the book of tea(茶书)-第7章
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many…coloured and inlaid with mirrors and mother…of…pearl； as well as
remains of the paintings and sculpture which formerly covered the walls。
Later； at Nikko and in the Nijo castle in Kyoto； we see structural beauty
sacrificed to a wealth of ornamentation which in colour and exquisite
detail equals the utmost gorgeousness of Arabian or Moorish effort。
The simplicity and purism of the tea…room resulted from emulation of
the Zen monastery。 A Zen monastery differs from those of other
Buddhist sects inasmuch as it is meant only to be a dwelling place for the
monks。 Its chapel is not a place of worship or pilgrimage； but a college
room where the students congregate for discussion and the practice of
meditation。 The room is bare except for a central alcove in which；
behind the altar； is a statue of Bodhi Dharma； the founder of the sect； or of
Sakyamuni attended by Kaphiapa and Ananda； the two earliest Zen
patriarchs。 On the altar； flowers and incense are offered up in the memory
of the great contributions which these sages made to Zen。 We have
already said that it was the ritual instituted by the Zen monks of
successively drinking tea out of a bowl before the image of Bodhi Dharma；
which laid the foundations of the tea…ceremony。 We might add here that
the altar of the Zen chapel was the prototype of the Tokonoma；the place
of honour in a Japanese room where paintings and flowers are placed for
the edification of the guests。
All our great tea…masters were students of Zen and attempted to
introduce the spirit of Zennism into the actualities of life。 Thus the room；
like the other equipments of the tea…ceremony； reflects many of the Zen
doctrines。 The size of the orthodox tea…room； which is four mats and a
half； or ten feet square； is determined by a passage in the Sutra of
Vikramadytia。 In that interesting work； Vikramadytia welcomes the Saint
Manjushiri and eighty…four thousand disciples of Buddha in a room of this
size；an allegory based on the theory of the non…existence of space to the
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truly enlightened。 Again the roji； the garden path which leads from the
machiai to the tea…room； signified the first stage of meditation；the
passage into self…illumination。 The roji was intended to break connection
with the outside world； and produce a fresh sensation conducive to the full
enjoyment of aestheticism in the tea…room itself。 One who has trodden
this garden path cannot fail to remember how his spirit； as he walked in
the twilight of evergreens over the regular irregularities of the stepping
stones； beneath which lay dried pine needles； and passed beside the moss…
covered granite lanterns； became uplifted above ordinary thoughts。 One
may be in the midst of a city； and yet feel as if he were in the forest far
away from the dust and din of civilisation。 Great was the ingenuity
displayed by the tea…masters in producing these effects of serenity and
purity。 The nature of the sensations to be aroused in passing through the
roji differed with different tea…masters。 Some； like Rikiu； aimed at utter
loneliness； and claimed the secret of making a roji was contained in the
ancient ditty： 〃I look beyond；/Flowers are not；/Nor tinted leaves。/On the
sea beach/ A solitary cottage stands/In the waning light/Of an autumn
eve。〃
Others； like Kobori…Enshiu； sought for a different effect。 Enshiu said
the idea of the garden path was to be found in the following verses： 〃A
cluster of summer trees；/A bit of the sea；/A pale evening moon。〃 It is not
difficult to gather his meaning。 He wished to create the attitude of a
newly awakened soul still lingering amid shadowy dreams of the past； yet
bathing in the sweet unconsciousness of a mellow spiritual light； and
yearning for the freedom that lay in the expanse beyond。
Thus prepared the guest will silently approach the sanctuary； and； if a
samurai； will leave his sword on the rack beneath the eaves； the tea…room
being preeminently the house of peace。 Then he will bend low and creep
into the room through a small door not more than three feet in height。
This proceeding was incumbent on all guests；high and low alike；and
was intended to inculcate humility。 The order of precedence having been
mutually agreed upon while resting in the machiai； the guests one by one
will enter noiselessly and take their seats； first making obeisance to the
picture or flower arrangement on the tokonoma。 The host will not enter
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the room until all the guests have seated themselves and quiet reigns with
nothing to break the silence save the note of the boiling water in the iron
kettle。 The kettle sings well； for pieces of iron are so arranged in the
bottom as to produce a peculiar melody in which one may hear the echoes
of a cataract muffled by clouds； of a distant sea breaking among the rocks；
a rainstorm sweeping through a bamboo forest； or of the soughing of pines
on some faraway hill。
Even in the daytime the light in the room is subdued； for the low eaves
of the slanting roof admit but few of the sun's rays。 Everything is sober in
tint from the ceiling to the floor； the guests themselves have carefully
chosen garments of unobtrusive colors。 The mellowness of age is over all；
everything suggestive of recent acquirement being tabooed save only the
one note of contrast furnished by the bamboo dipper and the linen napkin；
both immaculately white and new。 However faded the tea…room and the
tea…equipage may seem； everything is absolutely clean。 Not a particle of
dust will be found in the darkest corner； for if any exists the host is not a
tea…master。 One of the first requisites of a tea…master is the knowledge of
how to sweep； clean； and wash； for there is an art in cleaning and dusting。
A piece of antique metal work must not be attacked with the unscrupulous
zeal of the Dutch housewife。 Dripping water from a flower vase need not
be wiped away； for it may be suggestive of dew and coolness。
In this connection there is a story of Rikiu which well illustrates the
ideas of cleanliness entertained by the tea…masters。 Rikiu was watching his
son Shoan as he swept and watered the garden path。 〃Not clean enough；〃
said Rikiu； when Shoan had finished his task； and bade him try again。
After a weary hour the son turned to Rikiu： 〃Father； there is nothing more
to be done。 The steps have been washed for the third time； the stone
lanterns and the trees are well sprinkled with water； moss and lichens are
shining with a fresh verdure； not a twig； not a leaf have I left on the
ground。〃 〃Young fool；〃 chided the tea…master； 〃that is not the way a
garden path should be swept。〃 Saying this； Rikiu stepped into the garden；
shook a tree and scattered over the garden gold and crimson leaves； scraps
of the brocade of autumn！ What Rikiu demanded was not cleanliness
alone； but the beautiful and the natural also。
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The name； Abode of Fancy； implies a structure created to meet some
individual artistic requirement。 The tea…room is made for the tea master；
not the tea…master for the tea…room。 It is not intended for posterity and is
therefore ephemeral。 The idea that everyone should have a house of his
own is based on an ancient custom of the Japanese race； Shinto
superstition ordaining that every dwelling should be evacuated on the
death of its chief occupant。 Perhaps there may have been some
unrealized sanitary reason for this practice。 Another early custom was
that a newly built house should be provided for each couple that married。
It is on account of such customs that we find the Imperial capitals so
frequently removed from one site to another in ancient days。 The
rebuilding； every twenty years； of Ise Temple； the supreme shrine of the
Sun…Goddess； is an example of one of these ancient rites which still obtain
at the present day。 The observance of these customs was only possible
with some form of construction as that furnished by our system of wooden
architecture； easily pulled down； easily built up。 A more lasting style；
employing brick and stone； would have rendered migrations impracticable；
as indeed they became when the more stable and massive wooden
construction of China was adopted by us after the Nara period。
With the predominance of Zen individualism in the fifteenth century；
however； the old idea became imbued with a deeper significance as
conceived in connection with the tea…room。 Zennism； with the Buddhist
theory of evanescence and its demands for the mastery of spirit over
matter； recognized the house only as a temporary refuge for the body。
The body itself was but as a hut in the wilderness； a flimsy shelter made
by tying together the grasses that grew around；when these ceased to be
bound together they again became resolved into the original waste。 In
the tea…room fugitiveness is suggested in the thatched roof； frailty in the
slender pillars； lightness in the bamboo support； apparent carelessness in
the use of commonplace materials。 The eternal is to be found only in
the spirit which； embodied in these simple surroundings； beautifies them
with the subtle light of its refinement。
That the tea…room should be built to suit some individual taste is an
enforcement of the principle of vitality in art。
