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tradition, and it has greatly affected the architecture and landscape around it to enhance the experience one receives while in the ceremony. The teahouses were constructed expressly to incorporate the qualities of concord, reverence, pureness, and isolation that are the very essence of the ritual. The four different teahouses are all separated from the main building and are isolated from everything except for the nature around them; to reach each building, one must take a path that doesn’t reveal the view of the pavilion until the very last moment. The teahouses also use rustic elements such as bark covered wooden supports or irregular shaped wooden pieces as extensions of the natural world, for the tea ceremony aims at fusing the spiritual and the natural. Additionally, the teahouses account for many experiences while you are inside of it. The windows and apertures in the pavilion are at eye level when sitting so that one can feel more in tune and closer to nature and so that one can "admire the cherry blossoms in the spring and the crimson leaves in the autumn… while preparing tea and enjoying exquisite cuisine". Finally, the interior of the buildings were planned so that the designers imparted their reverence for the materials and spatial harmony, which are intended to promote reflection that will achieve inward simplicity and tranquillity of the mind.
560:). In traditional Japanese Architecture, the shoji and the fusuma are used to separate the spaces created by the tatami mat into the various rooms of the house. The shoji is the generic term for the white and translucent screen door or wall that is reinforced with wooden lattice and can either be stationary, hanging, or sliding. The fusuma is a subcategory of the shoji and it is the white or painted moving screen partition used on the interior of the house. By moving the fusuma, when in conjunction with a stationary shoji, the resident is able to create new rooms within the architecture. For instance by moving one fusuma wall, one could transform two rooms into one large room and a small storage closet. In the Katsura Imperial Villa, the fusuma allows the rooms to change and open up to the natural world with exterior decks becoming extensions of the interior and framing views of the landscape. An example of this type of transformation is the moon viewing platform connected to the Old Shoin. Besides these characteristics, there are many traditional Japanese ideas that are used in the Katsura Imperial Villa, like the decorative alcove (
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site in which the Shōkin-tei is located was initially the first point in which the visitors could view the pond. But through the development of the land, such as extending the pond to the southwest and reconstruction of the main house, the entire site developed into a tour garden rather than a view garden. It intends for one to walk through the space rather than just view it from the interior of a house. The most prominent and unusual aspect of the teahouse is the unfloored loggia. It is facing the pond with an open pantry in the center for tea ceremonies. This was very unusual to have in view of the tea drinkers and not in the back of the house. Additionally, three oak logs in their natural states support the extended eaves of the loggia. With the thatched roof, the roughness of the pavilion resembles a rustic kiosk. A prominent feature in the interior is the heavy papering with a blue-and-white checkered pattern on walls of the tokonoma and sliding doors between the First and Second rooms.
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wall of the entry room has uncharacteristic row of six round windows, giving the approaching visitor a feeling that the building is laughing at them. This particular pavilion is different from the others not in appearance but in the arrangement of rooms. From a processing of a narrow toilet to wider rooms to the kitchen and servant quarters, the pavilion appears to operate as an independent house. A small room with a shoin window overlooks the farmlands outside the grounds, connecting the viewer psychologically with the real world rather than the garden.
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that it has today. The terraces and porches created by the arrangement of the tatami mats provide opportunities to view the landscape and link interior spaces with the outside world. The floors of each building of the site are also raised as well, which originally was derived from vernacular designs for granaries, as well as early imperial palaces. They serve the purpose of both keeping the floor dry while also giving hierarchy to the space. Another classic characteristic that the
Katsura Imperial Villa utilizes is the use of screen walls (the
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After marrying the daughter of Lord Kaga, which greatly increased his income, he set out to renovate the imperial villa. With the section of the villa his father built known as the "Old Shoin", Toshitada constructed the main house, as well as several teahouses, and these became part of the section called the "Middle Shoin". After these renovations, the fame of the
Katsura villa grew.
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in 1662, and his heir died a few years later. After this, the fourth and fifth generation princes died in their teens, making additions to the
Katsura Imperial Villa impossible. However, the seventh generation prince, Prince Yakahito, visited the villa numerous times and made repairs to it, leaving most of the layout in its original form.
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is a coffered ceiling, and an alcove containing a large window. The
Katsura Shelves are especially noteworthy, and are located in the corner opposite of the entrance. Other rooms in the New Palace are the imperial bedchamber, the consort’s dressing room, a pantry, a wardrobe, a bath, a toilet, and a washroom.
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The Geppa-rō, also known as the "Moon-wave Tower," has a view overlooking the pond. Although it is only fifteen by twenty-four feet in area, it is known for its spatial effect due to its exposed ceiling and roof structure. The roof is supported by four slanting beams that rise from the corners of the
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In 1654, Toshitada adopted Prince Sachi, one of the ex-Emperor Go-Mizunoo’s many sons, and a few years afterwards, Go-Mizunoo decided to visit. It is said that the New Palace, also called the "Imperial-Visit Palace", was built to accommodate the ex-Emperor while he was visiting. Prince
Toshitada died
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on 3 May 1934. On only his second day in the country he was taken to visit the
Katsura villa by members of Japan’s International Architectural Society. To the delight of his hosts Taut promptly declared the villa an unparalleled Japanese modernist archetype. In his subsequent publication of ‘Nippon’
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The New Palace features a large hipped-and-gabled roof, as well as a veranda enclosed by wooden shutters. The design of the New Palace is more structured than the Old and Middle Shoin, and is composed of an eight-mat room, a six-mat room, and a three-mat area that are arranged into an L-shape. There
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As the path away from the Shōka-tei splits, the right leads to the front lawn of the main house, while the left leads to the Onrin-dō, a small ancestral shrine. Following this shrine, there is an open area leading to the Shōiken. It is also referred to as the "Laughing
Thoughts Pavilion." The upper
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mats covering them. Tatami are mats approximately 3 feet by 6 feet in length that are not only used as the floors of the villa, but are also used to define the dimensions of each individual room and the house as a whole. At
Katsura, the mats are used to create the sprawling and pinwheel-like plan
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At the
Katsura Imperial Villa, the teahouses are perfect examples of how Zen Buddhism has affected the architecture and landscape. The tea ceremony, performed at the pavilions, is a very important part of Japanese society because it is a spiritual ritual symbolizing detached perfection in the Zen
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Leaving the Shōkin-tei, one follows up a "mountain path" to the Shōka-tei, which roughly means "Flower-Appreciation
Pavilion," as cherry trees surround it. It is a small teahouse that is situated at the highest point in the garden. It has the clearest view of the main house through the trees. The
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Across the pond from the Geppa-rō is the Shōkin-tei, also known as the "Pine-Lute Pavilion." The pavilions contrast one another, as the Geppa-rō is active and situated on higher ground looking down onto the pond whereas the Shōkin-tei is less active and elevated not far above the water level. The
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Within the garden, there were originally five teahouses. Although currently there are only four standing, the pavilions were implemented for practicing the Japanese art of the tea ceremony. The small structures were built to incorporate qualities that are at the essence of the tea ritual, such as
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Prince Toshihito died in 1629, when his son Toshitada (also called Noritada) was ten years old. Because he was only a child, Toshitada made little use of the garden, and the villa was allowed to deteriorate badly. However, he shared the same interests as his father, and visited the villa by 1641.
463:. In 1586, Toshihito was adopted by Hideyoshi Toyotomi, but they separated in 1589 when Hideyoshi had his own son. He presented Toshihito with land that yielded 3000 koku (15,000 bushels of rice) and allowed him to establish a new house in the imperial line, which became the Hachijo family line.
486:, the location of the novel the Tales of Genji, he set out to construct a villa modeled on passages from it. However, because he lacked wealth and resources, the first constructed villa was similar to "a teahouse in the melon patch". However, after the marriage of
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The Old Shoin was constructed by Prince Toshihito. It is composed of rooms with nine, ten, and fifteen tatami, and has ceilings supported by wooden slats. On the southern side, there is a room with a veranda attached, which shows elements of the
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harmony, silence, and reverence. Additionally, the tea rituals tried to incorporate the spiritual and natural world, therefore, the teahouses used natural elements such as wooden supports with bark, continuing the atmosphere of the garden.
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posts are barked logs, as the floor plan is made of only four tatami mats in a U-shaped pattern. Emphasizing the atmosphere of a mountain house, strips of dark blue and white cloth are hung on the front of the pavilion.
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building with a ridge pole that is further supported by a curving king pole resting on a tie beam. This creates a unique spatial effect as the roof has a decorated underside that exposes the beams and rafters.
803:, who visited in 1953, also found inspiration in the minimal and orthogonal design of the buildings at Katsura. Subsequently, Katsura become well known to a second wave of architects from Australia such as
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who described his many visits to the villa as "like going to Lourdes for a cure". Tallon’s architectural homage to the influence of the Katsura buildings; the PJ Carroll Tobacco cigarette factory in
732:. The Middle Shoin is said to have been built as the prince's living quarters, which is evidenced by a bath and toilet. A veranda ran along two sides of the Middle Shoin and faced the garden.
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style. A bamboo platform, created for moon-viewing, extends beyond the veranda. The Old Shoin was most likely built to accommodate a large number of people at informal gatherings.
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Michael Fazio and Marian Moffett and Lawrence Wodehouse, Buildings across Time: An Introduction to World Architecture (Boston: McGraw-Hill Higher Education, 2009) 94-103.
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and later ‘Personal views on Japanese Culture’ Taut did much to spread the view of the Katsura villa as a symbol of a uniquely Japanese approach to architecture.
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459:(智仁; 1579–1629), the founder of the Katsura Imperial Villa, was born on 13 February 1579. He was the sixth son of Prince Sanehito, and a descendant of
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Compared to the Old Shoin, The Middle Shoin appears stiff. It is arranged in an L-shape, and at one end there is a tokonoma, and to its right there is a
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Sir Banister Fletcher, A History of Architecture on the Comparative Method for the Student, Craftsman, and Amateur (London: B.T. Batsford, 1994) 634-651
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currently administers the site. Although the Imperial Villa itself is not open to visitors, public tours of the gardens are available by appointment.
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728:(a staggered group of ornamental shelves). The walls of the tokonoma and chigaidana are decorated with ink paintings of landscapes, as well as the
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The Katsura Imperial Villa is a good example of the essence of Japanese traditional design. The Villa combines principles usually used in early
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Villa incorporates many traditional Japanese ideas. One example of Katsura's use of traditional ideas is its use of raised floors with
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The buildings, and to a much lesser extent the gardens of Katsura, became a reference point for a number of well known
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There are numerous works on Katsura; the following are the main ones recommended as sources for further information:
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Scott, Ted, "Imperial Gardens of Japan" (Amazon.com, 2008) describes and illustrates four imperial gardens in Kyoto.
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Far away, in the country village of Katsura, the reflection of the moon upon the water is clear and tranquil.
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1306:( Shinkenchiku-Sha, Tokyo, 1983) gives much internal detail, learned during the refurbishment of 1976-1982.
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Teiji Itoh, Tadashi Yokoyama, Eiji Musha, Makato Suzuki, and Masao Arai and Taisuke Ogawa (photographs),
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The Hachijō-no-miya house changed its name to Tokiwai-no-miya (常磐井宮), Kyōgoku-no-miya (京極宮), and finally
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1289:(Yale University Press, New Haven, Zokeisha Publications, Tokyo, 1960) is a good (although early) work.
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had a villa there. The members of the Heian court found it an elegant location for viewing the Moon.
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Kazuo Nishi and Kazuo Hozumi, What is Japanese Architecture, (New York: Kodansha USA, 1996) 74
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1313:(Kodansha, New York, 1977) is a magnificent book, the definitive work on Katsura in English.
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1263:"The Villa That Oracle Built / Ellison proceeds with dream digs despite market setbacks"
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Katsura: A Quintessential Representative of the Sukiya Style of Architecture
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The Katsura district of Kyoto has long been favored for villas, and in the
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The grounds of the villa are regarded as a notable exemplar of traditional
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Interior of the New Palace, Katsura, showing the emperor's writing desk.
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The Katsura villa was also cited as lasting influence of Irish architect
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in the 20th century through a book published in 1934 by German architect
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is a replica of the entire Katsura villa, covering twenty-three acres.
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1296:(Weatherill, New York, 1970) covers the gardens in great detail
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took control of the Katsura Detached Palace in 1883, and since
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From an early age, Prince Toshihito was very familiar with the
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Walter Gropius, Kenzo Tange, Yasuhiro Ishimoto (photographs),
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1170:"Katsura | Electa Architecture | Phaidon Store"
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When Toshihito obtained land along the south bank of the
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Katsura: Tradition and Creation in Japanese Architecture
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Architecture Bali: birth of the tropical boutique resort
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Asymmetrical column of support at the Geppa-rō Pavilion
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Connections to traditional Japanese and Buddhist ideas
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The palace originally belonged to the prince of the
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1349:Official English guide of Katsura Imperial Villa
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27:Building in Nishikyo-ku, Kyoto Prefecture, Japan
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962:View of the pond from the Geppa-rō Pavilion
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1193:"House & Home - Life & Style Home"
1075:"Tatami," JAANUS, accessed March 30, 2012.
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682:Learn how and when to remove this message
433:Learn how and when to remove this message
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1120:"Fusuma" JAANUS accessed March 30, 2012
1100:"Shouji" JAANUS accessed March 30, 2012
850:Main gate of the Katsura Imperial Villa
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1902:Important Cultural Properties of Japan
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1321:(Paperback). New York: Phaidon Press.
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367:adding citations to reliable sources
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305:Important Cultural Property of Japan
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1359:The Tour Of Katsura Imperial Villa
1089:Fazio, Buildings across Time, 101.
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1311:Katsura: A Princely Retreat
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1806:Prince Gong Mansion
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45:This article
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18:Katsura villa
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1733:Huaqing Pool
1613:Teien Palace
1543:Heijō Palace
1523:Heian Palace
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1446:Ōmiya Palace
1352:公益財団法人菊葉文化協会
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49:verification
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1810:Gardens in
1743:Zhongnanhai
1738:Beihai Park
1726:Royal style
1717:Mochou Lake
1712:Zhan Garden
1578:Kuni Palace
886:Garden path
490:to Emperor
297:Nishikyō-ku
230: /
218:135°42′34″E
205:Coordinates
1871:Categories
1593:Daikaku-ji
1506:Historical
1042:References
805:Philip Cox
799:and later
786:Bruno Taut
726:chigaidana
711:kokerabuki
642:newspapers
492:Go-Mizunoo
393:newspapers
215:34°59′02″N
82:newspapers
1707:West Lake
1701:Yu Garden
698:, Middle
672:July 2024
599:does not
350:does not
170:The Shoin
112:July 2024
1402:Occupied
1199:27 March
1176:27 March
1004:See also
747:The pond
694:The Old
571:Teahouse
562:tokonoma
556:and the
472:Po Chu-i
423:May 2015
190:Location
1830:Ke Yuan
837:Gallery
820:Dundalk
708:irimoya
656:scholar
620:removed
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407:scholar
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331:History
293:Katsura
277:gardens
243:Created
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281:Kyoto
271:, or
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194:Kyoto
103:JSTOR
89:books
1323:ISBN
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635:news
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180:Type
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260:桂離宮
148:桂離宮
58:by
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