The Japanese Way of Tea: From Its Origins in China to Sen Rikyu

Abstract

"The Japanese Way of Tea: From Its Origins in China to Sen Rikyu" by Sen Soshitsu XV and translated by V. Dixon Morris is reviewed.

SEN SOSHITSU XV. The Japanese Way of Tea: From Its Origins in China to Sen Rikyu. Translated by V Dixon Morris. Honolulu: University of Hawaii Press, 1998. xvii + 229 pages. Illustrations, color plates, bibliography, index. Cloth US$45.00; ISBN 0-8248-1897-0. Paper US$19.95; ISBN 0-8248-1990-X.

It is certainly true that one of the most well-known elements of Japanese culture in Western countries is the art of chanoyu. But it is doubtful that Westerners understand the quintessence of this very special Japanese art. Of course there are many Western publications even in German about this topic, but the explanations they provide are mostly insufficient. The typical Western observer sees Japanese culture, art, literature, music, ect., as exotic; this is especially true with the art of tea as it is an art form that is confined to a rigid frame of rituals. The "harmony" of the art Form is of course widely known, but what is not widely known is that there is also the possibility of freedom within the art and that this freedom marks the highest degree of chanoyu. When the art form is described from a Western perspective, there is a strong tendency to use the word "ceremony," which implies that there is a fixed ritual in adoration or worship of something absolute or divine. Westerners seem to imagine "ceremony" as fixed in a strong religious order and rigorous ecclesiastical system from which it cannot be separated and in which there is no chance for spiritual freedom. Maybe such a rigid system gives most Christians a feeling of safety as it relieves them from having to make individual decisions. This is perhaps the reason why Westerners view chanoyu as a rigid ceremony and do not understand it as an art-an art of course with very deep meaning. I suppose, the idea of chanoyu as a ceremony has for Europeans its roots in Kakuzo Okakura's Book of Tea because he sometimes used the term in an attempt to give Westerners a better understanding of chanoyu. At any rate, the term was used in the German translation of this book. Although German scholars such as Horst Hammitzsch have explained the artistic character of chanoyu, it is still difficult for Western people today to understand that drinking tea can become an art.

This being the situation, it is extremely fortunate that we now have a profound explanation of the Japanese way of tea by the grand master of Urasenke, Sen Soshitsu XV himself, translated into English by V Dixon Morris. The content of this book provides a historical-- sociological explanation as well as a philosophical-aesthetical description of the art form. In short, this book is an comprehensible explanation of the unique world of chanoyu.

This art, standing also on a philosophical-religious base, encompasses many special forms; it is based on the philosophy of Zen as well as esoteric Buddhist thought, and does not allude to a superficial realization that is "merely" an artistic expression. It is much more; it offers the possibility of reaching real freedom, the utmost you can reach in the field of art. The text on the whole makes clear that chanoyu is a special kind of art, although the author (or the translator?) some times uses words like "ritual" or even "ceremony"

But it becomes clear in the text that this art is a comprehensive one, an art of space that includes several kinds of art work such as chawan, mizusashi, etc., as well as the beauty of action among the host and the guests. It therefore becomes something like a Gesamtkunstwerk in its deepest meaning.

This emphasizing of the character of chanoyu as art is of the utmost importance for Western readers to understand chanoyu. The book is divided into three parts. Part one deals with the Chinese classics of tea and the author Lu Yu. Sen describes the several sorts of tea, the different manners of tea drinking and their development, and the first chanoyu-like gatherings. About the ninth century tea became known in Japan. At first it was used for ceremonies in temples, then it became an elegant beverage for literati and also a medicine. As the time of "borrowing" from China came to an end in the middle of the Heian period, tea was largely forgotten. But with the return from China of the Zen priest Eisai ( 1141-1215), there was a tea drinking revival in Japan. Eisai himself emphasized the medicinal effect of tea. In the thirteenth century, tea was used in rituals worshipping Buddha and by meditating priests to ward off drowsiness, It also became an elegant means of entertainment among nobles similar to games of awase, which included prizes. Later, during the Ashikaga period (1392-1573), the artist Noami created rules for the Way of Tea. (Unfortunately, this chapter is probably a bit too detailed for Western readers.)

The main chapters of this book are the three treating the three grand masters of the Way of Tea. The first one is Murata Juko. He established the basis for "purifying one's heart." Takeno Joo developed Murata Juko's ideas. It was with Joo that the idea of wabi becomes a central concept in discussions on chanoyu. Also important was the influence of poetry, especially Fujiwara no Teika's poems, which convey the philosophical and aesthetic possibilities of the Way of Tea. Finally, Sen Soshitsu finishes with the grand master Sen no Rikyu (1522-1591), who effected the culmination of the Way of Tea. Rikyu's rules and aesthetic aspects are still valid today. Sen Soshitsu describes in detail the space of the chashitsu and all the things that are necessary For the Way of Tea; it becomes clear from his description that the simple things are not of simple simplicity, the aesthetic is special, born out of concentrating on the essential "to clear the heart" with impressive elegance. By no means is there a hierarchical ranking in this arc: it embodys a democratic atmosphere. One may say it is a real modern art of our time, still alive after many centuries. Despite its long heritage, however, "the single most essential task of the Way of Tea in the future will be to find approaches that are ever fresh, but still firmly rooted in tradition." These last words of this book of Sen Soshitsu should penetrate the heart of all Western lovers of chanoyu.

Because this book is very important for introducing Japanese artistic thought to the West, a few critical remarks are in order. For the readers who are not well acquainted with Japanese texts the title of quoted texts should be translated. The annotations should also explain Japanese words sufficiently because most Western readers are not familiar with them. Also, it would be very helpful to add kanji for the Japanese words in the next edition of this book.