Changes

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]], distancing from one another and creating a great split in the Sen school following the death of Rikyû's grandson [[Genpaku 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.

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 Oribe, Sekishû, 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> 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>

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>

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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