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.One can be taught by another how the art of distillation of our thought, which only comesto see and understand the outward beauty, but there s from the true pride and real economy of force.Universal-hardly any guidance in the invisible matter, and you are ism is often a weakness itself.We do not need, in our Japa-your own guide, alone in the world, in your change from nese literature, any long epic and song, because they arethe visible to the spiritual.It is easy to change your dress touched more or less by pretension.Our song is a pottedand hat according to the season and style; but the outside tree of a thousand years growth; our song is a Japaneseattire, even the best kind, is of no avail for your spiritual tea-house four mats and a half in all where we burnchange.It is natural course to enter the invisible from the the rarest incense which rises to the sky; our song is anvisible, as you step into night from day; but you must let opal with six colors that shine within.it come after having enough satisfaction of the outwardthings.The mellow perfection of the night only comes af- MY ATTITUDE TOWARDSter all the splendor of the sun.THE FLOWERSAs for me, I have no strong love with the outward things,and always take a deep delight in the little inward world Y own attitude towards the flowers is the attitude the largest world perhaps of my creation, and rarely Mof the so-called flower-master, or, to speak moresing the visible beauty.Is it because I am philosophical? exactly, that of the tea-master, because the former is nowPerhaps I am, without knowing it at all.Is it because I am troubled by the theories which originally came to exist assomewhat logical? Perhaps I am, although people (I in- a proof of adoration as if a dew from the burst of dawn.cluded) do not notice it.One thing I can say with much And the latter is the art of accident, though it may soundfaith is that it takes a great energy to gain an assertion, rather arbitrary, born from the proper setting.When I calland a tireless persistence to be content with the invisible the flower-arrangement of the tea-master the natural, Ithings.You must fully understand the beauty of life, if mean to emphasize the point of formalism in those of theyou want to see the beauty of death; and life will be more flower-master for which the word decorative is merelybeautiful from the reason of contrast with death.And death, an excuse.As you and I know well, the flowers are suffi-again from the contrast with life, will be more tender in ciently decorative in nature without adding any emphasis;pathos, more subtle in rhythm.My song is always with I think that decorative is one of those two or three wordsthe falling leaves and the dying day.wrongly used in the West when applied to our JapaneseI am not ready to say such is the poetry of modern Japa- art; and it is my own opinion that the true decorativenessnese poets; it is so at least with some of them.And it is a will never be gained in any art of East or West through themost striking contrast with the material civilization of point of emphasis.The real decorativeness of, for instance,present Japan, which was brought at once from the West; Korin or Hoitsu lies, at least to our Japanese mind, in thethe West, strangely enough, sent us at the same time her place where he is least decorative or, let me say, most natu-spiritual literature under the arbitrary name of symbol- ral; the word natural for the Japanese art is verily old andism.Now, that symbolism is not a new thing at all; for us, new.Now to turn to my attitude in looking at the flowers.it is a continuation, of course with much modification, of I aim it to be natural, because my mind ever so hates toour old thoughts and emotions.It is interesting to note modify the beauty of the flowers; I dare say it is a new artthat it came here when we were much criticized as mate- (if I can call it so), not only to the West, but also to therialists without capacity of understanding any spiritual East, which I gained perhaps through my perfect forget-144 May, 1918 THE INTERNATIONAL 145ting of the old Japanese flower art.When I cannot see the ment: That was very grand. And he said further that heway how to explain myself, I always say: I see the real would like to play it, for instance, at the scene first ornature in flowers. If you say I admire the selection of the last, where many samurais in formal dress, sitting in per-flowers, you are wrong, because I never select them as it fect order, were ready to speak their greeting of New Year smight appear to you; my chief value as a flower adorer, or Day to their lord just stepped out from within; indeed,mystery, if I have any, is how, and more important, where, that was what I never expected to hear.However, I wasto leave the flowers to sing their own quiet songs in a amused to think it was another instance to prove how dif-little vase, bronze or China, upon the tokonoma.ferently in music the Japanese mind, at least, the old Japa-My mind astrays to the well-known story of Rikiu, the nese mind, is pleased to work from the West; you can imag-tea-master, of the sixteenth century, regarding the morn- ine how mystified he looked when I told him about theing-glory, which Taiko, the great prince, entreated him to nature of tune I had played him. show him; it goes without saying that the morning-glory This delightful talker looked upon me as if he wantedwas yet the rarest plant at that time.It is said that Rikiu my word of endorsement; my mind grew at once alive,had put all the flowers, of course morning-glories, away being given an interesting subject even for serious con-from the garden for the fine pebbles and white sand on sideration; and I said:the appointed day, where Taiko, as you can imagine, I had my own experiences not only once when I foundwalked most sulkily towards the tea-room, where the great myself in exactly the same situation as that Mr.K.; it wastea-master prepared the morning tea for his lord [ Pobierz całość w formacie PDF ]
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.One can be taught by another how the art of distillation of our thought, which only comesto see and understand the outward beauty, but there s from the true pride and real economy of force.Universal-hardly any guidance in the invisible matter, and you are ism is often a weakness itself.We do not need, in our Japa-your own guide, alone in the world, in your change from nese literature, any long epic and song, because they arethe visible to the spiritual.It is easy to change your dress touched more or less by pretension.Our song is a pottedand hat according to the season and style; but the outside tree of a thousand years growth; our song is a Japaneseattire, even the best kind, is of no avail for your spiritual tea-house four mats and a half in all where we burnchange.It is natural course to enter the invisible from the the rarest incense which rises to the sky; our song is anvisible, as you step into night from day; but you must let opal with six colors that shine within.it come after having enough satisfaction of the outwardthings.The mellow perfection of the night only comes af- MY ATTITUDE TOWARDSter all the splendor of the sun.THE FLOWERSAs for me, I have no strong love with the outward things,and always take a deep delight in the little inward world Y own attitude towards the flowers is the attitude the largest world perhaps of my creation, and rarely Mof the so-called flower-master, or, to speak moresing the visible beauty.Is it because I am philosophical? exactly, that of the tea-master, because the former is nowPerhaps I am, without knowing it at all.Is it because I am troubled by the theories which originally came to exist assomewhat logical? Perhaps I am, although people (I in- a proof of adoration as if a dew from the burst of dawn.cluded) do not notice it.One thing I can say with much And the latter is the art of accident, though it may soundfaith is that it takes a great energy to gain an assertion, rather arbitrary, born from the proper setting.When I calland a tireless persistence to be content with the invisible the flower-arrangement of the tea-master the natural, Ithings.You must fully understand the beauty of life, if mean to emphasize the point of formalism in those of theyou want to see the beauty of death; and life will be more flower-master for which the word decorative is merelybeautiful from the reason of contrast with death.And death, an excuse.As you and I know well, the flowers are suffi-again from the contrast with life, will be more tender in ciently decorative in nature without adding any emphasis;pathos, more subtle in rhythm.My song is always with I think that decorative is one of those two or three wordsthe falling leaves and the dying day.wrongly used in the West when applied to our JapaneseI am not ready to say such is the poetry of modern Japa- art; and it is my own opinion that the true decorativenessnese poets; it is so at least with some of them.And it is a will never be gained in any art of East or West through themost striking contrast with the material civilization of point of emphasis.The real decorativeness of, for instance,present Japan, which was brought at once from the West; Korin or Hoitsu lies, at least to our Japanese mind, in thethe West, strangely enough, sent us at the same time her place where he is least decorative or, let me say, most natu-spiritual literature under the arbitrary name of symbol- ral; the word natural for the Japanese art is verily old andism.Now, that symbolism is not a new thing at all; for us, new.Now to turn to my attitude in looking at the flowers.it is a continuation, of course with much modification, of I aim it to be natural, because my mind ever so hates toour old thoughts and emotions.It is interesting to note modify the beauty of the flowers; I dare say it is a new artthat it came here when we were much criticized as mate- (if I can call it so), not only to the West, but also to therialists without capacity of understanding any spiritual East, which I gained perhaps through my perfect forget-144 May, 1918 THE INTERNATIONAL 145ting of the old Japanese flower art.When I cannot see the ment: That was very grand. And he said further that heway how to explain myself, I always say: I see the real would like to play it, for instance, at the scene first ornature in flowers. If you say I admire the selection of the last, where many samurais in formal dress, sitting in per-flowers, you are wrong, because I never select them as it fect order, were ready to speak their greeting of New Year smight appear to you; my chief value as a flower adorer, or Day to their lord just stepped out from within; indeed,mystery, if I have any, is how, and more important, where, that was what I never expected to hear.However, I wasto leave the flowers to sing their own quiet songs in a amused to think it was another instance to prove how dif-little vase, bronze or China, upon the tokonoma.ferently in music the Japanese mind, at least, the old Japa-My mind astrays to the well-known story of Rikiu, the nese mind, is pleased to work from the West; you can imag-tea-master, of the sixteenth century, regarding the morn- ine how mystified he looked when I told him about theing-glory, which Taiko, the great prince, entreated him to nature of tune I had played him. show him; it goes without saying that the morning-glory This delightful talker looked upon me as if he wantedwas yet the rarest plant at that time.It is said that Rikiu my word of endorsement; my mind grew at once alive,had put all the flowers, of course morning-glories, away being given an interesting subject even for serious con-from the garden for the fine pebbles and white sand on sideration; and I said:the appointed day, where Taiko, as you can imagine, I had my own experiences not only once when I foundwalked most sulkily towards the tea-room, where the great myself in exactly the same situation as that Mr.K.; it wastea-master prepared the morning tea for his lord [ Pobierz całość w formacie PDF ]