The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.116

With A Smile Upon His Face Rikiu Passed Forth Into The Unknown

　『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 cocealed.

　Tenderly he gazes on the shining blade of the fatal dagger, and in exquisite verse thus addresses it:

" Welcome to three,
O sword of Eternity !
Through Buddha
　　　　And Through Dharuma Alike
Thou Hast Cleft Thy Way."

　With a smile upon his face Rikiu passed　forth into the unknown.』

　（From The Book of Tea; Tea-Masters,　ｐ.116, Chales E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)

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The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.115

The Evanescence Of All Earthly Things

　『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 portio.

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 kakemono,-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 gust 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 assembled 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.』
（From the Book of the Tea; Tea-Masters, p.11 Book of the Tea; Tea-Masters, p.114-115, Charles E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)

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The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.-114

Seeking Always To Be In Harmony

With The Great Rhythm Of The Universe

『He only who has lived with the beautiful can die beautifully.
　
　The last moments of 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 often dared to differ in argument with his fierce patron.

Taking advantage of 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 deposit.

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 honour of dying by his own hand.』
（From the Book of Tea; Tea-Masters,ｐ.１１３－１１４ , Charles E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)

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The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.113

Joy & Beauty in the Roll of the Billows

as They Sweep Outward Toward Eternity

『Those of us who know not the secret of properly regulating our own existing our own existince on this tumultuous sea of foolish troubles which we call life are constantly in a state of misery while vainly tring to appear happy and cotented.

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 the billows as they sweep outward toward eternity.

Why not enter into their spirit, or, loke Liehtse, ride upon the hurricane itself?』
　(From the Book of Tea; Tea-Masters, p.113, Charles E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)

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The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.112

Natural Love of Simplicity &

The Beauty of Humanity

『Great as has benn 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 way of serving food, are their inventions.

They have taught us to dress only in garments of sober colours.

They have instructed us the beaty of humanity.

In fact, through their teachings tea has entered the life of the people.』
（From the Book of Tea; Teqa-Masters, p.112, Charles E. Tuttle Co., Rutland, Vermont,Tokyo, Japan)

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The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.111

The Contributions of The Tea-masters to Art

　『　Manifold indeed have been the contributions of the tea-masters to art.

They completely revolutionised the classical 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 Japan were laid out by the tea-masters.

Our pottery would probably never have attained its high quority of excellence if the tea-masters had not lent to it their inspiration, the manufacture of the utensils used in the tea-ceremony calling forth the utmost expenditure of ingenuity on the part of our ceramists.

The Seven Kilns of Enshiu are well known to all students of Japanese pottery.

Many of our textile fabrics bear the names of tea-masters who conceived their colour 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 sevice they have rendered.

One of the greatest schools of painting owes its origin to the tea-master Honnami-Koyetsu, famed also as a lacqer arist 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. 』

（From the Book of Tea-Tea-Masters、p.１１０－１１２, Charles E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)


The way of Tea is the culture of daily life.

It's mean how we enjoy our daily life includings philosophy and arts.

To enjoy the human life, we need house, foods and related goods and like to enjoy all kinds of arts .

We also ask to enjoy the nature collaborating to resonace with human being.

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The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.110

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

『 Tea-Masters

In the religion the Future is behind us.

In art the Present is the eternal.

The tea-master 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 circumstances serenity of mind should be maintained, and covesation should be so conducted as never to mar the harmony of the surroundings.

The cut and colour 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 stove 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. "
』

(From the Book of Tea-Tea-masters, p.109-110, Charles E. Tuttles Co., Rutland, Vermont, Tokyo, Japan)

Finaly, we are now final session.

We learn how Tea-masters contribute to not only for tea-ceremony.

We have to realize " It's not only to Art, but to The total way of life.

Let's learn the Eternal way of Artistic life through the way of tea-drinking.

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Picture: Katashi Oyama Works
Image Designer: Izumi Mori

The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.109

The Full Significance of The Flower Sacrifice

『 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.

Rikuiu had an entire garden planted with it, which he cultivated with assiduous care.

The fame of his convolvuli reached the ear of the Taiko, and he expressed a desire to see them, in cosequence of which Rikiu invited him to a morning tea at his house.

On the appointed day the Taiko walked through the garden, but nowhere could he see any vesige of the convolvulus.

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, in 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 appreciated the full significance of it.

They are not cowards, like men.

Some flowers glory in death-certainly the Japanese cherry blossomes do, as they freely surrender themselves to the winds.

Anyone who has stood before the fragrant avalanche at Toshino or Arasyhiyama must have realised 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."』
(From The Book of Tea-Flowers, Charles E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)


This is the last part of the " Flowers".

To me , it's very difficult to understand about the Flower arrangements.

Do you agree to "The Full Significance of The Flower Sacrifice" !!

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Image Designer: Izumi Mori

The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.108

The Flower-arrangement of The Tea-master; Art in Its Proper Setting on Account of Its True Intimacy with Life

『 Our personal sympathies are with the flower-arrangements of the tea-master rather than with those of the flower-master.

The fomer 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 contradiction to the Natural-esque 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 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 irritatinly hot summer day, you may discover in the darkended coolness of the tokonoma a single lily in a hanging vase; dripping with dew, it seems to smile at the foolishness of life.

A sole 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.

Shohs, another tea-master, combined a poem on the Beauty of Solitude by the Sea with a bronze incense burner in the form of the beath.

One of the guests has recorded that he felt in the whole composition the breath of waning autumn. 』
(The Book of Tea-Flowers, pp.105-106, Charles E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)

The natural is the best Artistic expression itself.

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Picture: Mt.Fuji by Katashi Oyama
Image Designer: Izumi Mori

The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.107

Any Flower Arrangement Referring to; The Leading Principle(Heaven), The Subordinate Principle(Earth), the Reconciling Principle(Man)

『 It would be interesting, had we time, to enter more fully than 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 Formal.

The first might be said to repressent 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.』
(The Book of Tea-FLower, pp.104-105,Chales E. Tuttle, Rutland, Vermont, Tokyo, Japan)

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The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.106

The Adoration of the Flower for Its Own Sake Begins with the Rise of "Flower-Masters",

Toward the Middle of the Seventeenth Century

『 The adoration of the flower for its own sake begins with the rise of "Flower-Master," 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 schhools of flower arrangement.

Brosdly speaking, these divided themselves into two main branches, the Formalistic and the Naturalesque.

The Formalistic schools, led by the Ikenobos, aimed at a classic idealism correspomding to that of the Kano-academicians.

We possess records of arrangements by the early masters of this school which almost reproduce the flower painting of Sansetsu and Tsunenobu.

The Naturalesque school, on the other hands, as its name implies, accepted nature as its model, only imposing such modificatins 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.』
(From the Book of Tea-Flowers, Chales E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)

It is interesting to know that the principles of schools and/or parties of the Flower arrangements are closely relating to the principles of Japanese-paintings.

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Picture: Katashi Oyama Work
Image Designer: Izumi Mori

The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.105

The Birth of the Art of Flowers Arrangement Seems to Be with That of Teasim

in the Fifteenth Century

『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 Buddist 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 cout 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 Ikenobo, a family as illustrious 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 celerated Oda-Wuraku, Furuta-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-master formed only a part of their aesthetic ritual, and was not a distinct religion by itseff.

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 palace for which it was originally intended, for its lines and proportions have specislly worked out with a view to its surroundings. 』
(From the Book of Tea-Flowers, pp.101-103, Charles E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)

This section tells us about the history of the art of flower arrangement.

We now understand the flower arrangement in teaism has the different meanings from the flower arrangements in general means.

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The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.104

When the Flower Fades, the Master Tenderly Consigns It to the River or Carefully Buries It In the Ground

『When a tea-master has arranged a flower to his satisfaction he will place it on the tokonoma,the place of honour in a Japanese room.

Nothing else will be placed near it which 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 master-pieces are made and published for the edification of amateurs.

The amount of literatere on the subject is quite voluninous.

When the flower fades, the master tenderly consigns it to the river or carefully buries it in the ground.

Monuments even are sometimes erected ti their memory.』
（From the Book of Tea-Flowers, pp.100-101, Charles E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)

At present days, I don't believe the most of the masters have such delicacies.

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Picture: Katashi Oyama Work
Image Designer: Izumi Mori

The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.103

Present The Whole Beauty of Plant Life

『Why not destroy flowers if therby we can envolve new forms ennobling the world ideas?

We only ask them to join in our sacrifice to the beautiful.

We shall atone for the deed by consecrating ourselves to Purity and Simplicity.

Thus reasoned the tea-masters when they established the Cult of Flowers.

Anyone acquainted with the ways of our tea- and flower-masters must have noticed the religious venerarion with which they regard flowers.

They do not cull at random, but carefully select each branch or spray with an eye to the artstic composition they have in mind.

They would be ashemed should they chance to cut more than were absolutely necessary.

It may be remarked in this connection that they always associate the leaves, if there be any, with the flowers, for their object is to present the whole beauty of plant life.

In this respect, as in many others, their method differs from that pursued in Western countries.

Here we are apt to see only the flower stems, heads, as it were, without body, stuck
promiscuously into a vase. 』
(From the Book of Tea-Flowers, pp.98-100, Charles E. Tuttles Co., Rutland, Vermont, Tokyo, Japan)

The critical differences of ideas against the attitude to Nature are clear through the Flower arrangements between Oriental and Western countries .

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Picture: Ktashi Oyama Works
Image Designer: Izumi Mori

The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.102

Change Is The Only Eternal,-Why Not

As Welcome Death As Welcome as Life?

『　However, let us not too sentimental.

Let us be luxurius but more magnificent.

Said Laotose: "Heaven and rarth are pitiless."

Said Kobodaishi: "Flow, flow, flow, flow, the current of life is ever onward.

Die, die, die, die, death comes to all."

Destruction faces us wherever we turn.

Destruction below and above, destruction behind and before.

Change is the only Eternal,-Why not as welcome Death as Life?

They are but counterparts one of the other,-The Night and Day of Brahma.

Through the disintegration of the old, re-creation becomes possible.

We have worshipped Death, the relentless godness of mercy, under many different names.

It was the shadow of the All-devouring that the Gheburs greeted in the fire.

It is the icy purism of the sword-soul before which Shinto-Japan prostates herself even today.

The mystic fire consumes our weakness, the sacred sword cleaves the bondage of desire.

From our ashes springs the phoenix of ccelestial hope, out of the freedom comes a higher realism of manhood.』
(From the Book of Tea-Flowers, pp.98-99, Charles E. Tuttles Co., Rutland, Vermont, Tokyo, Japan)

The acceptance of the philosophy of "Change is the only Eternal" is the most important fact of orietntal idea.

If you understand the idea, you will be able to find the oriental Eternity.

「From our ashes springs the phenix of celestial hope, out of the freedom comes a higher realisation of manhood.」

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Picture: Jikou by Katashi Oyama
Image Designer: Izumi Mori

The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.101

Why Take The Plants From Their Homes &

Ask Them To Bloom Mid Stange Surroundings?

『Yet even in the case of pot flowers we are inclined to suspect the selfishness of man.

Why take the plants from their homes and ask them to bloom mid strange surroundings?

Is it not like asking the birds to sing and mate cooped in cages?

Who knows but that the orchids feel stifled by the artificial heat in your conservatories and hopelessly long for a glimpse of their own Southern skies?


The ideals lover of flowers is he who visits them in their native haunts, like Taoyuenming, who sat before a broken bamboo fence in converse with the wild chrysanthemum, or Linwosing, losing himself amid mysterious fragrance as he wandered in the twilight among the plum-blossoms of the Western Lake.

"Tis said that Chowmushih slept in a boat so that his dreams might mingle with those of the lotus.

It was this same spirit which moved the Empress Komio, one of our most renowned Nara sovereigns, as she sang: "If I plunk three, my hand will defile thee, O Flower!
Standindg in the meadows as thou art, I offer tree to the Buddhas of the past, of the future." 』
(From the Book of Tea-Flowers, pp.97-98, Charles E. Tuttle Co., Rutland,Vermont,Tokyo,Japan)


I agree to enjoy flowers at natural surcumstances and enviroments as they are.

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Picture: Katashi Oyama Work
Image Designer: Izumi Mori

The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.100

Great Precautions Were Taken For

the Preservation of Delicatate Blossoms

『Great precautions were taken for the preservation of delicate blossoms.

Emperor Huensung of the Tang dynasty, hung tiny golden bells on the branches in his garden to keep off the birds.

He it was who went off in the springtime with his court musicians to gladden the flowers with soft music.

A quaint tablet, which tradition ascribes to Yoshitsune, the hero of our Arthurian legends, is still extant in one of the Japanese monasteries.

It is a notice put up for the protection of a certain wonderful plum-tree, and appeals to us with the grim humour of a warlike age.

After referring to the beauty of the blossoms, the inscription says: "Whoever cuts a single branch of this tree shall forfeit a finger therefor."

Would that such laws could be enforced nowadays against those who wantonly destroy flowers and mutilate objects of art!』
(From the Book of Tea,Flowers, pp.96-97, Charles E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)

Now a days, the concepts and feelings for the flowers are completely different.

It is certain that we tend to forget to enjoy about the beauty of nature and need to respect the dignity of nature.

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Picture: With Every Good by Katashi Oyama
Image Designer: Izumi Mori

The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.99

In the East the Art of Floriculture is

a Very Ancient One,

And the Loves of a Poet And His Favourite Plant Have Often Been Recorded in Story

And Song

　『Much may be said in favour of him who cultivates plants.

The man of the pot is far more humane than he of the scissors.

We watch with delight his concern about water and sunshine, his freuds with parasites,　his horror of frosts, his anxietry when the buds come slowly, his raputure when the leaves atｔain their lustre.

In the East the art of floriculture is a very ancient one, and the loves of a poet and his favporite plant have often been recorded in story and song.

With the development of ceramics during the Tang and Sung dynasties we hear of wonderful receptacles made to hold plants, not pots, but jewelled palaces.

A special attendant was detailed to wait upon each flower and to wash its leaves with soft brushes made of rabbit hair.

It has been written that the peony shuld be bathed by a handsome maiden in full costume, that a winter-plum should be watered by a pale, slender monk.

In Japan, one of the most popular of the No-dances, the Hachinoki, composed during the Ashikaga peiod, is based upon the story of an impoverished knight, who, on a freezing night, in lack of fuel for a fire, cuts his cherished plants in order to entertain a wandering friar.

The friar is in reality no other than Hojo-Tokiyori, the Haroun-Al-Raschid of our tales, and the sacrifice is not without its reward.

This opera never fails to draw tears from a Tokio audience even toay.』
(From the Book of Tea, Flowers, pp.95-96, Charles E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)

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The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.98

Have You Not Noticed That the Wild Flowers

Are Becoming Scarcer Every Year ?

『Why were the flowers born so beautiful and yet so hapless ?

Insects can sting, and even the meekerst of beasts will fight when brought to bay.

The bird whose plumage is sought to deck some bonnet can fly from its pursuer, the furred animal whose coast you covet for your own may hide at your approach.

Alas !

The only known flower known to have wings is the butterfly; all others stand helpless before the destroyer.

If they shriek in their death agony their cry never reaches our hardened ears.

We are ever brutal to those who love and serve us in silence, but the time may come when, for our cruelty, we shall be deserted by these best friends of ours.

Have you not noticed that the wild flowers are becoming scarcer every year ?

It may be that their wise men have told them to depart till man becomes more human.

Perhaps they have migrated to heaven. 』
(From the Book of Tea-Flowers, pp.94-95, Charles E. Tuttle Co., Rutland, Vermont, Tokyo)Japan)

It is quite surprising that the wild flowers are becoming scarcer every year at the Okakura's generation already !

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Picture: jikou by Katashi Oyama
Image Designer: Izumi Mori

The Glocal Book:"The Book of Tea" by Okakura Kakuzou(Tenshin)-No.97

Nothing is More Pitiful Than to See a Faded Flowers Remorselessly Flung Upon a Dung Heap

『The wanton waste of flowers among Western communities is more appalling than the way they are treated by Eastern Flower-Masters.

The number of flowers cut daily to adorn the ballrooms and banquet-tables of Europe and America, to thrown away on the morrow, must be something enormous; if strung together they might garland a continent.

Beside this utter carelessness of life, the guilt of the Flower-Master becomes insignificant.

He, at least, respects the economy of nature, selects his victims with careful foresight, and after death does honour to their remains.

In the West the diplay of flowers seems to be part of a moment.

Whither do they all go, these flowers, when the revelery is over?

Nothing is more pitiful than to see a faded flower remorselessly flung upon a dung heap』
(Thr Book of Tea-Flowers, pp.93-94, Charles E. Tuttle Co., Rutland,Vermont, Tokyo,Japan)


All flowers have their life.

It doesn't mean the amount of waste and not the matter of the display moment.

The life of flower blossoms are not long enough and they need to open for their descendants.

I think it's no difference between the West and Easter.

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Picture: Katashi Oyama Work
Image Designer: Izumi Mori