Exploring the Zen Aesthetic Principles in the Design of Tea Rooms in Hebei Province, China

Abstract

Tea rooms hold a significant place in Chinese culture, serving as spaces for social interaction and spiritual reflection. Tea consumption in Hebei Province has continued to rise, leading to an increase in the number of tea rooms. This study explores how Zen aesthetics are incorporated into the design of tea rooms in Hebei, with a focus on how minimalist principles reflect cultural and spiritual values. Renowned for its rich heritage, Hebei has become a key region where Zen elements such as the use of natural materials and harmonious spatial layouts are seamlessly integrated into tea room interiors. This study employs qualitative methods, including a literature review, field observations, and visual documentation, to assess the aesthetic and functional characteristics of Zen-style tea rooms. The findings reveal that Zen aesthetics greatly enhance the user experience by fostering tranquillity and harmony, catering to the increasing demand for spiritual calm and a connection with nature in modern life. Additionally, the findings highlight that tea rooms serve as sanctuaries for emotional and cultural relief, symbolising personal peace and elevated social status. By emphasising simplicity and natural harmony, Zen-style tea rooms offer transformative spatial experiences, encouraging cultural expression and psychological well-being on modern interior design.

1. Introduction

Zen aesthetics, traditionally focused on simplicity, nature, and inner peace, have evolved and found expression in modern society, particularly through tea room design [1]. Unlike other decorative art forms, Zen aesthetic tea room design emphasizes mental purification and harmonious interaction with nature, creating an atmosphere of serene and profound spiritual depth [2,3]. According to China Economic Net [4], tea consumption in Hebei Province has increased by 64% compared to the previous year, leading to a rise in the number of tea rooms. Moreover, Hebei’s colder climate has historically led to design adaptations that prioritize insulation and warmth, likely influencing tea room designs. It is interesting to explore how Zen aesthetics influence tea room design in Hebei.

The term “Zen” originates from the Sanskrit word “dhyana”, meaning “meditation”, and represents a practice aimed at achieving inner peace through contemplation [5]. Although Zen initially began in India, it gradually absorbed elements of local culture as it developed in China, evolving into a distinctly Chinese system. Following the introduction of Buddhism to China during the Han Dynasty, Zen found resonated with Taoist principles, becoming deeply embedded in Chinese culture [6]. During the Wei, Jin, and Northern and Southern Dynasties, the fusion of Zen with Confucian and Taoist has created a unique philosophical approach significantly shaping Chinese art and aesthetics, especially in landscape poetry, painting, and environmental design [7].

In this cultural context, Zen and tea culture gradually merged, leading to the idea of ‘Zen and tea as one’. Originally consumed in temples to help monks stay alert during meditation, tea gained prominence within Buddhism and eventually spread to the broader population, giving rise to tea room culture. The spiritual connection between Zen and the tea ceremony makes tea rooms ideal environments for embodying Zen principles, as their natural and tranquil settings enable patrons to experience the deeper spiritual essence of ‘Zen and tea’ [8]. Tea rooms are specifically designed spaces for the preparation, serving, and enjoyment of tea, often blending both traditional and modern elements. These Zen-inspired tea rooms not only provide venues for social interaction and relaxation but also hold significant cultural and historical value [9].

Despite the substantial cultural impact of Zen aesthetic tea rooms, academic research in this area remains relatively limited [10], Particularly how to effectively integrate Zen aesthetics into modern tea room design [11,12]. Specifically, there exists a significant research gap regarding how the minimalist design principles of Zen aesthetics can communicate cultural and spiritual values. Therefore, this study aims to investigate the integration and expression of Zen aesthetics in tea room design within Hebei Province. The research will examine various aspects of Zen aesthetics in tea room design, including design philosophy and practical applications such as layout, colour, lighting, furniture, materials, and ambiance creation, to provide a comprehensive understanding of how Zen aesthetics foster a harmonious environment.

This study conducts in-depth analyses of key design elements such as entrances, main halls, and private rooms in Zen aesthetic tea rooms in Hebei, through field observations and visual documentation. By investigating these elements, the research reveals the modern reinterpretation and application of Zen aesthetics in commercial environments. Furthermore, it explores the relationship and potential contradictions between contemporary design and Zen aesthetic styles. The findings offer practical insights for future tea room designs, while also enhancing the understanding of the cultural value and significance of Zen aesthetics in modern society.

2. Literature Review

2.1. The Context of Zen Tea Culture in Hebei Province

Linzhang in Hebei is recognized as the birthplace of Zen tea culture in China [13]. The concept of “Tea and Zen as One” represents a unique phenomenon in the history of Chinese traditional culture and constitutes a significant contribution of China to global civilization [14]. Zen Buddhism had already begun to spread throughout the region [15], where Bodhi dharma introduced these teachings from India to China, subsequently passing them on to Huike. Although Huike was not originally from Hebei, he spent considerable time teaching in southern Hebei, laying the foundation for the development of Zen [16]. Huineng, acknowledged as the true founder of Zen, was born in Fanyang, Hebei. His establishment of Zen played a crucial role in the localization and popularization of Buddhism in China, significantly impacting philosophy and culture during the Tang and Song dynasties [17].

During the late Tang and Five Dynasties periods, Hebei become a centre of Zen Buddhism [15]. The Linji School, founded by Yixuan, established its ancestral temple in Zhengding, becoming the most influential Zen sect of that time. Meanwhile, Zhao Zhou Congshen, a contemporary of Yixuan, synthesized the core principles of various Zen traditions through his extensive meditative practice. Although he did not create a new sect, his teachings left a lasting impact, fostering an environment in which the Linji School dominated Chinese Buddhism [18].

Since the Ming and Qing dynasties, Zen culture in Hebei has gone through a prolonged period of dormancy; however, it has recently experienced a revival, highlighted by the emergence of “Living Zen”. Introduced by Master Jinghui in 1991 and based at Baolin Temple in Zhao County, this concept emphasizes the harmonious relationship between individuals and society [19]. Over time, it has become a mainstream Buddhist thought, reflecting a deep integration of Zen culture with modern life [14]. The revitalization of Baolin Temple and its significant influence mark a new chapter in the evolution and development of Zen culture in Hebei, enriching the local cultural landscape and promoting the contemporary adaptation of Zen philosophy [20].

2.2. Zen Aesthetic Tea Rooms

According to Zhao [21], a tea room is defined as “a place selling tea, equipped with seating for customers to drink”. It embodies a rich cultural heritage and historical tradition. As an integral part of Chinese tea culture, tea rooms have long been places for gathering, socialising, and enjoying tea. The history of tea rooms dates back thousands of years, with their forms and names evolving over time. Common terms include ‘tea pavilions’, ‘tea societies’, ‘tea clubs’, and ‘tea gardens’. Despite the variation in names, the central function of tea rooms has always revolved around tea drinking, fulfilling people’s needs for leisure, social interaction, and entertainment [22].

Throughout different historical periods, tea rooms have played diverse roles. In ancient times, they were venues for scholars to recite poetry and for literati to meet and engage with one another [23]. In modern times, tea rooms have become places where people relax and enjoy life. Typically, they offer a range of teas, accompanied by light snacks and pastries, creating a warm and inviting social atmosphere [24].

The evolution of Zen aesthetics in recent years has significantly influenced the design and decoration of tea room spaces [23]. Zen-inspired tea rooms, a popular modern form of the traditional tea room, focus more on the fusion of spiritual ambience and sensory experience [25]. These tea rooms are not merely places to drink tea; they also serve as sanctuaries where people seek inner peace and a connection with nature (Figure 1).

However, research specifically examining Zen aesthetic tea rooms in Hebei Province remains limited. Most analyses still focus on the functional aspects of tea rooms, without delving deeply into the decor and spatial atmosphere.

2.3. Design Principles of Zen Aesthetic Tea Rooms

The design principles of Zen aesthetic teahouses are conveyed not only through form and function but also through spatial arrangement and decoration, reflecting the core tenets of Zen philosophy [26]. Figure 2 illustrates the fundamental design principles of Zen aesthetics, which, while applicable to other styles of spaces, are rooted in the concept of ‘emptiness’ or ‘void’. This notion embodies the unique allure of Zen aesthetic spaces.

These principles aim to create a pure and simplified environment that harmonises the tangible and intangible elements. The philosophy of “form is emptiness, emptiness is form” is exemplified through the use of minimalist, unadorned spaces, wherein physical emptiness enriches spiritual abundance [27]. Thus, Zen-inspired design communicates vitality and spiritual resonance through understated, quiet forms, ultimately encouraging a profound understanding of life’s essence through subtle, contemplative spaces [28].

3. Conceptual Framework

In this study, Zen aesthetics incorporates modern innovations while retaining its classical essence, creating a unique blend of tradition and modernity [27]. The Stimulus, Organism, and Response (SOR) model was integrated with other theories on Zen aesthetics research from different periods (

Table 1. Results of coding Zen aesthetics in tea room design.

Code	Sub-Code	Description
Natural and Harmony	Use of Natural Materials	Emphasis on wood, stone, and organic fabrics.
	Integration with Nature	Design that incorporates natural light, views of landscapes, and indoor plants.
	Balance and Proportion	Harmonious arrangement of elements to create a sense of equilibrium.
	Connection to the Environment	Spaces that reflect the surrounding landscape and seasonal changes.
Simple and Plain	Minimalist Design	Reduction of elements to the essential, avoiding clutter.
	Neutral Colour Palette	Use of soft, earthy tones that promote calmness.
	Functional Furniture	Pieces that serve multiple purposes and have clean lines.
Emptiness	Negative Space	Strategic use of empty areas to enhance perception and create a sense of openness.
	Subtlety in Decoration	Limited ornamentation to encourage contemplation and reflection.
	Spacious Layouts	Open floor plans that allow for fluid movement and mental clarity.
	Mindful Design	Spaces designed to promote meditation and introspection through simplicity.
Asymmetric and Irregular	Organic Shapes	Incorporation of non-linear forms that mimic nature.
	Varied Textures	Use of diverse materials that create visual interest and tactile experiences.
	Unexpected Arrangements	Deliberate non-uniformity in layout to foster a dynamic yet harmonious space.

) to examine the manifestation of Zen aesthetics in design practice and the underlying design concepts [29]. The SOR model (Figure 3), as proposed by Mehrabian and Russell [29], encompasses of three fundamental elements. In the context of a Zen aesthetic tea room, the Stimulus extends beyond mere conceptual elements like layout, colour, and materials, but also integrates the design principles of Zen aesthetics. Within this environment, consumers, as the Organism, are influenced by the surroundings, with their perceptions and emotional states being shaped by the setting. For instance, a tranquil atmosphere and soft lighting can evoke a sense of relaxation and contemplation among patrons, thereby enhancing their perceived quality. This enhancement, as stated by Nusairat et al. [30], is closely linked to customer satisfaction and emotional state.

The Response, which reflects customers’ internal feelings about the tea room, is evident in their actions. In a Zen aesthetic tea room, this response might be characterised by a profound appreciation for the environment and extended stays, rather than mere purchasing behaviour. Customers might choose to sit quietly, enjoying the tranquillity of a cup of tea, or engage in tea ceremonies. These actions exemplify approach behaviour, indicating a positive attitude toward the environment.

Conversely, if the tea room design is poorly conceived, it may cause discomfort for customers, leading to avoidance behaviour, such as leaving prematurely or being hesitant to return. In consumer behaviour research, these approach and avoidance behaviours can be measured by the duration of customers’ stays, level of engagement, and their overall evaluation of the tea room. The application of the SOR model in the context of a Zen aesthetic tea room not only focuses on the direct impact of the environment on consumer behaviour but also delves into how culture and aesthetics shape consumers’ perceptions and responses, ultimately influencing their behavioural patterns.

As illustrated in Figure 4, the development of the conceptual framework of this study has integrated Zen aesthetics with the foundational structure of contemporary design, both theoretically and practically, creating a systematic classification. Within this context, Zen aesthetics at the “conceptual” level exhibits a rich diversity, encompassing elements such as simplicity, asymmetry, irregular beauty, natural harmony, and subtle emptiness. Moreover, elements such as layout, colour, light, shadow, furnishings, materials, and the overall atmosphere collectively form the “conceptual elements” of Zen aesthetics.

The elements of Zen aesthetics employed in this study are distilled from a synthesis of visual and textual sources. A critical aspect of this research involves preparing a coding method derived from the study of Zen aesthetics. The selected references span various perspectives, offering different interpretations of Zen aesthetics within a semantic context, thereby forming the philosophical foundation for the study’s narrative. All definitions, analogies, examples, interpretations, and metaphors related to Zen aesthetics were transformed into keywords and codes. These keywords were clustered based on semantic similarity, ultimately forming a coding table. Figure 5 illustrates Saldana’s [31] research model, which describes the progression from simplified coding to theory development in qualitative research.

In this study, we examined the characteristics of Zen aesthetics in spatial design and coded various design elements, concepts and related factors based on qualitative analyses. The conceptual framework was developed from a literature review via thematic analysis. This process involves (1) literature review; (2) identifying key themes; (3) developing codes; (4) building the framework; and (5) validation and refinement. Table 1 demonstrates the coding outputs from the thematic analysis.

This research interprets these concepts primarily through constructed architectural works and the writings of theorists. A detailed coding and analysis of Zen aesthetic theories, as presented in

Table 2. Coding Zen Aesthetic Theory.

List of Zen Aesthetic Concepts in the Late 19th Century
Source	Code	Sub-Code
Watanabe [32]	Natural and Harmony	Use of Natural Materials
Saeki [33]	Simple and Plain	Minimalist Design
Lillie [7]	Emptiness	Negative Space
Motora [34]	Simple and Plain	Neutral Colour Palette
List of Zen Aesthetic Concepts in the Early 20th Century
Source	Code	Sub-Code
Dillon [35]	Simple and Plain	Minimalist Design
Amsden [36]	Asymmetric and Irregular	Unexpected Arrangements
Anesaki [37]	Emptiness	Negative Space
Waley [38]	Natural and Harmony	Integration with Nature
Gunsaulus [39]	Natural and Harmony	Connection to the Environment
Shih [40]	Asymmetric and Irregular	Unexpected Arrangements
List of Zen Aesthetic Concepts in the Late 20th Century
Source	Code	Sub-Code
Winters [41]	Natural and Harmony	Balance and Proportion
Zehou [42]	Natural and Harmony	Connection to the Environment
Shizuteru [43]	Simple and Plain	Neutral Colour Palette
Walsh [44]	Asymmetric and Irregular	Organic Shapes
Inada [45]	Natural and Harmony	Use of Natural Materials
Yamauchi [46]	Emptiness	Subtlety in Decoration
List Of Zen Aesthetic Concepts In The Early 21th Century
Source	Code	Sub-Code
Erzen [47]	Natural and Harmony	Balance and Proportion
Kim [6]	Simple and Plain	Functional Furniture
Hoover [5]	Natural and Harmony	Connection to the Environment
Chen & Ran [12]	Asymmetric and Irregular	Varied Textures
Gao [48]	Emptiness	Spacious Layouts
Mou [49]	Natural and Harmony	Balance and Proportion
Lu [50]	Asymmetric and Irregular	Organic Shapes
He [26]	Simple and Plain	Functional Furniture
Xing [10]	Emptiness	Mindful Design

, offers readers a key to understanding this distinctive aesthetic perspective.

3.1. Natural and Harmony

Zen aesthetics profoundly influence spatial design through the incorporation of natural materials and the emphasis on harmony with nature [51]. Central to this approach is the use of materials like wood, stone, and organic fabrics, which foster a connection to the environment and promote balance [52]. By incorporating natural light, landscape views, and indoor plants, designers create spaces that reflect seasonal changes and provide a sense of equilibrium. This design philosophy not only promotes visual harmony but also encourages emotional and psychological well-being, as spaces are designed to mirror the tranquillity found in nature [28].

In tea room design, the principles of Zen are particularly evident, with natural elements playing a key role in shaping the overall atmosphere [53]. Tea rooms are not merely spaces for drinking tea but are seen as sanctuaries for spiritual relaxation [54]. Designers skilfully integrate features such as natural ventilation, light, and greenery to enhance serenity and comfort. The harmonious arrangement of these elements aligns with the surrounding environment, creating a space that fosters contemplation and mindfulness. This careful balance between nature and design reinforces the Zen ideal of unity between humans and the natural world [55].

3.2. Simple and Plain

Simplicity and plainness are not just stylistic choices in Zen aesthetics; they are essential expressions of Zen philosophy. These principles focus on achieving inner tranquillity and spiritual purity by eliminating unnecessary ornamentation and complexity [10]. The result is a design that is both functional and aesthetically pleasing, rooted in minimalism [56]. Spaces designed with this in mind often use unadorned materials and maintain a restrained, quiet atmosphere, allowing users to engage more deeply with the environment and experience calm reflection.

In the context of tea room design, simplicity is manifested through minimalist layouts and the use of natural, unadorned materials like wood and paper. Traditional tea rooms often feature wooden floors, paper partitions, and simple decorations, all of which embody the Zen appreciation for nature and simplicity. These design choices minimise distractions and create a serene environment conducive to meditation and mindfulness [53]. In modern Zen tea rooms, these values continue to be expressed through geometric shapes, clean lines, and the use of natural materials, preserving the tranquillity and simplicity that are hallmarks of Zen-inspired spaces [57].

3.3. Asymmetric and Irregular

Asymmetry and irregularity are core elements of Zen aesthetics, reflecting the natural world’s inherent balance rather than rigid symmetry [58]. These design principles draw inspiration from nature, where irregular forms and patterns create dynamic and engaging environments. Asymmetry in Zen design serves to break free from traditional architectural constraints, offering a more organic and fluid approach that fosters a deeper connection with the natural world [59]. This departure from mechanical order encourages a more reflective and contemplative experience for those engaging with the space.

In tea room design, asymmetry is often expressed through irregular stone arrangements, winding pathways, and the use of non-linear forms [60]. These features reflect Zen’s respect for nature’s randomness and its underlying order, creating spaces that evoke inner peace and contemplation. Asymmetrical designs embody the idea that beauty and balance can be found in imperfection, mirroring the natural world’s unpredictability [61]. This principle has been adapted in modern design, where asymmetry and irregularity continue to offer a dynamic, yet harmonious, aesthetic that enhances user experience.

3.4. Emptiness

The concept of emptiness in Zen aesthetics plays a vital role in creating spaces that encourage introspection and inner calm [62]. Emptiness is not merely a physical absence but a deliberate design choice that simplifies space to foster tranquillity and clarity. In tea room design, emptiness is expressed through minimalist layouts and restrained decoration, allowing the mind to focus on stillness and reflection [63]. By reducing visual clutter, these spaces become more than functional areas; they transform into environments that support mental clarity and spiritual awareness.

Traditional tea rooms, such as those designed by Sen no Rikyū, exemplify the use of emptiness through their spacious layouts and minimal adornment [64]. These designs encourage users to engage with the space in a mindful way, facilitating deeper contemplation. Modern Zen tea rooms continue this tradition, employing minimalist fixtures and natural materials to create a sense of openness [65]. This design approach preserves the essence of traditional Zen while allowing for contemporary interpretations. The strategic use of empty space not only enhances the perception of the room but also creates an immersive, peaceful experience that remains central to the practice of Zen design.

4. Materials and Methods

This study employed qualitative research methods to deeply analyse new interpretations of Zen aesthetics within the current conceptual framework (Figure 5), and how these elements establish a harmonious symbiosis with tea room spaces. The research is conducted in three phases, as illustrated in Figure 6, which presents the methodological process followed in the analysis of Zen aesthetics. This research adopts a rigorous methodology, incorporating an in-depth analysis of specific tea room cases. In the initial stage, we conducted a thorough review of all necessary academic literature, followed by the development of a conceptual framework for Zen aesthetic design to summarise relevant theories. In the third stage, we contextualised the writings of theorists from the 19th to the 21st century, encoding their ideas into spatial studies and general language analysis. This approach effectively combines visual applications with theoretical knowledge, clarifying abstract concepts and laying a solid foundation for future research. The study paves the way for further exploration of Zen aesthetics in various commercial settings, offering insights into how these principles can enhance user experience and cultural identity in different environments.

4.1. Establishing a Theoretical Framework for Zen Aesthetics

The first stage of this research aims to comprehend and interpret the application of Zen aesthetics in contemporary design through an extensive review of academic literature. This literature review provides the necessary references for the conceptual framework of the study. By conducting this review, we can grasp the theoretical and conceptual evolution of Zen aesthetics in the modern era, helping to define its role and significance in both material design and spiritual dimensions.

Within the theoretical framework, we employed a chronological coding method, as outlined in Table 1, to develop a conceptual framework for Zen aesthetics that synthesises all relevant theories. This approach identifies several shared Zen aesthetic concepts and their origins, which have been recognised across cultures since ancient times. In observing these concepts, we find that modern design has gradually embraced and integrated “new” concepts into various design practices. In a postmodern context, Zen aesthetics reveal their value from multiple perspectives. This suggests that enduring concepts such as regionalism, cultural identity, environmental sustainability, and the infusion of aesthetic taste into design are persistent phenomena. Just as thoughts are conveyed through words, these Zen aesthetic principles have profoundly influenced design practices.

This section aims to provide guidance on interpreting Zen aesthetics, a design philosophy with profound philosophical roots. Researchers conducted semantic analysis of works by architects and theorists from the 19th to the 21st centuries, encoding their ideas into spatial design research to merge visual design application with philosophical theory.

Through this methodology, we identified commonalities among hundreds of reviews, clarifying abstract concepts of Zen aesthetics. The chronological coding study is presented in Table 1, spanning from the 19th to the 21st century. This chart forms a vital theoretical foundation for subsequent case studies and discussions.

4.2. Assessing Zen Aesthetics in Case Studies

The selection of cases in a case study is typically aimed at identifying representative samples [66]. One primary advantage of employing multiple cases within a study is that it enables researchers to explore the intricacy and richness of the phenomenon under investigation, capturing its various dimensions, perspectives, and facets [67]. Based on social media reviews, this study focuses on the ten highest-rated Zen tea rooms in Hebei Province.

Although elements such as tatami, Chinese furniture, bamboo, and dim lighting are not exclusive to Zen aesthetics, these tea rooms reflect a Zen-inspired ambience. Their designs are rooted in the principles of Zen aesthetics, achieving a harmonious balance between emptiness and form, stillness and movement, by exploring the dynamics of the inner spiritual world. This expands the aesthetic boundaries of the space and allows for limitless interpretation. Ultimately, the Zen aesthetics in these tea rooms, serving as cultural symbols, significantly enhance the overall customer experience through their simplicity, tranquillity, and natural beauty. Since decoration is a critical component of tea room atmosphere and customer experience [2], a detailed analysis of the decorative elements in these tea rooms is essential.

To identify tea rooms that adhere to Zen aesthetic standards, we employed a dual approach involving field observations and reviews from social media platforms such as Meituan and Dianping. By analysing highly rated tea rooms on these platforms, we compiled a list of those meeting Zen aesthetic criteria, which were then subjected to systematic study. This approach ensures that the selected tea rooms not only visually conform to Zen aesthetic standards but also excel in user experience and feedback, providing a reliable foundation for further analysis.

During the study, researchers used field observations and visual documentation, meticulously recording each tea room’s spatial layout, decorative style, and design elements. Particular attention was paid to the use of natural materials, minimalist design lines, lighting effects, and the interplay between interior and exterior spaces. Observations also included examining how the decorative style aligns with the tea room’s Zen aesthetic theme, utilising natural materials such as bamboo and wood, and employing subdued colours like off-white, grey, and wood tones to create a serene atmosphere.

The analysis criteria and information were guided by the preliminary theoretical findings, which provided direction for spatial analysis. Researchers catalogued the analysis of major tea-drinking spaces in Hebei Province’s Zen aesthetic tea rooms in alphabetical order (

Table 3. Zen Aesthetic tea room Analysis.

Tea Room Name—Image	Features of The Zen Aesthetics
1. Cha Guan Hua Ting	Concept: Simple and Plain, Natural and Harmony, Empty and Mysterious Layout: The Fluidity and Simplicity of Space Colour: Beige, White, Black Light and Shadow: Soft and Natural, Recessed Lighting Furnishings: Simple Geometry, Cultural Symbolism Materials: Bamboo, Wood, Textiles, Ceramics, Latex Paint, Glass, Paper Materials Ambience: Tranquility and Harmony
2. Chen Shenghao	Concept: Natural and Harmony Layout: The Fluidity and Simplicity of Space Colour: Beige, White, Black, Gray, Brown Light and Shadow: Soft and Natural, Recessed Lighting Furnishings: Simple Geometry, Cultural Symbolism Materials: Bamboo, Wood, Textiles, Ceramics, Latex Paint, Paper Materials Ambience: Tranquility and Harmony
3. Gu Yuchayuan	Concept: Natural and Harmony, Empty and Mysterious Layout: The Fluidity and Simplicity of Space, Spatial Transition Colour: Beige, White, Black, Red, Blue Light and Shadow: Soft and Natural, Recessed Lighting Furnishings: Simple Geometry, Cultural Symbolism Materials: Bamboo, Wood, Textiles, Ceramics, Latex Paint Ambience: Tranquility and Harmony, Fluidity of Space
4. Jiaolin Tea Room	Concept: Simple And Plain, Asymmetric and Irregular, Natural and Harmony, Empty and Mysterious Layout: The Fluidity and Simplicity of Space, Spatial Transition Colour: Beige, White, Black, Gray, Brown, Red, Blue Light and Shadow: Soft and Natural, Light Refraction and Projection Furnishings: Simple Geometry, Cultural Symbolism Materials: Bamboo, Wood, Textiles, Ceramics, Latex Paint Ambience: Tranquility and Harmony, Fluidity of Space, Richness of Sensory Experience
5. Lao Fangmu	Concept: Simple And Plain, Asymmetric and Irregular, Natural and Harmony, Empty and Mysterious Layout: The Fluidity and Simplicity of Space Colour: Beige, White, Black, Gray, Brown Light and Shadow: Soft and Natural, Recessed Lighting Furnishings: Simple Geometry, Cultural Symbolism, Antique Furniture Materials: Bamboo, Wood, Textiles, Ceramics, Latex Paint, Glass Ambience: Tranquility and Harmony, Fluidity of Space, Richness of Sensory Experience
6. Ming Jingshanfang	Concept: Simple and Plain, Asymmetric and Irregular, Natural and Harmony Layout: The Fluidity and Simplicity of Space, Spatial Transition Colour: Beige, White, Black, Gray, Brown Light and Shadow: Soft and Natural, Light Refraction and Projection Furnishings: Simple Geometry, Cultural Symbolism Materials: Bamboo, Wood, Textiles, Ceramics, Latex Paint Ambience: Tranquility and Harmony, Fluidity of Space, Richness of Sensory Experience
7. Mo Li Tea Room	Concept: Simple and Plain, Natural and Harmony, Layout: The Fluidity and Simplicity of Space, Spatial Transition Colour: Beige, White, Black, Brown Light and Shadow: Soft and Natural, Recessed Lighting Furnishings: Simple Geometry, Cultural Symbolism Materials: Bamboo, Wood, Textiles, Ceramics, Latex Paint Ambience: Tranquility and Harmony, Fluidity of Space, Richness of Sensory Experience
8. Qi Yuechayuan	Concept: Simple and Plain, Asymmetric and Irregular, Natural and Harmony, Empty and Mysterious Layout: The Fluidity and Simplicity of Space, Spatial Transition Colour: Beige, White, Black, Gray, Brown Light and Shadow: Soft and Natural, Recessed Lighting, Light Refraction and Projection Furnishings: Simple Geometry, Cultural Symbolism Materials: Bamboo, Wood, Textiles, Ceramics, Latex Paint Ambience: Tranquility and Harmony, Fluidity of Space, Richness of Sensory Experience
9. Qian Xi Tea Room	Concept: Simple and Plain, Asymmetric and Irregular, Natural and Harmony, Empty and Mysterious Layout: The Fluidity and Simplicity of Space, Spatial Transition Colour: Beige, White, Black, Gray, Brown, Red, Blue Light and Shadow: Soft and Natural, Recessed Lighting, Light Refraction and Projection Furnishings: Simple Geometry, Cultural Symbolism Materials: Bamboo, Wood, Textiles, Ceramics, Latex Paint, Glass Ambience: Tranquility and Harmony, Fluidity of Space, Richness of Sensory Experience
10. Taihang Tea Warehouse	Concept: Natural and Harmony Layout: The Fluidity and Simplicity of Space, Spatial Transition Colour: Beige, White, Black, Gray, Brown Light and Shadow: Soft and Natural, Recessed Lighting, Light Refraction and Projection Furnishings: Simple Geometry, Cultural Symbolism, Antique Furniture Materials: Bamboo, Wood, Textiles, Ceramics, Latex Paint Ambience: Tranquility and Harmony, Fluidity of Space

). The table includes the names of the tea rooms, specific Zen aesthetic design elements, and their visual effects. Through this data, we can interpret the application of Zen aesthetics in tea room design from a macro perspective and lay the foundation for further in-depth research.

4.3. Synthesising Data for Discussion

The core principle at this stage is to integrate the data from the previous two phases for a unified interpretation. Through coding and analysis of the collected raw data, the researchers arrived at several conceptual conclusions. This process involved a deep understanding of Zen’s historical roots, its transmission and innovation in modern design, and extensive references to cultural, philosophical, and social contexts.

5. Results

In this section, we systematically organised and analysed the decorative styles of tea rooms that align with Zen aesthetic standards, exploring them from both physical and conceptual dimensions. The main content of this case study involves a detailed analysis of the decoration of the entrance, reception areas, and primary tea-drinking spaces within these tea rooms. Observations and recordings revealed both commonalities and differences in the overall decorative concepts and design elements of these tea rooms. Based on the analysed data, we can proceed with the following discussion to gain a deeper understanding of the application of Zen aesthetics in modern tea room design and its impact on user experience.

5.1. Concepts

As illustrated in Figure 7, the design of Zen aesthetic tea rooms revolves around core concepts such as simple and plain, asymmetry and irregular beauty, natural harmony, and subtle emptiness. In tea rooms designed using various methods, the principle of natural harmony is widely applied in Zen aesthetic tea rooms. Designers utilised natural materials, minimalist décor, and clever spatial layouts to create a peaceful, tranquil atmosphere.

Case study findings indicate that the natural harmony emphasised by Zen aesthetics serves as a rich source of inspiration for tea room design. This design style is deeply influenced by traditional Eastern aesthetics, yet it incorporates modern design ideas, creating spaces that convey a sense of historical and cultural significance while maintaining a contemporary feel. Therefore, it can be concluded that the design of Zen aesthetic tea rooms reflects a fusion of Eastern traditional culture and modern minimalist styles, rather than simply replicating traditional architectural forms.

In this approach, the regional characteristics of Zen aesthetics and the respect for nature resonate with customers’ cultural backgrounds. For many customers from Asian cultural spheres, this style evokes a familiar cultural atmosphere, while also offering a unique, exotic experience for visitors from other regions. This design strategy is suitable for both modern tea rooms that pursue simplicity and high-end venues aiming to convey sophistication and taste through their design.

5.2. Conceptual Elements

5.2.1. Layout

The most prominent feature of Zen aesthetic tea room layouts is the “fluidity and simplicity of space”. This design principle is consistently reflected in all tea room layouts, as illustrated in Figure 8. Spatial fluidity is achieved by avoiding the use of solid walls, instead employing transparent or movable partitions, such as sheer curtains, beaded screens, or glass. This approach enhances the transparency of the space, allowing each area to remain independent yet interconnected, creating a harmonious environment for interaction.

The simplicity of the layout emphasises minimalist design principles, focusing on the removal of unnecessary elements and the use of negative space, or ma. This negative space requires careful arrangement of objects to create a balanced and spacious layout. It not only meets functional needs but also provides a mental space for contemplation and imagination [68].

The potential applications of this spatial design extend to other commercial environments, such as wellness centres, art galleries, and high-end retail stores. In these spaces, the fluidity and simplicity of the layout can enhance the customer experience, promoting relaxation and a connection with nature. For example, wellness centres could use transparent partitions to create an open yet tranquil atmosphere, helping visitors find inner peace during relaxation. Similarly, art galleries could adopt this layout to emphasise the relationships between exhibits while maintaining a sense of spatial flow and visual continuity.

Another significant characteristic of Zen tea room layouts is the “spatial transition”. The layout often creates a smooth transition between different functional areas, such as seamlessly guiding guests from the reception area to the tea ceremony area. This design not only enhances the efficiency of space usage but also fosters a harmonious atmosphere.

5.2.2. Colour

In the selection of colours for Zen aesthetic tea rooms, the “extensive use of neutral tones” is the first noticeable feature. As shown in Figure 9, beige, grey, brown, and white are the predominant colour choices in nearly all tea rooms. These neutral tones naturally blend into the space, creating an atmosphere of tranquillity and harmony, aligning with the core principles of Zen aesthetics. Particularly in minimalist designs, darker accents, such as deep grey or dark brown, are often used for flooring and furniture against lighter backgrounds, enhancing the visual depth of the space.

One of the most remarkable findings of this study is the occasional use of vibrant colours, such as red and blue, in the space. These bold colours are typically applied in small areas, such as on tea sets, decorative walls, or cushions. They break the monotony of the space while adding a touch of vitality to the tea room. This approach contrasts with traditional design concepts, which focus on uniformity of colour, and instead introduces a sense of individuality and playfulness into the overall serene atmosphere.

5.2.3. Light and Shadow

The study observed that the light and shadow effects in Zen tea rooms present a unique sense of tranquillity and natural beauty. As shown in Figure 10, the handling of light and shadow in Zen tea rooms is characterised by “soft and natural light”. The overall lighting typically combines natural light with warm artificial sources to create a serene atmosphere. Natural light is introduced through large windows or skylights, providing a seamless connection with the external environment while adding depth and layering to the space. Artificial light, often in warm tones, avoids harsh shadows and maintains a gentle and harmonious feel throughout the space.

The light and shadow effects within the tea rooms are usually achieved through carefully designed fixtures and light source placements [69]. For example, recessed lighting and concealed light strips are widely used along walls and ceilings to distribute light evenly while minimising direct exposure to light sources. This design not only ensures a more natural and soft effect but also avoids the strong contrasts typically created by traditional lighting fixtures [70].

In different spatial layouts, the extensive use of light refraction and projection reflects the core principles of Zen aesthetics—simplicity and nature. The variation in light and shadow within the tea rooms is often shaped by the decorative elements and furniture within the space. Through skilful manipulation of light refraction and projection, every detail of the tea room is imbued with dynamic beauty. For instance, traditional paper partitions or wooden screens, when illuminated, create soft shadows, enhancing the sense of layering and mystery within the space.

5.2.4. Furnishings

Following the typological study of interior design guided by Enwin’s [71] publication, it was observed that Zen aesthetic tea rooms exhibit a distinct preference in furniture selection. Firstly, the most noticeable inclination is towards simple yet Zen-inspired furniture forms. These furnishings often feature straight lines, minimal curves, and basic geometric shapes, reflecting the rustic simplicity of classical Zen while integrating the clean aesthetics of modern design. Such furniture includes traditional low tables and chairs, as well as contemporary minimalist tea cabinets and storage units, collectively creating a tranquil and distant atmosphere within the tea room.

The second type is “cultural symbol” decoration, which is characterized by paintings and calligraphy works with profound cultural and symbolic significance. They are important media to convey Zen philosophy and art.

Finally, it was observed that despite the widespread popularity of minimalist furniture in modern tea rooms, Ming and Qing dynasty classical furniture still retains a place. These pieces, with their unique charm and craftsmanship, continue to capture attention. Figure 11 provides detailed statistics on the frequency of use of various types of furniture arrangements in Zen aesthetic tea rooms, clearly demonstrating the dominance of minimalist geometric furniture. At the same time, culturally symbolic and Ming-Qing classical furniture, though auxiliary, play an integral role in shaping the aesthetic atmosphere of the tea room, contributing to the rich Zen ambience.

5.2.5. Materials

Analysis indicates that, despite continuous advancements in modern design, traditional materials continue to dominate tea room design. It is evident that as designs become increasingly simplified and contemporary, the presence of traditional elements diminishes; however, their fundamental importance remains irreplaceable. Utilising natural materials in their unadorned state, without concealing their textures or even exposing inherent flaws, reflects the Zen aesthetic of simplicity and humility. This approach aligns with the Zen concepts of “natural beauty” and “primal beauty”.

As illustrated in Figure 12, bamboo and wood, ranging from the most classic to the most minimalist forms, play crucial roles in the design of tea rooms. Bamboo, with its natural texture and calming visual appeal, stands as one of the most representative elements in tea room design, particularly in decorative screens and wall adornments.

Wood is widely used in various details within tea rooms, such as tables, chairs, door frames, and flooring. Although its use in modernised designs has decreased, wood remains one of the most favoured materials in tea rooms, especially because it can be crafted into various forms using traditional woodworking techniques and modern processing methods, adhering to the principles of simplicity and naturalness in Zen aesthetics.

Stone, especially unprocessed natural stones, adds a raw, organic beauty to tea room design. The use of stone is not limited to flooring but extends to tea tables, altars, and wall decorations. In modern design, stone, with its unique texture and subdued tones, has become an important material for expressing natural beauty.

One of the most notable findings in this study is the choice of textiles. Common textiles in tea rooms include cotton and linen, primarily used for tablecloths and partitions. Unlike the past, textiles no longer emphasise luxury but rather harmony with the overall design. Their simple texture and colours balance the presence of other elements within the space.

Ceramics also occupy an essential place in tea room design, particularly in the selection of tea sets and decorative items. The smooth texture of ceramics perfectly complements the serene atmosphere of the tea room, serving as an important element in enhancing sensory experiences.

Moreover, the walls of tea rooms are often painted in plain colours, modest and minimalistic, and capable of interacting with natural light to create a soft spatial ambience. Some tea rooms choose to use paper materials for wall decorations, infusing the space with profound cultural meaning within the simplicity of the design.

Finally, while glass is rarely used in tea rooms, it occasionally appears in modern designs to create partitions or display cabinets. Its transparency and reflective qualities add a touch of modernity to the space while maintaining overall simplicity and tranquillity. In summary, the restrained selection and use of materials in Zen aesthetic tea rooms reflect a profound appreciation for nature and simplicity.

5.2.6. Atmosphere

In the design of Zen aesthetic tea rooms, the creation of ambience is considered one of the core elements. Observations and studies of numerous Zen tea rooms reveal that the ambience in these spaces often exhibits several notable characteristics that collectively construct a unique, tranquil spatial experience.

The primary observation is the emphasis on “tranquillity and harmony”. As illustrated in Figure 13, almost all tea rooms aim to create a serene environment. Tranquillity and harmony are central to Zen philosophy and serve as the dominant elements in tea room design. This ambience is achieved through spatial layout, the use of lighting, and natural materials, further enhancing the overall design of the tea room.

Conversely, some tea rooms enhance the ambience through auditory elements and subtle fragrances. The inclusion of sounds such as flowing water, guqin music, birdsong, bell chimes, background music, and natural scents from plants and tea are skillfully integrated into the space. These sensory layers enrich the tranquil ambience and help guide users into a deep meditative state. Therefore, “richness of sensory experience” is also a characteristic of the Zen tea room ambience.

6. Discussion

This study reveals the multifaceted complexity of Zen aesthetic tea rooms, addressing aspects such as design definitions, spatial usage, and ambience creation. Understanding these aspects is influenced by historical, cultural, regional, and personal perceptions, making it crucial to analyse these elements and their interrelations for a comprehensive understanding of Zen aesthetic tea room design. Each design element in the tea room—whether spatial layout, light and shadow effects, or material usage—communicates the core principles of Zen. These design elements are closely related to users’ perceptions and experiences, contributing to the unique environment of Zen aesthetic tea rooms.

6.1. Context and Background

Examining the interior design of 21st-century Zen aesthetic tea rooms within the same framework reveals recurring themes reflected in cultural, functional, technical, and psychological aspects of the design. These themes prompt us to consider why such design approaches are employed. As shown in Figure 14, when visual effects align with theoretical principles, the cultural, functional, and technical aspects of tea room design become evident. Furthermore, interactions between these foundational elements produce meaning, expression, and visual experience. The natural harmony in design becomes central to all these concepts, further supporting the primary objectives of this research.

6.1.1. Culture and Identity

The emergence of “Zhao Zhou Zen Tea” has transformed the representation of Zen, making “Chinese Zen” more accessible, down-to-earth, and informal. This shift likely contributes to the enduring popularity of “Chinese Zen” over the millennia. The phrase “Chi Cha Qu” embodies Zen wisdom, symbolising the communal appreciation of tea and representing a more relatable, everyday practice of Zen.

Consequently, Hebei’s Zen tea culture enriches the deeper significance of Chinese tea culture. Hebei’s Zen tea culture has become a driving force behind the thriving tea room industry, with many establishments incorporating Zen cultural elements [16]. Often, traditional motifs are modernised to express respect for local heritage. This practice not only enriches the cultural content of tea rooms but also imparts distinct identities, allowing each space to showcase its unique regional characteristics and Zen philosophies.

As Kakuzu [72] has noted, Zen aesthetics emphasise the expression of “emptiness and nature,” a principle clearly manifested in tea room design. These spaces typically utilise natural materials, soft hues, and simple lines to convey the harmonious beauty of Zen aesthetics, providing users with a tranquil and peaceful atmosphere.

6.1.2. Technology

In the design of Zen aesthetic tea rooms, technology is employed in a relatively understated and precise manner, primarily focusing on enhancing the user experience rather than showcasing technological prowess [28]. Zen tea rooms typically avoid the use of complex digital devices and dynamic decorations to maintain a sense of simplicity and naturalness in the space. As noted by Yuan and Zhou [58], technological applications in Zen tea rooms are often intended to serve the overall atmosphere of the space rather than merely displaying technology.

In terms of technological implementation, tea room design relies more on traditional craftsmanship and natural materials. For example, lighting systems usually employ warm light to gently illuminate the tea room, rather than using glaring or intricate fixtures. Sound systems might be integrated into the design, but their purpose is to create a subtle background noise that enhances the serene atmosphere of the tea room without drawing undue attention [73].

The use of technology in Zen tea rooms is characterised by “pragmatism”, meaning that technological methods support the overall design concept of the tea room rather than introducing avant-garde innovations. This approach allows the tea room to retain its traditional and cultural uniqueness while meeting modern demands for comfort and functionality [74].

6.1.3. Functionality

In Zen aesthetic tea room design, the concept of functional decoration takes on a new dimension. Traditionally, decoration has been seen primarily as an aesthetic enhancement of the space. However, as design concepts have evolved, the decorative elements in Zen tea rooms not only serve aesthetic purposes but also integrate into the overall functionality of the space. Scholars such as Mitton and Nystuen [75] have explored the role of decoration in enhancing the practicality and user experience of a space.

In Zen tea rooms, the functionality of decorative elements is particularly evident. The layout and decoration of the tea room are designed not only with aesthetic considerations in mind but also with an emphasis on practicality. For instance, seating in the tea room reflects the minimalist Zen style while ensuring user comfort. Decorative items like screens and hanging scrolls serve not only as visual elements but also play crucial roles in spatial partitioning, privacy protection, and atmospheric enhancement [76]. Additionally, natural materials and traditional crafts used in the tea room, such as bamboo and wood, embody Zen aesthetics while fulfilling functional needs, thereby enhancing the overall harmony of the space.

Research indicates that the decorative design in Zen tea rooms represents an organic combination of functionality and aesthetics, reflecting the holistic and integrated use of the space. This design approach not only improves the functionality of the space but also enhances the user’s immersive experience and spiritual engagement, making the tea room a place of both aesthetic and practical value [56].

6.1.4. Visual Effects

In the design of Zen aesthetic tea rooms, visual effects are one of the core elements for creating the spatial atmosphere. Binger’s [77] theory of “visual perception” provides a valuable perspective for understanding the role of Zen aesthetic elements in spatial design. Zen tea rooms achieve a minimalist yet profound aesthetic experience through visual effects, with decorative elements typically presented in simple forms and natural materials to reinforce the sense of tranquillity and harmony in the space [61].

This freedom in visual effects allows Zen tea rooms to maintain their unique style amidst various modern design concepts. By carefully designing the visual effects of the space, the tea room not only achieves aesthetic unity but also enhances the user’s psychological enjoyment and spatial experience [23].

6.1.5. Psychological Aspect

The design of Zen aesthetic tea rooms not only focuses on visual and functional aspects but also aims to influence users’ experiences through psychological engagement. All design elements are intended to create a serene atmosphere that evokes a deep emotional connection with the tea room space. Venturi [78] describes the concept of the “storyteller”, which closely relates to the cultural narrative conveyed through the design of the tea room.

In Zen tea rooms, elements such as exquisite tea sets, traditional hanging scrolls, and natural materials are used to create an environment conducive to relaxation and contemplation. These decorations not only communicate the core principles of Zen but also stimulate users’ internal emotions and spiritual calm. For instance, the natural lighting, quiet environment, and intricate decorations of the tea room collectively foster a sense of peace [61].

Research indicates that this emotionally driven design strategy effectively enhances users’ psychological experiences, providing them with psychological satisfaction and emotional resonance. Design serves not only as a visual presentation but also as a bridge for psychological communication, fostering a profound emotional connection between users and the space [53].

6.2. Conceptual Theme

As illustrated in Figure 3 and through case studies, natural harmony emerges as the predominant conceptual theme in Zen aesthetic tea rooms. This design philosophy emphasises a profound integration of humans with nature by creating environments that evoke tranquillity and inner harmony, allowing patrons to escape from the stresses of daily life. Natural harmony in tea room design transcends mere aesthetic expression, reflecting cultural and philosophical values. It highlights a return to nature and the pursuit of mental purification and serenity, making the tea room a space for meditation and reflection, thereby establishing an emotional connection with its users.

Observations indicate that Zen aesthetic tea rooms in Hebei Province achieve the concept of natural harmony through carefully selected design elements. Firstly, the layout often adheres to principles of openness and flow, with spaces lacking distinct boundaries. This design aims to blur the lines between interior and exterior, allowing natural light, air, and scenery to freely permeate, thus creating an atmosphere of seamless integration with nature.

The choice of colours tends to favour soft, nature-coordinated hues such as wood tones, light greys, and beige. These colours not only alleviate visual stress but also create a comfortable and serene environment. Compared to vibrant colours, these natural tones are more likely to evoke a sense of inner calm, providing patrons with a unique sense of tranquillity within the tea room.

Lighting and shadow effects play a crucial role in Zen aesthetic tea rooms. Designers combine natural light with gentle artificial illumination to create a rich spatial depth through variations in light and shadow. This interplay not only enhances the spatial dimension but also guides patrons’ attention, immersing them in a Zen-like environment.

Furniture design tends towards simplicity and functionality, typically featuring low seating and minimalist tea tables in line with Zen aesthetic standards of understated natural beauty. Natural wood is often used, showcasing the material’s texture and infusing the space with a sense of the natural world. In terms of materials, tea rooms frequently employ natural substances such as wood, stone, and bamboo, which emphasise ecological friendliness and enhance the space’s rustic charm.

Creating an ambiance is the core element of Zen aesthetic tea room design. Through the skilful integration of these design elements, every detail within the tea room is imbued with Zen qualities. The spatial design conveys a sense of serene emptiness, enabling patrons to relax, reflect, and experience a transcendent spiritual realm. This ambiance represents not only a presentation of natural beauty but also a pursuit of inner tranquillity.

7. Conclusions

This study systematically examines the application of Zen aesthetics in contemporary tea room design in Hebei Province, focusing on the successful fusion of Zen philosophy with modern design approaches. The findings reveal that the design principles of Zen aesthetic tea room are closely aligned with traditional Zen concepts such as simplicity, natural harmony, and tranquillity, while also reflecting contemporary trends in interior design. Through specific case studies, we demonstrate that Zen aesthetics effectively address various economic and social challenges faced by commercial spaces in the region. For instance, tea room design according to Zen principles not only create a serene atmosphere but also attract customers seeking cultural and spiritual experiences. This dual functionality highlights the relevance of Zen aesthetics in today’s fast-paced society, where consumers increasingly value spaces that promote relaxation and mindfulness.

Furthermore, the global recognition of Zen aesthetics, particularly in the 21st century, underscores its importance in architecture and interior design. Despite the forces of globalisation, our analysis shows that expressing and preserving cultural heritage through Zen aesthetics remains crucial. In Hebei Province, this aesthetic approach serves as a cultural manifestation, transcending time and space, embodying tranquillity and beauty. We found that the use of natural materials, minimalist design, and carefully arranged spaces in these tea rooms enhances the overall user experience, creating a warm and harmonious environment. These elements not only adhere to the fundamental principles of Zen but also reflect broader contemporary design trends that prioritise emotional engagement and well-being.

In conclusion, Zen aesthetics serve as both a distinctive design language and a form of emotional expression. For customers, these spaces offer a path to spiritual purification and tranquillity, while for designers, they represent an innovative way to engage with users. Ultimately, the study confirms that Zen aesthetics, by fostering tranquillity and harmony, enrich the spiritual essence of these spaces while contributing to the evolving narrative of contemporary design, significantly enhancing the overall tea rooms experience.