Charming little book about tea, its history, the Japanese tea ceremony and arts in general. ( )

In direct contrast to The Wisdom of Tea, in which we are taken on a 25 year journey of a Tea practitioner from their very first lesson, in The Book of Tea we are given the history of Tea itself and its associations through the ages with Eastern religions and philosophy.

As such, this book is wonderful and it makes one realise that there is so much more to Tea than simply throwing some tea leaves in a pot.   There are some great passages in this book where Kakuzo has some wonderful rants about western culture which are a delight to read.   One can really get a vision of just how coarse the Devon Cream Tea in a sea side cafe -- not forgetting morning tea in mother's finest china with a biscuit -- is when compared to Japanese Tea in a traditional tea hut, even though the English will proclaim these two tea ceremonies of theirs as the height of culture.

A must read for all who enjoy reading about Japan and its culture, and anyone who enjoys a cup of tea, however you may take it.   Written over 100 years ago and is as relevant today as it was when it was written. ( )

Until I read this book, I had no idea about Teaism or other of the wonderful things that surround tea culture in the East. Although I am an avid drinker of tea, the idea of it linking to ikebana, architecture and other manifestations of the Japanese and Chinese culture escaped me. But Master Kakuzō makes it all so clear.

If you are looking to learn how to steep the perfect cup of tea, or where it is grown, or about its varieties, this is not your book. It is not a manual, it provides no instructions. Yes, it will tell you about the tea room, or about the different schools of tea, or about the tea masters or the past. But only with a wider objective: It is a book about philosophy, about art, about culture and, most of all, about understanding: understanding of the Eastern mind and aesthetics, of the reasons behind the standpoint of the East, of a different (from the Western viewpoint) life stance. So it will also tell you about Taoism, or flowers, or pottery.

Review from Library

Moreover, it provides a much needed reminder of what is important in life, and a lesson on how to face life as it comes. In this sense, it is timeless. As is in so many other senses.

Regarding the present edition by [a:Natalio Cardoso|14675885|Natalio Cardoso|https://images.gr-assets.com/authors/1613668897p2/14675885.jpg], many references in the original book would be lost to the Western reader were it not for the annotations, comments and other notes, sometimes historical or mythological, sometimes cultural in a broader sense, included herein. I have had the pleasure to read it in its (much welcome) ebook version, so finding references and comments is easy.

It has become one of my bedside readings, and will be revisited many times.

A lesson on the importance and usefulness of ritual, when done for good reasons. ( )

I’ll admit I requested The Book of Tea by mistake. Blame old age, rush, or whathaveyou, but I misread something, I understood something else, and I went in expecting tea-related pictures.

Imagine my surprise when those traditional Japanese kettles I was dreaming of never materialized. My tea fields? Sorry, wrong book. Still, my perplexity was short-lived: The Book of Tea turned out to be an informative tale, steeped in history and culture. All in all, a lucky mistake.

[Keeo reading @ Bookshelves & Teacups] ( )

This book kind of feels like walking in a zen garden... I don't know how else to describe it. It's just relaxing and kind of invigorating, not because it expressly discusses these topics, but the author's style and choice of subject reinforces this feeling. ( )

This is a lovely collection with interesting pieces. ( )

Kakuzō merr shkas nga një analizë e imtësishme e ritualit të pirjes së çajit në kulturën japoneze – që nga përgatitja e përzierjes së bimëve, enët, shërbimi, e deri te arkitektura dhe arredimi i dhomës së çajit – për të na folur për disa nga çështjet më themelore të botëkuptimit e filozofisë së “Lindjes”. Në kapërcyell të shekujve XIX-XX, kohë në të cilën jetoi dhe shkroi autori, sundimi i gjatë kolonial i perëndimit tashmë i kishte dhënë frytet e veta në gjithë Azinë. Kakuzō, si njeri në kapërcyell të dy botëve, përpiqet t’i kundërvendosë kulturës perëndimore thelbin e “Lindjes”, deri aty sa të pohojë madje epërsinë e kësaj të fundit.
Ndonëse Kakuzō shkroi vëllime të shumta për artin e Azisë, “Libri i çajit”, i shkruar në anglisht dhe i botuar më 1906, mbetet libri i tij më i shquar në perëndim.

Until I read this book, I had no idea about Teaism or other of the wonderful things that surround tea culture in the East. Although I am an avid drinker of tea, the idea of it linking to ikebana, architecture and other manifestations of the Japanese and Chinese culture escaped me. But Master Kakuzō makes it all so clear.

If you are looking to learn how to steep the perfect cup of tea, or where it is grown, or about its varieties, this is not your book. It is not a manual, it provides no instructions. Yes, it will tell you about the tea room, or about the different schools of tea, or about the tea masters or the past. But only with a wider objective: It is a book about philosophy, about art, about culture and, most of all, about understanding: understanding of the Eastern mind and aesthetics, of the reasons behind the standpoint of the East, of a different (from the Western viewpoint) life stance. So it will also tell you about Taoism, or flowers, or pottery.

Moreover, it provides a much needed reminder of what is important in life, and a lesson on how to face life as it comes. In this sense, it is timeless. As is in so many other senses.

Regarding the present edition by [a:Natalio Cardoso|14675885|Natalio Cardoso|https://images.gr-assets.com/authors/1613668897p2/14675885.jpg], many references in the original book would be lost to the Western reader were it not for the annotations, comments and other notes, sometimes historical or mythological, sometimes cultural in a broader sense, included herein. I have had the pleasure to read it in its (much welcome) ebook version, so finding references and comments is easy.

It has become one of my bedside readings, and will be revisited many times. ( )

Interesting little book regarding the importance and influence of tea. Tea is a part of the Japanese culture, rather than just a drink, but we forget the import it has also had for the Western world. Okakura points out that it was tea that first opened the doors between East and West, and that the heavy duties on tea prompted the American Revolution.

Beyond the historical importance of tea is the philosophical and cultural importance of tea, and the discussion here of Taoism and Zennism was fascinating.

Those who cannot feel the littleness of great things in themselves are apt to overlook the greatness of little things in others.

I enjoyed listening to Mike Rosenlof's reading, which surprised me, as I am still not a fan of audiobooks. ( )

Will have to read again. A bit to philosophical. ( )

Charles Lamb-i, një ithtar i deklaruar i çajit, ka rrokur thelbin e çajizmit kur shkroi se kënaqësia më e madhe që njihte ishte bërja e një vepre të mirë tinëzisht, që më pas do të dilte në dritë rastësisht. Sepse çajizmi është arti i fshehjes së bukurisë ashtu që të mund ta zbuloni rastësisht, i sugjerimit të asaj që nuk guxoni ta shfaqni. Është sekreti fisnik i të qeshurit me veten, qetë por plotësisht, ndaj është, pra, vetë humori: buzëqeshja e filozofisë. Në këtë kuptim, të gjithë komediografët e vërtetë mund të quhen filozofë të çajit: Thackeray, për shembull, dhe, sigurisht, Shekspiri. Poetët e dekadencës (dhe kur s’ka qenë bota ndonjëherë në dekadencë?), në protestat e tyre kundër materializmit, në një farë mase, kanë elur gjithashtu udhën për çajizmin. Në ditët e sotme, mbase Perëndimi dhe Lindja mund të gjejnë një ngushëllim të ndërsjellë në soditjen tonë të ndrojtur të së Papërsosurës.

Taoistët rrëfejnë se në fillimin e madh të JoFillimit, Fryma dhe Materia u përballën në një dyluftim vdekjeprurës. Në fund, Perandori i Verdhë, Dielli i Qiellit, ngadhënjeu ndaj Zhu Rongut, demonit të territ dhe tokës. Në grahmën e tij të fundit, ky titan e përplasi kokën te qemeri diellor, duke e thërrmuar kubenë kaltëroshe prej nefriti. Yjet humbën foletë e tyre, hëna u end kuturu nëpër humnerat e shkreta të natës. I dëshpëruar, Perandori i Verdhë kërkoi gjerë e gjatë për ndreqësin e Qiejve. Kërkimi nuk i nuk shkoi kot. Nga deti i Lindjes buthtoi një mbretëreshë, Nyvaja e shenjtë, brikurorë dhe bishtdragua, shkëlqimtare në parzmoren e saj prej zjarri. Ajo lentoi ylberin pesëngjyrësh në kazanin e saj magjik dhe arnoi qiellin kinez. Por thuhet se Nyvaja harroi të mbushë dy plasa të imëta në kupën qiellore. Kështu filloi dualizmi i dashurisë: dy shpirtra që vërtiten në hapësirë, pa gjetur kurrë prehje, gjersa kur të bashkohen për të plotësuar universin. Çdokush duhet ta ndërtojë nga e para qiellin e vet të shpresës dhe paqes. Qielli i njerëzimit modern përnjëmend është copëtuar në përleshjen titanike për pasuri dhe pushtet. Bota po zvarritet këmbadoras në errësirën e kultit të unit dhe harbutërisë. Dija po blihet përmes një ndërgjegjeje të keqe, bujaria po praktikohet për hir të leverdisë. Lindja dhe Perëndimi, si dy dragonj të flakur në një det tallazesh, më kot përpiqen të rifitojnë xhevahirin e jetës. Na duhet sërish një Nyvaja për të meremetuar rrënimin e madh; presim Avatarin e madh. Ndërkohë, le të pijmë nga një gllënjkë çaj. Kuqëlimi i pasdites po shndrit bambutë, shatërvanët gurgullojnë me ëndje, shushurima e pishave dëgjohet në çajnikun tonë. Le të ëndërrojmë për shuarjen, dhe të eglendisemi në marrëzinë e bukur të gjërave.

Kakuzo Okakura, who was known in America as a scholar, art critic, and Curator of Chinese and Japanese Art at the Boston Museum of Fine Arts, directed almost his entire adult life toward the preservation and reawakening of the Japanese national heritage-in art, ethics, social customs, and other areas of life-in the face of the Westernizing influences that were revolutonizing Japan around the turn of the century.

This modern classic, 'The book of Tea,' is essentially an apology for Eastern traditions and feelngs to the Western world-not in passionate, oversentimental terms, but with a charm and underlying toughness which clearly indicate some of the enduring diffrences between the Eastern and Western mind. Okakura exhibits the distinctive 'personality' of the East throught the philosophy of Teaism and the ancient Japanese tea ceremony. This ceremony is particularly revealtory of a conservative strain in Japanese culture, its ideals of aesthetic tranquility and submission to the ways of the past find no parallel in the major cultural motifs of the West.

Not only does he discuss the tea ceremony and its rigid formalities, and the cult and patterns of belief surrounding tea and tea-drinking, but Okakura also considers religious influences, origins, and history, and goes into the importance of flowers and floral arrangement in Japanese life-their proper appreciation and cultivation, great tea-masters of he past, the tea-room with its air of serenity and purity, and the aesthetic and quasi-religious values pervading all these activities and attitudes.

Okakura's English style was graceful, yet exceptionally clear and precise, and this book is one of the most delightful essay-volumes in the English landuage. It has introduced hundreds of thousands of American readers to Japanese thinking and traditions. This new, corrected edition, complete with an illluminating preliminary essay on Okakura's life and work, will provide an engrossing account for anyone interested in ithe current and central themes of Oriental life.

Unabridged, corrected republication. Introduction, afterward, and notes by E.F. Bleiler.

Contents

I The cup of humanity
Tea ennobled into Teaism, a religion of aestheticism, the adoration of the beautiful among everyday facts; Teaism developed among both nobles and peasants; The mutual misunderstanding of the New World and the Old; The worship of tea in the West; Early records of tea in European writing; The Taoists' version of the combat between spirit and matter; The modern struggle for wealth and power.
II The schools of tea
The three stages of he evolution of tea; The boiled tea, the whipped tea, and the steeped tea, representative of the Tang, the Sung, and the Ming dynasties of China; Lu Wu, the first apostle of tea; the tea ideals of the three dynasties; To the latter-day Chinese tea is a delicious beverage, but not an ideal; In Japan tea is a religion of the art of life.
III Taoism and Zennism
The connection of Zennism with tea; Taoism, and its successor Zennism, represent the individualistic trend of the Southern Chinese mind; Taoism accepts the mundane and tries to find beauty in our world of woe and worry; Zennism emphasises the teachings of Taoism; Through consecrated meditation may be attained supreme self-realization; Zennism, like Taoism, is the worship of relativity; Ideal of teaism a result of the Zen conception of greatness in the smallest incidents of life; Taoism furnished the basis for aesthetic ideals, Zennism made them practical.
IV The tea-room
The tea-room does not pretend to be other than a mere cottage; The simplicity and purism of the tea-room; Symbolism in the construction of the tea-room; The system of its decoration; A sanctuary from the vexations of the outer world.
V Art appreciation
Sympathetic communion of minds necessary for art appreciation; The secret understanding between the master and ourselves; The value of suggestion; Art is of value only to the extent that it speaks to us; No real feeling in much of the apparent enthusiasm to-day; Confusion of art with archaeology; We are destroying art in destroying the beautiful in life.
VI Flowers
Flowers our constant friends; The master of flowers; The waste of flowers among Western communities; The art of floriculture in the East; The tea-masters and the cult of flowers; The art of flower arrangement; The adoration of the flower for its own sake; The flower-masters; Two main branches of the schools of flower arragnement, the formalistic and the naturalesque.
VII Tea-masters
Real apprecaition of art only possible to those who make of it a living influence; Contributions of the tea-masters to art; Their influence on the conduct of life; the last tea of Rikyu
Afterword

This book is absolutely beautiful, a true masterpiece. Surely I will read it again someday. It was a present from a childhood friend of my grandmother's, who was a teacher of Chinese and Japanese languages for many years. This was one of her favourite books.
Although very simply written, it opens a window to a worldview vastly different from our own, where contemplation is central, where there is empathy towards nature (see Okakura's chapter dedicated to flowers), and every detail has an enormous aesthetical importance. The Japanese culture is centeredfocused on what is subtil, transient and small.
I found especially interesting the close connection between the tea rituals, taoism and zen buddhism. I would say that this is a must read to anyone interested in eastern culture. ( )

This inspires me to strive for grace. ( )

This book is short yet sweet. I just wish it had aged better. The first couple of chapters were good but the additional detail in the back half of the book lost my attention. Cool to read though, from the library, don't spend your money on this one for your bookshelf ( )

I read it twice, back to back on the same day (it's very short). I read it the second time to try and receive with a different expectation to see if it would make a difference. It is beautifully written but I didn't find it profound or insightful on either reading. ( )

This book, although a fine piece of literature, is utterly useless for use in teaching English Communication.

Okakura uses tea, a drink partaken of in both East and West, as a way of demystifying Japanese culture and challenging Orientalism in Europe and America. Written in English for a Western audience, it is a wonderfully poetic introduction to Japanese culture and aesthetics. ( )

The Book of Tea was written by Japanese scholar Kakuzo Okakura and was published in 1906.

While containing some interesting facts about the evolution of tea drinking and the history and significance behind the Tea Ceremony, this book is only marginally about tea. It’s more a treatise on Japanese art and culture as a whole. Entire chapters are devoted to architecture, art appreciation and flower arranging. However, Okakura eventually ties everything back to the importance of tea in the Asian cultures.

There is also considerable time spent discussing Taoism and its relationship to “Teaism.” The Book of Tea was written in support of a personal passion and it equates all "Teaist" practices to an art. While not an authoritative source of information for tea aficionados, the text is extremely quotable and has some beautiful descriptions of the importance of tea in the Japanese culture.

"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."

This book would be of interest to anyone wanting to better understand Japanese appreciation of beauty and order- regardless of whether you are a tea drinker. ( )

The room is silent
A single flash of lightning
outside the tearoom
The tea-master knows enough
not to speak.

Read this if you want to think about: Japan. Tea. Tao. Space. Emptiness. Focus. Art. History. Zen. Punctuation. Equality. Awareness. ( )

Good book if you want to learn more about asian culture and asian aesthetics mixed in with Taoist mysticism. ( )

This inspires me to strive for grace. ( )

The Book of Tea was published in 1906 in North America, where its Japanese author had been living for a number of years. Having grown up in Japan but with a largely Western education there for his earlier years, he sought all the more to connect with his Japanese cultural heritage throughout the rest of his life. Working in a number of artistic institutions and museums, he became expert on the Japanese and Eastern artistic and cultural traditions, and their historical development. What we have here is almost as much a musing on beauty, humanity, and nature, as it is a book on tea. As we come to appreciate through this book, tea and its associated aesthetics, whether or not they are central to the traditional Japanese spirit of culture, are at the very least representative of it as a whole.
The aesthetics and practice of tea consumption in Japan differs greatly from tea in China, India, and the West due to a number of historical, social, geographical and philosophical differences between these cultures. This is very much a book on the Japanese culture of tea, which centres around their tea ceremony, though we are supplied with the relevant contextual detail from other regions to appreciate the interplay of these factors and their importance in determining the quintessentials of the Japanese way.
As a short (90 pages) and very enjoyable read, I would recommend this to anyone with an interest in tea, world history, aesthetics, or Japanese or Eastern civilisation. Though primarily the work of an aesthete, there is also much to interest the reader in terms of social and anthropological thought.
For a hectic modern society that spends so little time in quiet contemplation and enjoyment of the simple things, this book provides a welcome refreshing contrast. ( )

Of course! I had to like this book! It made me smile when I realized how little I knew of my favorite beverage, outside of water, that is. ( )