The Tea Pavilion is one of the most interesting monuments in the world of architecture. Which is unparalleled, not only in the West, but also in the Land of the Rising Sun.
According to legend, a tea pavilion as a separate building, invented by Rikyu, the greatest of all Japanese tea ceremony masters, who in the XVI century determined its ritual.
Formally, the tea pavilion (sukiya) is nothing more than a simple thatched hut. It consists of the tea room accommodating up to five people, ante-room (Mizuya) where all supplies for the ritual are washed and arranged before taking in the main room, awning (Matia) under which guests usually expect an invitation to enter, and a garden path (Rhodes) that is connecting the awning and the tea room.
The Tea Pavilion is a very small building, but every detail in it is carefully chosen. Its construction is more expensive than the construction of a mansion, and the builders carrying out an order of a master of tea ceremony are very respectable caste.
The style of the tea pavilion is very simple. The situation should help to forget the bustle of the material world, and not to compel attention to its transient luxury.
Semantic center of the tea pavilion is Tokonoma, a kind of "red corner” of the tea room. During the tea ceremony, a painting, a scroll or an object that specifies a certain mood of the guests of the ceremony is placed in Tokonoma. Flowers - one of the most common attributes of the ritual, traditionally, placed inside.
Hieroglyph for a tea pavilion (茶室), can be deciphered as "shelter of imagination", "shelter of emptiness" or "shelter asymmetry”. Tea Pavilion, being sparingly decorated, allows to activate the human imagination, which should complete the asymmetry of the place.
Each tea pavilion is different and, indeed, is unique, as it is created for a specific master at his own request and according to his tastes. The Tea Pavilion is not inherited: when the master dies, the building dies. The Tea Pavilion is an attempt to feel the joy of individually experienced moments of life, rather than enduring symbol of eternity.
In contrast to the lush of western interior, the interior of the Tea house is extremly simple. Only one piece of art, which is placed in Tokonoma, specifies a certain mindset. According to that piece of art, most often it is flowers or a special type and color of glassware, then the rest of accessories are selected.
No subject in the tea pavilion looks like any other by color or shape. Flowers are never combined with their images, a black bowl is not used in combinations with a black box for storing tea leaves, and even wooden objects are made of different types of trees. The awareness of imperfection and incompleteness is a way to comprehend the world around by trying to find one’s place in it and coming to harmony with it.
Like everything else in the Japanese culture of tea, the pavilion is a symbol of a certain philosophy of life. A "man" is called to the consonance with the world, harmony, and gain in active spiritual poetic action, not passive contemplation of the surrounding reality, and even more so than merging with it in a wild dance of everyday life.