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Japanese tea ceremony: The Japanese tea ceremony dates back to the Nara period, 1,200 years ago. It was introduced to Japan by the Chinese monk Jianzhen from the Tang Dynasty and the Japanese monk Saichō, and it quickly spread among Japan’s upper classes. At the beginning of the 15th century, the renowned monk Murata Jukō (1423–1502) adopted the popular form of \"cha-kyōkai\". It incorporates the tea-drinking theories and the appreciation of tea sets from \"cha sugi\", combined with the solemn rituals of Buddhism. The art of tea ceremony was created. It advocates the unity of tea and Zen, with the aim of purifying the mind. Later, it gradually spread from the Zen community to the general public, giving rise to more than 20 schools. Styles such as Nairei, Gakurei, Hosho-ryu, Oribe-ryu, Nansei-ryu, Sōhō-ryu, Matsuō-ryu, and Ishiu-ryu – in the late 16th century, during the era of Toyotomi Hideyoshi, Sen no Rikyū, a master of the tea ceremony, brought these styles to their peak perfection. The most popular form of tea ceremony, known as \"Ippai Chado\" or \"Chikka Chado\", was established. Later, the descendants of Sen no Rikyū split into three branches, also referred to as the \"Sanzenka\". “The \"Ippai Chado\" style is the most widely spread and has the greatest influence in Japan. Sen Rikyū is also revered by the Japanese as a master of tea ceremony. The so-called tea ceremony refers to the etiquette surrounding the preparation and consumption of tea; it consists of a set of procedures designed to cultivate one’s mind and character, foster friendship, and teach proper manners. Sen no Rikyū proposed that the fundamental spirit of the tea ceremony is \"wa, kei, sei, jaku.\" It is said that the “Four Principles” are the essence of the tea ceremony. Japanese tea ceremony originated in China, but it has a Japanese flavor. It has its own process of formation and development, as well as unique inherent meanings. Japanese tea ceremony evolved from the practice of drinking tea in daily life. It combines everyday activities with religion, philosophy, and aesthetics, thus becoming a comprehensive cultural and artistic activity. It is not just about material pleasures; through tea ceremonies, one learns the art of tea etiquette, which helps to cultivate one’s character and develop aesthetic sensibilities as well as moral values. As Chikao Kuwata said, “The tea ceremony has evolved from being merely a pastime or form of entertainment to becoming a standard and ideal that reflects the culture of Japanese daily life.” ”At the end of the 16th century, Sen no Rikyū inherited and drew upon the spirit of tea ceremony from previous generations, establishing the authentic Japanese tea ceremony. He is the epitome of the tea ceremony. By analyzing the spirit of the Rikyu tea ceremony, one can gain an insight into Japanese tea ceremonies. Murata Jukō once proposed \"reverence, tranquility, purity, and stillness\" as the spirit of tea ceremony; Sen Rikyū changed just one character, adopting the four words \"harmony, reverence, tranquility, and purity\" as the principle – simple yet rich in meaning. ““Quietness” is also written as “silence”. It refers to aesthetics. This sense of beauty is specifically reflected in the character “tuó”. “The pronunciation of “ 佗” in Japanese is “wabi,” and it originally meant “loneliness,” “poverty,” “shamefulness,” and “suffering.” During the Heian period, the term “tōjin” referred to people who were frustrated, down and out, depressed, or lonely. By the end of the Heian period, the meaning of \"tara\" gradually evolved to mean \"silence\" and \"leisure\", becoming an aesthetic concept highly appreciated by some people at that time. The emergence of this aesthetic consciousness has social-historical reasons and ideological roots: the period from the end of the Heian era to the Kamakura era was a time of turmoil and restructuring in Japanese society, during which the previously dominant aristocracy lost power and the emerging samurai class stepped onto the political stage. The nobles who had lost heaven became pessimistic and world-weary due to the impermanence of life, which led to the emergence of Buddhism’s Pure Land school. The disheartened monk regarded society at that time as a filthy land, calling on people to \"reject this filthy land and aspire to a pure land.\" Under the influence of this mindset, many noble scholars left their homes, either retreating to the mountains or wandering in the wilderness. They built huts in the remote mountains and lived a reclusive life, creating what is known as \"hut literature\" to express their longing for bygone times and to relieve the frustrations in their hearts. This literature has a gloomy tone and an \"enigmatic\" writing style. During the Muromachi period, with the development of a commercial economy, competition became fierce, business activities were intense, and cities were luxurious and bustling. Many people detest such a lifestyle and pursue an aesthetic sense of seclusion; they find a quiet place in the suburbs or in the city to lead a reclusive life, enjoying the simple pleasures of rural life and seeking mental peace, considering austerity, tranquility, and solitude to be forms of beauty. Tea masters such as Murata Shukō introduced this aesthetic sense into tea ceremonies, thereby promoting the beauty of serenity on a wide scale. The tea used in tea ceremony is called “Tuo Cha” (not Tuocha); “Tuo” implies tranquility and serenity. Invite a few friends, sit in a quiet teahouse, savor tea while chatting leisurely, ignoring the world’s troubles, free from worries and concerns, cultivating one’s character and purifying the soul – it creates a truly beautiful atmosphere. Sen no Rikyū’s concepts of \"tea and Zen are one\" and \"tea is Zen\" can be regarded as the true essence of the tea ceremony. And the concept of \"harmony and respect\" is a moral idea that emerged during the period of enthusiasm for owning Tang Dynasty artifacts. Since the Kamakura period, a large quantity of Chinese and Song Dynasty goods have been imported into Japan. In particular, tea sets and artworks add splendor to Japanese tea ceremonies. But this also led to a trend of extravagance, with an excessive admiration for Tang Dynasty items and a dismissal of Japanese goods in tea ceremonies. People such as Murata Shukō and Takeo Takei, who were passionate about the art of tea ceremony, opposed extravagance and opulence, advocating simplicity and austerity. They believed that the black pottery produced in their country, with its dark colors, possessed its own beauty of simplicity and tranquility. Using such simple tea sets to entertain guests with sincerity not only reflects an aesthetic sense but also contributes to the cultivation of moral character. Japanese tea ceremony has intricate rules: the tea leaves must be ground finely, the tea utensils must be cleaned thoroughly, and the flower arrangements must be chosen based on the season as well as the status, rank, age, and cultural background of the guests. The host’s movements should be precise and agile, possessing a rhythmic and graceful quality akin to that of dancing, while also being accurate and timely. All of these things demonstrate respect for guests and reflect the spirit of harmony and reverence.