VII-《茶之书》中英文对照--茶师之死(绝命诗).doc

VII. Tea-Masters 茶师

In religion the Future is behind us. In art the present is the eternal. The tea-masters 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 conversation should be conducted as never to mar the harmony of the surroundings. The cut and color 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 strove 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."

在宗教里，未来是身后之事；在艺术中，当下即是永恒。茶师们的观点是，真正的艺术鉴赏，只存在于那些以艺术为生活方式的人中间。他们在茶室中获得高水准的优雅精致，以此引领琐碎的日常生活。在任何情况下都必须保持心灵的宁静；必得慎言而不使话语破坏周遭的和谐；衣装的剪裁色调，体态姿势，行路风范都可能是对艺术性情的表露，皆不可等闲视之，因为如果一个人不把自身引向美，那么他就没有任何资格接近美。所以，茶师努力使自己超越艺术家的概念，而成为艺术本身。这便是唯美主义的禅。完美境界处处存在，只需我们的辨识与认同。千利休总爱引述一首古歌：
世人曰迎春，只盼花开早；
不知山野中，雪间生春草。1

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 Najoya 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 quality of excellence if the tea-masters had not lent it to their inspiration, the manufacture of the utensils used in the tea-ceremony calling forth the utmost expenditure of ingenuity on the parts 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 color 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 services they have rendered. One of the greatest schools of painting owes its origin to the tea-master Honnami-Koyetsu, famed also as a lacquer artist 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.

茶师在诸多方面对艺术产生了卓越的贡献。在茶室那章我们已经描述过，他们彻底革新了传统建筑与室内装潢的样式，建立了新的样式，甚至十六世纪以后修建的宫廷与寺庙建筑都屈从于它的影响。多才多艺的小堀远州，在桂离宫2、名古屋城3、二条城4，还有孤篷庵5，都留下了天才的印迹。日本所有著名的庭园，皆出自茶师之手。而我们的陶艺，如果没有茶师赋之予灵感，恐怕无法到达卓绝的品质。正是茶道中茶具制造的需要，陶艺师潜在的智巧天分被最大限度地激发了。凡是日本陶器的研究者，对“远州七窑”6一定耳熟能详。而我们的很多织物，也常因其色调或样式出自某个茶师之手，而冠以其名。确实很难发现一个茶师未曾涉猎的艺术领域。至于他们对于绘画与漆器艺术的贡献，则更是无需赘言。日本绘画最重要的流派之一琳派7，就起源于茶师本阿弥光悦8，此外他还是有名的陶艺家与漆艺家。在他作品的光芒里，连他的孙子光甫9，及甥孙光琳10和乾山11的佳作都几乎黯然失色。整个琳派就是茶道精神的表达，这已然是众所周知之事。在那粗旷的笔触之间，我们似乎能触摸到自然本身的生命力量。

Great as has been 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 our way of serving food, are their inventions. They have taught us to dress only in garments of sober colors. They have instructed us in the proper spirit in which to approach flowers. They have given emphasis to our natural love of simplicity, and shown us the beauty of humility. In fact, through their teachings tea has entered the life of the people.

茶师在艺术领域影响巨大，但倘若与其对日常生活的影响相比，那便有些微不足道了。不仅是礼仪社交的惯俗，还是日常琐事的瞬间，我们无时不刻不能体会到茶师的存在。我们很多精致的菜式，以及奉食的方式，都由他们所创。他们教会我们衣装须朴素稳重；他们指导我们用正确的态度莳花弄草；他们强调对简朴之爱源于本心；他们向我们展示谦逊之美。通过茶师的教诲，茶已浸润了我们生活的点滴。

Those of us who know not the secret of properly regulating our own existence on this tumultuous sea of foolish troubles which we call life are constantly in a state of misery while vainly trying to appear happy and contented. 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 billows as they sweep outward toward eternity. Why not enter into their spirit, or, like Liehtse, ride upon the hurricane itself?

这充满愚蠢纷扰的人生之海啊，碌碌的人们终日在那汹涌波涛中沉浮打滚，对如何调适自身的奥秘一窍不通。他们的状况是何其悲惨，却仍要徒劳地装作幸福自足。我们望见地平线上涌流的每一朵云上，舞动着暴风雨的先兆，自己却仍小心翼翼地在守护道德标界的道路上步履蹒跚。君不见，在那卷袭一切奔向永恒的惊涛骇浪中，正涌动无限的喜悦和美吗？何不就纵身跃入这狂风巨浪，与风浪的灵魂一道律动，或如列子那样御风而行？11

He only who has lived with the beautiful can die beautifully. The last moments of the 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.

唯有那些生时环抱美的人，才有绝美的离去。利休，这位伟大茶师最后的辰光仍旧雅致纯净，一如他生前。茶师们追求与宇宙自然的节律和谐一致，早将死生看做平常之事，随时准备踏入那未知的河流。而“利休的绝饮”，作为悲壮庄严的极致，将在时光中永存。

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 had often dared to differ in argument with his fierce patron. Taking advantage of the 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 despot. 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 honor of dying by his own hand.

那时利休与丰臣秀吉结交已久，这一代枭雄给予了茶师极高的评价。然而伴君如伴虎，与暴君的友谊终是危险的荣耀。利休非精于阿谀奉承之徒，常毫无顾忌地对暴戾的主公出言不逊。那是一个盛传背叛之事的时代，人们甚至连至亲都不相信。利休的敌人利用他与丰臣秀吉之间时而产生的冷漠龃龉，诬陷他参与了毒害君王的阴谋。他们偷偷告诉丰臣秀吉，利休已为他备上了一碗剧毒的茶汤。还需辩解什么，光是秀吉的疑心已构成即死之罪的充分理由；还能辩解什么，愤怒的暴君哪还容你丝毫辩解的余地。赐你自我了断的尊严吧——这是罪人获得的唯一特权。

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 portico. 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 kakemon, --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 guest 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.

在执行自决的那一天，利休将他的大弟子们邀至此生最后的一场茶会。指定的那一刻来到了，客人们相会在门廊，心情哀沉。当他们望着露地小径，树丛似在悲伤颤抖，叶子沙沙作响，如同孤魂野鬼的低语。而那些灰色的石灯笼，仿佛是幽冥地府门前的威武守卫。这时，一袭稀有的熏香香味自茶室款款飘出，那是邀请客人进屋的召唤。客人依序入屋就座。只见壁龛之上，悬着一幅古代僧人的书法挂轴，遒劲绝妙，讲述着诸行无常的佛家至理。水壶在火炉之上沸腾吟唱，如同对渐行渐远的夏日倾吐悲声的鸣蝉。未待多时，主人进屋依序奉茶，客人也依序默默饮尽。最后，主人举杯喝完自己那一碗。根据茶道礼仪，次位最高的那位客人要向主人要求品赏茶具。利休便将所有器物，连同那副挂轴，一齐放在了客人面前。在所有人都表达了赞叹欣羡之意后，利休将它们一一赠予在座的客人，以作留念。唯独利休留下了那只茶碗。“此器已被我这不幸之唇所污，它不应留存世间，再供他人之用。”说着，便将它摔成了碎片。

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, disclosing the immaculate white death robe which it had hitherto concealed. Tenderly he gazes on the shining blade of the fatal dagger, and in exquisite verse thus addresses it:

茶道结束，客人都含泪辞了茶屋。只有一个最亲近之人留下来，见证最后一刻的到来。利休褪去茶袍，露出之前藏在茶袍内洁白无瑕的丧衣。他将茶袍细致地叠好，端放于席子之上。他温柔地凝视那致命短剑上闪亮的刀锋，颂出如下绝唱：

"Welcome to thee,/ O sword of eternity!/ Through Buddha/ And through Daruma alike/ Thou hast cleft thy way."

人世七十，力围希咄。
吾这宝剑，祖佛共杀。
得具足矣，的一大刀，
今在此时，抛予天公。12

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

随后，微笑着，利休迈向了那未知的彼岸。

注释：
1 此歌为日本镰仓时代的和歌诗人藤原家隆（1158-1237）所作，名《若草》。原文为：花をのみ待つらむ人に山里の雪間の草のはるを見せばや。
2 桂离宫位于日本京都西部桂川西岸，从1617动工到1625年完工历时九年，为日式建筑巅峰之作。但桂离宫并非出自小堀远州之手，而是其弟小堀正春的作品。该园林为舟游与回游结合的池泉园林，其中还有书院和茶室，显出当时造园的综合性。桂离宫的洲浜、书院雁行布局的书院建筑群和草庵风茶亭为江户时代的经典。
3 名古屋城为德川家康于1612年所建。日本的城为领主及其武士所居之地，是其实力的显示。名古屋城是几座规模和建筑都较为出众的城堡之一。
4 京都二条城建于公元1603年，由小堀远州指导设计建造，是幕府将军在京都的行辕，也是德川幕府的权力象征。本丸御殿和二之丸御殿为二条城的主要建筑，其庭院为书院造池泉园。二之丸殿内墙壁和隔门上画有狩野派画家的名作，精美绝伦。
5 孤篷庵位于日本京都大德寺，是1612年小堀远州晚年的作品，也是小堀的家宅所在地。孤篷庵结合了茶庭与枯山水形式，园中有二重垣、忘筌庵、洗手钵、石桥及仿近江八景，透过二重垣远借船岗山，可见远山如孤篷，故谓之孤篷庵。
6 远州七窑为小堀远州最喜爱的七处名窑，一般认为包括远洲志户吕、近江膳所、丰前上野、筑前高取、山城朝日、摄津古曾部，以及大和赤肤。
7 琳派，亦称宗达光琳派，为日本17至18世纪的一个装饰画派，追求纯日本趣味的装饰美。琳派不仅在日本绘画史上占有重要位置，对染织、漆器、陶瓷等工艺美术方面也产生了重要影响。本阿弥光悦为该派思想奠基者，俵屋宗达为开创者，尾形光琳为集大成者。
8 本阿弥光悦（1558-1637），号德友斋、大虚庵，在茶道、书画、漆艺、陶瓷工艺、刀剑鉴定等多方面均有独到的成就。
9 本阿弥光甫 (1601-1682)，本阿弥光悦之孙，号空中斋，在茶道、香道、书画、陶艺方面均有建树，尤精于陶艺。
10 尾形光琳（1658-1716），生于京都御用和服商家庭。光琳受到绚烂的和服纹样熏陶，又自小研习狩野派水墨画和土佐画风，后受俵屋宗达装饰画的启迪，在花草画、故事画、风景画等领域皆有所发展和突破，形成一种严谨巧妙的装饰画风，在表现自然朝气蓬勃的生命力方面有独到的成就，为琳派集大成者。代表作有《红白梅图》、《燕子花图》等。
11 尾形乾山（1663-1743）为光琳之弟，琳派画家、京都彩绘陶的著名代表人物。乾山37岁时在京都郊区鸣泷的家宅里开窑制陶，其彩绘作品趣味高雅，造型多是异形器物，彩绘形式也极为丰富。乾山彩绘作品中最重要的特点是将光琳派画风展示在器物上，其中有一部分是与其兄尾形光琳合作的作品。
12 出自《茶话指月集》。天心所作原文大意为：“欢迎您啊，永恒之剑，刺佛杀祖，开辟汝路”，似乎缩略与弱化了偈语原本浓厚的禅宗思想。