People who've watched an overall performance of the Japanese tea rite regularly ask: Why is it known as tea rite in Japan and tea artwork in China? Is it due to the fact China has no tea rite, or that the Chinese overall performance isn't as certified because of the Japanese one?
In fact, the order is reversed.
A Japanese buddy of tea subculture circles said, "China is the birthplace of the tea rite. One of her youngsters ran to Japan, and completed pleasing results." The phrases are correct, for the tea rite actually originates in China.
The questions stand up due to a lack of know-how approximately the improvement of tea subculture, however additionally due to the distinctive expertise of "dao" some of the Chinese and Japanese.
According to the Chinese, "dao" is the nature, beginning, and regulation of a thing. "The Way of Nature is invisible, " so the Chinese do now no longer call a thing "dao" easily. To the Japanese, "dao" manner skills: flower association is known as "flower way," and wrestling is known as judo." As a cultural activity, tea overall performance is likewise known as "dao." Chinese humans accept as true that the creative technique of ingesting tea ts simply a form, which has a tendency to be superficial, at the same time as the reason is specific to the internal spirit.
We additionally regard tea artwork and tea rite as distinctive elements of a problem. Tea artwork is a seen cloth activity, however handiest if religious pressure is aroused withinside the technique can or not it's known as dao.
Therefore, accept as true that the center of the tea subculture is the "seen artwork and invisible dao." In fact, Lu Yu, the Saint of Tea Culture, and different professionals of the beyond dynasties manifested the spirit thru the technique of tea subculture.
To give an explanation for it with greater clarity, I would love to introduce the religious principles first. The spirit of the Chinese tea rite is an extensive and profound device soaking up the cream of Confucian, Taoist, and Buddhist concepts which completely demonstrates the Chinese conventional concept of the near integration and interplay of the cloth and the religious.
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