the book of tea-第6章

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d　special　stress　on　this　method　in　his　later　teachings；　handing　down　the　rules　to　his　chief　disciple　Kashiapa。　　According　to　their　tradition　Kashiapa；　the　first　Zen　patriarch；　imparted　the　secret　to　Ananda；　who　in　turn　passed　it　on　to　successive　patriarchs　until　it　reached　Bodhi…Dharma；　the　twenty…eighth。　　Bodhi…Dharma　came　to　Northern　China　in　the　early　half　of　the　sixth　century　and　was　the　first　patriarch　of　Chinese　Zen。　　There　is　much　uncertainty　about　　the　history　of　these　patriarchs　and　their　doctrines。　　In　its　philosophical　aspect　early　Zennism　seems　to　have　affinity　on　one　hand　to　the　Indian　Negativism　of　Nagarjuna　and　on　the　other　to　the　Gnan　philosophy　formulated　by　Sancharacharya。　The　first　teaching　of　Zen　as　we　know　it　at　the　present　day　must　be　attributed　to　the　sixth　Chinese　patriarch　Yeno（637…713）；　founder　of　Southern　Zen；　so…called　from　the　fact　of　its　predominance　in　Southern　China。　　He　is　closely　followed　by　the　great　Baso（died　788）　who　made　of　Zen　a　living　influence　in　Celestial　life。　　Hiakujo（719…814）　the　pupil　of　Baso；　first　instituted　the　Zen　monastery　and　established　a　ritual　and　regulations　for　its　government。　　In　the　discussions　of　the　Zen　school　after　the　time　of　Baso　we　find　the　play　of　the　Yangtse…Kiang　mind　causing　an　accession　of　native　modes　of　thought　in　contrast　to　the　former　Indian　idealism。　　Whatever　sectarian　pride　may　assert　to　the　contrary　one　cannot　help　being　impressed　by　the　similarity　of　Southern　Zen　to　the　teachings　of　Laotse　and　the　Taoist　Conversationalists。　　In　the　Tao…teking　we　already　find　allusions　to　the　importance　of　self…concentration　and　the　　need　of　properly　regulating　the　breathessential　points　in　the　practice　of　Zen　meditation。　　Some　of　the　best　commentaries　on　the　Book　of　Laotse　have　been　written　by　Zen　scholars。

Zennism；　like　Taoism；　is　the　worship　of　Relativity。　　One　master　defines　Zen　as　the　art　of　feeling　the　polar　star　in　the　southern　sky。　　Truth　can　be　reached　only　through　the　comprehension　of　opposites。　　Again；　Zennism；　like　Taoism；　is　a　strong　advocate　of　individualism。　　Nothing　is　real　except　that　which　concerns　the　working　of　our　own　minds。　　Yeno；　the　sixth　patriarch；　once　saw　two　monks　watching　the　flag　of　a　pagoda　fluttering　in　the　wind。　　One　said　〃It　is　the　wind　that　moves；〃　the　other　said　〃It　is　the　flag　that　moves〃；　but　Yeno　explained　to　them　that　the　real　movement　was　neither　of　the　wind　nor　the　flag；　but　of　something　within　their　own　minds。　　Hiakujo　was　walking　in　the　forest　with　a　disciple　when　　a　hare　scurried　off　at　their　approach。　　〃Why　does　the　hare　fly　from　you？〃　asked　Hiakujo。　　〃Because　he　is　afraid　of　me；〃　was　the　answer。　　〃No；〃　said　the　master；　〃it　is　because　you　have　murderous　instinct。〃　　The　dialogue　recalls　that　of　Soshi　（Chauntse）；　the　Taoist。　　One　day　Soshi　was　walking　on　the　bank　of　a　river　　with　a　friend。　　〃How　delightfully　the　fishes　are　enjoying　themselves　in　the　water！〃　exclaimed　Soshi。　　His　friend　spake　to　him　thus：　〃You　are　not　a　fish；　how　do　you　know　that　the　fishes　are　enjoying　themselves？〃　　〃You　are　not　myself；〃　returned　Soshi；　〃how　do　you　know　that　I　do　not　know　that　the　fishes　are　enjoying　themselves？〃

Zen　was　often　opposed　to　the　precepts　of　orthodox　Buddhism　even　as　Taoism　was　opposed　to　Confucianism。　　To　the　transcendental　insight　of　the　Zen；　words　were　but　an　　incumberance　to　thought；　the　whole　sway　of　Buddhist　scriptures　only　commentaries　on　personal　speculation。　　The　followers　of　Zen　aimed　at　direct　communion　with　the　inner　nature　of　things；　regarding　their　outward　accessories　only　as　impediments　to　a　clear　perception　of　Truth。　　It　was　this　love　of　the　Abstract　that　led　the　Zen　to　prefer　black　and　white　sketches　to　the　elaborately　coloured　paintings　of　the　classic　Buddhist　School。　　Some　of　the　Zen　even　became　iconoclastic　as　a　result　of　their　endeavor　to　recognise　the　Buddha　in　themselves　rather　than　through　images　and　symbolism。　　We　find　Tankawosho　breaking　up　a　wooden　statue　of　Buddha　on　a　wintry　day　to　make　a　fire。　　〃What　sacrilege！〃　said　the　horror…stricken　bystander。　　〃I　wish　to　get　the　Shali　out　of　the　ashes；〃　camply　rejoined　the　Zen。　〃But　you　certainly　will　not　get　Shali　from　this　image！〃　was　the　angry　retort；　to　which　Tanka　replied；　〃If　I　do　not；　this　is　certainly　not　a　Buddha　and　I　am　committing　no　sacrilege。〃　Then　he　turned　to　warm　himself　over　the　kindling　fire。

A　special　contribution　of　Zen　to　Easthern　thought　was　its　recognition　of　the　mundane　as　of　equal　importance　with　the　　spiritual。　　It　held　that　in　the　great　relation　of　things　there　was　no　distinction　of　small　and　great；　an　atom　posessing　equal　possibilites　with　the　universe。　　The　seeker　for　perfection　must　　discover　in　his　own　life　　the　reflection　of　the　inner　light。　　The　organisation　of　the　Zen　monastery　was　very　significant　of　this　point　of　view。　　To　every　member；　except　the　abbot；　was　assigned　some　special　work　in　the　caretaking　of　the　monastery；　and　curiously　enough；　to　the　novices　was　committed　the　lighter　duties；　while　to　the　most　respected　and　advanced　monks　were　given　the　more　irksome　and　menial　tasks。　　Such　services　formed　a　part　of　the　Zen　discipline　and　every　least　action　must　be　done　absolutely　perfectly。　　Thus　many　a　weighty　discussion　ensued　while　weeding　the　garden；　paring　a　turnip；　or　serving　tea。　　The　whole　ideal　of　Teaism　is　a　result　of　this　Zen　conception　of　greatness　in　the　smallest　incidents　of　life。　　Taoism　furnished　the　basis　for　aesthetic　ideals；　Zennism　made　them　practical。



IV。　The　Tea…Room


To　European　architects　brought　up　on　the　traditions　of　stone　and　brick　construction；　our　Japanese　method　of　building　with　wood　　and　bamboo　seems　scarcely　worthy　to　be　ranked　as　architecture。　It　is　but　quite　recently　that　a　competent　student　of　Western　architecture　has　recognised　and　paid　tribute　to　the　remarkable　perfection　of　our　great　temples。　　Such　being　the　case　as　regards　　our　classic　architecture；　we　could　hardly　expect　the　outsider　to　appreciate　the　subtle　beauty　of　the　tea…room；　its　principles　of　　construction　and　decoration　being　entirely　different　from　those　of　the　West。

The　tea…room　（the　Sukiya）　does　not　pretend　to　be　other　than　a　　mere　cottagea　straw　hut；　as　we　call　it。　　The　original　ideographs　for　Sukiya　mean　the　Abode　of　Fancy。　　Latterly　the　various　tea…masters　substituted　various　Chinese　characters　according　to　their　conception　of　the　tea…room；　and　the　term　Sukiya　may　signify　the　Abode　of　Vacancy　or　the　Abode　of　the　Unsymmetrical。　It　is　an　Abode　of　Fancy　inasmuch　as　it　is　an　ephemeral　structure　built　to　house　a　poetic　impulse。　　It　is　an　Abode　of　Vacancy　　inasmuch　as　it　is　devoid　of　ornamentation　except　for　what　may　　be　placed　in　it　to　satisfy　some　aesthetic　need　of　the　moment。　It　is　an　Abode　of　the　Unsymmetrical　inasmuch　as　it　is　consecrated　to　the　worship　of　the　Imperfect；　purposely　leaving　some　thing　　unfinished　for　the　play　of　the　imagination　to　complete。　　The　　ideals　of　Teaism　have　since　the　sixteenth　century　influenced　our　architecture　to　such　degree　that　the　ordinary　Japanese　interior　of　the　present　day；　on　account　of　the　extreme　simplicity　and　　chasteness　of　its　scheme　of　decoration；　appears　to　foreigners　　almost　barren。

The　first　independent　tea…room　was　the　creation　of　Senno…Soyeki；　commonly　known　by　his　later　name　of　Rikiu；　the　greatest　of　all　tea…masters；　who；　in　the　sixteenth　century；　under　the　patronage　of　Taiko…Hideyoshi；　instituted　and　brought　to　a　high　state　of　perfection　the　formalities　of　the　Tea…ceremony。　　The　proportions　of　the　tea…room　had　been　previously　determined　by　Jowoa　famous　tea…master　of　the　fifteenth　century。　　The　early　tea…room　consisted　merely　of　a　portion　of　the　ordinary　drawing…room　partitioned　off　by　screens　for　the　purpose　of　the　tea…gathering。　The　portion　partitioned　off　was　called　the　Kakoi　（enclosure）；　a　name　still　applied　to　those　tea…rooms　which　are　built　into　a　house　and　are　not　independent　constructions。　　The　Sukiya　consists　of　the　tea…room　proper；　designed　to　accomodate　not　more　than　five　　persons；　a　number　suggestive　of　the　saying　〃more　than　the　Graces　and　less　than　the　Muses；〃　an　anteroom　（midsuya）　where　the　tea　utensils　are　washed　and　arranged　before　being　brought　in；　a　　portico　（machiai）　in　which　the　guests　wait　until　they　receive　the　　summons　to　enter　the　tea…roo