the book of tea(茶书)-第8节
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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…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
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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
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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
