Tea is how I survive, amongst the mundane flickering of disappointment.

Darma, The super hero of tea.

Darma, The super hero of tea.

The Book of Tea by Kakuzo Okakura

I. The Cup of Humanity

Tea began as a medicine and grew into a beverage. In China, in the eighth century, it entered the realm of poetry as one of the polite amusements. The fifteenth century saw Japan ennoble it into a religion of aestheticism–Teaism. Teaism is a cult founded on the adoration of the beautiful among the sordid facts of everyday existence. It inculcates purity and harmony, the mystery of mutual charity, the romanticism of the social order. It is essentially a worship of the Imperfect, as it is a tender attempt to accomplish something possible in this impossible thing we know as life.

Marco Polo brought back no mention of tea. Therefore, Kaempfer is the leading pioneer.

Marco Polo brought back no mention of tea. Therefore, Kaempfer is the leading pioneer.

The Philosophy of Tea is not mere aestheticism in the ordinary acceptance of the term, for it expresses conjointly with ethics and religion our whole point of view about man and nature. It is hygiene, for it enforces cleanliness; it is economics, for it shows comfort in simplicity rather than in the complex and costly; it is moral geometry, inasmuch as it defines our sense of proportion to the universe. It represents the true spirit of Eastern democracy by making all its votaries aristocrats in taste.

A true hero of tea. Englebert's drawings of tea equipage.

A true hero of tea. Englebert’s drawings of tea equipage.

The long isolation of Japan from the rest of the world, so conducive to introspection, has been highly favourable to the development of Teaism. Our home and habits, costume and cuisine, porcelain, lacquer, painting–our very literature–all have been subject to its influence. No student of Japanese culture could ever ignore its presence. It has permeated the elegance of noble boudoirs, and entered the abode of the humble. Our peasants have learned to arrange flowers, our meanest labourer to offer his salutation to the rocks and waters. In our common parlance we speak of the man “with no tea” in him, when he is insusceptible to the serio-comic interests of the personal drama. Again we stigmatise the untamed aesthete who, regardless of the mundane tragedy, runs riot in the springtide of emancipated emotions, as one “with too much tea” in him.

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