The Book of Tea - Okakura, Kakuzo
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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. It was first published in 1906, in the wake of the naval victory over Russia…mehr

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Produktbeschreibung
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. 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.
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Autorenporträt
Kakuz¿ Okakura (1863-1913) communicated the culture of Japan to the West at a time when the country was opening up to Western influence and was in danger of losing its traditions. A national figure in the art world, he travelled to America, Europe, India and China, and in his later years became the head of the Asian art division at the Museum of Fine Arts in Boston.