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 so conducted as never to mar the
harmony of the surroundings. The cut and colour 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-Ignshiu 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 to it their
inspiration, the manufacture of the utensils used in the tea ceremony
calling forth the utmost expenditure of ingenuity on the part 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 colour 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 service they have rendered. One of
the greatest schools of painting owes its origin to the tea-master
Itonnami-Koyetsu, famed also as a lacquer artist and potter. Beside his
works, the splendid creation of his grandson, Koho, and of his
grandnephews, 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
colours. They have instructed us in the proper spirit in which to
approach flowers. They have given emphasis to our natural love of
simplieity, 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 the 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 honour 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 kakemono, – 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."
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With
a smile upon his face Rikiu passed forth into the unknown.
