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Journal articles on the topic 'Japanese tea ceremony Utensils'

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Published: 10 December 2022

Last updated: 29 January 2023

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1

Cho, Yonglan. "Aspects of Ordered Tea Utensils by Japan in the Late Joseon Dynasty : Focusing on Tsusima Souke Archives." Korean Tea Society 28, no. 2 (June 30, 2022): 26–35. http://dx.doi.org/10.29225/jkts.2022.28.2.26.

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This study is about the Tsushima Soke document at the beginning of the 18th century, the latter half of the Busan kiln, focused on the tea utensils order form, o-aturae-mono-hikae. It was examined from a sample on the requirements for the equipment of the orderers from Japan. The orderers were influential people in Japan, including painters, members of shogun's councilor, tea utensils dealers, daimyo, Buddhist priests, gardeners, tea ceremony, and temple and shrine magistrates. The contents of the order were detailed and complicated. The ability of Joseon potters who could meet such difficult orders reached a respectable standard. The order volume of the equipment ranged from 1 to 100 units carried by ship. Therefore, Joseon potters always made more quantities and sent to Japan. There were various ordered items, such as bowls, pots, water pitchers, water jars, sake cups, sake bottles, vases, kettles, braziers, incense burners, and plates, and the dimensions varied from large tea utensils to small lids. They requested various orders of elegant colors, such as cylindrical tea bowls, stackable tea bowls, table incense burners, sleeve incense burners, ash bowl solders, and clay pots. This study considers the custom-made ceramics made at the Busan Waegwan in the latter half of the Joseon Dynasty, based on the Soke's document, oaturaemonohikae, and explores the production process of the ‘gohon’ tea utensils’ that were born in the collaboration of Japanese connoisseurs and Joseon potter's techniques. The tea utensils are different from the natural beauty of Korea. The patterns and shapes are closely related to the Samurai tea ceremony that was popular at that time, and they were standardized.

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NAGATA, Keiko. "IMPORTANCE AND CHARACTERISTIC OF UTENSILS FOR TEA CEREMONY IN JAPANESE TRADITIONAL FURNITURE REFERENCE BOOKS -CONCEPT OF ARCHITECTURE -." Journal of Architecture and Planning (Transactions of AIJ) 76, no. 668 (2011): 1937–42. http://dx.doi.org/10.3130/aija.76.1937.

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3

Sato, Yoshinobu, and Mark E. Parry. "The influence of the Japanese tea ceremony on Japanese restaurant hospitality." Journal of Consumer Marketing 32, no. 7 (November 9, 2015): 520–29. http://dx.doi.org/10.1108/jcm-09-2014-1142.

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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 the kaiseki ryori style 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 of kaiseki cuisine, 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 ryori cuisine 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.

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Noviana, Fajria. "KESEDERHANAAN WABICHA DALAM UPACARA MINUM TEH JEPANG." IZUMI 4, no. 1 (January 3, 2015): 37. http://dx.doi.org/10.14710/izumi.4.1.37-43.

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The Japanese tea ceremony is called chanoyu in Japanese. It is a multifaceted traditional activity strongly influenced by Zen Buddhism, in which powdered green tea, or matcha, is ceremonially prepared and served to the guests. Wabicha is a style of Japanese tea ceremony particularly associated with Sen no Rikyū that emphasizes simplicity. He refined the art of Japanese tea ceremony equipment and tea house design, with a preference for very simple and very small tea rooms, and natural materials with simpler decoration

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5

Putri, Anastasia Merry Christiani Widya, and Ratna Handayani. "Prinsip Dasar Budha Zen dalam Chanoyu." Lingua Cultura 4, no. 2 (November 30, 2010): 129. http://dx.doi.org/10.21512/lc.v4i2.361.

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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.

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6

Keenan, Brother Joseph. "The Japanese Tea Ceremony and stress management." Holistic Nursing Practice 10, no. 2 (January 1996): 30–37. http://dx.doi.org/10.1097/00004650-199601000-00005.

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7

조용란. "A study about SAHOU in Japanese Tea-ceremony." Journal of Japanese Culture ll, no. 36 (February 2008): 433–49. http://dx.doi.org/10.21481/jbunka..36.200802.433.

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8

Park, Soon-Hui. "Adoption and transformation of japanese green tea on korean tea ceremony." Japanese Language and Literature Association of Daehan ll, no. 53 (February 2012): 351–67. http://dx.doi.org/10.18631/jalali.2012..53.020.

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9

Hioki, Naoko Frances. "Tea Ceremony as a Space for Interreligious Dialogue." Exchange 42, no. 2 (2013): 125–42. http://dx.doi.org/10.1163/1572543x-12341260.

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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.

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10

Bruijn, E. d. "Premodern Japan and the modern museum: Tea ceremony utensils in the Cock Blomhoff collection." Journal of the History of Collections 11, no. 1 (January 1, 1999): 25–34. http://dx.doi.org/10.1093/jhc/11.1.25.

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11

SADAKATA, SHOICHI, AKIRA FUKAO, and SHIGERU HISAMICHI. "Mortality among Female Practitioners of Chanoyu (Japanese "Tea-ceremony")." Tohoku Journal of Experimental Medicine 166, no. 4 (1992): 475–77. http://dx.doi.org/10.1620/tjem.166.475.

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12

WILSON, DANIEL. "The Japanese Tea Ceremony and Pancultural Definitions of Art." Journal of Aesthetics and Art Criticism 76, no. 1 (February 4, 2018): 33–44. http://dx.doi.org/10.1111/jaac.12436.

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13

Sakuae, Mari, and Denise Reid. "Making Tea in Place: Experiences of Women Engaged in a Japanese Tea Ceremony." Journal of Occupational Science 19, no. 3 (August 2012): 283–91. http://dx.doi.org/10.1080/14427591.2011.610775.

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14

Zhang, Lawrence. "A Foreign Infusion: The Forgotten Legacy of Japanese Chadō on Modern Chinese Tea Arts." Gastronomica 16, no. 1 (2016): 53–62. http://dx.doi.org/10.1525/gfc.2016.16.1.53.

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This paper traces the historical antecedents and influences on modern Chinese tea arts. What is now commonly known as gongfucha, which has become the standard Chinese tea ceremony, was originally a regional custom from the Chaozhou area of China. Through the twentieth century this custom was first taken up by Taiwanese pioneers, repackaged as an element of quintessential Chinese culture, and then exported back to mainland China since the 1980s. During this process of the reimagination of the Chaozhou practice of gongfucha, foreign elements of the Japanese tea ceremony, especially influences from senchadō, were included. As it becomes adopted throughout China as a new national custom, however, this foreign contribution is obscured and forgotten, and replaced with a national narrative that emphasizes links to the past.

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15

OSHIKIRI, TAKA. "THE SHOGUN'S TEA JAR: RITUAL, MATERIAL CULTURE, AND POLITICAL AUTHORITY IN EARLY MODERN JAPAN." Historical Journal 59, no. 4 (June 3, 2016): 927–45. http://dx.doi.org/10.1017/s0018246x1600008x.

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ABSTRACTThis article explores the relationships between ritual, material culture, and political authority in early modern Japan by focusing on the Japanese tea ceremony, a highly formalized socio-cultural activity elaborated from the customs related to the consumption of powdered green tea. The article analyses one of the Tokugawa Shogunate's annual processions, the so-called, ‘Travelling of the Shogun's Tea Jar’ – a ritual developed around the Shogunate's acquisition of its annual stocks of tea – which was formalized as one of the official annual events in the early seventeenth century. It argues that the tea ceremony became a part of routine business in the Tokugawa Shogunate and continued to perform its customary functions in supporting military elite's political life. In turn, the tea ceremony was authorized by shoguns and domain lords through public rituals and regular consumption. Consequently, the tea ceremonial practice was institutionalized in the shogunal administrations, creating a class of tea professionals and generating networks of tea providers. Moreover, the practice of tea was embedded in the everyday life of the warrior elite, both at the national and regional levels, until the final fall of the Tokugawa Shogunate in 1868.

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16

OTA, Toru, Masashi KUME, Akihiro OONISHI, Minayuki SHIRATO, Tatsunori TANAKA, Kanako HAMASAKI, Minako IUE, Kumiko MATSUSHITA, Asami NAKAI, and Tetsuya YOSHIDA. "323 Motion Analysis of the "Temae" in Japanese Tea Ceremony." Proceedings of the Dynamics & Design Conference 2008 (2008): _323–1_—_323–6_. http://dx.doi.org/10.1299/jsmedmc.2008._323-1_.

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17

Ali, Adibah, Rusmadiah Anwar, Oskar Hasdinor Hassan, and Ham Rabeah Kamarun. "Significance of Japanese Tea Ceremony Values with Ceramic Art Interpretation." Procedia - Social and Behavioral Sciences 106 (December 2013): 2390–96. http://dx.doi.org/10.1016/j.sbspro.2013.12.273.

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18

Uno, Mayumi. "Changes in Japanese Nurses’ Awareness of Patient Interactions Following a Japanese Tea Ceremony." Open Journal of Nursing 07, no. 07 (2017): 770–78. http://dx.doi.org/10.4236/ojn.2017.77058.

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19

Skvortsova, Elena. "On the question of the ideological foundations of traditional Japanese culture." Herald of Culturology, no. 1 (2021): 36–56. http://dx.doi.org/10.31249/hoc/2021.01.02.

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The article is devoted to the analysis of the phenomenon of the tea ceremony and its main concept of wabi, without which it is impossible to understand the ideological foundations of Japanese spiritual culture. At the same time, the basic concept in which the tea ceremony is recognized and described leads to the ultimate category of the entire Far Eastern culture – Nothingness (Emptiness, nonexistence), which is crucial for understanding Japanese religions, philosophical and aesthetic thought. The article discusses the views of the founder of the Kyoto school of philosophy Nishida Kitaro (1870–1945) and some of his students on the nature of the categories of wabi and Nothingness. Also, an analysis of these categories by researchers of the second half of the 20th century, Izutsu Toshihiko and Izutsu Toyoko is given.

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20

Park, Soon-Hui. "The comparative study of korean and japanese tea ceremony within the powdered green tea manner." Japanese Language and Literature Association of Daehan ll, no. 49 (February 2011): 379–97. http://dx.doi.org/10.18631/jalali.2011..49.020.

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21

Polschikova, N. V., and N. V. Kovbasyuk. "PHILOSOPHY AND ARCHITECTURE OF TEA HOUSES IN JAPAN." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 166–78. http://dx.doi.org/10.31650/2519-4208-2020-20-166-178.

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Tea ceremonies have evolved a great deal since they first got their start, and as the ceremonies have grown and shifted in purpose, so have the tea houses that hold them. Japanese tea house, Chashitsu in Japanese, is where chado, the tea ceremony takes place, which expresses Japanese sentimentality and aesthetics through the act of drinking tea. Chashitsu is truly the product of all of the traditional Japanese crafts combined and sophisticated.As tea began to grow in popularity, tea ceremonies became a source of entertainment for members of the upper class who could afford to gamble, read poetry and attend tea parties in extravagant pavilions. The design of free-standing tea houses is heavily influenced by Zen philosophy. In an attempt to escape from the material strains of daily life, Shukō removed tea parties from the formal setting and instead held the ceremonies in simple grass-thatched huts, like the Tai-an Teahouse. His goal in doing this was to transcend the complex distractions of the world and find enlightenment in everyday life. Another important procedure initiated by Shukou, was that he himself would serve the tea to his guests. He preferred the intimate and personal atmosphere of a small room which could fit five to six people. The four-and-a-half-mat room that he had devised to create a more tranquil atmosphere during the tea ceremony had its origins in the Zen philosophy. In front of the traditional teahouse is a garden referred to as the roji. Guests traverse it on a path of stepping stones, admiring the plants and trees, before washing their hands at a stone basin in preparation for entering the teahouse building. One of the chief characteristics of the thatched hut teahouse begun by Rikyū is the guest entrance, or nijiriguchi. The square door is so low and small that guests can’t move through it without stooping and curling up as they crawl through. When guests enter the tea house, they first proceed to the alcove, tokonoma, to admire the decoration. There is no furniture, except for that which is required for the preparation of tea. Usually, there will be a charcoal pit in the center of the room by cutting a piece of the tatami is used to boil water. Object used in the tea ceremony included special porcelain or ceramic bowls, a cast-iron kettle with bronze lid, freshwater water jars, ceramic of lacquer container for powdered tea, and tea caddies. There are four main principals defining the way people and tea objects interact: wa (harmony); kei (respect); sei (purity) and jyaku (tranquility). Having got everything right in terms of setting and paraphernalia, one then has to do what all this has been leading up to: make tea. The exact movements of the host are vital but depend on which school of tea ceremony one favours. The important thing is to only make the minimum of movements which should be precise, graceful, and restrained. Further, one should be silent when actually preparing the tea. All thenecessary equipment should have already been laid out before the guests, and only the kettle is hidden from their view. The tea caddy and bamboo scoop are first cleaned with a cloth. When ready, the hot water is poured into the tea bowls but only enough to warm them. Powdered tea is then added to the bowls, which are then topped up with hot water, and the mixture is whisked to make a frothy drink. The tea should be drunk in small sips. When everyone has finished, the implements and bowls are cleaned and removed from sight leaving only the kettle before the hopefully now well-satisfied guests. Finally, some of the finer implements may be returned in order for the guests to discuss their appreciation of them.The simplicity of modern teahouses is meant to emphasize the importance of breaking down boundaries that exist among people, objects and ideas. Taking the idea of tea houses designed to mesh with their natural environment to a whole new level, Terunobu Fujimori created the Takasugi-an, which translates to“a tea house too high.” He built the compact teahouse to appear as though it was resting between two chestnut trees, and although the only way to reach the tea house is via ladder, the view from the top gives visitors a perfect view of Chino, Japan. Instead of displaying the picture scrolls of traditional tea houses that indicated the time of year, Fujimori used the building’s windows to achieve the same effect while also allowing visitors to observe the profound changes that were happening in the world around them. Simple materials such asplaster and bamboo were used to construct the interior of the tea house.Modern tea houses still have strong roots in the traditional purposes of tea ceremonies.Today, many practice tea ceremony and enjoy its benefit innumerous types of tea rooms from traditional ones to innovative ones. Both the ceremony and the Japanese tea houses have evolved since the earliest days, and they continue evolving so that they can adapt to the rapidchangesinmodern society.

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22

Karyati, Alo. "Wanita dalam Chanoyu pada Novel “The Life of an Amarous Man” Karya Ihara Saikaku (Kajian Sastra dan Budaya Jepang )." Chi'e: Journal of Japanese Learning and Teaching 10, no. 1 (March 27, 2022): 23–31. http://dx.doi.org/10.15294/chie.v10i1.52007.

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This study examines the role of women in chanoyu or the Japanese tea ceremony contained in the novel "The Life An Amarous Man" by Ihara Saikaku. This novel tells how the role of women (maids) in entertaining guests, making tea and attracting guests to come to the "tea house" or tea house. Chanoyu, in this novel, takes place in a tea house where the servants are a woman (maid). Chanoyu is one of the Japanese tea drinking cultures that is still preserved. Japan is rich in various traditional cultures still practised today, one of which is the chanoyu culture. Chanoyu is a literary activity in culture. So that chanoyu is very closely related to literature because, in the Chanoyu process, there are noble values, such as Japanese ritual activities, which are very sacred and have stages as elements in the Japanese teachings of patience and tenacity well as never giving up. These noble values are part of literature. The formulation of the problem in this study relates to the role of women as maids in the tea house, and the position of the tea house is identical to chanoyu.

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23

Voloshenko, O., and V. Voloshenko. "Influence of tea ceremony on planning and functions of a Japanese garden." Vìsnik L’vìvs’kogo nacìonal’nogo agrarnogo unìversitetu. Arhìtektura ì sìl’s’kogospodars’ke budìvnictvo, no. 20 (November 1, 2019): 81–84. http://dx.doi.org/10.31734/architecture2019.20.081.

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24

朴, 銓烈. "Political meaning of the tea ceremony in the Japanese Imperial Court courtesy." Center for Japanese Studies Chung-ang University 43 (November 30, 2016): 79. http://dx.doi.org/10.20404/jscau.2016.11.43.79.

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25

Lugavtsova, Alyona Petrovna. "Ōbaku monk Baisaō and the Development of the Sencha Tradition in Edo Period Japan (1603-1868)." Genesis: исторические исследования, no. 12 (December 2022): 41–50. http://dx.doi.org/10.25136/2409-868x.2022.12.39120.

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The Ōbaku school, which represents the third major trend of Zen Buddhism along with Rinzai and Sōtō, appeared in Japan during the Edo period (1603-1868) due to the arrival of Buddhist emigrant monks from China. The article discusses the life of Ōbaku monk named Baisaō who played a decisive role in the development and popularization of the tradition of sencha (brewing leaf tea in hot water) in Japan during the Edo period. This method of brewing tea, popular among Ōbaku monks, which at the initial stage of the development of the teaching was represented by ethnic Chinese, was a reference to the traditions of tea drinking by Chinese intellectuals of antiquity and was actually opposed to Baisaō the existing Japanese tea ceremony. The author concludes that it was familiarity with the teaching of Ōbaku, which personified a corner of Ming China in Japan, that determined the life path of Baisaō associated with the Chinese tea tradition and significantly influenced the formation of the cultural image of the entire epoch - the movement for the popularization of sencha after Baisaō's death took on a truly large scale. It can be said that his active activity in spreading tea culture in Japan, in which Baisaō himself reflected his spiritual ideals, led to the creation of a full-fledged alternative to the Japanese tea ceremony, thanks to which many of his contemporaries and their descendants fell in love with tea drinking again in the spirit of the Chinese sages of antiquity.

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26

Chiharu, IZUMI. "Modern Criticism of Japanese tea ceremony - Centered upon Ichizo Kobayashi and Soetsu Yanagi." KOREA SCIENCE & ART FORUM 32 (January 31, 2018): 227–36. http://dx.doi.org/10.17548/ksaf.2018.01.30.227.

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27

Trahutami, Sri Wahyu Istana. "SADOU : REPRESENTASI KERAMAHTAMAHAN ASIA TIMUR." KIRYOKU 2, no. 3 (December 3, 2018): 34. http://dx.doi.org/10.14710/kiryoku.v2i3.34-40.

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(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.

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28

Roy, Yevhenii, and Viacheslav Roy. "AESTHETIC AND RELIGIOUS ASPECT OF THE TEA CEREMONY AS A THEATRICAL PERFORMANCE: CONTEMPORARY INSIGHTS IN THE CLASSICAL CULTURE OF JAPAN." CULTURE AND ARTS IN THE MODERN WORLD, no. 23 (June 30, 2022): 122–37. http://dx.doi.org/10.31866/2410-1915.23.2022.260987.

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The purpose of the article is to analyse the thematic literature devoted to the proposed topic. Having determined the state of its research, the authors have to make a scientific and structural analysis of the phenomenon of ritual and theatrical performance of tea drinking as an aesthetic component of Japanese classical culture and fill in the existing fact gaps in the research of the spiritual culture of Japan. The research methodology is based on the principle of historical reliability and comprehensiveness, an art studies and cultural approach and a set of research methods. In particular, the descriptive and cultural-historical method focuses on the formation and development of the ancient ritual-canonised action of tea drinking, and logical-analytical, problem-chronological and practical research methods are to create a scientific framework of this phenomenon as an integral socio-cultural phenomenon of Japanese society. The scientific novelty of the results is based on the introduction into scientific circulation of a detailed history of the tea ceremony in Japan as a component of its classical culture and the identification of its specific features obtained under scientific research. Taking into account a retrospective review of this phenomenon of traditional national culture, the authors have tried to analyse the process of centuries-old preservation of ancient traditions and their cultivation in the spiritual sphere of modern Japanese society comprehensively. The very aspect is a vivid example of our centuriesold national culture. Conclusions. Japan’s cultural uniqueness is that not a single sprout of ancient national art that sprouted on this soil dies but continues to live forever, bringing up unique simplicity and naturalness in people, and therefore is carefully passed on to future generations. In Japan, the ancient and contemporary coexist peacefully, not interfering with each other, but only feeding the common cultural soil with their juices. As we were able to see, this miracle of Japanese civilisation is fully reflected in such a phenomenon of national culture as the traditional tea ceremony.

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29

MIZOBE, Yoshiyuki, Tooru OHTA, Kanako HAMASAKI, Kumiko MATSUSITA, Minako IUE, Kristin SURAK, Akemi HAMADA, et al. "304 Changes of heart rate and respiration variabilities during "Temae" in Japanese tea ceremony." Proceedings of the Dynamics & Design Conference 2008 (2008): _304–1_—_304–4_. http://dx.doi.org/10.1299/jsmedmc.2008._304-1_.

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30

MIKAMI, Marina, Sotatsu KANAZAWA, Tomoko OTA, Hiroyuki HAMADA, Noriyuki KIDA, and Akihiko GOTO. "Study of the change of the heart rate of guests by Japanese tea ceremony." Proceedings of Mechanical Engineering Congress, Japan 2018 (2018): J2010601. http://dx.doi.org/10.1299/jsmemecj.2018.j2010601.

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31

Kume, Masashi, Toru Ota, Minako Iue, Kanako Hamasaki, Mio Arai, Masaki Sakata, Asami Nakai, Tetsuya Yoshida, and Hiroyuki Hamada. "629 Motion analysis for technical acquisition in a short term in Japanese Tea Ceremony." Proceedings of the Dynamics & Design Conference 2010 (2010): _629–1_—_629–4_. http://dx.doi.org/10.1299/jsmedmc.2010._629-1_.

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32

Bouchez, Pascal. "Le chanoyu, cérémonie japonaise traditionnelle du thé, comme exemple d'éducation à la présence." Voix Plurielles 11, no. 1 (April 30, 2014): 31–39. http://dx.doi.org/10.26522/vp.v11i1.915.

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Que peut en retour, et par le détour, nous apprendre de manière distanciatrice le chanoyu de nos manières d’apprendre en Occident, et de nous construire dans l’interaction ? A l’heure de l'essor fulgurant des TICE, cette communication se propose de revenir sur les fondements d’une cérémonie traditionnelle du thé japonaise, d’envisager ses principes esthétiques et son « intentionnalité », avant d’interroger le concept singulier de technique mis en œuvre. L’objectif visé étant de souligner l’importance plus que jamais cruciale de l’ouverture du « chantier » d’une véritable « éducation à la présence » comme vecteur essentiel d’une éducation interculturelle électronique et présentielle adaptée aux défis du XXIe siècle. Chanoyu, the traditional Japanese tea ceremony as an example of in-presence education What can be learnt when taking a reflexive distance from the chanoyu concerning the ways in which we in the West learn and construct ourselves in interactions? With the meteoric rise of Information and Communication Technologies (ICT), this paper seeks to reexamine the basis of the traditional Japanese tea ceremony with its aesthetic principles, its “intentionality” and the singular concept of technique it puts into practice. The objective of this approach is to highlight the ever-important opening of a research domain into a veritable “in-presence education” as an essential vector in intercultural and in-presence electronic education adapted to the challenges of the 21st century.

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Kuchai, Tetiana. "Aesthetic Education of Primary School Pupils as an Integral Part of the National System of Continuous Art Education in Japan." Comparative Professional Pedagogy 4, no. 3 (September 1, 2014): 83–88. http://dx.doi.org/10.2478/rpp-2014-0040.

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Abstract The article examines aesthetic education of primary school pupils as an integral part of the national system of continuous art education in Japan. One of the most important traditional means of aesthetic education in Japan, according to L. Tsaryova is considered nature. Analysis of the scientific literature by domestic and foreign scientists suggests that instead of collective worship the Japanese established habits that help people develop artistic taste. Having considered the traditions of: tea ceremony, admiring nature; writing, which doesn’t differ from painting and so on, one should point out that the traditions are valuable and remain till nowadays thus promoting the aestheticization of the Japanese people.

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HORIGUCHI, SATORU, and DINAH JUNG. "Kōdō — Its Spiritual and Game Elements and Its Interrelations with the Japanese Literary Arts." Journal of the Royal Asiatic Society of Great Britain & Ireland 23, no. 1 (January 2013): 69–84. http://dx.doi.org/10.1017/s1356186313000011.

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In Japan, there are many kinds of dōs. The term has diverse and profound meanings, making it a challenge to define. Simply speaking, dō is a way for people to train the spirit by following specific practices, with the purpose of mastering life. Prominent examples of dōs include chadō / sadō (〔茶道〕 so-called “tea ceremony”), kadō (〔華道〕 so-called “flower arrangement”), shodō (calligraphy), and bushidō (the ethical code of the samurai). There are also sport practices such as jūdō (judo), kendō (kendo) and aikidō (aikido), all of which are also connected with the culture of dō.

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박순희. "Study on the practical education in korean woman school and the influence of japanese tea ceremony." Journal of North-east Asian Cultures 1, no. 50 (March 2017): 369–83. http://dx.doi.org/10.17949/jneac.1.50.201703.021.

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Eunyoung Cho. "The Cultural Politics of East-West Exchanges : Okakura Kakuzo and Japanese Tea Ceremony in American Culture." Journal of Tea Culture & Industry Studies 38, no. ll (December 2017): 175–208. http://dx.doi.org/10.21483/qwoaud.38..201712.175.

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Brown, Robert. "Learning through Ritual: An Exploration of the Tea Ceremony Provides Insight into Japanese Sensibilities of Design." Transactions 4, no. 1 (April 2007): 55–75. http://dx.doi.org/10.11120/tran.2007.04010055.

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GERBER, JURG, SUSAN L. WEEKS, and FURJEN DENQ. "Tea Ceremony and Tatami Mat Making: Gender Differences in Access to Educational Programs in Japanese Prisons." Prison Journal 74, no. 4 (December 1994): 462–73. http://dx.doi.org/10.1177/0032855594074004006.

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Gender roles in the larger society are often reflected in prisons: Female inmates in most countries are confronted with prison conditions that are different from those of male prisoners. The goal of this study is to ascertain if the same holds true for Japan. We administered questionnaires to inmates in two prisons in Japan (N = 174) and conducted face-to-face interviews with officials in the same institutions concerning educational and vocational programs available to inmates. Our results indicate that fewer programs are found in prisons for females and that these programs reflect the traditional role of women in Japan.

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Thompson, Fred. "Utopia and Nostalgic Return." Baltic Journal of Art History 20 (December 27, 2020): 173–87. http://dx.doi.org/10.12697/bjah.2020.20.06.

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The term ‘traditional Japanese architecture’ often causes confusionbecause people want the architecture of a certain period to eithercontinue endlessly, or to be substituted by some kind of facsimile.This paper maintains that the roots of Japanese architecture continueand that these roots make themselves evident at times of upheavaland renewal.Japan consists of a number islands which have had periods ofisolation both internationally, and nationally from ‘political lockdown’within. And yet these periods of isolation have often produceda veritable zenith in the houses of what Bruno Taut called “thepeasants”, and the author has chosen to call ‘commoners (minka)’.One example this is the Japanese tea house, which came about at atime of heightened military dominance. Castles were the strongholdsof power complete with large rooms in which the rituals of statedemanded order by rank. Beside this show of power came the humbletea house, used for the simple tea ceremony, sometimes between as few as two people. The roots of this humble hut, if we can call itsuch, carried with it the same structural principles as the minka, orcommoner’s house. A non-loadbearing structure of post and lintelconstruction for the sole purpose of concentrating on “the sound ofboiling water”. Out of the dream of power came the need for humility.The warrior’s power lay in the control of space; the tea master’s in thecontrol of time. The architecture responds. The building is an event

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Gromova, Mariya. "Transformation of the Image of Japan in Murzilka Magazine in the 20th century." Stephanos Peer reviewed multilanguage scientific journal 49, no. 5 (September 30, 2021): 18–24. http://dx.doi.org/10.24249/2309-9917-2021-49-5-18-24.

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The image of Japan in the children’s magazine “Murzilka” has been changing depending on the relations between the USSR and Japan and the development of interliterary ties during the 20th century. During the period of the Japanese invasion to Manchuria and the Lake Khasan Battle, abstract “Japanese” are presented as aggressors, fascists, encroaching on the Soviet borders. The class nature of the Japanese-Chinese conflicts is emphasized. During the period of the Khrushchev Thaw Japan turns out to be a country with an interesting and unique culture. There are published poems and songs of Japanese poets, fairy tales, descriptions of folk holidays and everyday life, “paper theater” kamishibai there. In the first decade after the collapse of the Soviet Union, Japan mesmerizes “Murzilka”’s readers with the unity of material and spiritual culture, presented in ikebana, origami and tea ceremony. It is a country that exists beyond time, and the basis of Japanese life is formed by ancient traditions and exquisite holidays.

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Kato, Etsuko. "The sword behind the chrysanthemum: Modern Japanese tea ceremony practitioners self-empowerment through explicit and implicit motifs." Semiotica 2002, no. 141 (January 29, 2002): 111–44. http://dx.doi.org/10.1515/semi.2002.049.

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Minjeong Sim. "A Study on the Tea Ceremony for the Reception of the Japanese Envoys during the Joseon Period." Journal of North-east Asian Cultures 1, no. 17 (December 2008): 135–57. http://dx.doi.org/10.17949/jneac.1.17.200812.007.

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Oehlmann, Ruediger. "Harmony Strategies for Human-Centered Chance Discovery." International Journal of Organizational and Collective Intelligence 2, no. 4 (October 2011): 31–47. http://dx.doi.org/10.4018/ijoci.2011100103.

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Taking the stance that a harmonious situation facilitates improved scenario creation of an expert team involved in chance discovery, a study has been conducted with the objective to identify strategies of increasing interpersonal harmony. A cultural practice that emphasises harmony is the Japanese tea ceremony. Therefore four tea ceremonies with the characteristics of novice/high formality, novice, lower formality, expert/high formality, and expert/lower formality have been recorded and interpretative phenomenological analyses have been conducted. The number of participants ranged from three to ten with an age range from 20 to 60. The results indicate strategies related to time, space and intersubjective positioning. In particular, they showed that intersubjective positioning, i.e., how the participants positioned themselves in their interrelationships to others, in terms of trust, support, competition and conflict, constrains the choice of harmony strategies. Based on the indentified strategies proposals for the management of chance discovery teams are made.

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Garcia, Gloria. "Internationalization of Culture through Traditional Arts: A Case of Japanese SMEs." Copenhagen Journal of Asian Studies 30, no. 1 (November 13, 2013): 80–95. http://dx.doi.org/10.22439/cjas.v30i1.4166.

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There are two important subjects concerning internationalization strategies that are of interest to academia, the business community and society in general. The first one is internationalization of small and medium-sized enterprises (SMEs); the other one is internationalization of local cultures. This article provides insights into the specific internationalization strategies used by Japanese SMEs to export traditional arts to foreign markets, focusing on Japanese pottery for the tea ceremony. SMEs encounter difficulties concerning limited resources in their internationalization process, but what is the situation of SMEs whose business activity is linked to indigenous cultural factors? The findings have been obtained from in-depth interviews with pottery artists as well as qualitative analysis of websites and other sources and they suggest a new previous phase in the export of products with a cultural meaning. I called this phase the 'reverse prior phase' and I argue that it might be a suitable way to start the internationalization process for Japanese traditional arts.

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Irisawa, Yusuke, and Shin’ya Nagasawa. "Strategic Management and Design Innovation in the Long-Standing CompanyKyogashiMaster “Suetomi”." Journal of Advanced Computational Intelligence and Intelligent Informatics 16, no. 5 (July 20, 2012): 561–66. http://dx.doi.org/10.20965/jaciii.2012.p0561.

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Japanese Confectionary “Suetomi” is a high level brand among Kyoto’s long-standing companies. This always makes the Japanese sweets a high level in Kyoto, and gets the high appraisal from the parties concerned the master of the tea ceremony, such as “Urasenke.” In this study, we present an analysis of Suetomi’s management strategy and its strength and differentiation based on an interview with the president, Mr. Yamaguchi. Then, we analyze their innovation from the viewpoint of product innovation and affective value (i.e., sense value). Finally, we discuss the innovation of theKyogashidesign based on our research. In conclusion, Suetomi has a different strong point from the other company as a long-standing company of Kyoto confections and we have understood performing the management strategy which establishes a sustainable competitive advantage using it. Thus, they have performed the design innovation of Kyoto confections products in the management strategy which is compatible in tradition and innovation, and have created the value of a customer’s sensitivity.

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Sarif S., Irzam, and Susi Machdalena. "Istilah-Istilah dalam Upacara Minum Teh Jepang Chanoyu (Suatu Kajian Etnolinguistik)." Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 4, no. 2 (June 1, 2021): 127–38. http://dx.doi.org/10.30872/diglosia.v4i2.154.

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Chanoyu is a popular culture today even though this culture has been around for a long time. This study aimed to describe the problem of terms, especially their relationship with the culture of the speakers in the chanoyu procession. This research was a qualitative descriptive study. The approach used was an ethnolinguistic approach. The result of this research showed that the tea ceremony has become an important part of Japanese culture. The terms found in the procession indicate that the guest and the host respect each other and give meaning to the journey of life. The use of terms in the lexicon in the tools used is also seen in terms of form, its manufacture and use creates perfect harmony in the chanoyu process.

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Chmielowska, Paula. "Ochrona zabytków archeologicznych w prawie japońskim." Gdańskie Studia Azji Wschodniej, no. 20 (2021): 143–56. http://dx.doi.org/10.4467/23538724gs.21.010.14842.

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Protection of archaeological sites in Japanese law In popular perception Japan is often associated with cherry blossoms, the samurai, the geishas, rice fields and delicious ramen soup. However, each of these elements is relatively new. The country’s culture is rich and ancient, and the Japanese are very aware of their heritage and are eager to protect it. The Japanese government encourages universal public participation in supporting and appreciating artistic activities. The most important cultural goods are considered national treasures, which are particularly valuable to the world and to the Japanese nation. These can be works of art such as paintings, sculptures or architectural masterpieces, as well as other forms of artistic expression such as suiseki – art of artistic display of stones, chadō – tea ceremony, ikebana – flower arrangement, and even the artists themselves. The purpose of this article is to outline the Japanese heritage law with respect to protection of archaeological sites; the long history of the island nation means the Japanese archaeologists have plenty of sites to work on. Since 1945, archaeological research has become an important way of constructing the Japanese national identity. While the key goal of archeology in Japan is still about building national identity in relation to the past, there is a noticeable diversity in research goals and methodology used by the current generation of practicing archaeologists.

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Visočnik Gerželj, Nataša. "Dancing with the Fan." Asian Studies 9, no. 3 (September 10, 2021): 199–221. http://dx.doi.org/10.4312/as.2021.9.3.199-221.

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The article addresses several issues concerning a Japanese fan and the kimonos found in the collection of Ivan Skušek from Slovene Ethnographic Museum. They belonged to Ivan Skušek’s Japanese wife Marija Tsuneko Skušek, and were after her death donated to the museum together with other objects from the Skušek collection. With analysing these items and researching the life of Marija Tsuneko Skušek the article discusses the roles these objects had in transmitting Japanese culture to Slovene audience with a focus on the Japanese dances as one way of transmission. During her life in Ljubljana, Marija Skušek in one way adopted to the Slovene society very quickly, but on the other hand she presented Japanese culture and her identity in several lectures along with Japanese songs, dances and a tea ceremony. With researching the roles and values of these object in the museum collection, the article also discusses the importance of understanding not only the physical appearance of the items and their life, but also the wider background of items and collection, focusing also on the owner of these items in the relation to the collector. It is also important to stress how these objects transformed from daily objects of use to rarefied art after they were handed over to the museum, and within this process their value also changed.

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Tsushiro, Hirofumi. "From Deep Culture to Peak Culture." Tabula, no. 18 (November 24, 2021): 15–32. http://dx.doi.org/10.32728/tab.18.2021.3.

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Although in many cases scientific terminology used in Modern Japan was originally coined in the West and then imported and translated, there are certain original terms. Among them this paper focuses on two humanistic and sociological terms, shinso-bunka and choten-bunka. The former indicates the initial condition of culture, the latter its achievements. As they are not imported terms, we need to translate them into Japanese. The deep culture and the peak culture are their respective translations, both proposed by the author. We may observe and discuss the forms of deep culture and peak culture everywhere in the world. Concerning Japan, there are many contemporary sub-cultures with high reputation such as anime, but here, five classic forms of culture shall be mentioned as peak cultures, that is, No-drama, Sado-tea-ceremony, Bushido-warrior’s-way, Shinto-religion and Waka-poetry. After analyzing deep culture roughly, its peaks shall be depicted rather ideally

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Schwemmer, Patrick. "My Child Deus." Journal of Jesuit Studies 1, no. 3 (April 1, 2014): 465–82. http://dx.doi.org/10.1163/22141332-00103006.

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Manoel Barreto’s Japanese miscellany contains “Dialogues on the Instruments of the Passion,” which show how closely complex cultural structures are intertwined with the machinery of grammar. Featuring the Virgin Mary and Mary Magdalene, the dialogue sublimates maternal and erotic energies in turn while contemplating the usual series of violent instruments. The speeches display not only linguistic competence but literary skill in their use of the personless poetic flow of renga linked verse and the noh theatre. However, the Latinate double-entendre on filho [son (of God and of Mary)] misfires because the Japanese language uses honorifics to maintain stable intersubjective reference and so cannot simultaneously refer to Jesus as both a superior and an inferior. This failure is supplemented with Portuguese marginalia and bold catachresms. Mary Magdalene’s erotic sublimation is presented with less success as excessive literalism frequently produces comedy. Then, an appendix entitled “The Meaning of the Passion” repeats the exercise in halting, clinical prose marred by occasional errors of grammar and style, cataloguing the instruments as dōgu (implements), the word used for art objects in the tea ceremony, and outlining their theological function with attention to precise doctrinal formulations. Frequent use of Portuguese loanwords conveys a (justified) anxiety with regard to the ability of the Japanese language to transmit (European) truth. I identify the dueling Zeami and Aquinas of this piece as a Japanese convert and his or her European mentor, then venture a hypothesis as to the precise historical figures behind these voices in tension.

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