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 1 2|    beatitude of the mundane. The tea-room was an oasis in the dreary
 2 4|                          IV. The Tea-Room~To European architects brought
 3 4|         the subtle beauty of the tea-room, its principles of construction
 4 4|          those of the West. ~The tea-room (the Sukiya) does not pretend
 5 4|          their conception of the tea-room, and the term Sukiya may
 6 4|            The first independent tea-room was the creation of Senno-Soyeki,
 7 4|           The proportions of the tea-room had been previously determined
 8 4|     fifteenth century. The early tea-room consisted merely of a portion
 9 4|       The Sukiya consists of the tea-room proper, designed to accomodate
10 4|         the summons to enter the tea-room, and a garden path (the
11 4|    connects the machiai with the tea-room. The tea-room is unimpressive
12 4|   machiai with the tea-room. The tea-room is unimpressive in appearance.
13 4|      palaces and temples. A good tea-room is more costly than an ordinary
14 4|        of lacquer cabinets. ~The tea-room is not only different from
15 4|     simplicity and purism of the tea-room resulted from emulation
16 4|         The size of the orthodox tea-room, which is four mats and
17 4|          from the machiai to the tea-room, signified the first stage
18 4| enjoyment of aestheticism in the tea-room itself. One who has trodden
19 4|      rack beneath the eaves, the tea-room being preeminently the house
20 4|       and new. However faded the tea-room and the tea-equipage may
21 4|        artistic requirement. The tea-room is made for the tea master,
22 4|       not the tea-master for the tea-room. It is not intended for
23 4| conceived in connection with the tea-room. Zennism, with the Buddhist
24 4|       the original waste. In the tea-room fugitiveness is suggested
25 4|        its refinement. ~That the tea-room should be built to suit
26 4|          decorative motives. The tea-room is absolutely empty, except
27 4| possibilities for growth. In the tea-room it is left for each guest
28 4|       become monotonous. ~In the tea-room the fear of repetition is
29 4|            The simplicity of the tea-room and its freedom from vulgarity
30 4|        the sixteenth century the tea-room afforded a welcome respite
31 4|         over. Do we not need the tea-room more than ever? ~
32 6|        other works of art in the tea-room, was subordinated to the
33 6|   relentlessly banished from the tea-room. A flower arrangement by
34 6|       becomes independent of the tea-room and knows no law save that
35 6|      their own story. Entering a tea-room in late winter, you may
36 6|     anger the despot entered the tea-room, but a sight waited him
37 7| refinement which obtained in the tea-room. In all circumstances serenity
38 7|  described in the chapter of the tea-room, a style to whose influence
39 7|       incense is wafted from the tea-room; it is the summons which