DOCSLIB.ORG

Design Examples Informational Handouts Check Online for Available Templates –

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Design Examples Informational Handouts Check Online for Available Templates – BRAND BOOK Design Examples Informational Handouts Check online for available templates – www.csus.edu/brand 2.18 HEADLINE OR EVENT HEADLINE OR NAME OF NAME GOES HERE YOUR EVENT GOES HERE This is where your event subhead goes. This is where your event subhead goes. SIDE MARGIN SUBHEAD SUBHEAD Side margin is body text. Use this text Second Subhead style for your side margin. Side margin Body text goes here. Body text goes here. Body text goes here. Body text SIDE MARGIN SUBHEAD SUBHEAD is body text. Use this text style for your goes here. Body text goes here. Body text goes here. Body text goes here. Side margin is body text. Use the Second Subhead side margin. Side margin is body text. body text style for your side margin. Body text goes here. Body text goes here. Body text goes here. Body text This is the body text style. Use this style for body text. This is the body text style. Use this text style for your side margin. goes here. Body text goes here. Body text goes here. Side margin is body text. Use this text Use this style for body text. This is the body text style. Use this style for body text. Side margin is body text. Use this text style for your side margin. Side This is the body text style. This is the body text style. Use this style for body text. Here is a bullet style. Use this style for your bullet points. Here is the style for your side margin. • margin is body text. Use this text This is the body text style. This is the body text style. bullet style. Use this style for your bullet points. style for your side margin. Side margin is body text. Use this text • Here is a bullet style. Use this style for your bullet points. Here is the bullet • Here is a bullet style. Use this style for your bullet points. Here is the style for your side margin. style. Use this style for your bullet points. bullet style. Use this style for your bullet points. • Here is a bullet style. Use this • Here is a bullet style. Use this style for your bullet points. Here is the bullet Second Subhead style for your bullet points. Here style. Use this style for your bullet points. is the bullet style. Use this style Body text goes here. Body text goes here. Body text goes here. Body text Second Subhead goes here. Body text goes here. Body text goes here. Body text goes here. for your bullet points. This is the body text style. Use this style for body text. This is the body text style. Body text goes here. Body text goes here. Body text goes here. Body text Here is a bullet style. Use this • Use this style for body text. This is the body text style. Use this style for body text. goes here. Body text goes here. Body text goes here. style for your bullet points. Here This is the body text style. This is the body text style. Use this style for body text. is the bullet style. Body text goes here. Body text goes here. Body text goes here. Body text Second Subhead goes here. Body text goes here. Body text goes here. Body text goes here. This is the body text style. Use this style for body text. This is the body text style. Body text goes here. Body text goes here. Body text goes here. Body text Use this style for body text. This is the body text style. Use this style for body text. goes here. Body text goes here. Body text goes here. Body text goes here. This is the body text style. This is the body text style. Use this style for body text. Body text goes here. Body text goes here. Body text goes here. “Side margin call out. “Side margin call Use this style for call out. Use this style outs. Side margin call for call outs. Side out style.” margin call out style.” csus.edu/xxxxxx csus.edu/xxxxxx 8.5" x 11" Handout, formal voice 8.5" x 11" Handout, standard voice [email protected] Sacramento State Brand Book | Spring 2015 Design Examples 1 Informational Handouts Check online for available templates – www.csus.edu/brand 1 HEADLINE OR EVENT NAME HEADLINE OR NAME OF YOUR GOES HERE HEADLINE OR This is where your event subhead goes (Optional). EVENT GOES HERE This is where your event subhead goes. csus.eduxxxxxx SIDE MARGIN SUBHEAD SUBHEAD Second Subhead Side margin is body text. Use body text for the side margin. Side This is the body text style. Use this style for body text. This is the body text style. margin is body text. Use body text Use this style for body text. This is the body text style. Use this style for body text. Subhead for the side margin. Side margin is This is the body text style. This is the body text style. Use this style for body text. Second Subhead body text. This is the body text style. Body text goes here. Body text goes here. Body text goes here. Body text goes Side margin is body text. Use body • Here is a bullet style. Use this style for your bullet points. Here is the bullet here. Body text goes here. Body text goes here. Body text goes here. Body text style. Use this style for your bullet points. goes here. Body text goes here. Body text goes here. Body text goes here. Body text for the side margin. Side margin is body text. Use body text text goes here. Body text goes here. • Here is a bullet style. Use this style for your bullet points. Here is the bullet for the side margin. style. Use this style for your bullet points. • Here is a bullet style. Use this style for your bullet points. Here is the bullet style. Use this style for your bullet points. • Here is a bullet style. Use this style for your bullet points. Here is the bullet style. Use this style for your bullet points. Second Subhead Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. “Optional Caption Goes Body text goes here. Body text goes here. Here. Optional Caption Third S ubhead Goes Here” Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body “Side margin call out. text goes here. Body text goes here. Use this style for call Body text goes here. Body text goes here. Body text goes here. Body text goes outs. Side margin call here. Body text goes here. Body text goes here. Body text goes here. Body text CALIFORNIA STATE UNIVERSITY, goes here. Body text goes here. Body text goes here. Body text goes here. Body outs style.” SACRAMENTO text goes here. Body text goes here. Body text goes here. Body text goes here. 6000 J Street Body text goes here. Body text goes here. Sacramento, CA 95819 (916) 278 – 6011 Fourth S ubhead csus.edu/XXXXXX Body text goes here. Body text goes here. Body text goes here. Body text goes 916-278-XXXX here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body text goes here. Body csus.edu 8.5" x 11" Handout, standard voice 8.5" x 11" Black-and-white handout, casual voice [email protected] Sacramento State Brand Book | Spring 2015 Design Examples 2 Fliers Check online for available templates – www.csus.edu/brand HEADLINE CAN GO HERE Headline Can Go Here Headline Can Go Here Date: Day, Month, Year This is where your subhead Date: Day, Month, Year This is where your subhead DATE: Date, Month, Year This is where your subhead goes. Your Time: 1:30–3:00 p.m. Time: 1:30–3:00 p.m. TIME: 1:30–3:00 p.m. subhead goes here. goes. Place for subhead. goes. Place for subhead. Location: Location Name Location: Location Name LOCATION: Location Name This is where your description for your event This is where your description for your event This is where your description for your event goes. The description Disclaimer information Disclaimer information Disclaimer information goes here for your event goes here. This is where your description for your goes. The description for your event goes goes. The description for your event goes goes here goes here [email protected] event goes. The description for your event goes here. The here. This is where your description for your here. This is where your description for your [email protected] [email protected] 916-278-XXXX description for your event goes here. event goes. The description for your event event goes.
Load more

Recommended publications
  • LOT TYPESET LOW HIGH 7000 German Porcelain Figural Group
    LOT TYPESET LOW HIGH 7000 German porcelain figural group, depicting a pianist and dancers, each dressed in classical $ 500 $ 700 attire with crinoline accents, marked with underglaze blue mark, 11.5"h x 16"w x 9"d 7001 Framed group of 32 Wedgwood jasperware medallions, each depicting British royalty, $ 300 $ 500 overall 17.5"h x 33"w 7002 (lot of 2) Continental polychrome decorated pill boxes, including a Meissen example, $ 300 $ 500 largest 1"h x 2.5"w 7003 (lot of 2) Meissen figural candlestick group 19th century, each depicted holding a child, one $ 1,200 $ 1,500 figure in the Bacchanalian taste, having a grape cluster wreath, each depicted in Classical attire, and rising on a Rococco style base with bird form reserves, underside with underglaze blue cross sword mark, 13,5"h 7004 Continental style gilt bronze footed compote, having a garland swag decorated frieze $ 600 $ 900 flanking the ebonized bowl, above the fish form gilt bronze standard, and rising on a circular marble base, 8.5"h x 8"w 7005 (lot of 8) French hand painted porcelain miniature portraits; each depicting French royalty $ 800 $ 1,200 including Napoleon, and numerous ladies, largest 4"h x 3"w Provenance: from the Holman Estate in Pacific Grove. The Holman family were early residents of the Monterey Peninsula and established Holman's Department Store in the center of Pacific Grove, thence by family descent 7006 French Grand Tour style silver gilt mythological figure, depicting Bacchus or Dionysus, $ 1,500 $ 2,000 modeled as standing on a mound of grapes and leaves holding
    [Show full text]
  • Notes Toward a Study of Neighborhood Festivals in Modern Tokyo
    The Shrine : Notes toward a Study of Neighborhood Festivals in Modern Tokyo By A.W. S a d l e r Sarah Lawrence College When I arrived in Japan in the autumn of 1965, I settled my family into our home-away-from-home in a remote comer of Bunkyo-ku3 in Tokyo, and went to call upon an old timer，a man who had spent most of his adult life in Tokyo. I told him of my intention to carry out an exhaustive study of the annual festivals (taisai) of a typical neighbor­ hood shrine (jinja) in my area of residence，and I told him I had a full year at my disposal for the task. “Start on the grounds of the shrine/，was his solid advice; “go over every tsubo '(every square foot3 we might say)，take note of every stone, investigate every marker.” And that is how I began. I worked with the shrines closest to home so that shrine and people would be part of my everyday life. When my wife and I went for an evening stroll, we invariably happened upon the grounds of one of our shrines; when we went to the market for fish or pencils or raaisnes we found ourselves visiting with the ujiko (parishioners; literally，children of the god of the shrine, who is guardian spirit of the neighborhood) of the shrine. I started with five shrines. I had great difficulty arranging for interviews with the priests of two of the five (the reasons for their reluc­ tance to visit with me will be discussed below) ; one was a little too large and famous for my purposes，and another was a little too far from home for really careful scrutiny.
    [Show full text]
  • Look Through the Heart Teahouse”
    ShinKanAn Teahouse – The “Look Through the Heart Teahouse” 1. Introduction: History and Name • Our Teahouse in unique on the Central Coast. It is a traditional structure, using mostly Japanese joinery instead of nails, traditional tatami mats and hand-made paper sliding doors. Additionally, it is perhaps the only traditional Japanese Teahouse between the Greater Los Angeles area and the San Francisco peninsula, and the only one in California using California natives in an intentional Japanese style. • It was originally built in Kyoto during the postwar period: a wooden plaque on the wall near the entry doors commemorates the architect and the date: 1949. The Teahouse was a gift from the President of the Nippon Oil Company to a local resident, Mr. H. Royce Greatwood, as an expression of appreciation for his assistance after the war. It was shipped in wooden boxes, each piece numbered, and reassembled in Mr. Greatwood’s Hope Ranch lemon orchard in the early 1950’s. This teahouse is evidence of the tremendous efforts that were made to renew the ties of friendship between former wartime adversaries. • The rich cultural tradition of Cha-do, The Way of Tea, graces this teahouse. In 2000, it was given the name ShinKanAn , meaning “Look Through the Heart” by the 15th Grandmaster of the Urasenke Tea school, an unusual event. • The name was generously given in honor of Heartie Anne Look, a teacher of flower arrangement and Japanese culture for many years in the Santa Barbara community. This teahouse is being used and maintained in a manner authentic to the tradition of Cha-do.
    [Show full text]
  • Based on the Most Classic Cocktails, but with an Asian Twist, These Cocktails Have Been Created by Roji for Anyone Who Follows the Path of Roji
    Based on the most classic cocktails, but with an Asian twist, these cocktails have been created by Roji for anyone who follows the path of Roji. Please feel free to order your favorite classic cocktail even if it is not mentioned on this menu. The Nomu 13 Ketel One Vodka, Cointreau, Yuzu, Litchi, Bitters, Egg White Sweet with a Japanese twist Walking To Paradise 14 Johnnie Walker Black Label, Raspberry Liqueur, Lime, Butterscotch, Egg white Keep Walking... Budo 13 Hendrick’s Gin, Cointreau,Grapes, Cucumber, Elderfower, Lime Perfect Start Of Your Wonderful Evening Rojitini 14 Mount Gay Eclipse Rum, Elderfower, Lime Sweet & Classy Mao 15 Mount Gay Eclipse Rum, Zacapa 23 Rum, Lime, Liquor 43, Almond Syrup, Bitters Tiki Style Man with the Red Face 14 Strawberry and basil infused Don Julio Bianco, dry vermouth, lime Spicy challenge My Medicine Penicillin 16 Monkey Shoulder Whiskey, Laphroaig 10, Ginger syrup, Honey syrup, lime Smokey, Spicy A Bitter Berry 14 Tanqueray N°Ten, Campari, Homemade Strawberry Shiso shrub Twist on a Negroni After Dinner Cocktails Smokey ‘Cohiba’ Crusta 15 Zacapa 23, Maraschino liquor, Cherry Brandy, Lime, Smoke It’s Allowed To Smoke Inside... Gentlemen’s Agreement Club 29 Johnnie Walker Blue Label, Px Sherry, Poire Williams Eau de Vie, Bitters The Perfect After Dinner at The Fire Place Lost in Translation 14 Bulleit Rye Whiskey, Fernet Branca, Sugar, Bitters Champagne Cocktails Bellefeur Champagne 14 Roji Champagne, Elderfower ‘Belfeur’ The New Bellini Champagne Russian S. Punch 15 Belvedere Vodka, Raspberry Liqueur, Crème de Cassis Topped With Our Own Roji Champagne... Roji’s Mocktails Bangkok Non-Stop 7 Blue Eyes Tea, Litchi Syrup, Ginger Syrup, Yuzu Juice and Coke.
    [Show full text]
  • Fact Sheet a Look Inside the Portland Japanese Garden
    Fact Sheet A look inside the Portland Japanese Garden Address: Hours: Key Personnel: 611 SW Kingston Ave Summer Public Hours (March 13 - Sept. 30): Stephen Bloom, Chief Executive Officer Portland, Oregon 97208 ● Monday: Noon - 7 p.m. Sadafumi Uchiyama, Garden Curator ● Tuesday - Sunday: 10 a.m. - 7 p.m. Diane Durston, Arlene Schnitzer Curator of Culture, Art & Education Website: japanesegarden.org Cynthia Johnson Haruyama, Deputy Director Phone: 503.223.1321 Winter Public Hours (Oct. 1 - March 12) Cathy Rudd, Board of Trustees President Email: [email protected] ● Monday: Noon - 4 p.m. Dorie Vollum, Board of Trustees President-Elect and Cultural ● Tuesday - Sunday: 10 a.m. - 4 p.m. Crossing Campaign Co-Chair Quick Facts: Pricing: ● Year Established: 1963 Adults: $14.95 ● Total Annual Attendance: 356,000 in 2016 (up 20% from 2015) Seniors (65+): $12.95 ● Total Acreage: 8 public gardens spread over 12 acres College Students (with ID): $11.95 ● Total Volunteer Hours: 7,226 in 2016 Youth (6 - 17): $10.45 ● Total Members: 11,000 Children 5 and under: free ● Total Staff: 83 regular employees, including eight full-time gardeners ● Total Operating Budget: $9.5 million Photos, Videos & Logos: ● Click here for Photos of the Garden in every season ● Click here for Photos of Cultural Programming & Art Exhibitions ● Click here for Videos & B-roll ● Click here for Logos Media Inquiries: Erica Heartquist | [email protected] | 503.542.9339 Page 1 of 3 About the Portland Japanese Garden For more than 50 years, the Portland Japanese Garden has been a haven of serenity and tranquility, nestled in the scenic West Hills of Portland, OR.
    [Show full text]
  • Japanese Gardens at American World’S Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan
    A Publication of the Foundation for Landscape Studies A Journal of Place Volume ıv | Number ı | Fall 2008 Essays: The Long Life of the Japanese Garden 2 Paula Deitz: Plum Blossoms: The Third Friend of Winter Natsumi Nonaka: The Japanese Garden: The Art of Setting Stones Marc Peter Keane: Listening to Stones Elizabeth Barlow Rogers: Tea and Sympathy: A Zen Approach to Landscape Gardening Kendall H. Brown: Fair Japan: Japanese Gardens at American World’s Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan Book Reviews 18 Joseph Disponzio: The Sun King’s Garden: Louis XIV, André Le Nôtre and the Creation of the Garden of Versailles By Ian Thompson Elizabeth Barlow Rogers: Gardens: An Essay on the Human Condition By Robert Pogue Harrison Calendar 22 Tour 23 Contributors 23 Letter from the Editor times. Still observed is a Marc Peter Keane explains Japanese garden also became of interior and exterior. The deep-seated cultural tradi- how the Sakuteiki’s prescrip- an instrument of propagan- preeminent Wright scholar tion of plum-blossom view- tions regarding the setting of da in the hands of the coun- Anthony Alofsin maintains ing, which takes place at stones, together with the try’s imperial rulers at a in his essay that Wright was his issue of During the Heian period winter’s end. Paula Deitz Zen approach to garden succession of nineteenth- inspired as much by gardens Site/Lines focuses (794–1185), still inspired by writes about this third friend design absorbed during his and twentieth-century as by architecture during his on the aesthetics Chinese models, gardens of winter in her narrative of long residency in Japan, world’s fairs.
    [Show full text]
  • Teahouse N I T O
    n i northwest:scale 1/8" t o b teahouse ea.r.thomson 2002 southeast:scale 1/8" N The Japanese Teahouse : Ritual and Form Buddhism had branched after about 600bc, into several distinct teachings. Of these, A Paper for M.Cohen’s Seminar on Architectural Proportion Mahayana (meaning 'big raft') Buddhism worked its way to Tibet, Mongolia, China, Korea May 2002, UBC | SoA and Japan. Of these five regional variations is the 'intuitive' school of Mayahana - or Zen. Submitted by a.r.thomson Zen (strictly literally!) means, 'meditation that leads to insight'. In order to make some sense of the Teahouse design, and more specifically its mode of Mahakasyapa, apparently, was the only acolyte present at The Flower Sermon, who proportioning, scale and materiality, it is necessary to understand something of the context understood. The Flower Sermon, it is said, was one where, "Standing on a mountain with his out of which the ‘Culture of Tea’, aka. ’Teaism’ first developed. This paper will attempt to disciples around him, Buddha did not on this occasion resort to words. He simply held aloft distill some sense of this ambient culture, and then relate the aesthetic of Zen, to the a golden lotus." (H.Smith, pg 134) components of the Teahouse proper, and finally, conclude with an examination of the proportions used in the Teahouse design. UBC’s Nitobe Teahouse was the primary resource Mahakasyapa was declared the Buddha's successor. 28 patriarchs later, in 520ad, studied, which is unique in that it is a ‘traditional’ structure on foreign soil, and thus Bodhidharma introduced the teaching of Zen to Japan.
    [Show full text]
  • Japanese Tea Ceremony: How It Became a Unique Symbol of the Japanese Culture and Shaped the Japanese Aesthetic Views
    International J. Soc. Sci. & Education 2021 Vol.11 Issue 1, ISSN: 2223-4934 E and 2227-393X Print Japanese Tea Ceremony: How it became a unique symbol of the Japanese culture and shaped the Japanese aesthetic views Yixiao Zhang Hangzhou No.2 High School of Zhejiang Province, CHINA. [email protected] ABSTRACT In the process of globalization and cultural exchange, Japan has realized a host of astonishing achievements. With its unique cultural identity and aesthetic views, Japan has formed a glamorous yet mysterious image on the world stage. To have a comprehensive understanding of Japanese culture, the study of Japanese tea ceremony could be of great significance. Based on the historical background of Azuchi-Momoyama period, the paper analyzes the approaches Sen no Rikyu used to have the impact. As a result, the impact was not only on the Japanese tea ceremony itself, but also on Japanese culture and society during that period and after.Research shows that Tea-drinking was brought to Japan early in the Nara era, but it was not integrated into Japanese culture until its revival and promotion in the late medieval periods under the impetus of the new social and religious realities of that age. During the Azuchi-momoyama era, the most significant reform took place; 'Wabicha' was perfected by Takeno Jouo and his disciple Sen no Rikyu. From environmental settings to tea sets used in the ritual to the spirit conveyed, Rikyu reregulated almost all aspects of the tea ceremony. He removed the entertaining content of the tea ceremony, and changed a rooted aesthetic view of Japanese people.
    [Show full text]
  • Japanese Garden
    満開 IN BLOOM A PUBLICATION FROM WATERFRONT BOTANICAL GARDENS SPRING 2021 A LETTER FROM OUR 理事長からの PRESIDENT メッセージ An opportunity was afforded to WBG and this region Japanese Gardens were often built with tall walls or when the stars aligned exactly two years ago! We found hedges so that when you entered the garden you were out we were receiving a donation of 24 bonsai trees, the whisked away into a place of peace and tranquility, away Graeser family stepped up with a $500,000 match grant from the worries of the world. A peaceful, meditative to get the Japanese Garden going, and internationally garden space can teach us much about ourselves and renowned traditional Japanese landscape designer, our world. Shiro Nakane, visited Louisville and agreed to design a two-acre, authentic Japanese Garden for us. With the building of this authentic Japanese Garden we will learn many 花鳥風月 From the beginning, this project has been about people, new things, both during the process “Kachou Fuugetsu” serendipity, our community, and unexpected alignments. and after it is completed. We will –Japanese Proverb Mr. Nakane first visited in September 2019, three weeks enjoy peaceful, quiet times in the before the opening of the Waterfront Botanical Gardens. garden, social times, moments of Literally translates to Flower, Bird, Wind, Moon. He could sense the excitement for what was happening learning and inspiration, and moments Meaning experience on this 23-acre site in Louisville, KY. He made his of deep emotion as we witness the the beauties of nature, commitment on the spot. impact of this beautiful place on our and in doing so, learn children and grandchildren who visit about yourself.
    [Show full text]
  • Newsletter 13 (June 2014)
    June 2014 - Volume 6 - Issue 2 June 2014 - Volume 6 - Issue 2 国際基督教大学ロータリー平和センター ニューズレター ICU Rotary Peace Center Newsletter Rotary Peace Center Staff Director: Masaki Ina Associate Director: Giorgio Shani G.S. Office Manager: Masako Mitsunaga Coordinator: Satoko Ohno Contact Information: Rotary Peace Center International Christian University 3-10-2 Osawa, Mitaka, Tokyo 181-8585 Tel: +81 422 33 3681 Fax: +81 422 33 3688 [email protected] http://subsite.icu.ac.jp/rotary/ Index In this issue: 2 - Trailblazing Events 4 - Preparing For Peace 5 - Experiential Learning Reflections 7 - Meet The Families of Class XII Fellows 10 - Class XI Thesis Summaries 15 - Class XII AFE Placements 16 - Gratitude and Appreciation from Class XII 1 Trailblazing Events ICU Celebrates First Ever Black History Month by Nixon Nembaware Being an International University, ICU brings together students and Faculty members of various backgrounds and races. It is thus a suitable place to cultivate understanding of different cultures and heritages. This was the thinking that Rotary Peace Fellow Class XII had in mind when they partnered with the Social Science Research Institute to celebrate the first ever Black History Month commemoration at ICU. Two main events were lined up, first was a dialogue with Dr. Mohau Pheko, Ambassador of the Republic of South Africa to Japan who visited our campus to give an open lecture on the legacy of ‘Nelson Mandela’ and the history of black people in South Africa. Second was a dialogue with Ms. Judith Exavier, Ambassador of the Republic of Haiti to Japan. She talked of the history of the black people in the Caribbean Island and linked the history of slavery to what prospects lie ahead for black people the world over.
    [Show full text]
  • The Abode of Fancy, of Vacancy, and of the Unsymmetrical
    The University of Iceland School of Humanities Japanese Language and Culture The Abode of Fancy, of Vacancy, and of the Unsymmetrical How Shinto, Daoism, Confucianism, and Zen Buddhism Interplay in the Ritual Space of Japanese Tea Ceremony BA Essay in Japanese Language and Culture Francesca Di Berardino Id no.: 220584-3059 Supervisor: Gunnella Þorgeirsdóttir September 2018 Abstract Japanese tea ceremony extends beyond the mere act of tea drinking: it is also known as chadō, or “the Way of Tea”, as it is one of the artistic disciplines conceived as paths of religious awakening through lifelong effort. One of the elements that shaped its multifaceted identity through history is the evolution of the physical space where the ritual takes place. This essay approaches Japanese tea ceremony from a point of view that is architectural and anthropological rather than merely aesthetic, in order to trace the influence of Shinto, Confucianism, Daoism, and Zen Buddhism on both the architectural elements of the tea room and the different aspects of the ritual. The structure of the essay follows the structure of the space where the ritual itself is performed: the first chapter describes the tea garden where guests stop before entering the ritual space of the tea room; it also provides an overview of the history of tea in Japan. The second chapter figuratively enters the ritual space of the tea room, discussing how Shinto, Confucianism, Daoism, and Zen Buddhism merged into the architecture of the ritual space. Finally, the third chapter looks at the preparation room, presenting the interplay of the four cognitive systems within the ritual of making and serving tea.
    [Show full text]
  • Vast Waters by Frederick R
    Vast Waters By Frederick R. Dannaway n the year 1833, on the 15th day of the eight month, a group of Japanese tea mystics placed a jar of Chinese I depending on its source. Many tea-masters confirm the water deep into the source of the Yodo River that flows potency of specific mountain springs and show a prefer- into Kyoto, Japan. In contrast to the wasting of tea as ence for old or wild tree teas (also from famous moun- protest in Boston, these sencha adepts felt guilty in hord- tains) for both flavor and for their energy and healing ing the precious—and laboriously imported—Chinese powers. These attributes, if deduced empirically through water and so decided to release it into their home waters generations of observations as well as from a Daoist and thus share its potency with their countrymen. The “mystical primitivism”, can be seen to have retained an ring-leader of this plot, the literati tea-master Kakuo, influence from the earliest religious observances of water had requisitioned the water from China via Nagasaki in China and into Japan. On a practical level, water and and after a year’s wait was blessed with three bottles(18 tea from remote areas would indeed have special charac- liters) of the water. There was a brief reactionary re- teristics, such as taste or purity, as well as a metaphysical sponse to the plan by the government who “feared the association with the powerful mountains and wilderness Chinese water would poison the drinking supply” but that were the mystical abodes of the Immortals.
    [Show full text]