Forms of Omotenashi in Chadō Corrections

Purpose– Recent discussions of value-in-use from the perspective of service dominant logic have focused on the customer’s determination of value and control of the value creation process. The purpose of this paper is to extend these discussions by exploring the value creation process in the Japanese tea ceremony and in thekaiseki ryoristyle of Japanese cuisine, which is based on the Japanese tea ceremony.Design/methodology/approach– A historical analysis is used to describe the history of the Japanese tea ceremony in Japan and its influence on Japanese culture. key principles underlying the Japanese tea ceremony and their relationship to Zen Buddhism are summarized and the ways in which these principles are reflected in the service provided by Japanese restaurants are explored.Findings– The two elite restaurants examined in this analysis have designed their service experience to reflect four principles of the tea ceremony: the expression of seasonal feelings, the use of everyday items, ritualized social interactions, and the equality of host and guest. Given these principles, we argue that the tea ceremony and restaurants based on this ceremony imply a co-creation process that is different in three important ways from the process discussed in the co-creation literature. First, the tea ceremony involves dual experiential-value-creation processes. Both the master and the customer experience value-in-use during the delivery ofkaisekicuisine, and the value-in-use each receives is critically dependent on that received by the other. Second, the degree to which value-in-use is created for both parties (the customer and the master) depends on the master’s customization of the service experience based on his knowledge of the customer and that customer’s with the tea ceremony,kaiseki ryoricuisine and Japanese culture.Research limitations/implications– We hypothesize that the dual experiential-value-creation model is potentially relevant whenever the service process contains an element of artistic creation. Potential examples include concerts, recitals, theatre performances and art exhibitions, as well as more mundane situations in which the service provider derives value-in-use from aesthetic appreciations of the service provider’s art.Originality/value– Recent discussions of value co-creation argue that the customer controls the value creation process and the determination of value. The authors argue that the tea ceremony can serve as a metaphor for value co-creation in service contexts where the customer’s value creation process depends on the creation of value-in-use by the service provider.

This article discusses the diversity of historical heritage found in Langsa City which has the potential to become a sustainable historical heritage. This paper also describes how to realize sustainable tourism based on history and culture and improve the quality of life of the community by utilizing historical and cultural heritage. The research was conducted in Langsa city, Aceh province, Indonesia. This study uses a qualitative approach by conducting observations, in-depth interviews, and documentation studies. Based on the findings and facts in the field, identify three potentials that can become icons for the development of historical and cultural tourism. The first is the historical heritage in the form of physical, the second is in the form of culture and the third is the historical heritage in the form of culinary. This diversity of historical heritage-based sustainable tourism has not received much attention in the study of sustainable tourism. This is because tourism infrastructure such as destinations and human resources have not been well prepared. In addition, the involvement of public participation to help realize sustainable tourism is still not optimal. Tourism by utilizing historical heritage capital is very important for the environment and society. and have an impact on the local and national economy. Realizing sustainable tourism based on historical and cultural heritage is done by implementing destination management, so that each type of tourism gets the same attention so that all tourism sectors can progress together, increase the quality of tourism, and can benefit all parties. It is also recommended to build good cooperation between the government, the community and the private sector in developing sustainable tourism based on historical and cultural heritage. Cultural heritage buildings that have received status and are being proposed by the government as cultural heritage so that their maintenance and utilization can be optimal. In addition, it is necessary to open spaces for collaboration between the government, academia and the community in the development of sustainable tourism based on historical heritage.

This article examines how Goryeo-chawan, which were daily utensils for Koreans, were rediscovered as special tea bowls in the Japanese tea ceremony, and how they were re-born as tea utensils with new vitality. Goryeo-chawan are the Korean made ceramics which were used in the Japanese tea ceremony and they can be roughly classified into two types: “Mitate-chawan” which were used as tea bowls for everyday utensils and “Ordered Tea bowls” which were produced in Korea according to the order of the Japanese tea ceremony. At the end of the 16th century, Goryeo-chawan selected by Wabi-cha in the Senrikyu period was “Mitate-chawan”, and it was found that Goryeo-chawan was actually used mainly in Chakaiki, Nanboroku and Yamanouesojiki. In the Nanboroku, ‘Ido-chawan’ ‘Mishima-chawan’ and ‘Hakeme-chawan’ were used, and it was found that ‘Tsutsu-chawan’ was used not only in winter, but also in summertime. Yamanouesojiki mentioned only Ido-chawan, saying that Karamono, famous Chinese tea bowls, declined and Koryo-chawan appeared as new tea bowls. Also, it was thought that Ido-chawan were not everyday utensils, but utensils especially made for ancestral rituals. Wabi-cha is not uniform, but rather, it is unique due to its emphasis on individuality, and it pursues simple and elegant tea ceremony; thus Goryeo-chawan is well suited in this respect. In the early days, Goryeo-chawan used in Japanese tea ceremony did not have a strong individuality, but comprised simple and natural shapes with a variety of expressions. In addition, they did not mean to surpass masterpieces, but valued the harmony and balance with other tea utensils rather than the superiority of one master bowl.

Significance of Japanese Tea Ceremony Values with Ceramic Art Interpretation

Omotenashi is the Japanese term for a conception of service hospitality rooted in the Japanese tea ceremony. This research explores the ways in which contemporary hospitality executives have drawn on the historical tradition of omotenashi in the tea ceremony, as well as older Japanese cultural and spiritual traditions underlying omotenashi, to re-envision encounters between service employees and customers. In high context cultures like Japan, information is widely shared, which reduces the amount of information that must be shared verbally. The nature of Japan‟s high-context culture is manifested in two important principles of the philosophy of the tea ceremony. One important principle is mutual understanding, which arise from the process of “consideration,” which involves “putting oneself in the position of others to anticipate their desires” (Surak, 2012, p. 51). A second important principle involves ritualized social interactions. As Kondo explained (1985), “… the Japanese tea ceremony is a highly ritualized version of the host/guest interaction, and a heightened expression of the emphasis on etiquette in Japanese culture in general.” He continues: “The theory is that mere good intentions are insufficient; one must know the proper form in order to express one‟s feelings of hospitality effectively (Kondo 1985, p. 288). The importance of ritualized behavior also emerges in the kata of Kendo and other Japanese martial arts, where the term kata refers to a sequence of stylized movements that are designed to cultivate “speed of movement, dynamic execution, and realistic character” (Kiyota, 2002, p. 24). Similarly, Zen discussions of secular work emphasize the value of ritualized behavior. According to Musimi (1990, p. 821), “Deeply ingrained in the minds of the Japanese people is the belief that „work‟ makes for moral culture, and man‟s character is formed through the process of working.” Arai (2006, p. 110) observed that domestic work also can be viewed as “ritualized [Zen] activity done in accord with wisdom and compassion.” We argue that current attempts to implement the spirit of omotenashi in employee training have emphasized the spiritual, attitudinal, and behavioral dimensions of omotenashi. The meaning of these dimensions reflect the ways in which executives understand and interpret the high-context nature of Japanese culture and Zen Buddhism on the Tea Ceremony and Japanese martial arts such as Kendo.

This study provided foundational data for use in nursing interventional methods for improving nurse-patient relationships. This was a descriptive study on the effectiveness of a Japanese tea ceremony (in Japanese: chado) intervention for improving nurse-patient relationships. I conducted a Japanese tea ceremony and examined changes in nurses’ awareness regarding interactions with patients after this intervention. The tea ceremonies were conducted with the cooperation of an Urasenke tea ceremony lecturer. A quiet environment with chairs and tables was provided for all participants while they provided written answers to a descriptive survey, which was administered before and after the intervention; they required approximately 20 min to complete the survey. The mean length of each nurse’s description was 800 characters. The tea ceremony was effective in bringing about definite changes in nurses’ awareness concerning interactions with patients. This study is useful in that it suggests how nurses can maintain good interpersonal relationships with patients.

Today, people s needs for tourism are being diversified. Special Interest Tourism (SIT), which focuses on individual hobbies or interests, has become the main driver of tourism. Therefore, Boseong County needs to develop the tea industry, the specialty of the county, into the tea tourism industry in order to adapt to the current trend toward SIT. This thesis uses the cases of the Japanese tea tourism industry s new programs and tourism products as references for Boseong. City of Uji (宇治) in Japan has the Street of Tea, consisting mainly of Sinise(老舖). The street provides various opportunities to experience, learn and watch the Japanese tea ceremony. The street has historical sites and a museum to learn other traditional Japanese cultures as well. And the adequate size of the street to walk
 around and well-managed trails along the river nearby for strolling are also great tourism resources for the city. The Shinto shrines and Buddhist temples in Uji conduct tea festivals and Kencha (献茶:tea dedication ceremonies). The events are useful assets for both education and tourism about the history and culture of the Japanese tea ceremony. As stated above, many historical sites, tea ceremonies and events in Uji play the role as the
 foundation of SIT tourism, providing useful information for tourists.
 In addition, this thesis also introduces the cases of the Yobanashi tea ceremony of Kodai-ji temple (高台寺) in Kyoto and the memorial tea ceremonies for the deceased by Chake(茶家), which expand the boundary of Japanese tea culture. Finally, this thesis concludes with the suggestions for utilizing the Japanese cases to improve the
 tea tourism industry of Boseong. In order to do so, the people of Boseong need to start caring for their county even more, and then they need to develop new cultures and values for Boseong tea as well.

Ｗa (harmony) represents Japan itself, things having Japanese characteristics, and political concept. The concepts of Ｗa was used in the article seventeenth of the Japanese constitution, the first statute law in Japan, and was presented as a moral norm to bureaucrats and nobles. And in the process of Japanization, Wa was used as a word meaning Japanese, encompassing Japanese art and culture. Ｗa has the meaning of harmony, peace and neutralization, and the common denominator of these words is consideration . Ｗa is also the first element that constitutes the Four Rules (siki ｗakeiseizyaku）, the spirit of Japanese tea ceremony. Japanese tea culture absorbed the attitudes of equality, peace and consideration from the spirit of Ｗa, and has developed cultural keywords including medicinal purposes, religion and hospitality (motenasi ). The tea given to the monks at a ritual event （Incha no Gi , C.E. 729）demonstrated the concept of Wa in Japanese tea culture, focused on the use of tea for medical use and guest reception. The tea culture of the Rikyu period reflects the ideas of consideration and equality in the components of the tea ceremony room (chasitu) and ｔea garden (rozi ). Also, the thought of consideration that appears in the components of the tea ceremony (chazi ) leads to the modern tea ceremony(chaseki ). The components of the tea ceremony room (chasitu) and tea garden (rozi ). as the unusual spaces express the culture of equality and consideration pursued by Japanese tea ceremony. The culture of tea ceremony created a concept to acknowledge and consider the other person through means that can understand themselves rather than explain or persuade, and conceived the thought of equality in the hierarchical society of Japan. And this way of thinking has led to modern age, and it has created an opportunity to recognize the importance of public order. Before Rikyu, Japanese tea culture was developed as ritual events, focusing on medicinal use and hospitality. Rikyu introduced the culture of consciousness and the thought of equality to Japanese tea culture. The culture of consciousness, which is the essence of Wa, is being passed down from the past to the present at the base of Japanese tea culture.

Tea ceremony, which is considered to be the representative of Japanese traditional culture, is used as one of methods to learn the spirit of “Omotenashi” that is a particularly Japanese form of hospitality. That is because when conducting a tea ceremony, care and sympathy shown toward one’s guest is considered to be the most important. In tea ceremony, there are attitudes, such as “Treasure Every Meeting, For It will Never Recur” that are crucial when hosting guests. Especially, attitudes that “the host must prepare thoroughly for the guests, stage a pleasant experience” and “the guests enjoy the preparation of the host” are important. In “Omotenashi”, the side that is providing the service and the side that is receiving the service are equal, and the guest and the host (the one who invites guest) are also equal in tea ceremony. Moreover, there are many types of utensils (tea things) that are used for tea ceremony. Many of them are specific to tea ceremony, and the ways they are used are also unique Originally, tea ceremony (Sado) was called “Chato” or “Cha no Yu”. The name “Sado” was adopted in early Edo period, and it is used until today. The ultimate aim of tea ceremony is the sense of harmony between the host and the guest. Therefore, elements such as tea things, chiefly among them the tea bowl, or hanging scroll with Zen wisdom hang in the alcove of tea room are more than just individual artworks. Rather, they are parts that constitute the whole, and the passing time of tea ceremony itself is regarded as a total work of art. The traditional Japanese act of boiling water, prepare tea and serve it, and the style and art based on this act, is considered to be a particularly Japanese “Omotenashi”. In tea ceremony, the host that is holding the ceremony invites guests after careful preparation, and the guests are expected to understand the intention of the host, behave appropriately to the situation and show gratitude. In other words, they create pleasant space by the host and the guests becoming one. This “reciprocity of the host and the guests” is also called “unity of the hosts and the guests”. In our series of research, we study that the Japanese tea ceremony will give the peace of mind of guests or not. We made several groups as customer of tea ceremony. Each customer set heart rate mater and measured the R-R interval. After the experiment we analyze the peace of mind on each step (called Otemae) of the tea ceremony. We found that peace of mind is different for each group. By analyzing peace of mind in the tea ceremony, we will be able to enjoy Omotenashi, based on the spirit of tea that aims to “Treasure Every Meeting, For It will Never Recur”.

The traditional Chinese flower arrangement as a national intangible cultural heritage has high historical value and artistic value, with the increasing demand of user’s emotional needs for interactive experience, its popularity, and interaction are relatively limited. In the information age of the rapid development of new media technology, using digital technology to protect and inherit this excellent intangible cultural traditional art has far-reaching significance and it has high theoretical value for developing the history and innovation of traditional flower arranging art. Based on the augmented reality technology of intelligent mobile terminal, the article integrates the digital resources of flower arranging art from the perspective of satisfying the user’s emotional needs, restore the art of flower arranging classic works, and enhance user interaction experience. Build an operable digital virtual flower arranging application system that transcends time and space, the combination of traditional flower arranging art and new media communication platform can form a three-dimensional digital “new ecosystem” for the dissemination and protection of intangible cultural heritage.

In the late nineteenth and early twentieth centuries, Japanese art and culture exhibitions at the world expositions served as a catalyst for widely spreading Japanese taste, called Japonisme, in the West for about 40 years. These exhibitions included Japanese teas, tea ceremonies, ceramics, and ukiyoe prints. Interest in Japanese tea ceremony in the United States was maximized in the early twentieth century, especially in the New England region, centering on the elite community of the culture and arts, including the so-called Boston Brahmins, as wealthy, white patrons utilized Japanese cultural objects as a means to signify their refined and eclectic taste. The individual mainly responsible for this phenomenon was Okakura Kakuzo (Okakura Tenshin), a strong advocate of the cha-no-yu, Japanese traditional tea ceremony and author of The Book of Tea. This article focuses on the role of Okakura Kakuzo in the Japanese tea ceremony spreading among the intellectuals and the upper class society in the Boston area during this period of cultural politics of East-West exchanges. It also explores why his book, The Book of Tea, published in English for Western readers is considered a classic for understanding Japanese culture theory in Western academia and art world to this day, and how, with his other book, The Ideals of the East, it provides a framework for forming debates and discourses on his viewpoints or tendency for Japanese nationalism and Asianism.

This edited volume, published with Routledge in 2011, was the culmination of a three-year project, led jointly with Dr Glenn Adamson (Victoria and Albert Museum) and Dr Giorgio Riello (University of Warwick). I co-wrote the introduction and co-edited the volume, including intellectual direction, author selection, funding applications and chapter editing. The project, funded by grants from the Design History Society and the Florence H. and Eugene N. Myers Charitable Trust, convened 26 historians, designers, architects, sociologists, anthropologists and other humanities and social science researchers active in the UK, Europe, Australia, Asia and America to identify and assess questions and methods for writing histories of design in global networks. Each chapter was paired with a response, designed to expand the discussion and test the methodologies on offer. A major focus was the applicability of methods in the emerging field of global history for design history, and vice versa; this project was the first in any field to investigate these questions directly, and as such was quickly contracted by Routledge as having potential for undergraduate and graduate teaching. The project was public-facing from the onset. Participants first presented their chapters in three open symposia, held at Northwestern University (Evanston, USA), the Victoria and Albert Museum and the Royal College of Art in 2008 and 2009; these were followed by participants-only workshops and correspondence between participants to refine chapters for publication. Topics included: - the global underpinnings of Renaissance material culture - the trade of Indian cottons in the eighteenth-century - the Japanese tea ceremony as a case of ‘import substitution’ - German design in the context of empire - Australian fashions employing ‘ethnic’ motifs - an experimental UK-Ghanaian design partnership - Chinese social networking websites Public responses to the book to date have included invitations to present the project to history and anthropology researchers and students in America, Turkey and Japan as well as extended discussions of the book as part of academic paper presentations and plenary session panel discussions at international conferences in Canada and Brazil.

(1982). The Japanese Tea Ceremony. Design For Arts in Education: Vol. 83, No. 5, pp. 37-39.

Cover Image: The 25th Congress of the APSR will be held in Kyoto, Japan, 20–21 November 2021, hosted by the Japanese Respiratory Society (JRS).Photo credit: ‘Japanese tea ceremony’ by makieni / stock.adobe.com image

One of the Japanese traditional cultures that had been well known since the 16th century was chanoyu, the tea ceremony presented for the guests and carried out in chasitsu. Tea was introduced in Japan in the 16th century by bhiksu Zen. Formerly, the tea was used for a light stimulation for meditation, drug ingredients, media for Buddha Zen dissemination, dan developing chanoyu spiritual basic. One of the tea ceremony masters, Sen no Rikyu, used four basic principles in chanoyu, those were harmony (wa), respect (kei), purity (sei), silence (jaku). Article elaborated the four basic principles of Buddha Zen in tea ceremony applied in Urasenke chanoyu. Library research and descriptive analysis were applied in this research. The research results indicate that there are wa-keisei-jaku principles and wabi sabi concepts in the Japanese tea ceremony.