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