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ocate of individualism。 Nothing is real except that which concerns the working of our own minds。 Yeno； the sixth patriarch； once saw two monks watching the flag of a pagoda fluttering in the wind。 One said 〃It is the wind that moves；〃 the other said 〃It is the flag that moves〃； but Yeno explained to them that the real movement was neither of the wind nor the flag； but of something within their own minds。 Hiakujo was walking in the forest with a disciple when a hare scurried off at their approach。 〃Why does the hare fly from you？〃 asked Hiakujo。 〃Because he is afraid of me；〃 was the answer。 〃No；〃 said the master； 〃it is because you have murderous instinct。〃 The dialogue recalls that of Soshi （Chauntse）； the Taoist。 One day Soshi was walking on the bank of a river with a friend。 〃How delightfully the fishes are enjoying themselves in the water！〃 exclaimed Soshi。 His friend spake to him thus： 〃You are not a fish； how do you know that the fishes are enjoying themselves？〃 〃You are not myself；〃 returned Soshi； 〃how do you know that I do not know that the fishes are enjoying themselves？〃
Zen was often opposed to the precepts of orthodox Buddhism even as Taoism was opposed to Confucianism。 To the transcendental insight of the Zen； words were but an incumberance to thought； the whole sway of Buddhist scriptures only commentaries on personal speculation。 The followers of Zen aimed at direct communion with the inner nature of things； regarding their outward accessories only as impediments to a clear perception of Truth。 It was this love of the Abstract that led the Zen to prefer black and white sketches to the elaborately coloured paintings of the classic Buddhist School。 Some of the Zen even became iconoclastic as a result of their endeavor to recognise the Buddha in themselves rather than through images and symbolism。 We find Tankawosho breaking up a wooden statue of Buddha on a wintry day to make a fire。 〃What sacrilege！〃 said the horror…stricken bystander。 〃I wish to get the Shali out of the ashes；〃 camply rejoined the Zen。 〃But you certainly will not get Shali from this image！〃 was the angry retort； to which Tanka replied； 〃If I do not； this is certainly not a Buddha and I am committing no sacrilege。〃 Then he turned to warm himself over the kindling fire。
A special contribution of Zen to Easthern thought was its recognition of the mundane as of equal importance with the spiritual。 It held that in the great relation of things there was no distinction of small and great； an atom posessing equal possibilites with the universe。 The seeker for perfection must discover in his own life the reflection of the inner light。 The organisation of the Zen monastery was very significant of this point of view。 To every member； except the abbot； was assigned some special work in the caretaking of the monastery； and curiously enough； to the novices was committed the lighter duties； while to the most respected and advanced monks were given the more irksome and menial tasks。 Such services formed a part of the Zen discipline and every least action must be done absolutely perfectly。 Thus many a weighty discussion ensued while weeding the garden； paring a turnip； or serving tea。 The whole ideal of Teaism is a result of this Zen conception of greatness in the smallest incidents of life。 Taoism furnished the basis for aesthetic ideals； Zennism made them practical。
IV。 The Tea…Room
To European architects brought up on the traditions of stone and brick construction； our Japanese method of building with wood and bamboo seems scarcely worthy to be ranked as architecture。 It is but quite recently that a competent student of Western architecture has recognised and paid tribute to the remarkable perfection of our great temples。 Such being the case as regards our classic architecture； we could hardly expect the outsider to appreciate the subtle beauty of the tea…room； its principles of construction and decoration being entirely different from those of the West。
The tea…room （the Sukiya） does not pretend to be other than a mere cottagea straw hut； as we call it。 The original ideographs for Sukiya mean the Abode of Fancy。 Latterly the various tea…masters substituted various Chinese characters according to their conception of the tea…room； and the term Sukiya may signify the Abode of Vacancy or the Abode of the Unsymmetrical。 It is an Abode of Fancy inasmuch as it is an ephemeral structure built to house a poetic impulse。 It is an Abode of Vacancy inasmuch as it is devoid of ornamentation except for what may be placed in it to satisfy some aesthetic need of the moment。 It is an Abode of the Unsymmetrical inasmuch as it is consecrated to the worship of the Imperfect； purposely leaving some thing unfinished for the play of the imagination to complete。 The ideals of Teaism have since the sixteenth century influenced our architecture to such degree that the ordinary Japanese interior of the present day； on account of the extreme simplicity and chasteness of its scheme of decoration； appears to foreigners almost barren。
The first independent tea…room was the creation of Senno…Soyeki； commonly known by his later name of Rikiu； the greatest of all tea…masters； who； in the sixteenth century； under the patronage of Taiko…Hideyoshi； instituted and brought to a high state of perfection the formalities of the Tea…ceremony。 The proportions of the tea…room had been previously determined by Jowoa famous tea…master of the fifteenth century。 The early tea…room consisted merely of a portion of the ordinary drawing…room partitioned off by screens for the purpose of the tea…gathering。 The portion partitioned off was called the Kakoi （enclosure）； a name still applied to those tea…rooms which are built into a house and are not independent constructions。 The Sukiya consists of the tea…room proper； designed to accomodate not more than five persons； a number suggestive of the saying 〃more than the Graces and less than the Muses；〃 an anteroom （midsuya） where the tea utensils are washed and arranged before being brought in； a portico （machiai） in which the guests wait until they receive the summons to enter the tea…room； and a garden path （the roji） which connects the machiai with the tea…room。 The tea…room is unimpressive in appearance。 It is smaller than the smallest of Japanese houses； while the materials used in its construction are intended to give the suggestion of refined poverty。 Yet we must remember that all this is the result of profound artistic forethought； and that the details have been worked out with care perhaps even greater than that expended on the building of the richest palaces and temples。 A good tea…room is more costly than an ordinary mansion； for the selection of its materials； as well as its workmanship； requires immense care and precision。 Indeed； the carpenters employed by the tea…masters form a distinct and highly honoured class among artisans； their work being no less delicate than that of the makers of lacquer cabinets。
The tea…room is not only different from any production of Western architecture； but also contrasts strongly with the classical architecture of Japan itself。 Our anci