DOI Heft:
No. 276 (March 1916)
DOI Artikel:Studio-talk
DOI Artikel:Reviews and notices
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21261#0145
Reviews and Notices
THE CHA-NO-YU (TEA CEREMONY) ROOM IN THE JAPANESE GARDEN
life, of the evanescence of life, that is borne in
upon one when sitting in that cha-no-yu room,
which, in a way, symbolises this philosophy of life,
and one feels constrained to humble oneself before
the greater power, and to be moved by the desire
to rise to an ethereal plane, so as to be in har-
mony with the infinite.
There in that room has been served tea in the
true style of cha-no-yu, an institution of deep spiri-
tual meaning, which has been observed in Japan
for more than four hundred years. Cha-no-yu is
indulged in for the purpose of tranquillising
the mind and extricating oneself from the whirl
and bustle of life’s struggle and for concentrating
one’s thoughts on the higher things of life. It is “ a
cult founded upon the adoration of the beautiful
among the sordid facts of every-day existence.”
By this institution not only etiquette is taught
to Japanese young ladies, but patience is incul-
cated, the memory trained, a taste for art
developed, meekness of spirit fostered, and con-
centration and discipline of mind cultivated. In
fact, through it are given all those things that make
up the culture and accomplishments of ladies.
Even business men of the present time in Japan
take refuge in the cha-no-yu, where, leaving the
hustle and bustle of life, they find much-needed
peace and tranquillity. Harada-Jiro.
REVIEWS AND NOTICES.
Six Portraits of Sir Rabindranath Tagore.
By W. Rothenstein. (London: Macmillan.)
ioy. net.—This book, of portfolio size, is prefaced
by Max Beerbohm. That writer’s art is hardly
less self-conscious than Mr. Rothenstein’s own.
It justifies itself in this case by making the point:
“ Most men are not at all like themselves.” Few
men resemble their work. Mr. Rothenstein, we
are told, has the power, that belongs to fine por-
traitists, “ of showing through the sitter’s surface
what he or she indeed is.” This is true, and it
passes nearly all the necessary criticism on
Mr. Rothenstein’s book. For ourselves we find
Mr. Rothenstein’s style somewhat thin. And
since style in its character corresponds with the
thought of an artist, it is impossible for us not to
140
THE CHA-NO-YU (TEA CEREMONY) ROOM IN THE JAPANESE GARDEN
life, of the evanescence of life, that is borne in
upon one when sitting in that cha-no-yu room,
which, in a way, symbolises this philosophy of life,
and one feels constrained to humble oneself before
the greater power, and to be moved by the desire
to rise to an ethereal plane, so as to be in har-
mony with the infinite.
There in that room has been served tea in the
true style of cha-no-yu, an institution of deep spiri-
tual meaning, which has been observed in Japan
for more than four hundred years. Cha-no-yu is
indulged in for the purpose of tranquillising
the mind and extricating oneself from the whirl
and bustle of life’s struggle and for concentrating
one’s thoughts on the higher things of life. It is “ a
cult founded upon the adoration of the beautiful
among the sordid facts of every-day existence.”
By this institution not only etiquette is taught
to Japanese young ladies, but patience is incul-
cated, the memory trained, a taste for art
developed, meekness of spirit fostered, and con-
centration and discipline of mind cultivated. In
fact, through it are given all those things that make
up the culture and accomplishments of ladies.
Even business men of the present time in Japan
take refuge in the cha-no-yu, where, leaving the
hustle and bustle of life, they find much-needed
peace and tranquillity. Harada-Jiro.
REVIEWS AND NOTICES.
Six Portraits of Sir Rabindranath Tagore.
By W. Rothenstein. (London: Macmillan.)
ioy. net.—This book, of portfolio size, is prefaced
by Max Beerbohm. That writer’s art is hardly
less self-conscious than Mr. Rothenstein’s own.
It justifies itself in this case by making the point:
“ Most men are not at all like themselves.” Few
men resemble their work. Mr. Rothenstein, we
are told, has the power, that belongs to fine por-
traitists, “ of showing through the sitter’s surface
what he or she indeed is.” This is true, and it
passes nearly all the necessary criticism on
Mr. Rothenstein’s book. For ourselves we find
Mr. Rothenstein’s style somewhat thin. And
since style in its character corresponds with the
thought of an artist, it is impossible for us not to
140