When a tea-master has arranged a flower to his satisfaction he will place it on the tokonoma, the place of honour in a j.a.panese room.
Nothing else will be placed near it which might interfere with its effect, not even a painting, unless there be some special aesthetic reason for the combination. It rests there like an enthroned prince, and the guests or disciples on entering the room will salute it with a profound bow before making their addresses to the host. Drawings from masterpieces are made and published for the edification of amateurs. The amount of literature on the subject is quite voluminous. When the flower fades, the master tenderly consigns it to the river or carefully buries it in the ground. Monuments are sometimes erected to their memory.
The birth of the Art of Flower Arrangement seems to be simultaneous with that of Teaism in the fifteenth century. Our legends ascribe the first flower arrangement to those early Buddhist saints who gathered the flowers strewn by the storm and, in their infinite solicitude for all living things, placed them in vessels of water. It is said that Soami, the great painter and connoisseur of the court of Ashikaga-Yoshimasa, was one of the earliest adepts at it. Juko, the tea-master, was one of his pupils, as was also Senno, the founder of the house of Iken.o.bo, a family as ill.u.s.trious in the annals of flowers as was that of the Kanos in painting. With the perfecting of the tea-ritual under Rikiu, in the latter part of the sixteenth century, flower arrangement also attains its full growth. Rikiu and his successors, the celebrated Oda-wuraka, Furuka-Oribe, Koyetsu, Kobori-Enshiu, Katagiri-Sekishiu, vied with each other in forming new combinations. We must remember, however, that the flower-worship of the tea-masters formed only a part of their aesthetic ritual, and was not a distinct religion by itself. A flower arrangement, like the other works of art in the tea-room, was subordinated to the total scheme of decoration. Thus Sekishiu ordained that white plum blossoms should not be made use of when snow lay in the garden.
"Noisy" flowers were relentlessly banished from the tea-room. A flower arrangement by a tea-master loses its significance if removed from the place for which it was originally intended, for its lines and proportions have been specially worked out with a view to its surroundings.
The adoration of the flower for its own sake begins with the rise of "Flower-Masters," toward the middle of the seventeenth century. It now becomes independent of the tea-room and knows no law save that the vase imposes on it. New conceptions and methods of execution now become possible, and many were the principles and schools resulting therefrom.
A writer in the middle of the last century said he could count over one hundred different schools of flower arrangement. Broadly speaking, these divide themselves into two main branches, the Formalistic and the Naturalesque. The Formalistic schools, led by the Iken.o.bos, aimed at a cla.s.sic 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 Tsunen.o.bu. 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 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 a.s.siduous 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-glory--the 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 death--certainly the j.a.panese 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 away on the laughing waters, they seem to say: "Farewell, O Spring!
We are on to eternity."
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 circ.u.mstances 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 cla.s.sical 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 j.a.pan 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 j.a.panese 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 a.s.sembled 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 pa.s.sed forth into the unknown.