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The Book Of Tea
by Kakuzo Okakura
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That a nation should construct one of its most resonant national ceremonies round a cup of tea will surely strike a chord of sympathy with at least some readers of this review. To many foreigners, nothing is so quintessentially Japanese as the tea ceremony--more properly, "the way of tea"--with its austerity, its extravagantly minimalist stylization, and its concentration of extreme subtleties of meaning into the simplest of actions. The Book of Tea is something of a curiosity: written in English by a Japanese scholar (and issued here in bilingual form), it was first published in 1906, in the wake of the naval victory over Russia with which Japan asserted its rapidly acquired status as a world-class military power. It was a peak moment of Westernization within Japan. Clearly, behind the publication was an agenda, or at least a mission to explain. Around its account of the ceremony, The Book of Tea folds an explication of the philosophy, first Taoist, later Zen Buddhist, that informs its oblique celebration of simplicity and directness--what Okakura calls, in a telling phrase, "moral geometry." And the ceremony itself? Its greatest practitioners have always been philosophers, but also artists, connoisseurs, collectors, gardeners, calligraphers, gourmets, flower arrangers. The greatest of them, Sen Rikyu, left a teasingly, maddeningly simple set of rules:
Make a delicious bowl of tea; lay the charcoal so that it heats the water; arrange the flowers as they are in the field; in summer suggest coolness; in winter, warmth; do everything ahead of time; prepare for rain; and give those with whom you find yourself every consideration.A disciple remarked that this seemed elementary. Rikyu replied, "Then if you can host a tea gathering without deviating from any of the rules I have just stated, I will become your disciple." A Zen reply. Fascinating. --Robin Davidson, Amazon.co.uk
American Herb Association
"More than any other book I have read, this one carries a feeling for the Japanese tea ceremony."
Spirituality & Health
"The Book of Tea presents an elegant glimpse into the culture that engendered the Eastern aesthetic."
How does one improve on a classic? Exquisite photography, a new thoughtful introduction, and expanded size . . . A perfect gift.
"A seminal guide to Asian life and thought. . . . Very highly recommended."-Midwest Book Review
The classic 1906 essay on tea drinking, its history, aesthetics, and deep connection to Japanese culture. Kakuzo Okakura felt "Teaism" could influence the world: "Tea with us becomes more than an idealisation of the form of drinking; it is a religion of the art of life."
Tea began as a medicine and grew into a beverage. In China, in the eighth century, it entered the realm of poetry as one of the polite amusements. The fifteenth century saw Japan ennoble it into a religion of aestheticism - Teaism. Teaism is a cult founded on the adoration of the beautiful among the sordid facts of everyday existence. It inculcates purity and harmony, the mystery of mutual charity, the romanticism of the social order. It is essentially a worship of the Imperfect, as it is a tender attempt to accomplish something possible in this impossible thing we know as life. The Philosophy of Tea is not mere aestheticism in the ordinary acceptance of the term, for it expresses conjointly with ethics and religion our whole point of view about man and nature. It is hygiene, for it enforces cleanliness; it is economics, for it shows comfort in simplicity rather than in the complex and costly; it is moral geometry, inasmuch as it defines our sense of proportion to the universe. It represents the true spirit of Eastern democracy by making all its votaries aristocrats in taste.
Inside Flap Copy
This modern classic invites the reader to discover a unique tradition that has come to symbolize the wisdom, beauty, and the elegant simplicity of Asian culture. The author celebrates the Way of Tea from its ancient origins in Chinese Taoism to its culmination in the Zen discipline known as the Japanese tea ceremony?an enchanting practice bringing together such arts as architecture, pottery, and flower arranging to create an experience that delights the senses, calms the mind, and refreshes the spirit. Tea was first used as a medicine and an alchemical elixir by the ancient Chinese Taoists, who praised its spiritual powers. Buddhist monks made drinking tea part of a tradition honoring the founder of Zen; this ritual was later refined in the performance of the Japanese tea ceremony as a meditative practice. The Book of Tea describes the rich aesthetic of Asian culture through the history, philosophy, and practice of brewing and drinking tea.
This edition contains an introduction by Sam Hamill that provides historical insight into the significance of the tea ceremony within Zen Buddhism.
From the Hardcover edition.
About the Author
Okakura (1863-1913) was an administrator and scholar who had a profound effect on art and aesthetics both in Japan and the West. He helped found an arts college and in 1904 became an assistant curator at Boston's Museum of Fine Arts. Through his writings, Okakura was able to permanently affect the way the West viewed Japan and Asia.
Excerpted from The Book of Tea by Kakuzo Okakura, Liza Dalby, Daniel Proctor, Okakura Kakuzo. Copyright © 2000. Reprinted by permission. All rights reserved
THE CUP OF HUMANITY
Tea began as a medicine and grew into a beverage. In China, in the eighth century, it entered the realm of poetry as one of the polite amusements. The fifteenth century saw Japan ennoble it into a religion of aestheticism-Teaism. Teaism is a cult founded on the adoration of the beautiful among the sordid facts of everyday existence. It inculcates purity and harmony, the mystery of mutual charity, the romanticism of the social order. It is essentially a worship of the Imperfect, as it is a tender attempt to accomplish something possible in this impossible thing we know as life.
The Philosophy of Tea is not mere aestheticism in the ordinary acceptance of the term, for it expresses conjointly with ethics and religion our whole point of view about man and nature. It is hygiene, for it enforces cleanliness; it is economics, for it shows comfort in simplicity rather than in the complex and costly; it is moral geometry, inasmuch as it defines our sense of proportion to the universe. It represents the true spirit of Eastern democracy by making all its votaries aristocrats in taste.
The long isolation of Japan from the rest of the world, so conducive to introspection, has been highly favourable to the development of Teaism. Our home and habits, costume and cuisine, porcelain, lacquer, painting-our very literature-all have been subject to its influence. No student of Japanese culture could ever ignore its presence. It has permeated the elegance of noble boudoirs, and entered the abode of the humble. Our peasants have learned to arrange flowers, our meanest labourer to offer his salutation to the rocks and waters. In our common parlance we speak of the man "with no tea" in him, when he is insusceptible to the serio-comic interests of the personal drama. Again we stigmatise the untamed aesthete who, regardless of the mundane tragedy, runs riot in the springtide of emancipated emotions, as one "with too much tea" in him.
The outsider may indeed wonder at this seeming much ado about nothing. What a tempest in a tea-cup! he will say. But when we consider how small after all the cup of human enjoyment is, how soon overflowed with tears, how easily drained to the dregs in our quenchless thirst for infinity, we shall not blame ourselves for making so much of the tea-cup. Mankind has done worse. In the worship of Bacchus, we have sacrificed too freely; and we have even transfigured the gory image of Mars. Why not consecrate ourselves to the queen of the Camelias, and revel in the warm stream of sympathy that flows from her altar? In the liquid amber within the ivory-porcelain, the initiated may touch the sweet reticence of Confucius, the piquancy of Laotse, and the ethereal aroma of Sakyamuni himself.
Those who cannot feel the littleness of great things in themselves are apt to overlook the greatness of little things in others. The average Westerner, in his sleek complacency, will see in the tea ceremony but another instance of the thousand and one oddities which constitute the quaintness and childishness of the East to him. He was wont to regard Japan as barbarous while she indulged in the gentle arts of peace: he calls her civilised since she began to commit wholesale slaughter on Manchurian battlefields. Much comment has been given lately to the Code of the Samurai,-the Art of Death which makes our soldiers exult in self-sacrifice; but scarcely any attention has been drawn to Teaism, which represents so much of our Art of Life. Fain would we remain barbarians, if our claim to civilisation were to be based on the gruesome glory of war. Fain would we await the time when due respect shall be paid to our art and ideals.
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