the book of tea-第7章

按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！


；　a　　portico　（machiai）　in　which　the　guests　wait　until　they　receive　the　　summons　to　enter　the　tea…room；　and　a　garden　path　（the　roji）　which　　connects　the　machiai　with　the　tea…room。　　The　tea…room　is　unimpressive　in　appearance。　　It　is　smaller　than　the　smallest　of　Japanese　houses；　while　the　materials　used　in　its　construction　are　intended　to　give　the　suggestion　of　refined　poverty。　　Yet　we　must　remember　that　all　this　is　the　result　of　profound　artistic　　forethought；　and　that　the　details　have　been　worked　out　with　care　perhaps　even　greater　than　that　expended　on　the　building　of　the　richest　palaces　and　temples。　　A　good　tea…room　is　more　costly　than　an　ordinary　mansion；　for　the　selection　of　its　materials；　as　well　as　its　workmanship；　requires　immense　care　and　precision。　　Indeed；　the　carpenters　employed　by　the　tea…masters　form　a　distinct　and　highly　honoured　class　among　artisans；　their　work　being　no　less　delicate　than　that　of　the　makers　of　lacquer　cabinets。

The　tea…room　is　not　only　different　from　any　production　of　Western　architecture；　but　also　contrasts　strongly　with　the　classical　architecture　of　Japan　itself。　　Our　ancient　noble　edifices；　whether　secular　or　ecclesiastical；　were　not　to　be　　despised　even　as　regards　their　mere　size。　　The　few　that　have　been　spared　in　the　disastrous　conflagrations　of　centuries　are　still　capable　of　aweing　us　by　the　grandeur　and　richness　　of　their　decoration。　　Huge　pillars　of　wood　from　two　to　three　　feet　in　diameter　and　from　thirty　to　forty　feet　high；　supported；　by　a　complicated　network　of　brackets；　the　enormous　beams　which　groaned　under　the　weight　of　the　tile…covered　roofs。　The　material　and　mode　of　construction；　though　weak　against　fire；　proved　itself　strong　against　earthquakes；　and　was　well　suited　to　the　climatic　conditions　of　the　country。　　In　the　Golden　Hall　of　Horiuji　and　the　Pagoda　of　Yakushiji；　we　have　noteworthy　examples　of　the　durability　of　our　wooden　architecture。　　These　buildings　have　practically　stood　intact　for　nearly　twelve　centuries。　　The　interior　of　the　old　temples　and　palaces　was　　profusely　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