Changes

*''Japanese'': 茶道 ''(sadou, chadou)'', 茶湯 ''(chanoyu)''

*''Japanese'': 茶道 ''(sadou, chadou)'', 茶湯 ''(chanoyu)''

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]].

Tea culture, often referred to as "tea ceremony," is one of the most famous elements of Japanese traditional arts. Originally a relatively un-ritualized element of elite banquets, tea practice 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]].

Elite samurai patronage and practice of tea ceremony in the 15th-16th centuries was central to numerous developments in ceramics, architecture, and collecting practices in those periods.

Elite samurai patronage and practice of tea ceremony in the 15th-16th centuries was central to numerous developments in ceramics, architecture, and collecting practices in those periods.

==History==

==History==

===Muromachi===

===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.

Though tea was consumed by people of all classes, formal 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, a ritualized practice focusing on the preparation of the tea, and the tea utensils used, changing in accordance with the practitioner's refined sense of seasonal aesthetics and consideration of the hierarchical status of the guests. The tea prepared generally takes one of two forms: thin tea (''usucha''), which is less formal and involves less complex ritual; and thick tea (''koicha''). Tea gatherings (''chakai'') in the Edo period typically involved a ''[[kaiseki]]'' meal, a single shared bowl of thick tea, and individual bowls of thin tea for each of the guests, who usually did not number more than five.<ref>Morgan Pitelka, ''Spectacular Accumulation'', University of Hawaii Press (2016), 19.</ref>

Tea began to transform into a more subdued and refined art over the course of that period, however, a ritualized practice focusing on the preparation of the tea according to particular procedures known as ''temae'', and the tea utensils used, changing in accordance with the practitioner's refined sense of seasonal aesthetics and consideration of the hierarchical status of the guests. The tea prepared generally takes one of two forms: thin tea (''usucha''), which is less formal and involves less complex ritual; and thick tea (''koicha''). Tea gatherings (''chakai'') in the Edo period typically involved a ''[[kaiseki]]'' meal, a single shared bowl of thick tea, and individual bowls of thin tea for each of the guests, who usually did not number more than five.<ref>Morgan Pitelka, ''Spectacular Accumulation'', University of Hawaii Press (2016), 19.</ref>

The ritual of serving tea places strong emphasis on the roles of "host" and "guest," but even so, guests are required to be familiar with the specified movements and practices expected of them - including when and how deeply to bow, how to receive a bowl of tea, how to drink it, and so forth.

The ritual of serving tea places strong emphasis on the roles of "host" and "guest," but even so, guests are required to be familiar with the specified movements and practices expected of them - including when and how deeply to bow, how to receive a bowl of tea, how to drink it, and so forth.

As the ritual also involves the use and display of the host's treasured things - including both the tea implements themselves (bowls, bamboo tea scoops, ceramic tea caddies) and paintings hung in the tearoom - tea practices were centrally influential in architectural innovations such as 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 ''[[chigaidana]]'' (a stepped, asymmetrical shelf), standard elements of traditional Japanese architecture from that time forward.

As the ritual also involves the use and display of the host's treasured things - including both the tea implements themselves (bowls, bamboo tea scoops, ceramic tea caddies) and paintings hung in the tearoom - tea practices were centrally influential in architectural innovations such as the ''[[tokonoma]]'' (an alcove in which seasonally and thematically appropriate paintings and flowers are displayed, helping to set a tone for one's guest), ''[[chigaidana]]'' (a stepped, asymmetrical shelf), and built-in writing desks, standard elements of elite architecture from that time forward. Tea thus also connected closely into collecting practices, and many lords and other elites of the time (particularly the [[Ashikaga shogunate|Ashikaga shoguns]]) retained cultural advisors called ''dôbôshû'' to advise and manage their collections. Chinese objects (''karamono'') were particularly sought-after by shoguns and others at this time, and tea ceremonies offered an opportunity for elites to show off their ''[[tenmoku]]'' bowls, [[Mu Qi]] paintings, and the like, obtained largely from merchants and from Zen temples; these were powerful symbols of the owner's connections with significant individuals, elite institutions, and overseas networks. Once works amassed a famous provenance, having passed through the hands of prominent tea masters or warriors, they became increasingly powerful as symbols of the power and prestige of their owners.<ref>Pitelka, 20-21.</ref>

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.

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.

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.  Further, despite the aesthetic and ideological emphasis on simplicity, even the simplest, plainest, and even flawed or broken tea articles quickly came to be considered to be of great monetary value, either purely because of their aesthetic value, or because of their association with famous owners, users, or events. Many elites of the day, as well as many dedicated tea ceremony practitioners today, cherished showing off their famous or historically significant tea wares (''meibutsu''). 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.

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.  Further, despite the aesthetic and ideological emphasis on simplicity, even the simplest, plainest, and even flawed or broken tea articles quickly came to be considered to be of great monetary value, either purely because of their aesthetic value, or because of their association with famous owners, users, or events. Many elites of the day, as well as many dedicated tea ceremony practitioners today, cherished showing off their famous or historically significant tea wares (''meibutsu''). 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 Period===

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.

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]], distancing from one another and creating a great split in the Sen school following the death of Rikyû's grandson [[Sen Sotan|Genpaku Sôtan]] in [[1658]].<ref>Constantine Vaporis, "The Tea Ceremony: Chikamatsu Shigenori's ''Stories from a Tearoom Window''," in Vaporis (ed.), ''Voices of Early Modern Japan'', Westview Press (2012), 181.</ref> All three take after Sen no Rikyû's style, and claim some sort of descent (through disciples) from Rikyû himself. Meanwhile, other schools of tea, practicing a more ostentatious style known as ''daimyô cha'' (in contrast to the Sen schools' simpler, more restrained ''wabi-cha''), claimed descent from various prominent ''daimyô''; not nearly as prominent today, these include the [[Furuta Oribe|Oribe]], Sekishû, [[Enshu-ryu|Enshû]], Yabunouchi, and Horinouchi schools.

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> This coincided with a renewed popularity of Chinese ceramics and Chinese culture more broadly.<ref>Gallery labels, "The Hayakawa Lineage in Kansai," Metropolitan Museum.[https://www.flickr.com/photos/toranosuke/39939725742/sizes/h/]</ref>

===Meiji===

===Meiji Period===

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.

[[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.

[[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==

==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''.

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.

In the fullest forms of the tea ceremony, the host traditionally lays charcoal, serves a ''[[kaiseki]]'' meal, prepares a bowl of thick tea (''koicha'') which is shared by all the guests, and then a bowl of thin tea (''usucha'') for each guest. 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.

 

Tea events today, especially when organized as a demonstration, can be quite large, with guests serving more as a passive audience than as active participants. By contrast, in the early modern period it was far more typical for gatherings to involve around five guests, who were typically knowledgeable in the proper etiquette.

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==References==

==References==

*[[Eiko Ikegami]], ''Bonds of Civility'', Cambridge University Press (2005), 120-126.

*[[Eiko Ikegami]], ''Bonds of Civility'', Cambridge University Press (2005), 120-126.

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[[Category:Culture]]

[[Category:Culture]]