ART OF CO: DO: ("The way of fragrance")

 

ART OF CO: DO: ("The way of fragrance")

 

              IN TRADITIONAL AND MODERN CULTURE LEISURE IN JAPAN

 

The Japanese art of making incense ko: do: (literally "the path of aroma") is viewed in the context of the development of tea and flower arranging art, which constitute the "three main arts of Japan." The article gives a brief excursion into the history of the development of the art of ko: do:, considers the main types of aromatic raw materials and incense, analyzes in detail various entertainment and game practices that popularize this elite art. Using the example of the most important written monuments, which are still guided by the main Japanese schools of ko: do: art, the importance and relevance of further study of the functioning of a unique art form that addresses the unshakable values of national culture is shown.

 

Key words: the Japanese art of making incense ko: do :, "the path of scent", "the three major arts of Japan", intellectual entertainment.

 

The experience of burning various aromatic substances in the cultures of the peoples of East Asia long preceded the formation of the art of incense. With the development of ideas about the properties of aromatic trees and plants, the method of making incense, and the methods of "hearing the aromas", and the technology of making bronze and ceramic incense burners were improved. Whole treatises appeared on the description of various aspects and stages of the process of preparing and burning incense, as well as the manufacture of special utensils. Despite the widespread use of incense aesthetics in China and Korea, it was only in Japan that it was able to develop into an independent type of elite art, becoming a real symbol of the national Japanese culture. In the history of Japanese culture, the art of composing incense 香道 ko: do: (lit. "aroma path") together with the tea ceremony 茶道 sado: / chado: (lit. "tea path") and flower arrangement 花道 / 華道 kado: (lit. " the path of the flower ") constitutes the" three major arts of Japan "(日本三芸道 nihon sangaeido :).

 

If in world oriental studies the art of tea and flower arrangement has been studied quite well, then there are practically no serious studies regarding the art of incense. Meanwhile, the history of ko: do: as the art of composing incense and the aesthetic attitude to them goes back over a thousand years in Japan. Among the many types of traditional sophisticated entertainment, it is difficult to find anything more refined and refined in the spiritual culture of Japan than this form of pastime, raised to the rank of high art. In the history and culture of Japan, the art of composing incense is closely related to two other elite forms of "graceful entertainment" - the arts of tea and flower arranging. An analysis of the triad "tea-flowers-incense" provides grounds for studying the important role of common cultural and historical factors in the East Asian region, primarily in connection with the spread of Buddhism. The attributes of Buddhist altars traditionally imply the fumigation of the room with incense and the obligatory presence of fresh flowers. As for the tea ceremony, given the ability of tea leaves to "absorb" odors, incense is often burned to flavor the room, and the room itself is decorated with a flower arrangement suitable for the season. If the art of tea and incense appeals to the gustatory and olfactory sensations, one way or another related to physiology, then the art of drawing up flower arrangements refers to symbolic-visual images and relies solely on the aesthetic needs of a person. At the same time, the creative element in all three types of arts is based on strong cultural traditions associated with an orientation towards the momentary, spontaneity and transience: the tea drink loses its taste, smell and color over time; the aroma disappears quickly; flowers and plants wither and dry up. One proof of the close relationship between the arts of tea, flower arranging and incense composition is the existence of similar aesthetic categories and playful practices adopted in these arts. So, by analogy with the tea action in the arts of ko: do: and kado: the concept of "ten virtues" ("-chaya, -incense, -flowers") was also developed 茶 / 香 / 花の十徳 cha / ko: / hana-no jittoku), which implied a number of subtle features of the positive impact of each type of art on a person.

 

The emergence of special aromatic plants in Japan is associated with the penetration of the VI century. to the Japanese archipelago through China, Korea and the southern tropics of a whole complex of various religious and cultural borrowings. Several centuries later, namely in the Muromachi era (1392-1573), when the principles of burning incense took shape in a harmonious system and it became possible to talk about the existence of elite art, the famous Japanese masters Sanjonishi Sanetaka and Shino So: shin, using data on a huge number of aromatic trees have compiled a classification of fragrances.

 

Taking into account the habitats of aromatic plants, six varieties were identified by the names of six countries:

 

伽羅 kyara (India),

羅国 rakoku (Thailand, Myanmar),

真那伽 manaka (Malacca, Malaysia),

寸聞多羅 sumotara (Sumatra),

真南蛮 manaban

佐曾羅 sasora (countries of Southeast Asia).

 

 

Additionally, “five flavors” of various aromas were introduced:

 

甘 kan (sweet),

酸 san (sour),

辛 sin (sharp),

鹹 kan (salted),

苦 ku (bitter).

Together, these names made up the concept 六国五味 rikkoku-gomi, which literally meant "six countries - five tastes" (Fig. 1).

 

 

 

According to these concepts, the fragrances were defined as follows:

 

[Fragrances and art ko: before :, 2002. p. 259]

 

伽羅 kyara “Mild aroma with slight bitterness. In its sophistication and grace it is associated with the best representatives of the aristocracy. "

 

 

The aroma of 羅国 rakoku was rated as “A tart and pungent scent, close to sandalwood. Usually a little bitter, reminiscent of warriors. "

 

 

The aroma of 真那伽 manaka was difficult to taste. It was believed that he “exudes a light, enchanting fragrance, changing, like the mood of a woman with bitter feelings. A sign of good quality if the aroma fades quickly. "

 

 

The aroma of 寸聞羅羅 sumotara was defined as “Sour. Sometimes it resembles a kyara, but is inferior to him in dignity. "

 

 

The aroma of 真南蛮 manaban was qualified as follows: “Most often sweet. The aroma is rough, as if peasant. It is inferior in dignity to other species ”[Ibid.] It is curious that the name of this fragrance contains the word naban (distorted 南蛮 namban), which means the tribes of the “southern barbarians”, who have lived throughout Southeast Asia since ancient times. Therefore, the place of origin of this aromatic substance is not clearly defined, and at present the substance itself is not identified.

 

 

The aroma of 佐曾羅 sasora has been described as “Fresh and sour. The aroma of good quality sasor is often confused with kyara. Sometimes the aroma is very light and subtle. " In the Edo period (1603-1867), the principles of this classification were further theoretically substantiated in the writings of the followers of Zen Buddhism, who described various sacred ceremonies using the ritual lighting of special incense, including elongated incense sticks of a certain length (for timing).

 

 

Currently, the composition of incense has finally turned into one of the types of exquisite and elite art, the secrets of which can only be understood by a select few, but at the level of the mass consumer, aromatic oils and dry mixtures used both in everyday life and in practical aromatherapy remain popular. At the same time, the most valuable aroma is still 伽羅 kyara (Skt. "Aroma", "fragrance"). It is not for nothing that a piece of unusually valuable wood of this tree, imported from China during the reign of Emperor Shomu-tenno (724-749), when the Todaiji temple was built in Nara and the famous Buddha statue 大仏 Daibutsu was installed, is still kept there in the national treasury of Syo: : in and called 黄熟香 o: jukuko: (lit. "fragrant [wood] ripe yellow"). Another well-known name is adopted for this aromatic tree - 蘭奢待 randjatai, which originally meant "to take a long-awaited excellent aroma." It is curious that from the Muromachi era in this name they began to see the hidden hieroglyphs of the name of the Buddhist temple 東大寺 Todaiji, on the territory of which the Syo: so: in repository is located along with precious wood. It will not be an oversimplification to say that the art of ko: do: was formed on the basis of observing the inherent properties of aromatic trees, as a result of which a special sophisticated system of “hearing aromas” was developed, a perfect technique was developed and a lot of special tools were invented, possessing high artistry.

 

Gradually, a whole system of aromatic substances “responsible” for one or another area of application and possessing a whole train of associations in Eastern culture took shape. Among the most popular aromatic substances, widely used in the Japanese art of ko: do: from the early Middle Ages to the present, one can distinguish substances of animal and vegetable origin.

 

Vegetables include:

 

star anise (大茴香 dayuikyo :),

benzoin gum (安息香 ansokuko :),

borneol (竜脳 ryu: but :),

carnation (丁子 cho: dzi),

camphor (樟脳 sho: but :),

cinnamon (桂皮 keihi),

incense (乳香 nude: ko :),

ling-ling (霊凌香 reiryo: ko :),

myrrh (没薬 motsuyaku),

sandalwood (白檀 byakudan),

backgammon (甘松 kansho :),

whereas to substances of animal origin:

 

- musk (麝香 jako :) and clam shell powder (貝香 kaiko :).

At the same time, some substances are used for medical and sanitary-hygienic purposes as a prophylactic agent for many diseases, others are used as spices and seasonings in the food industry, and others are used in practical aromatherapy [Introduction to the art of co: before :, 2003; A Millennium of Incense ..., 2001; Playing with flavors, 2008].

 

 

 

To date, there are many types of incense and methods of their manufacture, due to the wide range of their application. Incense is made in the form of mixtures, briquettes, sticks, cones, oils, powder and powder. The preferences of one type or another depend on the culture, traditions and scope of use.

 

In accordance with the method and scope of use in the art of ko: do: the following seven types of incense are distinguished:

 

(香七種 ko: -nanashu :): 線香 senko: (incense sticks);

練香 neriko: (mixed incense);

香木 ko: boku (aromatic wood);

塗香 zuko: (incense-perfume applied to the skin);

印香 inko: (aromatic signet);

抹香 makko: (aroma crumb);

匂い袋 nioi-bukuro (scented bag) (fig. 2).

 

 

Below is a brief description of each type of incense

 

線香 senko: (lit. "incense sticks") The most common type of incense. As a rule, senko: are sticks of different lengths and differ in the composition of aromatic components. The fragrance exudes a part located 2-3 mm below the burning part of the stick. Besides senko: in the form of sticks, 渦巻き線香 uzumaki-senko: (literally, "incense twisted in a spiral") is also popular. They are used during burial rituals, coming-of-age rites, marriage, ancestor worship, and in Buddhist temples. Aromatic substances widely used in senko: - sandalwood, Japanese cryptomeria, aquilaria, wormwood, calamus (iris), rose flowers, lavender. Currently, this type of incense is used everywhere: during the Buddhist funeral rite, and during the tea ceremony, and for rest, etc. The length of the sticks differs depending on their purpose. Thus, smoking candles intended for ceremonies in Buddhist monasteries can exude aroma for up to 8 hours and reach a length of 73 cm. All senko incense: divided into two large groups: 匂い線香 nioi-senko: (literally, "fragrant incense sticks") used for aesthetic purposes, and 杉線香 sugisenko: (lit. "incense sticks from cryptomeria"), which are used when remembering the dead and visiting graves. "Fragrant sticks" are made using (as a combustible binding base) powder from the bark of the mahila (laurel family, タブの樹 tabu-no ki), which serves as an aroma fixer, and sandalwood, cinnamon, cloves and other substances are used as a fragrance. To create incense sticks from cryptomeria 杉 sugi, ground leaves of a tree are used, which have been dried for three months. A separate type of senko: is 蚊取線香 katori-senko: - incense sticks against mosquitoes.

 

 

練香 neriko: (lit. "mixed incense") This is a traditional composite type of incense from the Heian era. Various aromatic components were mixed in different proportions and molded by adding honey and charcoal, after which the resulting round balls were ignited on special ceramic supports or laid in the ashes of the hearth. Tradition connects the method of making neriko: with the name of the famous Tang monk Jianzhen 鑑真 (Japanese Gandzin), the founder of one of the schools of Buddhism, who in 754, along with Buddhist sutras, brought to Japan 12 types of aromatic substances for composing incense. Including thanks to this event, the tradition of evaluating the aroma began to form in Japan.

 

 

香木 ko: boku (literally "aromatic wood") Aromatic wood plates, most often square (1 × 1 cm), do not exude aroma by themselves. To enjoy the aroma, such plates are usually divided into small pieces of several square meters. mm, which begin to exude aroma when heated. Actually, the scent exudes the tree resin, which is formed due to the work of bacteria in the dried tree. On their own, such plates are used in the ceremonies 聞香 monko: (literally "listening to the scent") and 空薫 soradaki (lit. "incense [scents to fill] space"), where they enjoy the scent of pure aromatic wood.

 

 

塗香 zuko: (lit. "incense applied to [skin]," or "perfume-incense") Incense is a fine powder mixed from several varieties of crushed aromatic wood. Designed to be applied to the skin, upon interaction with which it emits a delicate and light aroma. Similar aromatic substances were used in ancient India. They were obtained from the wood of aromatic trees in order to eliminate unpleasant body odor. Subsequently, the idea of such a purification was adopted by Buddhism, becoming an obligatory element of some rituals performed in front of Buddhist deities. Zuko Scented Powder: Was applied to Buddha statues and the skin of Buddhist monks to symbolize spiritual cleansing and protection from evil. Although the ritual of cleansing with the help of zuko: and differs depending on the religious school, general principles of use can be distinguished. Taking a little powder, part of it had to be put first in the mouth, then both hands were connected, and at the end, the powder was applied to the chest. This symbolized the cleansing of the mouth, body and thoughts.

 

印香 inko: (lit. “aromatic seals”) This specific type of incense is obtained by placing a well-mixed aromatic raw material in a special stencil mold, pressed and dried. These molded seals begin to give off a scent when heated over hot ash. The use of seals of various colors and shapes is a special pleasure. When manufacturing, preference is given to heroes and symbols of national folklore, seasonal cult items, etc.

 

 

抹香 makko: (lit. "aroma crumb") Incense is a small crumb of aromatic wood. Often acts as the basis or fixative for composite incense neriko :. It is an excellent combustible material, interacts well with water, forming a viscous mixture. In the past, for makko: they took mainly aquilaria and sandalwood, and now they also use dried leaves and bark of star anise, or aniseed illicium (樒の樹皮 shikimino ki), as well as powder from the bark of the laurel family. The crumb is used as offerings to Buddhist deities.

 

 

匂い袋 nioi-bukuro (literally "aromatic bag") This refers to bright cloth bags where various aromatic raw materials are placed (musk, cloves, sandalwood, borneol, etc.). Usually, these bags are either carried with them or stored in a wardrobe. In Japan, this type of incense appeared in connection with the spread of Buddhism, and from the Heian era to the Edo era, it was considered a common part of the aristocratic life. Analogue of the European sachet (sachet).

 

 

Since the beginning of the use of incense in ritual Buddhist practices, a whole system of assessing the merits and scope of a particular fragrance has gradually been developed. Through the stages associated with the use of kuko incense: for sacrifices in the Nara era (710–794) and ku: ko incense: for fumigating rooms and clothing for sanitary purposes during the Heian era (794–1185), popularizing the art of ko: do: gradually began to occur through play practice. It began to develop actively in line with such traditional entertainment of the Heian aristocracy as various tournaments associated with the concept of 物合せ mono-awase ("comparison of things"), when similar things and objects were compared with each other according to certain criteria. By analogy with poetry tournaments 歌合せ uta-awase, flower contests 花合せ hana-awase, entertainment 買合せ kai-awase (“adding shells of hamaguri clams”) and other intellectual contests, a new entertainment was invented 薫物合合 such a objects "), which is considered one of the competitions 香合せ ko: -awase (" matching aromas "). In the takmono-awase competition, neriko: incense was burned, made from various types of aromatic substances. Already from the Nara era, in addition to aquilaria wood, various aromatic resins, myrrh, musk, amber and other natural ingredients were used, which were crushed, crushed and kneaded together with honey or sugar into a homogeneous mass. Since the beginning of the Heian era, plum flowers and pulp, chrysanthemum flowers, lotus leaves, and fallen leaves have been used as such. Since the Kamakura era, by analogy with tea competitions 闘茶 to: cha, they began to hold competitions to guess the aromas 闘香 to: ko: Participants in such meetings often prepared two or more types of incense, placed them on the tatami, divided into two teams and alternately burned the prepared samples. At the same time, in addition to the dignity of aromas and taste of the composition itself, the ability to choose a suitable name for it associated with ancient literary works, with famous legends or poems in the waka genre was extremely highly appreciated. By the middle of the Edo period (the turn of the 17th – 18th centuries), many independent variants of such techniques took shape (their number exceeded three hundred), and the technique of composing 組香 kumiko was developed: (literally, "combining aromas into groups").

 

 

In the Edo era, a great many combinations of kumiko were invented, the names of most of which were somehow connected with Japanese classical literature: with the poetic anthologies "Hyakunin-isshu", "Kokinwakashu", with the stories "Ise-monogatari", "Genji-monogatari ", With Sei Shonagon's essay" Makurano Suck "(" Notes at the Headboard "), etc. The main topics of the meetings were traditionally chosen such topics as" seasons "," holidays-wishes "," miscellaneous ", etc. During special meetings, new types of kumiko entertainment were constantly invented: This was facilitated by the long tradition of creating a special atmosphere associated with the definition of the topic of each meeting, for which famous literary works were selected, which ultimately created additional conditions for the utmost aestheticization and deliberate poeticization of the process of burning incense. In the art of ko: do: which reached its heyday in the Edo period, several hundred combinations of kumiko: fragrances were invented, the merits of which served as the basis for comparison and holding of a kind of competition. The name of each ritual was timed to coincide with a specific season and, as a rule, had to do with a particular literary work. The results of such competitions were initially recorded on paper, but with the onset of the Edo era, many competitive games were invented, where the players' achievements were recorded by rules based on the principle of moving special figures on a special stand 盤物 ban-mono / bammono (literally "board" or "object On the desk"). The participants in the game moved on a specially marked board figures of dolls, animals, branches of trees and flowers, depending on luck or failure in guessing a certain aroma. The player whose figures reached the goal the fastest became the winner. The tools used in games deserve a special mention. In addition to exquisitely made and decorated with exquisite ornaments ban-mono boards, figurines and various utensils, special cards are widely used 香札 ko: -food ("aroma cards"), or 十重香札 jissyuko: -food ("cards of ten aromas" ). They are designed to determine the order of lighting and listening to each aroma, as well as for answers when guessing a particular aroma (they are lowered into a special box). The cards themselves symbolically depict 10 trees and flowers, which represent a kind of "plant code" of Japan: plum ume, willow yanagi, iris syo: bu, cherry sakura, peony bo: tan, bamboo take, chrysanthemum kiku, pine matsu, lespedeza hagi, paulownia kiri (according to another version, the cards show the following suits: pine, bamboo, plum, willow, wisteria, sakura, chrysanthemum, maple, daffodil, carnation (Fig. 3, a, b) 1. When studying the history of the development of the elite art of composing incense important is the study of a number of encyclopedic collections of the Edo period (1603-1868), which have not lost their significance to this day.

 

 

The illustrated monuments The Orchid Garden of Ko: Do: Art (香道蘭之園 Ko: Do: Ran-no Sono, 10 scrolls, 1737) and The Plums of the Humble Home of the Ko: Do: Art (香道賎家之梅 "Ko: do: shizugaya no ume", in 15 scrolls, 1748), combining all the theoretical knowledge and practical techniques of composing fragrances developed by the Edo era. These works, which have now become invaluable evidence of centuries of experience in observing the beneficial properties of aromatic plants and substances, collect and describe in detail the objects of ko: do: art, the rules and accessories of graceful entertainment used in rituals, and much more. The book "Orchid Garden of Art Ko: do:" provides a wealth of information concerning the history of borrowing and the development of the tradition of using aromatic plants and complex multicomponent incense made from them in the cultures of East and Southeast Asia. In addition, the concept of "ten virtues of incense" is given, an analysis of 234 types of combinations of kumiko: is given, among which 44 are related to entertainment on the ban-mono board, and a third are compositions, the names of which are directly related to the iconic work of Japanese literature at the turn of the X-XI centuries. "The Tale of Prince Genji". It also describes quite complex games that require knowledge of classical poetry and prose in China. At present, representatives of the two main Japanese schools of art ko: do: (御家流 Oie-ryu: and 志野流 Shino-ryu :) in their theoretical and practical activities are largely guided by the postulates and recommendations set forth in these two above-mentioned monuments. Their further thorough study seems relevant and necessary, given the new sharp surge in Japan's interest in traditional culture, the appeal to the unshakable values of which is perceived as a serious opposition to the onslaught of globalization and the influence of Western mass culture.

 

 

 

E. E. Voytishek, Ya.A. Nikitina