Difference between revisions of "Tea culture"
(Created page with "*''Japanese'': 茶道 ''(sadou, chadou)'' Tea ceremony is one of the most famous Japanese traditional arts. Originally a relatively un-ritualized element of elite banquets, i...") |
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===Muromachi=== | ===Muromachi=== | ||
| − | Emerging in the early Muromachi period, tea ceremony | + | Emerging in the early Muromachi period, tea ceremony grew out of 13th-14th century practices at [[Zen]] temples. It soon became one of a number of activities in which samurai, court nobles, and other elites engaged at elegant but raucous banquets. While many of the physical or choreographic elements of the tea ceremony were already present at this early stage, the act had little spiritual or deeply aesthetic component at this time. |
| − | + | Tea began to transform into a more subdued and refined art over the course of that period, however, influencing (and being influenced by) changes in the design or structure of the tearoom itself. These changes to the tearoom were profoundly influential in the history of Japanese architecture; in conjunction with certain other developments, they contributed to the development of the ''[[tokonoma]]'' (an alcove in which seasonally and thematically appropriate paintings and flowers are displayed, helping to set a tone for one's guest), and of features such as the ''[[chigaidana]]'' (a stepped, asymmetrical shelf). | |
| − | Tea was employed by many ''daimyô'' of the | + | Though [[Sen no Rikyu|Sen no Rikyû]], advisor to [[Toyotomi Hideyoshi]] in the late 16th century, is generally credited with (re)inventing the tea ceremony in the ''[[wabi]]-[[sabi]]'' form it has come to be most strongly associated with, ''wabi-cha'' had its start decades earlier, amongst the merchants of [[Sakai]]. Tea masters based in Sakai in the early 16th century, including [[Takeno Joo|Takeno Jôô]], [[Kamiya Sotan|Kamiya Sôtan]], [[Tsuda Sokyu|Tsuda Sôkyû]], and [[Imai Sokyu|Imai Sôkyû]], are credited with furthering the development of ''wabi-cha'', the practice of simple but aestheticized tea. Among the merchants of Sakai, tea was one of the chief modes of cultured socializing, and helped create a space of equality and safety (a sort of neutral zone, in a sense) for political discussions and mercantile negotiations. |
| + | |||
| + | In the late 16th century, Sen no Rikyû then led the way in further refining the ''wabi-cha'' tradition, and indeed many of his innovations remain central to the tradition today. | ||
| + | |||
| + | Tea then came to be employed by many ''daimyô'' of the Azuchi-Momoyama period, including [[Oda Nobunaga]] and most especially by [[Toyotomi Hideyoshi]], as a mark of refinement and cultivation. To that end, Hideyoshi held a [[Grand Kitano Tea Ceremony]] in [[1587]], and also built a tea room in which every surface, and every tea implement, was covered in [[gold foil]], showing off his wealth and power at the same time that he demonstrated his deep involvement in cultural pursuits. Though historian [[Eiko Ikegami]] emphasizes the tea arts as a space outside of status hierarchies and official controls, Hideyoshi sought to bring the world of tea ceremony under his control, declaring that any tea masters who did not attend his Grand Kitano Tea Ceremony would be banned from performing tea ceremony thereafter. | ||
| + | |||
| + | Even after the introduction of ''wabi-sabi'' aesthetics, which emphasizes the beauty and value of the plainest objects - including objects which are flawed or even cracked - the aesthetic appreciation of the implements used in the tea ceremony remained a prominent part of the experience. Many elites of the day, as well as many dedicated tea ceremony practitioners today, cherished showing off their famous or historically significant tea wares. For example, some teabowls and other tea implements which once belonged to Nobunaga or Hideyoshi, and which were associated with Sen no Rikyû, or with other masters such as [[Murata Shuko|Murata Shukô]], continued to be passed down through the generations, and are treasured items in private and museum collections today. | ||
===Edo=== | ===Edo=== | ||
| − | The [[Urasenke]] and [[Omotesenke]] schools of tea ceremony which, along with the [[Mushanokoji senke|Mushanokôji senke]], dominate the world of tea ceremony today, were founded in [[1646]]. | + | The [[Urasenke]] and [[Omotesenke]] schools of tea ceremony which, along with the [[Mushanokoji senke|Mushanokôji senke]], dominate the world of tea ceremony today, were founded in [[1646]]. All three take after Sen no Rikyû's style, and claim some sort of descent (through disciples) from Rikyû himself. |
In the 18th century, many Sinophile [[literati]] enjoyed a Chinese-style ''[[sencha]]'' tea ceremony, as promoted by [[Baisao|Baisaô]] among others.<ref>Gallery labels, "Itô Jakuchû and Baisaô - Chrysanthemums and Rock," LACMA, 30 Nov 2012.</ref> | In the 18th century, many Sinophile [[literati]] enjoyed a Chinese-style ''[[sencha]]'' tea ceremony, as promoted by [[Baisao|Baisaô]] among others.<ref>Gallery labels, "Itô Jakuchû and Baisaô - Chrysanthemums and Rock," LACMA, 30 Nov 2012.</ref> | ||
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The [[1872 Kyoto Exposition]] saw the introduction of ''ryûrei'', a form of tea ceremony performed seated in chairs around a table, thus making it both more accessible & attractive to Westerners, and more accommodating to the Westernized decor, furnishings, and lifestyle of Meiji Japan. | The [[1872 Kyoto Exposition]] saw the introduction of ''ryûrei'', a form of tea ceremony performed seated in chairs around a table, thus making it both more accessible & attractive to Westerners, and more accommodating to the Westernized decor, furnishings, and lifestyle of Meiji Japan. | ||
| − | ==Ceremony== | + | [[Okakura Kakuzo|Okakura Kakuzô's]] [[1906]] ''[[Book of Tea]]'' may be credited with being the first major means by which tea ceremony was introduced to the United States. |
| + | |||
| + | ==Teahouse and Ceremony== | ||
| + | In the style of teahouse and tea ceremony derived from Sen no Rikyû's tradition, the guest first enters via a small square entranceway called a ''nijiri guchi'', which requires the guest to stoop down, and kneel immediately upon entering. The inside of the teahouse, typically a fairly small space, is meant to be quite simple and plain in its aesthetic, in accordance with the ideals of ''wabi-sabi''. | ||
| + | |||
| + | It is said that drinking tea out of the same bowl enhances a sense of community or oneness with one's fellow guests. Ikegami emphasizes the role of tea ceremony, along with certain other arts, in creating an aesthetic social space cut off from the identities and status hierarchies of the outside world. Within the teahouse, all are equals. | ||
{{stub}} | {{stub}} | ||
==References== | ==References== | ||
| + | *[[Eiko Ikegami]], ''Bonds of Civility'', Cambridge University Press (2005), 120-121. | ||
<references/> | <references/> | ||
[[Category:Culture]] | [[Category:Culture]] | ||
Revision as of 23:06, 28 November 2014
- Japanese: 茶道 (sadou, chadou)
Tea ceremony is one of the most famous Japanese traditional arts. Originally a relatively un-ritualized element of elite banquets, it became formalized into an art in the late 16th century (the Azuchi-Momoyama period), and came to be promoted as a key part of Japanese traditional culture in the Meiji period.
History
Tea may have been first introduced to Japan in 805 by Saichô, who also introduced Tendai Buddhism. Tea only first gained popularity in China around one hundred years earlier.[1] Powdered tea, like that most typically used in tea ceremony, was then introduced alongside Rinzai Zen by Eisai, in 1191.[2] However, it was not until the Muromachi period that tea ceremony as a practice really has its origins.
Muromachi
Emerging in the early Muromachi period, tea ceremony grew out of 13th-14th century practices at Zen temples. It soon became one of a number of activities in which samurai, court nobles, and other elites engaged at elegant but raucous banquets. While many of the physical or choreographic elements of the tea ceremony were already present at this early stage, the act had little spiritual or deeply aesthetic component at this time.
Tea began to transform into a more subdued and refined art over the course of that period, however, influencing (and being influenced by) changes in the design or structure of the tearoom itself. These changes to the tearoom were profoundly influential in the history of Japanese architecture; in conjunction with certain other developments, they contributed to the development of the tokonoma (an alcove in which seasonally and thematically appropriate paintings and flowers are displayed, helping to set a tone for one's guest), and of features such as the chigaidana (a stepped, asymmetrical shelf).
Though Sen no Rikyû, advisor to Toyotomi Hideyoshi in the late 16th century, is generally credited with (re)inventing the tea ceremony in the wabi-sabi form it has come to be most strongly associated with, wabi-cha had its start decades earlier, amongst the merchants of Sakai. Tea masters based in Sakai in the early 16th century, including Takeno Jôô, Kamiya Sôtan, Tsuda Sôkyû, and Imai Sôkyû, are credited with furthering the development of wabi-cha, the practice of simple but aestheticized tea. Among the merchants of Sakai, tea was one of the chief modes of cultured socializing, and helped create a space of equality and safety (a sort of neutral zone, in a sense) for political discussions and mercantile negotiations.
In the late 16th century, Sen no Rikyû then led the way in further refining the wabi-cha tradition, and indeed many of his innovations remain central to the tradition today.
Tea then came to be employed by many daimyô of the Azuchi-Momoyama period, including Oda Nobunaga and most especially by Toyotomi Hideyoshi, as a mark of refinement and cultivation. To that end, Hideyoshi held a Grand Kitano Tea Ceremony in 1587, and also built a tea room in which every surface, and every tea implement, was covered in gold foil, showing off his wealth and power at the same time that he demonstrated his deep involvement in cultural pursuits. Though historian Eiko Ikegami emphasizes the tea arts as a space outside of status hierarchies and official controls, Hideyoshi sought to bring the world of tea ceremony under his control, declaring that any tea masters who did not attend his Grand Kitano Tea Ceremony would be banned from performing tea ceremony thereafter.
Even after the introduction of wabi-sabi aesthetics, which emphasizes the beauty and value of the plainest objects - including objects which are flawed or even cracked - the aesthetic appreciation of the implements used in the tea ceremony remained a prominent part of the experience. Many elites of the day, as well as many dedicated tea ceremony practitioners today, cherished showing off their famous or historically significant tea wares. For example, some teabowls and other tea implements which once belonged to Nobunaga or Hideyoshi, and which were associated with Sen no Rikyû, or with other masters such as Murata Shukô, continued to be passed down through the generations, and are treasured items in private and museum collections today.
Edo
The Urasenke and Omotesenke schools of tea ceremony which, along with the Mushanokôji senke, dominate the world of tea ceremony today, were founded in 1646. All three take after Sen no Rikyû's style, and claim some sort of descent (through disciples) from Rikyû himself.
In the 18th century, many Sinophile literati enjoyed a Chinese-style sencha tea ceremony, as promoted by Baisaô among others.[3]
Meiji
The 1872 Kyoto Exposition saw the introduction of ryûrei, a form of tea ceremony performed seated in chairs around a table, thus making it both more accessible & attractive to Westerners, and more accommodating to the Westernized decor, furnishings, and lifestyle of Meiji Japan.
Okakura Kakuzô's 1906 Book of Tea may be credited with being the first major means by which tea ceremony was introduced to the United States.
Teahouse and Ceremony
In the style of teahouse and tea ceremony derived from Sen no Rikyû's tradition, the guest first enters via a small square entranceway called a nijiri guchi, which requires the guest to stoop down, and kneel immediately upon entering. The inside of the teahouse, typically a fairly small space, is meant to be quite simple and plain in its aesthetic, in accordance with the ideals of wabi-sabi.
It is said that drinking tea out of the same bowl enhances a sense of community or oneness with one's fellow guests. Ikegami emphasizes the role of tea ceremony, along with certain other arts, in creating an aesthetic social space cut off from the identities and status hierarchies of the outside world. Within the teahouse, all are equals.
References
- Eiko Ikegami, Bonds of Civility, Cambridge University Press (2005), 120-121.
