The Japanese Bath

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The Japanese Bath \

BRUCESMITH YOSHIKO YAMAMOTO

In the West, a bath is a place one goes to cleanse the body. In Japan, one goes there to cleanse the soul. Bathing in Japan is about much more than cleanliness, though cleanliness is certainly important. It is about family and community-the washing of each other's backs before bathing. It i$ also about being alone and contemplati.ve, time to watch the moon rise above \he garden. The idea of taking time and care with one's bath in Japan is as importaIllt as taking time and care with the cooking and serving of a meal. There is also a

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ritual to taking a Japanese bath, at i prescribed order of rinsing, washing, t\ and soaking that is passed down from one generation to the next. The Japanese Bath delves into the aesthetic of bathing Japanese style-the

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innate beauty of the. step.s ~urrounding the process along wIth SI y fun-color" illustrations of the light a d airy baths themselves. A Zen me itation, the Japanese bath cleanses the 'old, and one

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emergesrefreshed,renewe ." andserene.

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BRUCESMITH YOSHIKOYAMAMOTO

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IiB:UL1. Salt Lake City

Laredo Public Library

On the cover: A private residence's wood-heated foothills of northern California. Opposite title page: Bath at Nagaza

bath in the Sierra

Inn, Gifu Prefecture, Japan.

Title page: Stools and a wooden tub for bathing in the Kodakara-yu Sento at the Edo-Tokyo Open Air Architectural

Museum in Japan.

Dedication To Hidemi and Yukiko Yamamoto and Hideko, Kazuhiko, Kento, and Reina Yamamoto, who have shared with us the most precious time of bath and bathing

First Edition 04

03

76543

02

Text and photographs

copyright @ 2001 by Bruce Smith and Yoshiko Yamamoto

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without the written permission of the publisher, except for brief excerpts quoted for the purpose of review. Published by Gibbs Smith, Publisher P. O. Box 667 Layton, UT

84041

Orders: (1-800) 748-5439 Visit our Web site at www.gibbs-smith.com Photographic Credits Photos by Bruce Smith: pages 1-4,6-8, 13-16, 18-20,22-26,28,29,34-36,42,44, 47,49,51,54-58,60,61,63,65-68,71,79,84,88,90, and 96. Photos by Bruce Smith and AyaBrackett: front cover, 17,27,5962,69,70,74, and 76. Photos by Aya Brackett: 5,41 and 75. Photos by Michael Chase, courtesy Ki Arts: 21, 53, and 83. All other photos courtesy as per captions. Designed

by Trice Boerens and Cherie Hanson of B Design

Edited by Gail Yngve Printed in Hong Kong

Library of Congress Cataloging-in-Publication

Data

Smith, Bruce The Japanese bath / by Bruce Smith and YoshikoYamamato.p.cm ISBN 1-58685-027-X 1. Bathing customs-Japan. II. Title.

2. Baths-Japan.

1. Yamamoto,

1st ed.

Yoshiko.

GT2846.J3 S6 2001 391.6'4-dc21 00-011750

Basukurin, a bath soap produced by Tsumura in the 19305.

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the lone!J

mOl.1;ntaip,

water is overflowiT18over the tubsteam. if this hot spriP,8s is thickertban

tbe mountdiXlJO8 - Yosdno Akiko

I

Contents 6

Acknowledgments

9

Introduction

11

Bathing

13

Entry

21

The Datsuiba

23

The Outside within the Inside

31

Created Scenery

40

Color

43

With Darkness and Without

45

Yuagari (afterbath)and Yusuzumi (enjoyingthe coolof the evening)

46

Without Silence

51

BathingJapanese Style

55

With and Without Clothing

59

The Time of the Day

71

Materials

73

About Wood

83

The Tools of Bathing

89

BathingTogether

90

Glossary

92

Resources

Acknowled gments

As the pleasure of bathing in a public sento in Japan comes from sharing the bath water with others, so has much of the

pleasure of researching and writing this book come from the time shared with the many people who helped, encouraged, guided, and supported our vision of this project. In particular, we would like to give thanks to Laura Voisin George, who devoted so much research time to us, finding many sources and homes for the book. We are grateful to Steve Fletcher, Carl Croft, Delwin Rimbey, and their staff at Dandelion, who not only lent us objects for our photo shoots but also shared Yakedono, their beautiful home with a serene Japanese bath set on a northern California mountaintop. We give heartfelt thanks to Arai Shuichi in Kawagoe, Japan, who granted us an unforgettable afternoon showing us each and every step of making a traditional Japanese tub, and to Duke Klauck and Julia Goldberg at Ten Thousand Waves, who with Gibbs Smith had the original vision for this book. We were fortunate to work with two very talented young photographers: Aya Brackett and Rebecca Kent each contributing vastly to the quality of the images used in this book. We are indebted to Dakota Eckard and Ursula Dawkins for their assistance in finding models. We thank Chadine Flood Gong of Chadine Interior Design, Jimmy Maekawa of Japan Woodworking & Design, and Glen Collins of Hana Shoji and Shop display of handcrafted tubs by Arai Shuichi, Kawagoe, Japan.

Interiors for their patience with our questions and for their assistance in finding homes to photograph. Ed Stiles not only allowed us to photograph his home and led us to another

wonderful bath to photograph, he also gave us invaluable information regarding the history of the Japanese bath in America. The time we spent with Len Brackett at his home and workplace in the Sierra footl1ills opened our eyes to a sense of refined Japanese simplicity that is possible but rarely achieved in this country. 6

We are also grateful to many individuals at various Japanese institutions and companies, whose generosities we wish we could return someday: Edo- Tokyo Museum, Saitama Prefectural Museum, Tokyo Public Bath Association, archives at Kao Corporation, Daikoku-yu in Tokyo, Kaho in Nigata Prefecture, Sansuiso in Fukushima Prefecture, Hogetsu in Hakone area, Yunogo-mura in Shuzenji Hot Springs, Gorokaku in Gumma Prefecture, Hoeiso in Hakone, Kona Hotel in Izu-Nagaoka area, Kindai Pension in Gumma Prefecture, Tenoji-ya in Kusatsu Hot Springs, Otakino-yu in Kusatsu, Nagaya at Fukuchi Hot Springs, Nanadaru Hot Springs in Shizuoka Prefecture, Kodai Hinoki, Kiso Artech, Hinoki Soken, INAX, and Tsumura. We also wish to acknowledge and give thanks to a number of individuals and organizations who helped us in our writing, research, and photography: Beverly Hot Springs; Mike Chase; East Wind (Higashikaze) Inc.; Masaru Seido at Gilroy Hot Springs; Ron Herman, Landscape Architect; Hida Tools; Paul Discoe and Gloria McMillan at Joinery Structures; Kathy Nelson at Kabuki Hot Springs and Spa; Ann and Hiroshi Sakaguchi at Ki Arts; Karen Ray and Michael Stusser at Osmosis Enzyme Bath and Massage; Robert Ghelertel at Robert's Hot Tubs; Bill Findley at Sea Otter Wood Works; Leslie and everyone else at Tassajara Zen Mountain Center; Jacqueline Sa at Tea Garden Springs, who guided us as to the health benefits of bathing; Kayt Cunningham, Greg Lopatosky, and Kartar Kaur at Ten Thousand Waves, who introduced us to Herbal Wraps, Watsu, and Salt Glows; Thousand Cranes Futon Shop; Norm Potter and Bill McCaulay of Tubmakers; Annette Curi at the Hannah Carter Japanese Garden of the University of California, Los Angeles; Watercourse Way; Matthew Kondo and Jane Lee at San Francisco's Hotel Nild,o; Gene and Diep Agress; Michael Andrews and Celeste Weidman; Brenda and Jeff Bohn; Leslie Desmond for her enthusiasm; Betty and Elliot Finlde; Everal Mitchell; Keiko Nelson; Kent and Fumiko Singleton; Robert and Carol Swenson; Yoshiko Wada and Hercules Morphopoulos; and Joseph and Kimiko Wilkerson. We were fortunate to have the courageous participation of models willing to soak for three and sometimes four hours in the lukewarm water of a Japanese bathtub just so we could achieve that perfect photograph. We give thanks to Lara Tran, Alexander, Ariel, and Max Agress; Tamara Alvarez, Ursula Dawkins, Angela Pitu, Laura Rainville, and Cathy Vuwho traveled all the way from Seattle just for this project; Kento Yamamoto, Ceaser Zepeda, Leilani Buddenhagen, and Priscilla Freeman.

The vision for this project was enabled as always by the support and encouragement of our talented, disciplinarian editor, Gail Yngve. We value her more than we can express.

7

This kasuga lantern is seen in the garden outside the Kodakara-yu Sento at the EdoTokyo Open Air Architectural Museum in Japan.

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We have lived our lives outside of Japan for more than a decade noVY.One of us was born in the center of Tokyo; the other merely lived and worked in Japan for four years. Yet, wherever we are now; wherever we live, work, or travel, we both carry elements of that culture that we count as essential to the way we want to live. At home, we eat at least once a week a meal of saba, the buckwheat noodles that are served in hot broth during winter and cold in summer, carefully arranged on a bamboo tray. We value in others that essential part of Japanese communication that places the obligation upon the listener to understand all that cannot be directly said by the speaker. And nightly, we try to bring an end to the mad whirl of the day by slowly, carefully sinking into the hot water of a bath. We intensely miss the experience of the bath in Japan-to

be precise, though, it is not the bath but bathing that we

miss. Whether it was taking a bath in a modern fiberglass-molded unit bath in a Tokyo high-rise, or soaking in the wooden tubs of a public bath in the deep mountainside of Shinshu, our memories of the bath and bathing are not about rooms and architecture. They are about entering quiet spaces, splashing water over the back, scrubbing one's feet or helping an older lady wash her back, then slowly descending into the steaming water, sitting next to a stranger and exchanging smiles and sharing thoughts, and, finally, getting dressed in street wear or ayukata, a lightweight cotton summer kimono, and entering the world again refreshed and renewed. This is not to say that the Japanese bath has no distinct architectural features. As we will explain in this book, many important and some minor differences distinguish Japanese from Western bath-preeminently

the idea that washing is

something separa~e from soaking. But understanding the Japanese bath is like understanding what it takes to bake great bread; it takes far more than just a good recipe. Turning out the quintessential loaf takes having a life that is centered around cooking and eating and the sharing of food-a

life where the crusty smell coming out of the hot oven brings joy,

where the handing of a piece of buttered hot bread to a loved one becomes essential to good living. So it is with the bath. One cannot simply add a wooden bathtub to a home and believe he or she is having a Japanese experience. It is the totality of life around the bath that makes a bath Japanese. Our purposes in this book are both to introduce and explain the Japanese bath, and then to convey an understanding of all that cannot be usually stated about the bath as a state of mind, its relation to nature, its place in a family and a community, its sensuality and wholesomeness, its structure and craft, and the joy it can bring to one's life.

9

It is just on the edge of evening. You have been surrounded by the push and bustle of people aUday, and, finally, just now,

you have returned home. Stopping to listen, you hear the lateafternoon breeze in the tall pine tree outside. You sit quietly on the back porch, peel and eat a tangerine, then walk a short while in your garden. Back inside,your clothing comes off easily and you put on a lightweight yukata. Walking to the bathhouse through the corridor overlooking the garden, you reach down to ~

check the water temperature

in the bath, then look up to see

out the window and through the trees that the sun is just sett!ing down between the distant hiUs.You hang the yukata on a hook and sit on a wooden stool in the washing area; you are

now at the right height to look directly out into the trees. With the wooden bucket, you scoop water from the tub and pour it over yourself, rinsing off all the noise and bother of the day. You do this twice more, making sure that when you step into the

bath, you wil!not carry with you any dirt or refuse.You lower yourself into the bath as the last sliverof the sun drops below the hiUs,then stay there ten, maybe fifteen, minutes, watching the colors change, grow in intensity, then settle back into a warm softness. Stepping again into the washing area, you scrub your body, starting with your hair, your ears, your neck, working your way down t@your toes. After rinsing carefuUy, once again you sit back into the bath. It is growing dark now and suddenly

seems quieter. Just barely you can hear the sound of the breeze. II

The engawa forms an interstitial space connecting the outside to the inner world within this mountaintop residence in northern California.

[Elnllry

Entering a bath in Japan is to enter another world. It is a place where one not only cleans the body but also cleanses the mind. Unlike Western bathrooms, Japanese bathing rooms are entirely separate from the toilet-they

are indepen-

dent spaces reserved only for the daily t~sk of taking a bath, cleaning oneself, and relaxing. They are places one enters with deliberation and anticipation. The traditional Japanese domestic bathroom was usually located at the end of a hallway or was sited in a structure entirely independent from the main house. One would be intensely aware of the carefully constructed garden views when walking to and from the bath, something considered an integral part of the bathing experience. Since each household had only one bathroom (if, indeed, there was any), the room for bathing was separate, not just from the toilet, but from the bedroom. Unlike in traditional Western cultures, it was treated as an independent component of the houseas distinct and important, for example, as the kitchen. And like the kitchen, it was an area of the house in which strength of the family's life could be measured-by

the sharing of the bathwater, the order in which each person took

his or her bath, and the way thoughts and concerns difficult to speak of elsewhere could be mentioned there.

13

Still today, one can find in ryokans (traditional Japanese inns) the communal bath located at the end of an engawa, a long corridor or veranda providing an interim space between the inside and the outside. Psychologically there is something very centering and calming about this walk to the bath. Walking slowly there in a lightweight, cleanly starched yukata builds up the anticipation for a wonderful, relaxing meditation in the hot water.

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Seated in the engowo, one can feel part of the garden in this residence south of San Francisco.

The en8awais usually made of beautifully grained wood or bamboo and is raised about twenty inches above the ground. In warm weather, it will be opened totally to the outside; in the cool autumn or snowy winter, a set of glass or wooden sliding doors running along the outer edge will be pulled shut to preserve the inner heat of the house. The en8awais protected from sunlight and rain by the eaves of the roof.

The ingenuity of en8awais in its connecting the interior of the home to the outside world; it is neither inside nor out. The materials chosen for this area reflect the transitional character of this space; wood and bamboo are more durable

than softer materials, such as the shoppaper and tatamimats, used inside, and are often left unpolished, retaining a rustic quality. 16

Enteri ng the Daikokuya

Sento

in Tokyo, a bather must duck under the noren.

At the sento(the public bath), on the other hand, there is no such corridor for the bathers-coming to the sento is not about the transition from public to private but rather about the shift from the outside world into a community. Stepping inside off the street, one passes through an entrance that has the auspicious appearance of a temple because of its roofing structure,

called a karabc1u. All that separates the outside world from the inner entry is a cotton or linen noren (cloth screen) hanging over the threshold. Bathers step in, duck under it, and take off their shoes inside before paying their bath fee to the attendant.

Something about this action of ducking under the norenmarks the beginning of the bathing experience, indicating that a bather has now stepped away from the outside world. By the time one adjusts his or her eyes to the interior darkness and the sound of gushing water, clonking buckets, and talking people, one is ready to relax and join the community of bathers.

IS

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--

TheDatsuiba Before entering the bathing room, one must pass first through the datsuiba (changing room). Like the engawathat separates the outside world from the inner sanctuary of the home, the datsuiba provides a transition space between the watery world of the bath and the dry world of the house. Usually equipped with a small cosmetic stand, sink, and mirror, the datsuiba provides a comfortable space for taking off one's clothes, and for drying off and putting on fresh clothes after the bath. In contrast to the inner world of the bathing area that is designed to be drenched with water, the datsuiba is kept dry and clean. Often in the modern Japanese home, the washing machine and dryer are located here. It is here also that the family members will wash their hands, brush their teeth, and comb their hair.

A datsuiba with a washstand designed and constructed by Ki Arts of Occidental, California.

In private homes, the datsuiba can be as small as five by eight feet-in contrast, in sento or onsen (public baths or hot-spring resorts) needing to accommodate many bathers at once, it can be as enormous as thirty by forty feet. Ubiquitous to datsuiba of any size, though, are the scales for bathers to measure their weight each and every time they visit the baths.

21

The door between the datsuiba and the bathroom is usually made of glass, often frosted. The reasons are twofold: first, if somebody is using the bath, another member of the family can use the datsuibawithout disturbing the bather, and also, the glass allows light to enter the datsuiba from the bathing area, where almost always natural light pours in from a window placed over the tub. Especially for the elderly, Japanese are careful to keep the datsuiba area warm during the cold seasons since a great difference in temperature between the bathroom and the datsuiba can cause a sudden increase in blood pressure. Often they will have a heater in this room to ensure a warm area for changing and getting ready for the bath. 22

The Outside withinthe Inside It could be said that the innermost room of the Japanese house is the room with the bath, yet one finds many gentle reminders and references to the world beyond. As mentioned above, almost always there is a window to the outside set right above the tub. When the home has a substantial garden space, often the windows are large and able to be opened out into the garden. The bath then becomes part of the changing seasons. In spring, one enjoys gazing at the fragile white petals of plum and watching the cherry blossoms fall; in summer, the rich green wisteria leaves threaten to climb through the window into the bathroom; in autumn, while taking a bath, one can watch

With skylights above and a porch opening to the outside, nature becomes part of the bathing experience at Ten Thousand Waves, Santa Fe, New Mexico.

how the brilliantly colored Japanese maples darken in color day by day; and, in winter, the perfect complement to a hot steamy bath is the cold wind that brushes through the bare silvery branches covered with crisp white snovv. A view from the bath is important, but so is privacy, especially if one cannot have the luxury of spaciousness. To protect the view out, especially when looking into a neighbor's yard, fences made of natural materials like cedar, redwood, and bamboo can create a visual border and a sense of protection. Better yet, planting hedges, trees, and bamboo right outside the bath window can create a softer and pleasing protective barrier-a 23

living fence, so to speak. These fences can

face various directions. The obvious direction

is

one parallel to the bathroom window, directly protecting the view from the opposite side. Another option often used in the Japanese home is to build the fence out from the side of the house. Called a sode-gaki, a sleeve fence, these low fences-only four to five feet high and butting out only two to four feet from the house-are

often orna-

mental but can also help obstruct unwanted views.

Another way to allow the outside in yet retain privacy, especially when the window is not facing a garden, is to either pane the window with opaque glass or to use glass

inspired by shoji screens that creates a soft boundary to the outside with its white luminescent quality. Here, it is the suggestion of the natural world that is enjoyed. A tree placed outside, even in a container, will allow

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Shadows on frosted glass reflect the natural world outside in this light and airy northern Californian

bathroom.

the sun to cast dark and light shadows of branches swaying in the wind on the glass-almost

as thoy.gh a quiet shadow

play were being performed. As the novelist Tanizaki Jun'ichiro wrote in his essay "In Praise of Shadows," "a Japanese room depends on a variation of shadows, heavy shadows against light shadows-it

has nothing else."

When deciding about glass and views, try actually sitting inside the bathtub and in the washing area to see which area of the exterior truly needs to be eliminated from view: Surprisingly, very little actually needs to be screened off in most cases. And the amount of frosting on the glass should be kept to a minimum because it is vital to allow the warmth of the light to come through-in a manner reminiscent of Japanese washipaper held up against the sun. In extreme situations where privacy is a dire issue, one can consider lowering the line of vision out of the window all the way down to just one or two feet from the ground. Often seen in traditional Japanese homes with tatami mats, where people sit low to the ground, this type of low window creates a dramatic effect, immediately connecting the viewer to an intimate garden of rocks, moss, and lanterns. 27

II!

The colors of the exterior wall and the bamboo complement the soft color of the Port Orford cedar used for the ofura in this California

home.

30

A carefully created garden is a microcosm of the natural world when the elements of water, trees, stone, and sky are used as in this elegant Japanese garden at Osmosis in Freestone, California.

CreatedScenery

More than establishing privacy by building walls, the essence of traditional Japanese architecture is the construction of a place from which the world can be viewed-even when the presentation of the outside world is merely an ideal representation rather than the reality. One technique is the enclosure of the outside. When applied to the bath, this would mean that rather than having a window opening out onto a grand vista, one would choose to focus the attention of the bather on a carefully constructed small garden-a space delicately defined and composed into an idealized microcosmos. An intimate space of this type is often seen in private homes and sentos.When done with consideration, this garden can be viewed not only from the bath but also from the sitting area where bathers cool themselves after a long hot soak by sipping cold drinks as they sit comfortably looking out onto the garden space. The gardens at sentos are usually located just outside the changing area-one

for each sex. Though it is a small space, often no larger

than a small garage, it brings into this innermost world the fresh air of the outside along with an idealized scene of the world beyond. To create this type of enclosed garden, one needs first to establish a clear boundary by setting up ornamental fences, plantings, walls, and screens. Then, working within this small, now-defined space, a few carefully selected materials are arranged: moss and miniature pine trees, stone lanterns and rocks, concrete basins and smooth pebbles. All are used to create a small symbolic world. It is important to carefully choose the size of these plantings and objects, since each item should not only suggest an element in nature but also retain harmony with the other items and the scale of the world being created. Carefully constructed,

this miniature landscape can suggest an intricate world of natural

elements, allowing viewers to wander through hills, forests, and along rivers while merely looking out the window of their bath. 31

Carefully selected stones-by

their sizes, shapes, and quality-can

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repre-

sent scenes of ocean, river, valley, marsh, and waving reeds. To create a

scene of the ocean, a Heian-period text instructs one to . . .first

construct the scene

if a rough

seashore, placing some

pointed rocks in a casual looking mannel: Then place a sequence

if rocksfrom

the shore toward the ?ffing, making them appear as

though they extendfrom the shore. There should be aJew rocks isolated from

the rest. As theserocksare ruthlesslyexposed to

the

billows, they should look like theyhad been washed out. Finally you should provide here and there views

if the sandbank

and

white beachwheresome black pines maybeplanted.. . .

Or to create a landscape of waving reeds, one is instructed to place stones . . . here and theretowardsthe

end

if the hillsidefield

or at the

pondshore,and. .. associated withlowplantssuchasthe grassbamboo, mountain sedgeand the like. Asfor the trees to be planted, prqerences should be given to those if siftforms like the plum tree and the weepingwillow.As a rule,fiat stonesare ,

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usedfor this style if landscape. . . .

In arranging these objects, the goal is to suggest nature, rather than to copy it or control it.

32 -

----

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The Surface of a Stone: It is better to choose a stone that retains its original natural quality rather than one that has been poli5ibed, carved, or otherwise finished by human hands.

The Shape of a Stone: Though stones come in every shape and siz;e, generally they can be classed as vertical, horizontal, or intermediary, which would include round. and slanted stones. The groupings of shapes should be carefully considered. The Colors of a Stone: Stones can be divided into color groups: red, blue, black, and so on. It is better to stay within one color group to retain visual.harmony. The Direction

of Grain in a Stone: A stone's character

comes from the patterns and grain that rUn along its surface. this gives force and. direction to the stone. The Hardness

of a Stone: The harder the stone is, the

more wQrthy it is. The Chi of a Stone: AliIof these qua~ities listed above make up a stone and give it a .particular chi. To understand this chi is very important in correctly using the stone. l"heplo

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furin: wind bells made of glass, metal, or clay furo: a Japanese bath furoshiki: a cloth wrapper okigata doro: a ground-style low lantern

kasuga doro: a tall, formal lantern

onsen: hot springs

mugi-cha: barley tea

rotenburo: an open-air bath

noren: a shop curtain, also a type of curtain used to obstruct unwanted sunlight and views

ryokan: a traditional Japanese inn

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hinoki: a fragrant Japanese cypress wood

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