Cha-No-Yu


Book Description

This classic of Japanese cultural studies explains the famous Japanese tea ceremony or cha-no-yu with great scholarship and clarity. In 1933, when A. L. Sadler's imposing book on the Japanese tea ceremony first appeared, there was no other work on the subject in English that even remotely approached it in comprehensiveness or detail. Having attained something of the stature of a classic among studies of Japanese esthetics, it has remained one of the most sought-after of books in this field. It is therefore both a pleasure and a privilege to make it available once again in a complete and unabridged digital version The tea culture book is abundantly illustrated with drawings of tea ceremony furniture and utensils, tearoom architecture and garden design, floor and ground plans, and numerous other features of the cha-no-yu. A number of photographic plates picture famous tea bowls, teahouses, and gardens.







The Book of Tea


Book Description

The Book of Tea is a brief but classic essay on tea drinking, its history, restorative powers, and rich connection to Japanese culture. Okakura felt that "Teaism" was at the very center of Japanese life and helped shape everything from art, aesthetics, and an appreciation for the ephemeral to architecture, design, gardens, and painting. In tea could be found one source of what Okakura felt was Japan's and, by extension, Asia's unique power to influence the world. Containing both a history of tea in Japan and lucid, wide-ranging comments on the schools of tea, Zen, Taoism, flower arranging, and the tea ceremony and its tea-masters, this book is deservedly a timeless classic and will be of interest to anyone interested in the Japanese arts and ways. Book jacket.




The Japanese Tea Ceremony


Book Description

The Japanese Tea Ceremony is a detailed examination of the five-centuries-old tea ceremony--or Cha-no-Yu in Japanese, literally "hot water for tea"--a cornerstone of Japanese culture and a core practice of Zen Buddhism. Framed by intricately choreographed steps, the tea ceremony is as much about the search for enlightenment as it is about serving tea. Within the serenity of the tea room, the ceremony, with its highly formal structure, becomes an object of focus for meditation. As the water is heated and the tea is served, the ultimate goal is losing the sense of self while gaining inner peace. The path to mindfulness runs through the center of the tea ceremony. Abundantly illustrated with over 160 drawings and 40 color photos showing every aspect of the ceremony, this book takes readers on a complete tour of furniture and utensils, teahouses and gardens, and numerous other features of Cha-no-Yu. It also delves into the many disciplines included within the broader framework of the tea ceremony--Japanese art, calligraphy, flower arrangements, architecture, gardening, and exquisite handicrafts. Learn more about the experiences of masters of the tea ceremony over the centuries and histories of the various schools and traditions of the art of tea. Full-color photos of tea bowls, teahouses, and gardens reveal the exquisite artistry of the cult of tea and this important Japanese tradition. With a new foreword by award-winning author Laura C. Martin, The Japanese Tea Ceremony is a fascinating exploration of the ritual and Zen philosophy of one of Japan's greatest customs, truly "an epitome of Japanese civilization."




The Book of Tea


Book Description

With a new introduction, this is an exquisitely produced edition of a classic text made using traditional Chinese bookbinding techniques. "Tea began as a medicine and grew into a beverage," are the opening words of Okakura Kakuzō's The Book of Tea, written in English in 1906 for a Western audience. The book is a long essay celebrating the secular art of the Japanese tea ceremony and linking its importance with Zen Buddhism and Taoism. It is both about cultural life, aesthetics, and philosophy, emphasizing how Teaism, a term Kakuzō coined, taught the Japanese many things--most importantly, simplicity, which can be seen in Japanese art and architecture. Looking back at the evolution of the Japanese tea ceremony, Kakuzō argues that Teaism, in itself, is one of the profound universal remedies that two parties could sit down to. While the West had scoffed at Eastern religion and morals, it held Eastern tea ceremonies in high regard.




The Book of Tea


Book Description




The Book of Tea


Book Description







The Book of Tea


Book Description

This exploration of the Japanese tea ceremony is “a fascinating exposition of Japanese culture and the country’s relationship to the west” (The Guardian). Written in 1906 by “a pivotal figure in trying to make sense out of the clash between Western innovation in Japan and Oriental tradition . . . [The Book of Tea] “presents a unified concept of life, art and nature [and explores] topics related to tea appreciation, including Zen, flower arranging and Taoism” (The Japan Times). The Book of Tea captivated poets including T. S. Eliot and Ezra Pound, and illustrates how the philosophy of Teaism raises tea above the status of mere beverage to cultural touchstone, melding ethics and religion, simplicity and egalitarianism, nature and humanity. It is a way of life and a path toward enlightenment that has stood the test of time over centuries.




Definitions of Art


Book Description

In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking.Davies conceives of the debate as revealing two basic, conflicting approaches—the functional and the procedural—to the questions of whether art can be defined, and if so, how. As the author sees it, the functionalist believes that an object is a work of art only if it performs a particular function (usually, that of providing a rewarding aesthetic experience). By contrast the proceduralist believes that something is an artwork only if it has been created according to certain rules and procedures. Davies attempts to demonstrate the fruitfulness of viewing the debate in terms of this framework, and he develops new arguments against both points of view—although he is more critical of functional than of procedural definitions.Because it has generated so much of the recent literature, Davies starts his analysis with a discussion of Morris Weitz's germinal paper, "The Role of Theory in Aesthetics." He goes on to examine other important works by Arthur Danto, George Dickie, and Ben Tilghman and develops in his critiques original arguments on such matters of the artificiality of artworks and the relevance of artists' intentions.