JAPANESE TEA CEREMONY

                            The importance of ceramics came from handed-down Chinese vessels. As the Chinese civilisation was considered as a source of culture by the Japanese, they valued their art. In the mid-sixteenth century, Sen nō Rikyu and other tea masters began introducing Korean ceramic vessels, which became just as valued. 

 

                              The Japanese started making unglazed stone ceramics as early as the Heian period before the tea ceremony or wabi/sabi concept was introduced.  The unglazed ceramics were intended to be practical vessels for farmers. When ceramics were first made, they were used for practicality and not to appreciate their craftsmanship or beauty. In the beginning, vessels were made by coiling bands of clay on top of one another instead of using a potter's wheel. This resulted in imperfect and asymmetrical earthenware. In the kiln, ash fell onto the clay and melted, which acted as a natural glaze. Most of the time the ceramics were imperfect and shaped naturally, but were still valued.

 

Two of the earliest ceramic-making kilns are called Shigaraki and Bizen. These kilns had been producing pottery as early as the Heian period. Both kilns use variations of clay found in their areas, which results in different qualities of pottery. Shigaraki ware is characterised by a fiery orange colour and bumpy surface, which is caused by feldspar (a mineral) in the clay. Bizen ware is distinguishable by its dark red-black colour.

 

Tea practitioners and masters found several qualities in some of the ceramic vessels artistic and shared those objects with others to increase their importance. During the early seventeenth century, the kilns improved. Once people began to appreciate pottery, the Shigaraki and Bizen kilns started making ceramic vessels with more care. Instead of letting the kiln shape them naturally, they used their knowledge about the kilns to create vessels meant for the tea ceremony. This was to encourage tea practitioners to buy their products.

 

The new interest in making ceramic utensils designed for the tea ceremony started three new forms of wares: Raku, Shino and Oribe. Raku ware is considered having high value in the tea community as they are all handmade. Producing Raku ware requires many years of studying pottery and extremely high skill. This type of ceramic is important to the tea ceremony as people believed handmade ceramics reflected the spirit of the creator. Although many tea masters create their own Raku ware, it is usually associated with Sen nō Rikyu’s family.

 

Shino and Oribe wares were introduced later than Raku ware, and were produced at kilns in the Mino province. Oribe ware was named after one of Sen nō Rikyu’s disciples, Furuta Oribe. This was because he was interested in conspicuously imperfect or flawed earthenware, and thus a new style of pottery was created. Most Oribe ware is glazed copper green or other bright colours and are shaped uniquely, making them easily recognizable.

 

Shino ware was also liked by Furuta Oribe. It is distinguishable by its milky white glaze. For the first time in Japanese pottery, Shino ware has pictures and designs on it. The designs were simple and about nature, connecting to the concept of wabi.

Nonomura Ninsei and Ogata Kenzan were the first potters to sign their work. Although they had different styles of making pottery, they influenced others greatly.

 

Ceramics are important in many ways, not only for the tea ceremony. Many ceramic vessels are passed down through families as treasured objects. Aesthetic tea utensils are passed from one tea master or practitioner to another. Without ceramics, the tea ceremony would not be what it is today.