다도의 미의식 고찰ー歌人 定家와 관련하여ー

Abstract

The book of tea quoted the essay in Japanese poetics written by a medieval poet, Teika. This essay was widely quoted by Rikyu, who was considered to complete the tea ceremony and by others in the later periods. To explain the tea ceremony form of wabi, Teika’s or other poets’ waka were used as an evidence. The quotations of the essay and waka, or their presentations as an evidence were largely attributable to participation of tea masters in the culture-based classical education system that was called as the secrets system of an art at that time. These were systematically initiated to the nobles while only fragmentary instruction was made to the middle classes, including tea masters and monks. Teika’s essay and a collection of waka poems were an essential subject in the instruction. Consequently, Teika’s waka and the waka that were shown in the collection appeared in various genres. In addition, a common aesthetic understanding was found across different genres. A typical example was “yuhyun”. Although its meaning had been subject to changes over time and across genres, it was regarded as an important sense of beauty. Another aesthetic sense called as “hie” was the same. It served as an important standard for traditional drama, “noh” and poetry series, “renga”. The tea ceremony shared this aesthetic sense, too. The fact that the sense of beauty was shared or borrowed in different genres implies that the world of waka was firmly established as cultural backgrounds. Supported by this development, the tea ceremony was able to create its own understanding of an aesthetic sense as a new cultural genre. Further, it attempted to build a theory of tea ceremony relying on waka’s prestige.