra’ and ‘suture’ have their roots in the Sanskrit word for ‘thread’. 

Dōgen used imagery of pine trees in the snow to refer to his dedication to his practice. He used such imagery to illustrate the non-dual nature of reality, and show that there is no difference between practice and Enlightenment. Dōgen was the founder of the Sōtō Sect of Buddhism, which uses the emblem of the matsuba on the strap of the kesa. 

Image of Daruma under a pine tree while teaching a disciple. Attributed to Ken-kō Shō-kei, 賢江祥啓, Wise-inlet Auspicious-disclosure; active 1478 -1523.
Photo: The MET, NYC.

Daru-ma, 達磨, Attain-polish, the supreme example of Zen meditation, is frequently depicted sitting under a pine tree. It is said that Daruma had a mustache and beard that were likened to pine needles. 

Rikyū believed that the ro-ji, 露地, dew-ground, garden of a tearoom should have a pine tree. Hideyoshi and Rikyū organized the Kita-no Dai-cha-no-yu, 北野大茶湯, North-field Great-tea-hot water, in 1586, to which everyone was invited. There, on the grounds of the great shrine, Rikyū saw a man that had a kama, 釜, kettle, who had suspended the kettle over a fire on the ground, he hung it from the branch of a pine tree.

Above left: stylized brush stroke Kanji for the Japanese number ten, jū, 十. Above right: brush stroke Kanji for the Japanese number eight, hachi, 八.

Below: stylized motif of a bifurcated matsu-ba, 松葉, pine-leaf – with exaggerated, prominent saya, 鞘, sheath, which implies special significance. 

Reclining Buddha, brass, Tibet. The iconic figure depicts the Parinirvana of the Buddha, his death and entry into Nirvana, Ne-han, 涅槃, black soil-tub. The posture signifies complete tranquility and detachment from the outside world.

The Buddha is known as Shakyamuni, Japanese, Sha-ka Mu-ni, 釋迦摩尼, Explain-(sound) Demon-nun, The word muni means sage – Buddha was the sage of the Shaka clan.

The Kanji for matsu, 松, pine, is composed of moku, 木, tree, and kō, 公, public, which is composed of hachi, 八, eight, and bō, 厶, myself. The Kanji moku, ki, 木, wood, tree, is composed of jū, 十, ten, and hachi, 八, eight. Which may be interpreted as jū-hachi, 10.8, symbolic of Infinity in Space and Time. 

Part of the iconography of the Buddha in his Parinirvana, depicts his left knee as bent and touching the ground in front of his right leg. This is not unlike the form of the pine needle motif on the maneki. Were the stitch to be figured in this way, it would give the impression that it was his right knee that was bent which is the way the stitch appears on the inner side of the maneki. The posture of the Buddha is not only a signifier of tranquility, it also resembles the pine needle motif found in both Tea and Zen.

For further study, see also: December Observances, Furo, Ashes, Kobukus, and Buddhist Kesa, and Ro and the Goma