4. Tea-masters justify the cutting of flowers by viewing it as what?
(a) A need of the people.
(b) A beautiful art form.
(c) A requirement to keep the flower population in check.
(d) A sacrifice in the service of a great and noble idea or artistic expression.

5. If something is ancient, is it art?
(a) Not necessarily.
(b) Yes, always.
(c) No, never.
(d) Yes, usually.

6. How will guests salute this flower upon entering the space?
(a) With a song.
(b) With a kiss.
(c) With a dance.
(d) With a profound bow.

7. Even the tea-master was ______ himself.
(a) Unique.
(b) Art.
(c) Music.
(d) A flower.

8. Tea masters have done what to further art in Japan?
(a) Very little.
(b) Not much.
(c) Much.
(d) Nothing.

9. Why might it be hard for Westerners to appreciate the Japanese tradition of wood and bamboo architecture, and, therefore, hard to appreciate the tea room itself?
(a) They are brought up to admire stone and brick architecture.
(b) Wood and bamboo do not grow in the West.
(c) Westerners do not build wooden structures.
(d) Wood is unappealing to many people.

10. Where are a massive amount of flowers used and then tossed out, with no appreciation or consideration for the sacrifice of the flower?
(a) In the North.
(b) In the South.
(c) In the East.
(d) In the West.

11. This door, forcing everyone to hunch down, was meant to do what?
(a) Embarrass.
(b) Humiliate.
(c) Be uncomfortable.
(d) Inspire humility.

12. When asked how he mastered the harp, how did the harpist respond?
(a) He let the harp choose the music.
(b) He told the harp what to play.
(c) He spent many hours playing the harp.
(d) He tricked the harp.

13. What are the invention of tea masters?
(a) Many tea cups.
(b) Many other art forms.
(c) Many dishes.
(d) Many silk flowers.

14. Early tea rooms were connected to what?
(a) Homes.
(b) Temples.
(c) Stores.
(d) Schools.

15. How does Okakura feel about modern art appreciation?
(a) He supports it.
(b) He encourages it.
(c) He laments it.
(d) He enjoys it.