日本文化における椿の静かな美Quiet Elegance of Camellias in Japanese Culture

The painting titled Tsubaki ni Hakuto-zu (椿に白頭翁図), attributed to Edo-period painter Ito Jakuchu , presents a striking contrast between tsubaki (椿, tsubaki) and a small bird against a stark, jet-black background. While cherry blossoms and plum blossoms often come to mind as quintessentially Japanese flowers, tsubaki have historically played an equally significant role in Japanese culture, intimately woven into both daily life and spiritual traditions since ancient times. Indeed, tsubaki are personally my favorite flower. In this article, we’ll explore the quietly impactful presence of the tsubaki, examining the diverse roles it has played throughout Japanese cultural history.

In fact, tsubaki encompass countless varieties, each bearing distinct cultural meanings associated with their colors and forms. The wild species indigenous to Japan, known as Yabu-tsubaki (ヤブツバキ), typically features a single layer of deep crimson petals, and its simple yet powerful beauty has been honored since ancient times as the “hon-tsubaki” (本椿). Tea masters particularly favored the aesthetic concept known as wabi-sabi (侘び寂び), enjoying quiet moments by arranging modest, small-flowered tsubaki such as Yabu-tsubaki or the refined variety known as “Wabisuke-tsubaki” (侘助椿) in their tea ceremonies. The very name “Wabisuke” reflects the spirit of “wabi,” and notably, one specific variety is called “Sotan-tsubaki” (宗旦椿), named after Sen Sotan, the grandson of tea ceremony founder Sen no Rikyu (千利休), who cherished this particular tsubaki. During the Edo period (1603–1868), a gardening boom led to the cultivation of diverse tsubaki types, including multilayered “Yaezaki” (八重咲き) and variegated “Shibori-zaki” (絞り咲き). While “Shibori-tsubaki” (絞り椿), characterized by its vibrant, variegated petals, was avoided by samurai society for its perceived gaudiness, it conversely gained immense popularity among commoners, along with “Chiri-tsubaki” (散り椿), as the ultimate embodiment of refined elegance. Tsubaki thus developed their unique cultural presence, exemplified by varieties such as “Korin-tsubaki” (光琳椿), reputedly favored by Rinpa school founder Ogata Korin, and “Kamo-hon’ami” (加茂本阿弥), widely popularized by the Kyoto-based gardening merchant Kamoya.

Given this rich history, certain regions across Japan maintain particularly strong associations with tsubaki. Notably, “Eastern Oshima and Western Goto” (東の大島、西の五島) refers to the eastern island of Izu Oshima and the western Goto Islands, both renowned for their vast natural habitats of Yabu-tsubaki. On Izu Oshima, tsubaki oil extraction has been a primary industry since ancient times, with historical records indicating islanders even paid their taxes in tsubaki oil during the Edo period. To this day, an annual “tsubaki Festival” is celebrated each early spring, when roughly three million tsubaki trees bloom across the island. Likewise, in the Goto Islands, tsubaki have long been deeply integrated into daily life. The high-quality tsubaki oil produced in Goto was once the nation’s largest source during the Showa era, extensively used by islanders as cooking oil, lighting oil, and medicinal oil. On these islands, tsubaki symbolized not only daily sustenance but also regional pride and spiritual reverence. Indeed, local shrines often designated tsubaki as sacred trees, and in the Goto Islands of Nagasaki, annual rituals of offering tsubaki oil to shrines continue to be practiced.

Kyoto, too, is closely tied to tsubaki culture. The Jizo-in temple, located in northern Kyoto, is commonly known as “Tsubaki Temple”, famous for its ancient tsubaki tree, “Goshiki-yae-chiri-tsubaki” (五色八重散椿), associated with the famed warlord Toyotomi Hideyoshi (1537–1598). This tsubaki variety is unique for the manner in which its petals fall individually, rather than as an entire blossom, exemplifying an elegant aesthetic highly favored by tea masters and poets, who frequently adopted it as a subject in tea ceremonies and classical poetry. Another significant tsubaki can be found at Kyoto’s Daitoku-ji temple, home to the “Juzu-tsubaki” (珠数椿), a tsubaki presented by Sen no Rikyu himself to Hideyoshi. Juzu-tsubaki is named for its resemblance to Buddhist prayer beads (juzu), bearing clusters of small, white blossoms. This particular tsubaki symbolizes the historical mentor-disciple relationship between Rikyu and Hideyoshi. Moreover, at Toji-in temple stands the “Uraku-tsubaki” (有楽椿), planted during the early Edo period by Toyotomi Hideyori (son of Hideyoshi) in honor of Oda Urakusai (織田有楽斎), a renowned tea master and younger brother of the legendary warlord Oda Nobunaga (1534–1582). Visiting these historic tsubaki trees at various temples and shrines throughout Kyoto offers not merely botanical enjoyment but also an intimate journey through Kyoto’s rich cultural history.

From the viewpoint of daily life, Japanese people have incorporated tsubaki into their lives since ancient times. Initially planted in aristocratic gardens around the Heian period (794–1185), tsubaki later became highly sought after by feudal lords (daimyo), who created unique cultural practices centered around appreciating superior tsubaki varieties within their estates. Additionally, as previously mentioned, tsubaki were highly valued as practical necessities, particularly tsubaki oil, extracted from tsubaki seeds, which became an indispensable resource in Japanese households. Produced extensively across the country, tsubaki oil was especially prized for its remarkable longevity and preservation qualities, serving notably as hair oil. In the Edo period (1603–1868), women used tsubaki oil to achieve the glossy, elegant hairstyles characteristic of traditional Japanese coiffures. Indeed, tsubaki oil was crucial for maintaining the shine of Japanese black hair and preventing dryness and damage. Beyond hair care, tsubaki oil was versatile, used as lighting oil, animal feed, and medicinal ointments, making the tsubaki an entirely useful plant that deeply permeated everyday life.

The earliest historical mention of the tsubaki appears in the Nihon Shoki (720 CE), where it is referenced as a sacred tree. Numerous poems in the Man’yoshu (8th century) also feature tsubaki, indicating the flower’s longstanding emotional resonance. From the medieval period onward, with the spread of Zen Buddhism and tea ceremony (cha-no-yu) practices, the symbolic significance of tsubaki became increasingly prominent. Tsubaki also symbolized robust vitality, as their green foliage endures harsh winters, with vibrant blossoms appearing in early spring. Unlike the cherry blossom, which flourishes after winter has passed, the tsubaki provided a hopeful light amid the austere winter landscape. Tea masters appreciated the tsubaki’s dual symbolism—of death and rebirth, impermanence and eternity—imbuing it with profound spiritual significance within Japanese sensibilities.

Due to this history, tsubaki have appeared prominently in many artworks since the Muromachi period (1336–1573). A pivotal catalyst was Shogun Ashikaga Yoshimasa (足利義政, 1436–1490), founder of Higashiyama culture, who collected tsubaki-themed artworks imported from China, integrating their aesthetics into his artistic sensibility. This appreciation significantly enhanced the presence of tsubaki in Japanese art from the 16th through the 19th centuries.

Renowned artists of this era, such as Ogata Korin (1658–1716), Sakai Hoitsu (1761–1828), Ito Jakuchu (1716–1800), and Suzuki Kiitsu (1796–1858), depicted tsubaki extensively. The flower’s rising popularity during this period spurred the creation of diverse varieties, leading to its appearance not only in paintings but also in ceramics, textiles, lacquerware (蒔絵, maki-e), pottery, and even sweets designed to evoke the elegance of tsubaki. During the Bakumatsu era (end of the Edo period), the legendary ancient “Goshiki-yae-chiri-tsubaki” became a favored subject among artists, inspiring masterpieces such as “Meiju Chiri-tsubaki” (名樹散椿) by Hayami Gyoshu (1894–1935) even into modern times. The enduring relationship between tsubaki and Japanese art thus spans centuries.

As explored here, the tsubaki holds a special place in Japanese life, spirituality, and culture. Its resilient blooming amidst winter’s harsh cold, unlike the symbolic cherry blossom that thrives in springtime warmth, encapsulates a dual aesthetic—quiet refinement (侘び寂び, wabi-sabi) and luxurious beauty—that has inspired countless artistic expressions since ancient times. Zen monks and tea masters saw profound truths of impermanence (無常, mujo) in tsubaki blossoms gently fallen upon moss, while samurai perceived nobility and awe in their petals dropping whole from branches. Commoners, meanwhile, enjoyed practical benefits through tsubaki oil and horticulture. Indeed, the understated yet essential culture of the tsubaki quietly blossoms within the heart of Japanese sensibility. In the early spring, when one quietly notices a solitary blooming tsubaki flower, we, like generations before us, sense the rich narrative hidden within this beautiful blossom.