Way Of Tea Research Articles

Droga Herbaty. Część I

The aim of the article is to point out that the numerous cultural behaviours — usually those of secular nature — which in Japanese culture fall into the category of chadō (its sense seems to be best conveyed precisely by the notion of the “Way of Tea”) are largely a manifestation of putting the Buddhist philosophy into practice. In this tale of Buddhism through a symbol, that is tea, an important element is also the notion of “Zen,” which should be linked to the form of Buddhism rooted in Japan and known as Zen Buddhism.
 The strategy used to illustrate the problem in question is to introduce and discuss successive concepts, figures or cultural texts that are inextricably linked to Japanese tea culture and that clearly correspond to the many dimensions of Buddhist thought, which originated in India around the 6th century BC. One of the dimensions of this thought is the law of interdependent emergence, which, finding its expression in chadō, not only serves to celebrate culturally established behaviours, but sensitises those following the Way of Tea to their cognitive capacities, which — according to this law — never depend solely on the subject or the method used.
 The article is divided into two parts. The first contains an introduction, information about the literature and discussion of categories associated with chadō and described by means of terms like “master,” “roji,” “emptiness” and “tokonoma.” In the second part, the categories discussed are those of “host and guest,” “four noble truths” and “suchness.” The second part of the article also includes a conclusion.

Spirit of Omotenashi which is expressed through Rikyuu Douka

In Chanoyu, Omotenashi, serving wholeheartedly begins when one thinks of carrying out chanoyu. It starts with making and sending invitations, preparing the venue and equipments, welcoming guests, and tidying it up again reflected real forms of omotenashi. Chanoyu, Sadou, or the way of Tea not only includes how to serve tea to guests and followed by the guests drink the tea, but it is full of teachings to serve and to live a harmonious life. This paper discusses omotenashi expressed in Douka. Douka is a teaching written by Sen no in the form of 100 pieces of waka on the procedure of preparing the tea room, treating equipments, and also things needed to be done both by the host and the guests. Of the 100 poems, 20 poems related to the procedure of serving the guests were examined. Using descriptive analysis methods and data sources taken from Rikyuu Douka ni Manabu (Urasenke Gakuen Koukai Kouza PEL Siri-zu) written by Abe Sosei, published by Tankousha in 2000, this paper discusses omotenashi taught by Sen no through his poems. Moreover, this paper is also expected to be an input for research on Japanese-style services.

ElasticiTEA?: Preliminary Theses on Cross-Cultural (re)Presentation and the Japanese “Way of Tea”

ElasticiTEA?: Preliminary Theses on Cross-Cultural (re)Presentation and the Japanese “Way of Tea”

THE JOURNEY TO THE FAR EAST: TEA CEREMONY AS A PHENOMENON OF JAPANESE CULTURE

The purpose of the study. This paper aims at exploring the Japanese tea ceremony as a phenomenon of Japanese culture. Methodology of the study. The authors have used integrative anthropological approach, multidisciplinary analysis, comparative, cultural-historical, and descriptive methods. Practical methods of research, including personal participation in the tea ceremony of the Urasenke Tradition of cha no yu, were used. The scientific novelty of the study lies in the exploration of the Japanese tea ceremony as a component of Japanese culture, as well as in the analysis of its philosophical and aesthetic aspects. Nurturing simplicity and naturalness and being an institutionalized form of spiritual activity, cha no yu opens a window into the spiritual realm of our being and brings true peace into our souls. Conclusions. Tea is philosophy, which is a part of the Japanese spirit. Due to the Way of Tea, the meditative component and element of joyful rest came into life. The Way of Tea teaches people to be sincere and responsive. Thus, it is more than just a ceremony – it is the way of life.

SADOU : REPRESENTASI KERAMAHTAMAHAN ASIA TIMUR

(Title: Sadou: Representation Of East Asia Hospitality) Sadou is a Japanese traditional etiquette of preparing and drinking tea and was originally developed from China. Sadou brought to Japan by Buddhist monk from China. Although the main purpose is to enjoy tea however the manner, performance, tea equipment, tea room, and the decoration of the tea room are also important and performed as part of the composite arts. Ichi go ichi e is a concept connected to the way of tea (sadou) is expresses the ideal of the way of tea. The phrase means ‘one time one meeting’ or ‘one encounter one opportunity’. In sadou we should respect the host and the others in the tea room and honor the moment as if it were a once in a lifetime gathering. That is we should cherish every meeting for it will never happen again. ichi go ichi e is the reminder that each tea ceremony is unique even though the elements are familiar.

Sense, mystery and practice

ABSTRACTThis paper develops the idea, articulated by Martin Buber among others, that a religious sense cannot be identified independently of sensory and practical engagement with the world of ordinary experience. It begins by rejecting the ‘doxastic’ model’ on which religiousness is equated with propositional belief. Criticisms, however, are made of some attempts to soften the contrast between belief and practice. The religious sense, which need not be a theistic one, is understood in terms of a sense of the mystery or ineffability of things – one that has become occluded in modernity. This sense, in turn, is understood in terms of how it may be cultivated and exemplified in and through practices. This claim is elaborated by considering the East Asian notion of ‘Ways’ – practices, like ‘The Way of Tea’, that aim at self-cultivation and spiritual enlightenment. Gardening, in particular, has been regarded as an exemplary Way through which a sense of mystery is cultivated and shaped. The paper concludes by proposing that, when engaged in appropriately and mindfully, almost any ordinary practice may both reflect and confirm an attunement to a mystery that is diffused over the world at large.

The art of dialogic silence in the way of tea: rethinking space and time for contemplation

In this article I explore silence as dialogue in human communication and address its relevance to silence in heritage sites and museums. Instead of treating silent responses as negative or pedagogical failure, I approach silence from an eclectic perspective informed by linguistic philosophy, social anthropology and cultural psychology and present an analysis of dialogic silence in relation to the nearly 500-year-old ritual practice of Chado, commonly known as the Japanese tea ceremony. I engage with key concepts of dialogue and silence in order to draw parallels between museums and heritage sites on one hand, and the practice of Chado, performed in the tearoom, on the other. I suggest how the performance of ritual in the Chado tearoom takes place in a heterotopic and heterochronic space of dialogue and of contemplation in silence, where people set aside the concerns of everyday life in a suspended time away from an otherwise unpredictable and violence-prone world. I then argue that heritage sites and museums can be seen as spaces of contemplation akin to the space of the tea ceremony, a comparison which offers an alternative perspective on the crisis of representation, the limitations of language and the problem of visitor fatigue.

Reciprocal Mirroring

MARTIN HEIDEGGER AND SHIN'ICHI HISAMATSU Translated by Carolyn Culbertson and Tobias KeilingHisamatsu:1 I would like to give a heartfelt thanks to you for the direction of the colloquium yesterday afternoon which you undertook despite your many obligations. Also I would like to thank you for your hospitality.Heidegger: There were people there from many different disciplines, so it was not entirely simple.Hisamatsu: I enjoyed the many different conversations.Heidegger: For such a colloquium, one would need several days.Hisamatsu: That is right. There are really many difficult questions embedded within this topic. Which areas did the people present yesterday come from?Heidegger: Mr. Brose2 is the chairman of the art club.3 Actually, he is a jurist. Thirty-three years ago, he came to one of my lectures.Hisamatsu: Does he himself also paint?Heidegger: No, he himself does not paint. He keeps busy with the organization of the art club, engaging with the theory of painting and promoting young artists. The well-known abstract painter, Spiller,4 was also there.Hisamatsu: Was he not with Paul Klee?Heidegger: Klee was a professor of painting at the Bauhaus.Hisamatsu: Klee is also famous in Japan.Heidegger: Spiller was acquainted with Paul Klee.Hisamatsu: I have also seen some of Klee's paintings.Heidegger: Which did you see? I regard Paul Klee higher [hoher] than Picasso. In my view, Paul Klee is a more important [bedeutenderer] painter than Picasso.Hisamatsu: Did Alcopley5 have ties to Klee?Heidegger: I do not know whether he had ties with him or not. They certainly appear to me to be similar in ways, but Paul Klee died in 1940.-Spiller is the editor of this book (Paul Klee: Leben und Werk).6 He will probably come here tonight, too. This image (a picture of Jisho-ji temple) was brought to me by the director of the shipping company Bremer Lloyd from Japan.Hisamatsu: Here is the Togu-ji temple, called the Togudo. The first Japanese tea room can be found in it. One could say that the Japanese way of tea began at the Ginkaku-ji temple.7 The shogun Yoshimasa commissioned Shuko Murata to initiate the way of tea.Heidegger: This is a collection of Klee's works that appeared a short time ago.8Hisamatsu: This is really a magnificent book. This picture has something Eastern [Ostliches] to it. The picture, Die Schnecke [The Snail], is my favorite.9 Which of Klee's pictures do you like?Heidegger: Hmmm, I like the drawing Silbermond [SilverMoon].10 Have you ever traveled to Bern? Klee's son lives in Bern and has many of his works.Tsujimura: Unfortunately, we have only passed by Bern on train.Heidegger: Too bad! But you have still seen a lot if you have seen the Jungfrau [im Baum] [ Virgin in the Tree] and others before coming here.Hisamatsu: This picture is good. Its color has sabi. And the lines have nothing artificial to them.Heidegger: I also like this painting. The original can be found in Bern. It is called Heilige aus einem Fenster [Saint from a Window].12 Klee created this painting during the last years of his life as well.Hisamatsu: It somehow has something of Japanese calligraphy to it.Heidegger: Yes, that is right. Klee was also an important musician. He is said to have remarked that the true masters are Mozart and Beethoven.Hisamatsu: I would like to hear something about your newest thoughts.Heidegger: I have new thoughts but they are not yet fully prepared. I have certainly written them down but have not yet presented them. Really I can only advance step by step very slowly. That relates to the problem of language. Something of this new thinking became part of the lecture that I just gave.13 It forms the background of the lecture, but is not said in it clearly and distinctly. I would like to move beyond the prejudices we have about language. The Western prejudice of conceiving of language grammatically is under the sway [Herrschaft] of not only Aristotelian but also Greek ontology. …

茶道点前における動作解析

茶道点前における動作解析

Empire of tea: the Asian leaf that conquered the world

Tea has a rich and well-documented past. The beverage originated in Asia long before making its way to seventeenth-century London, where it became an exotic, highly sought-after commodity. Over the subsequent two centuries, tea's powerful psychoactive properties seduced British society, becoming popular across the nation from castle to cottage. Now the world's most popular drink, tea was one of the first truly global products to find a mass market, with tea drinking now stereotypically associated with British identity. The delicate flavour profile and hot preparation of tea inspired poets, artists and satirists. Tea was embroiled in controversy, from the gossip of the domestic tea table to the civil disorder occasioned by smuggling and the political scandal of the Boston Tea Party. Based on extensive original research, and now available in paperback, Empire of Tea provides a rich cultural history that explores how the British `way of tea' became the norm across the Anglophone world.

Herbata na warszawskim stole XIX wieku. Zwyczaje i akcesoria

Brak streszczenia w języku polskim.

511 高速度カメラを用いた点前の動作分析(GS12,13 設計・生産加工(2),研究討論セッション)

In this research, a classic Japanese tea whisks were paid attention the expert and non-expert with different experience years were employed as the behavior subject. During "the way of tea" performance, both beginner and expert's motion and trace were captured by high-speed camera. The difference of motion features between expert and non-expert were inspected and compared as well. Finally, expert was able to control stir speed and make a good tea finally.

Knowing the Amorous Man: A History of Scholarship on Tales of Ise by Jamie L. Newhard (review)

Reviewed by: Knowing the Amorous Man: A History of Scholarship on Tales of Ise by Jamie L. Newhard Robert N. Huey Knowing the Amorous Man: A History of Scholarship on Tales of Ise. By Jamie L. Newhard. Harvard University Asia Center, 2013. 312 pages. Hardcover $39.95/£29.95/€36.00. Knowing the Amorous Man sheds new light on reception and commentary concerning Ise monogatari and also resonates with broader areas of inquiry in valuable, and sometimes surprising, ways. Though its New Historicist approach is only partially successful, overall this is an excellent book, with much to offer both students and scholars. The unabashedly New Historicist perspective can be seen in comments throughout the book: Early on, for example, Newhard writes that the difficulties of the Ise monogatari text provide an “appealing playground within which the commentators [End Page 109] of various persuasions might ride their hobby horses with abandon” (pp. 2–3). Her final sentence, too, is revealing in this respect: “Narihira and Ise monogatari itself, its congenial openness to interpretation undisrupted by some 800 years of scholarly activity, merely provide the pretext that allows scholars to expound freely on whatever issues are most meaningful to them, in ways that reflect the intellectual and ideological concerns of their times” (p. 238). Such statements reflect the reductionism that can sometimes threaten a New Historicist undertaking, and I am not prepared to believe that the scholars Newhard writes about had no genuine interest in the texts they studied, that they were motivated only by a desire to act out their own worldviews—in other words, that they displayed no jouissance, but only self-indulgence. Leaving that aside, a New Historicist approach does seem apt for this enterprise, since, as Newhard very ably demonstrates, Ise monogatari commentary has taken many interesting twists and turns over the centuries. However, such an approach requires thick description in order to establish the political, cultural, and social discourses that the commentator inhabits, and that in turn inform his commentary (yes, all “his” as far as the written record shows). Unfortunately, I think what Newhard gives us is rather thin and conventional. She depicts Muromachi as a time of upheaval and the final collapse of the old aristocracy, and she argues that this somehow is enough to explain the prevalence of secret teachings (denju). But as Newhard herself shows, the aristocracy never really disappears as a serious intellectual and cultural force until late Edo, and, furthermore, the teachings are never really all that secret. (In fact, this latter point is one of the book’s more interesting revelations.) Moreover, the scholars she discusses are not themselves very well historicized in the book. A specific case in point is Hosokawa Yūsai (1534–1610), whose commentary Ise monogatari ketsugishō Newhard treats as an iconic representative of the “Transitional Commentaries” phase of Ise monogatari scholarship (discussed on pages 4–6). You would never know from reading this volume that Yūsai was a key figure in the development of the Way of Tea, for example, or that he somehow pulled off the impressive feat of being a close confidant to Oda Nobunaga, Toyotomi Hidetoshi, and Tokugawa Ieyasu without losing his head! Not to mention that his son and daughter-in-law embraced Christianity. How does his Ise monogatari commentary fit into that résumé? Now that’s the kind of question a New Historicist should be grappling with. Likewise, Kokugaku and nativist scholarship are stripped of much of their connection to Shinto and to anti-Tokugawa politics—not to mention, eventually, to nationalism. Newhard depicts the Kokugaku and nativist scholars as “positivist” (p. 190), as “[having] great independence of mind, never hesitating to put forward new interpretations and generally basing these on independent research rather than blindly citing the authority of their predecessors” (p. 183). However, she does not talk about how they might have gotten that way. Likewise, her discussion of Meiji and Taishō Ise monogatari commentaries that depict Narihira as a “patriot” (p. 237) begs for more detail. [End Page 110] Though Knowing the Amorous Man may not totally succeed as New Historicism, it is invaluable as a study of Ise monogatari reception and commentary. Anyone who...

Sen no Rikyū and the Japanese Way of Tea: Ethics and Aesthetics of the Everyday

ABSTRACTSen no Rikyū (1522–1591) was a tea master who consecutively served Japan's two warlords in the turbulent feudal era. Rikyū synthesized wabi tea into ethics and aesthetics by applying it to every aspect of the ceremony, from the tea setting to the physical environment, and from the manner of making and drinking tea to the way of interacting with the environment. By producing artifacts and environments that clearly showcased the incomplete, imperfect, and impermanent nature of their physical aspects, Rikyū succeeded in guiding tea participants to the ontological contemplation of their own imperfect and transient existence. Henri Lefebvre (1901–1991) and Jürgen Habermas (1929–) both find a deterioration of human values in modernized societies and seek a reconciliation in the study of the everyday. Rikyū's ethics and aesthetics offer instruction on how to find the meaning of our existence in a simple act of sustenance.

Developing a System to Assess the Skills of Japanese Way of Tea by Analysing the Forming Sound

The Japanese way of tea is one of the most traditional activities to treat and serve guests with “ matcha tea” The manner to serve and the procedure for making a bowl of matcha tea are assumed to be the art performance and they are called “ otemae.” Particularly, the skills of making matcha tea are one of the important factors that affect the taste of matcha tea. The purpose of this study is to develop a system to help beginners’ learning of otemae. As the first step, in this study, we investigated the sound generated by the expert when makeing the matcha tea, and the possibility of estimating each step from the sound. As a result, our method could detect each step of procedure for making matcha tea from the envelope of the sound when the expert makes a bowl of matcha tea. Our method could also detect the differences of sound among the types of tea whisk.

Tea Ceremony as a Space for Interreligious Dialogue

Abstract This paper explores the potential of Japanese tea ceremony to be an aesthetic space for inter-religious dialogue. Through a study of historical encounters that took place between European Jesuit missionaries and Japanese tea masters in the late 16th century, this paper elucidates the missionaries’ experiences of tea ceremonies and discusses the validity and limitation of a tea house as a space for cross-cultural and interreligious dialogue. The fruit of tea ceremony in terms of interreligious dialogue includes a shared sense of aesthetic communion that is attained through communal enjoyment of the beauty of nature and drinking a cup of tea in an isolated tea house, where guests are invited to cast away worries of everyday business, as well as their social and religious differences; whereas its limitation pertains to marked indifference toward verbal communication that is characteristic to the way of tea, and thus the historical missionaries’ experience was limited to aesthetic paradigm and did not lead to logical understanding of doctrinal differences between Buddhists and Christians.

The Way of Tea: Paradigm for Lifelong Learning

The Way of Tea: Paradigm for Lifelong Learning

The Ways of Tea: From One to Many

The Ways of Tea: From One to Many

Studies on the Distribution and the Water Quality of Groundwater Used on The Way of Tea(Tea Ceremony)

Studies on the Distribution and the Water Quality of Groundwater Used on The Way of Tea(Tea Ceremony)

An Art for Every Day

The Way of Tea, or Chanoyu, commonly known as the Japanese Tea Ceremony, is an art form built around the simple every-day act of preparing, offering and receiving a bowl of tea in a carefully created environment. In truth it is a lot more than just that. The Way of Tea is a way to tranquility and clarity of mind through meditation in motion. Unlike many other meditative practices, it happens without detachment from the reality but right in the real world with its colours, tastes, sounds, fragrances and textures. It actually elevates daily activities to the level of art. While tea procedures are highly efficient and systematized, once mastered, their efficiency is fully re-applicable to daily life. Interestingly, following the rigid form actually results in the development of one's creativity and freedom. Arguably a performing art of its own kind, Chanoyu sets the stage for people and objects to create a happening in a special setting in order to attain an unrepeatable cathartic experience. I propose to explore how this interdisciplinary synthesis of arts-Chanoyu-brings art to life and life to art through its holistic approach.