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How much more is the drinking of a beverage, which began with the transcendental contemplation of a Hindoo anchorite, entitled to develop into a handmaid of Religion and Morality? That calmness of mind, that serenity of temper, that composure and quietness of demeanor, which are the first essentials of Cha-no-yu are without doubt the first conditions of right thinking and right feeling.
Before entering the quiet precincts of the tea-room, the company assembling to partake of the ceremony laid aside, together with their swords, the ferocity of the battle-field or the cares of government, there to find peace and friendship. Cha-no-yu is more than a ceremony it is a fine art; it is poetry, with articulate gestures for rhythm: it is a modus operandi of soul discipline.
They flourished, however, principally during the reign of the emperor Taikosama, who, in the year 1588, furnished the society of Cha-no-yu at Kitano near Myako with new laws.
The observant Taikosama perceived that, in order to tame these rough natures, he must accustom them to the arts of peace, and thus secure prosperity to the country, and safety for himself and his successors. With this in view he recalled the Cha-no-yu society anew into life, and assembled its masters and those acquainted with its customs around him.
As an example of how the simplest thing can be made into an art and then become spiritual culture, I may take Cha-no-yu, the tea ceremony. Tea-sipping as a fine art! Why should it not be? In the children drawing pictures on the sand, or in the savage carving on a rock, was the promise of a Raphael or a Michael Angelo.
The "tea ceremonies" known as the Cha-no-yu came into vogue about the same time, and undoubtedly had an immense influence on the ceramic art. The articles used in the "tea ceremonies" included an iron kettle resting on a stand; a table or stand of mulberry wood 2 feet high; two tea-jars containing the tea; a vessel containing fresh water; a tea-bowl.
But although this general description is easy enough to formulate, the etiquette and the canons of the cha-no-yu would require a whole volume for an exhaustive description.
His manners and attitude towards the universe were the same, whether tossing in the middle of the Pacific Ocean sketching the trade-wind from a whale-boat in the blast of sea-sickness, or drinking the cha-no-yu in the formal rites of Japan, or sipping his cocoanut cup of kava in the ceremonial of Samoan chiefs, or reflecting under the sacred bo-tree at Anaradjpura.
But it was not until the beginning of the sixteenth century that Shino Soshin converted the pastime into something like a philosophy. From his days no less than sixty-six distinct kinds of incense were recognized and distinguished by names derived from literary allusions. This pastime is not so elaborate as the cha-no-yu, nor does it furnish, like the latter, a series of criteria of art-objects.
But even the two combined convey no idea of the labyrinth of observances which constituted the ceremonial. The development of the cha-no-yu is mainly due to Shuko, a priest of the Zen sect of Buddhism, who seems to have conceived that tea drinking might be utilized to promote the moral conditions which he associated with its practice. Prof.
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