the book of tea(茶书)-第13部分
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these divide themselves into two main branches； the Formalistic and the
Naturalesque。 The Formalistic schools； led by the Ikenobos； aimed at a
classic idealism corresponding to that of the Kano…academicians。 We
possess records of arrangements by the early masters of the school which
almost reproduce the flower paintings of Sansetsu and Tsunenobu。 The
Naturalesque school； on the other hand； accepted nature as its model； only
imposing such modifications of form as conduced to the expression of
artistic unity。 Thus we recognise in its works the same impulses which
formed the Ukiyoe and Shijo schools of painting。
It would be interesting； had we time； to enter more fully than it is now
possible into the laws of composition and detail formulated by the various
flower…masters of this period； showing； as they would； the fundamental
theories which governed Tokugawa decoration。 We find them referring to
the Leading Principle （Heaven）； the Subordinate Principle （Earth）； the
Reconciling Principle （Man）； and any flower arrangement which did not
embody these principles was considered barren and dead。 They also
dwelt much on the importance of treating a flower in its three different
aspects； the Formal； the Semi…Formal； and the Informal。 The first
might be said to represent flowers in the stately costume of the ballroom；
the second in the easy elegance of afternoon dress； the third in the
charming deshabille of the boudoir。
Our personal sympathies are with the flower…arrangements of the tea…
master rather than with those of the flower…master。 The former is art in
its proper setting and appeals to us on account of its true intimacy with life。
We should like to call this school the Natural in contradistinction to the
Naturalesque and Formalistic schools。 The tea…master deems his duty
ended with the selection of the flowers； and leaves them to tell their own
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story。 Entering a tea…room in late winter； you may see a slender spray of
wild cherries in combination with a budding camellia； it is an echo of
departing winter coupled with the prophecy of spring。 Again； if you go
into a noon…tea on some irritatingly hot summer day； you may discover in
the darkened coolness of the tokonoma a single lily in a hanging vase；
dripping with dew； it seems to smile at the foolishness of life。
A solo of flowers is interesting； but in a concerto with painting and
sculpture the combination becomes entrancing。 Sekishiu once placed
some water…plants in a flat receptacle to suggest the vegetation of lakes
and marshes； and on the wall above he hung a painting by Soami of wild
ducks flying in the air。 Shoha； another tea…master； combined a poem on
the Beauty of Solitude by the Sea with a bronze incense burner in the form
of a fisherman's hut and some wild flowers of the beach。 One of the
guests has recorded that he felt in the whole composition the breath of
waning autumn。
Flower stories are endless。 We shall recount but one more。 In the
sixteenth century the morning…glory was as yet a rare plant with us。
Rikiu had an entire garden planted with it； which he cultivated with
assiduous care。 The fame of his convulvuli reached the ear of the Taiko；
and he expressed a desire to see them； in consequence of which Rikiu
invited him to a morning tea at his house。 On the appointed day Taiko
walked through the garden； but nowhere could he see any vestige of the
convulvus。 The ground had been leveled and strewn with fine pebbles and
sand。 With sullen anger the despot entered the tea…room； but a sight waited
him there which completely restored his humour。 On the tokonoma； in a
rare bronze of Sung workmanship； lay a single morning…glorythe queen
of the whole garden！
In such instances we see the full significance of the Flower Sacrifice。
Perhaps the flowers appreciate the full significance of it。 They are not
cowards； like men。 Some flowers glory in deathcertainly the Japanese
cherry blossoms do； as they freely surrender themselves to the winds。
Anyone who has stood before the fragrant avalanche at Yoshino or
Arashiyama must have realized this。 For a moment they hover like
bejewelled clouds and dance above the crystal streams； then； as they sail
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away on the laughing waters； they seem to say： 〃Farewell； O Spring！ We
are on to eternity。〃
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VII。 Tea…Masters
In religion the Future is behind us。 In art the present is the eternal。
The tea…masters held that real appreciation of art is only possible to those
who make of it a living influence。 Thus they sought to regulate their
daily life by the high standard of refinement which obtained in the tea…
room。 In all circumstances serenity of mind should be maintained； and
conversation should be conducted as never to mar the harmony of the
surroundings。 The cut and color of the dress； the poise of the body； and
the manner of walking could all be made expressions of artistic
personality。 These were matters not to be lightly ignored； for until one has
made himself beautiful he has no right to approach beauty。 Thus the tea…
master strove to be something more than the artist；art itself。 It was
the Zen of aestheticism。 Perfection is everywhere if we only choose to
recognise it。 Rikiu loved to quote an old poem which says： 〃To those
who long only for flowers； fain would I show the full…blown spring which
abides in the toiling buds of snow…covered hills。〃
Manifold indeed have been the contributions of the tea…masters to art。
They completely revolutionised the classical architecture and interior
decorations； and established the new style which we have described in the
chapter of the tea…room； a style to whose influence even the palaces and
monasteries built after the sixteenth century have all been subject。 The
many…sided Kobori…Enshiu has left notable examples of his genius in the
Imperial villa of Katsura； the castles of Najoya and Nijo； and the
monastery of Kohoan。 All the celebrated gardens of Japan were laid out by
the tea…masters。 Our pottery would probably never have attained its high
quality of excellence if the tea…masters had not lent it to their inspiration；
the manufacture of the utensils used in the tea…ceremony calling forth the
utmost expenditure of ingenuity on the parts of our ceramists。 The
Seven Kilns of Enshiu are well known to all students of Japanese pottery。
many of our textile fabrics bear the names of tea…masters who conceived
their color or design。 It is impossible； indeed； to find any department of
art in which the tea…masters have not left marks of their genius。 In
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painting and lacquer it seems almost superfluous to mention the
immense services they have rendered。 One of the greatest schools of
painting owes its origin to the tea…master Honnami…Koyetsu； famed also
as a lacquer artist and potter。 Beside his works； the splendid creation of
his grandson； Koho； and of his grand…nephews； Korin and Kenzan； almost
fall into the shade。 The whole Korin school； as it is generally designated；
is an expression of Teaism。 In the broad lines of this school we seem to
find the vitality of nature herself。
Great as has been the influence of the tea…masters in the field of art； it
is as nothing compared to that which they have exerted on the conduct of
life。 Not only in the usages of polite society； but also in the arrangement
of all our domestic details； do we feel the presence of the tea…masters。
Many of our delicate dishes； as well as our way of serving food； are their
inventions。 They have taught us to dress only in garments of sober
colors。 They have instructed us in the proper spirit in which to approach
flowers。 They have given emphasis to our natural love of simplicity； and
shown us the beauty of humility。 In fact； through their teachings tea has
entered the life of the people。
Those of us who know not the secret of properly regulating our own
existence on this tumultuous sea of foolish troubles which we call life are
constantly in a state of misery while vainly trying to appear happy and
contented。 We stagger in the attempt
