Chapter1 （I. The Cup of Humanity 人情の碗）、
Chapter2 （II. The Schools of Tea. 茶の諸流）、
Chapter3 （III. Taoism and Zennism 道教と禅道）、
Chapter4 （IV. The Tea-Room. 茶室）、
Chapter5 （V. Art Appreciation 芸術鑑賞）、
Chapter6 （VI. Flowers 花）、
Chapter7 （VII. Tea-Masters 茶の宗匠）、、
Okakura Kakuzō(岡倉 覚三?, February 14, 1862 – September 2, 1913) (also known as 岡倉 天心 Okakura Tenshin) was a Japanesescholar who contributed to the development of arts in Japan. Outside of Japan, he is chiefly remembered today as the author of The Book of Tea.
Okakura was a high-profile urbanite who had an international sense of self. In the Meiji period he was the first dean of the Tokyo Fine Arts School (later merged with the Tokyo Music School to form the current Tokyo University of the Arts). He wrote all of his main works in English. Okakura researched Japan's traditional art and traveled to Europe, the United States, China and India. He emphasised the importance to the modern world of Asian culture, attempting to bring its influence to realms of art and literature that, in his day, were largely dominated by Western culture.
His book on Asian artistic and cultural history, "The Ideals of the East with special reference to the Art of Japan (1903)", published on the eve of the Russo-Japanese War, is famous for its opening paragraph in which he sees a spiritual unity throughout Asia, which distinguishes it from the West
"Asia is one. The Himalayas divide, only to accentuate, two mighty civilisations, the Chinese with its communism of Confucius, and the Indian with its individualism of the Vedas. But not even the snowy barriers can interrupt for one moment that broad expanse of love for the Ultimate and Universal, which is the common thought-inheritance of every Asiatic race, enabling them to produce all the great religions of the world, and distinguishing them from those maritime peoples of the Mediterranean and the Baltic, who love to dwell on the Particular, and to search out the means, not the end, of life."
In his subsequent book "The Awakening of Japan", published in 1905 (after Japan's success in the Russo-Japanese war) he argued that "the glory of the West is the humiliation of Asia". This was an early expression of Pan-Asianism. In this book Okakura also noted that Japan's rapid modernization was not universally applauded in Asia ″we have become so eager to identify ourselves with European civilization instead of Asiatic that our continental neighbors regard us as renegades—nay, even as an embodiment of the White Disaster itself."
In Japan, Okakura, along with Fenollosa, is credited with "saving" Nihonga, or painting done with traditional Japanese technique, as it was threatened with replacement by Western-style painting, or "Yōga", whose chief advocate was artist Kuroda Seiki. In fact this role, most assiduously pressed after Okakura's death by his followers, is not taken seriously by art scholars today, nor is the idea that oil painting posed any serious "threat" to traditional Japanese painting. Yet Okakura was certainly instrumental in modernizing Japanese aesthetics, having recognized the need to preserve Japan's cultural heritage, and thus was one of the major reformers during Japan's period of modernization beginning with the Meiji Restoration.