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."

宗教认为未来于们不可知。而艺术则认为当下即是永恒。茶艺师们深信对艺术的真正领悟唯有当其影响渗透于具体生活中时才有可能。所以，他们以从茶室里面得来的那种极精致来调整自己的日常生活。那么，在任何情况下都要持宁静平和的心态，而谈话时当然绝不可以破坏环境的和谐。衣服的剪裁与配色，体态与行走举止都应该体现出优雅的艺术感。这些是不可以哪怕忽略一点点的，因为如果他自己不是美的话，他也就没有权利去触碰美的东西。所以，茶艺师们不仅仅只有艺术家，他们努力使自己成为艺术本身。这就是唯美的禅。

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 Nagoya 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 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 to

keep our moral equilibrium, and see forerunners of the tempest

in every cloud that floats on the horizon. Yet there is joy and

beauty in the roll of billows as they sweep outward toward

eternity. Why not enter into their spirit, or, like Liehtse, ride

upon the hurricane itself?

He only who has lived with the beautiful can die beautifully.

The last moments of the great tea-masters were as full of

exquisite refinement as had been their lives. Seeking always

to be in harmony with the great rhythm of the universe, they

were ever prepared to enter the unknown. The "Last Tea of

Rikiu" will stand forth forever as the acme of tragic grandeur.

Long had been the friendship between Rikiu and the Taiko-

Hideyoshi, and high the estimation in which the great warrior

held the tea-master. But the friendship of a despot is ever a

dangerous honour. It was an age rife with treachery, and men

trusted not even their nearest kin. Rikiu was no servile courtier,

and had often dared to differ in argument with his fierce patron.

Taking advantage of the coldness which had for some time existed

between the Taiko and Rikiu, the enemies of the latter accused

him of being implicated in a conspiracy to poison the despot.

It was whispered to Hideyoshi that the fatal potion was to be

administered to him with a cup of the green beverage prepared

by the tea-master. With Hideyoshi suspicion was sufficient ground

for instant execution, and there was no appeal from the will of the

angry ruler. One privilege alone was granted to the condemned--

the honor of dying by his own hand.

On the day destined for his self-immolation, Rikiu invited his chief

disciples to a last tea-ceremony. Mournfully at the appointed time

the guests met at the portico. As they look into the garden path the

trees seem to shudder, and in the rustling of their leaves are heard

the whispers of homeless ghosts. Like solemn sentinels before the

gates of Hades stand the grey stone lanterns. A wave of rare incense

is wafted from the tea-room; it is the summons which bids the guests

to enter. One by one they advance and take their places. In the

tokonoma hangs a kakemon,--a wonderful writing by an ancient

monk dealing with the evanescence of all earthly things. The singing

kettle, as it boils over the brazier, sounds like some cicada pouring

forth his woes to departing summer. Soon the host enters the room.

Each in turn is served with tea, and each in turn silently drains his cup,

the host last of all. according to established etiquette, the chief guest

now asks permission to examine the tea-equipage. Rikiu places the

various articles before them, with the kakemono. After all have

expressed admiration of their beauty, Rikiu presents one of them

to each of the assembled company as a souvenir. The bowl alone

he keeps. "Never again shall this cup, polluted by the lips of

misfortune, be used by man." He speaks, and breaks the vessel

into fragments.

The ceremony is over; the guests with difficulty restraining their

tears, take their last farewell and leave the room. One only, the

nearest and dearest, is requested to remain and witness the end.

Rikiu then removes his tea-gown and carefully folds it upon the

mat, thereby disclosing the immaculate white death robe which

it had hitherto concealed. Tenderly he gazes on the shining blade

of the fatal dagger, and in exquisite verse thus addresses it:

"Welcome to thee,/ O sword of eternity!/ Through Buddha/

And through Dharuma alike/ Thou hast cleft thy way."

With a smile upon his face Rikiu passed forth into the unknown.