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Examples of Wabi [minimalism] Taste Black Raku teabowl from the hand of Jokei, early 17th c. Named “Hinso” [poor priest] by Sen Sotan. Later given the alternative name “Asagarasu” [crow in morning] by Sotan’s son, Sen Senso. Shigaraki fresh water container in the shape of a bucket, 17th c. In the Sotan Shigaraki style, with Sotan’s signature. Exterior view of Yuin tearoom [Urasenke Konnichian], early 17th c. Built for Sen Sotan in the taste of Rikyu. Interior view of Yuin tearoom, showing classic features of wabi tea environment. Asian Art Museum Education Department
Sowa was highly regarded as connoisseur, designer of tea environments, and maker of tea utensils. The bamboo vases he made were especially popular in aristocratic circles. His authority is attested to by the repeated requests from his contemporaries for evaluation and authentication of tea utensils. However, it is through the overglaze enamel ceramic ware of Nonomura Ninsei (?–1694), that Sowa is best known to posterity. The gorgeous and elegant designs that Ninsei produced at the Omuro kiln, near Ninnaji Temple on western outskirts of Kyoto, are imbued with the classical aesthetics of the Heian court: an appreciation for elegance, surface decoration, pattern, and idealization of image. The size of many tea utensils made at this time tends to be smaller than those from the Muromachi period. The popularity of Enshu’s Korean Gohon teabowls influenced the shape of Ninsei’s own in the indeterminate line of the torso as it rises from foot to lip. Yet Ninsei rendered the shape with a subtler, more sensuous line. Under Sowa’s direction, Ninsei participated in the custom of re-creating famous tea utensils from Korea, Holland, Shigaraki, Seto, and Bizen. From mid to late Edo, daimyo, aristocrat and commoner tea traditions freely adopted and commingled the four dominant aesthetics described above, but without establishing what could be called a new or distinctive tea taste. Daimyo not infrequently set up personal kilns in their castle towns to create ware exclusively for their own use or distribution as gifts. The Koto Yaki kiln operated under the guidance of Ii Naosuke (1815–1860) in Hikone is one well known example. Urban dwellers loved good parody, which with the regular circulation of daimyo between Edo and their fiefs, soon made its way to all parts of Japan. Each of the tea aesthetics had the potential to be taken to a degree where it is unclear whether emulation or parody was intended. Matsudaira Fumai (1751–1818) greatly loved the wabi style, even while he set out to collect all the greatest tea objects from Ashikaga through Enshu, the majority of which evinced an elite style. The overly exaggerated thatched roof of Fumai’s tearoom in Matsue, if not parody, is difficult to accept as simple overstatement of an affinity with wabi tea. Yet the simplicity of the interior view seems to affirm that all tea aesthetics were alive and well in the Edo Period. Asian Art Museum Education Department
Page 1 and 2: The Arts of Edo Japan A Teacher Wor
Page 3 and 4: A R Map of Japan Amur Q CHINA Khaba
Page 5 and 6: Consonants are generally pronounced
Page 7 and 8: Generalization: During the Edo peri
Page 9 and 10: Historical Background Japan’s Edo
Page 11 and 12: tation of foreign books was lifted
Page 13 and 14: Artists and Patrons “Since the la
Page 15 and 16: Aesthetic Trends in Chanoyu (Japane
Page 17 and 18: assumed central importance. A reali
Page 19 and 20: The Edo Period (1615-1868) Tea cont
Page 21 and 22: most innovative aspect of Oribe’s
Page 23: from serving the powerful he was ne
Page 27 and 28: Slide Descriptions Notes to the sli
Page 29 and 30: What is this painting about? This p
Page 31 and 32: painter in the Shogun’s court in
Page 33 and 34: Slide 6 Yuin Teahouse, Kyoto Origin
Page 35 and 36: Slide 7 Gohon Tachizuru-style Hagi
Page 37 and 38: Slide 8 Nonumura Ninsei (died 1695)
Page 39 and 40: Slide 9 left Artist unknown Tale of
Page 41 and 42: Dew-drenched purple trousers: I gri
Page 43 and 44: Slide 10 left right Yamamoto Soken
Page 45 and 46: “Flowers of Birds of the Twelve M
Page 47 and 48: Slide 11 Ike Gyokuran (1727 or 28-1
Page 49 and 50: Slide 12 detail Aoki Shukuya (died
Page 51 and 52: “A Grand View of Yueyang Tower”
Page 53 and 54: Slide 13 Left Noro Kaiseki (1747-18
Page 55 and 56: Slide 14 Artist unknown Fireman’s
Page 57 and 58: Why was the mon so prominent and im
Page 59 and 60: cise strokes, stemmed from the tech
Page 61 and 62: were highly valued for their beauty
Page 63 and 64: shuttle cock with specially decorat
Page 65 and 66: What format is this? Hanging scroll
Page 67 and 68: often the phrases brushed upon the
Page 69 and 70: Slide 20 Signed Chikuhosai Katsura
Page 71 and 72: flowers were placed or hung in the
Page 73 and 74: Asian Art Museum Education Departme
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3) Wrap up discussion. Summarize th
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3) Cut two crease lines on either s
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Asian Art Museum Education Departme
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Student Handout 2 Readings on Educa
Page 87 and 88:
Student Handout 3 Formats of Japane
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Neo-Confucian: Rangaku: roji: Shint
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Bibliography Books/Exhibition Catal
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Travel Books Fodor’s Exploring Ja
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