the book of tea-第6部分

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ofusely　decorated。　　In　the　Hoodo　temple　at　Uji；　dating　from　the　tenth　century；　we　can　still　see　the　elaborate　canopy　and　　gilded　baldachinos；　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　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　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。

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。　　Art；　to　be　fully　appreciated；　must　be　true　to　contemporaneous　life。　　It　is　not　that　we　should　ignore　the　claims　of　posterity；　but　that　we　should　seek　to　enjoy　the　present　more。　　It　is　not　that　we　should　disregard　the　creations　of　the　past；　but　that　we　should　try　to　assimilate　them　into　our　consciousness。　Slavish　conformity　to　traditions　and　formulas　fetters　the　expression　of　individuality　in　architecture。　　We　can　but　weep　over　the　senseless　imitations　of　European　buildings　which　one　beholds　in　modern　Japan。　We　marvel　why；　among　the　most　progressive　Western　nations；　architecture　should　be　so　devoid　of　originality；　so　replete　with　repetitions　of　obsolete　styles。　　Perhaps　we　are　passing　through　an　age　of　democritisation　in　art；　while　awaiting　the　rise　of　some　princely　master　who　shall　establish　a　new　dynasty。　　Would　that　we　loved　the　ancients　more　and　copied　them　less！　It　has　been　said　that　　the　Greeks　were　great　because　they　never　drew　from　the　antique。

The　term；　Abode　of　Vacancy；　bes