the book of tea(茶书)-第10章
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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 Book of Tea
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；
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The Book of Tea
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； besides conveying the Taoist theory of
the all…containing； involves the conception of a continued need of change
in decorative motives。 The tea…room is absolutely empty； except for what
may be placed there temporarily to satisfy some aesthetic mood。 Some
special art object is brought in for the occasion； and everything else is
selected and arranged to enhance the beauty of the principal theme。 One
cannot listen to different pieces of music at the same time； a real
comprehension of the beautiful being possible only through
concentration upon some central motive。 Thus it will be seen that the
system of decoration in our tea…rooms is opposed to that which obtains in
the West； where the interior of a house is often converted into a museum。
To a Japanese； accustomed to simplicity of ornamentation and frequent
change of decorative method； a Western interior permanently filled with a
vast array of pictures； statuary； and bric…a…brac gives the impression of
mere vulgar display of riches。 It calls for a mighty wealth of appreciation
to enjoy the constant sight of even a masterpiece； and limitless indeed
must be the capacity for artistic feeling in those who can exist day after
day in the midst of such confusion of color and form as is to be often seen
in the homes of Europe and America。
The 〃Abode of the Unsymmetrical〃 suggests another phase of our
decorative scheme。 The absence of symmetry in Japanese art objects has
