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阿门

Return of the
Morning Clouds
Sen no Rikyu, the founder of the style of tea ceremony known as wabicha ("rustic tea"), practiced his art in a tearoom he called Choun An, which translates as "hermitage of the morning clouds." In June 2006, a replica of this tearoom was completed in Sakai, Osaka, recreating a structure that had not stood for 420 years. In charge of the project was architectural historian Nakamura Masao.
The tea ceremony is a leisure activity based on a simple concept: a host invites guests to drink tea with him. However, the host is conceived of as a mountain hermit who enjoys a life of seclusion and is perplexed with regard to how best to entertain his guests so far from civilization. In this conceit, the host must pursue a deeper, more spiritual hospitality that goes beyond the usual treatment guests might expect to receive.
To achieve this, tea masters through the ages have invested considerable time and effort into the development of chashitsu ("tearooms," small wooden structures built of wood designed specifically for hosting tea gatherings) and associated tools and accoutrements (including the roji, or "dewy path" that leads to the room itself). The specific items used and arranged for each gathering are carefully selected with the particular guests in mind. Underlying this approach is the creed: "Treasure every encounter, for it will never recur."
Preparations for a tea gathering include uchimizu (sprinkling water on the grounds outside the room to prevent dust from rising), and the display of a hanging scroll and suitable flower arrangement in the scroll toko (alcove). These decorations express the joy the host feels in receiving his guests. There is a famous anecdote concerning the use of a morning glory for a tea gathering hosted by Sen no Rikyu (1525–1591) for the great lord Toyotomi Hideyoshi (1536–1598), who was then the supreme military ruler of Japan. Rikyu's home was famous for its beautiful morning glories (rare in Japan at the time), and Hideyoshi had expressed an interest in seeing them. In preparation for Hideyoshi's visit, Rikyu cut all of the morning glory blossoms from the vines, but left one carefully arranged in the alcove of the teahouse, which delighted Hideyoshi. Rikyu had sacrificed all of the flowers he had taken great pains to cultivate in order to please his guest with a proper welcome. The common practice of selecting short-lived blooms to ornament a tea gathering stems from the desire to encourage guests to savor the beauty of one particular moment, before it fades forever. Similarly, the use of utensils and the choice of sweets and other foods are dictated by the season.
When visitors arrive, they cleanse their hands and mouths with water called chozu ("hand water"), which is brought to them by the host himself. Similarly, every act involved in the preparation and presentation of the tea is performed personally by the host, since hermits do not have servants. At the root of this hospitality is a deep respect for the guests, mirrored by a spirit of gratitude in the hearts of the guests toward the ministrations of the host. This spiritual posture established between the host and guests generates a close bond intended to heighten the experience into an "exchange of true heart."
In reverencing his guests, the host becomes humble. This spirit pervades every aspect of the tea ceremony, including the host's actions. For example, in making the tea, the host makes no attempt to show off his technique, nor does he draw attention to the way he places and uses his utensils. Even if he has a famous bowl or other masterwork at hand, he does not betray overt pride. The front sides of all of his bowls and other utensils are oriented toward himself, and he does not show them to the guests unless they ask to see them.
The humility of the host is embodied in the size and construction of the tearoom itself. Because the host makes the tea in front of his guests, they share the same space. The guests occupy the joza (seat of honor), and the host occupies the temaeza (lower seat).
The toko is not simply a place to display decorative artwork; it is raised a step higher than the rest of the room and was originally intended as a place for kinin (that is, especially important personages) to sit. Naturally, the side of the room with the alcove is considered the seat of honor. When there are multiple guests, all are equal before the alcove. When the primary guest takes his place, he leaves the space before the alcove open. Traditionally, it was expected that the guests would also express their respect to the kinin seat by bowing.

阿门

Tearooms come in various sizes and shapes, but the ideal was to have a single room in which the host and his guests could encircle a hearth and enjoy each other's company in an intimate setting. Although the host and guests sit together in a line around the hearth, participants are conscious of an invisible distinction between the seat of honor and the lower seat. Sometimes, the ceiling is built lower over the lower seat, with the higher ceiling reserved for the guests. This design not only clearly distinguishes the two seats but also expresses the humility associated with the host.
Hideyoshi built his castle in Osaka in 1583, and Rikyu constructed his home in nearby Sumiyoshi. There, he built a tearoom with three regular-sized tatami mats (in the Kansai area, a tatami mat measures 955 mm x 1,910 mm), plus a special, three-quarter-size mat called a daimedatami that served as the lower seat. In a drawing made by Yamanoue Soji (1544– 1590), a wealthy merchant and student of Rikyu's, the tearoom also had an alcove measuring about 1.5 meters wide, a partition wall that separated the guests from the host, and a small stand in the corner. On January 12, 1587, the wealthy Hakata merchant Kamiya Sotan (1551–1635) was invited to a tea gathering at this residence of Rikyu. Sotan eagerly looked forward to this event, and gave a detailed account of it in his diary.
According to Sotan, there was an imported kourai zutsu porcelain vase near the left pillar of the alcove that contained white plum blossoms during the first part of the tea ceremony. For the second part, this was replaced by a Hashitate tea caddy. Sotan also notes that a water vessel and tea bowls were arranged under "the stand in the next room." Ordinarily, the term "the next room" would refer to a room outside of the tearoom itself. However, the vessel and tea bowls placed under the stand would seem to indicate their intended use for serving tea, making it clear that they were located near the lower seat inside the tearoom. Rikyu no doubt sat there to make the tea, and it appeared from Sotan's perspective to be in "the next room." But how could this be? This was a great riddle.
In fact, Rikyu is said to have tried out a new design, called daime-kamae, in his Osaka tearoom.
Riddle of the "Next Room"
The daime-kamae design, as originated by Rikyu in Osaka, became the generally preferred design for teahouses after Rikyu's death in 1591. To understand it, we must solve the riddle of Sotan's "next room."
After Rikyu's death, his son Shoan (1546–1614) went into the service of the military general Gamo Ujisato (1556– 1595) of Aizu. Eventually, however, Shoan received permission to re-establish a home for his clan. In 1608, the tea master Matsuya Hisashige of Nara was invited to Shoan's home for tea, a gathering that he recorded in his diary. The teahouse was laid out in the sanjo-daime configuration (three regular tatami mats plus a three-quarter-size daimedatami mat) which, on closer inspection, replicated that of the teahouse used by Rikyu in Osaka. It was the diagram drawn by Matsuya in his diary that enabled me to solve the riddle of the "next room."
Detailed notes in the diagram show that the guests were separated from the lower seat by a partition wall coming all the way down to the floor. The partition that was attached to the nakabashira (middle pillar) on the corner of the hearth, however, was open towards the bottom, and this is what is meant by "daime-kamae." In the first daime-kamae design tried by Rikyu in his Osaka teahouse, this wall also came all the way down to the floor, which is why Sotan referred to the lower seat as "the next room."
With this riddle of the daime-kamae design solved, Rikyu's intentions become clear. While keeping the host and his guests together in the same room, this partial partitioning was meant to further humble the host by rendering visible the distinction between the seat of honor and the lower seat.
With this image of the original daime-kamae design in mind, I built Choun An as a replica of Rikyu's original Osaka tearoom. It included a nijiriguchi (crawl-in entrance), agariguchi (nobleman's entrance) fitted with a single shoji paper screen, and a kyuujiguchi service entrance. When sitting in the replicated room where Sotan probably sat, the lower seat does indeed appear to be in "the next room."
When the host says he is going to "the next room" to prepare the tea, he conveys to his guests both his own spirit of humility and the depth of his desire to be hospitable.
It is my conjecture that Rikyu built his Osaka tearoom with Hideyoshi's visit in mind. This supposition is supported by a letter that Rikyu sent from Sumiyoshi. He had already hosted Hideyoshi in a twomat tearoom called Taian in Yamazaki in Osaka, a place famous for its water. Now that Hideyoshi was the supreme military commander in Japan, however, Rikyu perhaps felt that he needed a venue that properly suited his guest's august status, despite his wabicha style of tea, which called for rusticity and the removal of all things superfluous in order to heighten experiential tension. Rikyu probably decided to lower the host's seat in order to express his feelings of reverence and deference. Similarly, it may be that his use of a square pillar for the alcove, instead of a naturally round one, and his use of a 151.5-cm alcove framed in black lacquer, were also motivated by this concern.
The ideal of the tea ceremony is to bring guests and host together to create a world where hearts can commune. Through his design of Choun An, Rikyu communicates to us the essential importance of maintaining a humble heart of hospitality in achieving that ideal. Can we not say that this is the basic principle of hospitality that best typifies the Japanese?
NAKAMURA Masao is an architectural historian and emeritus professor at Kyoto Institute of Technology.

helladise

说“茶道”的。