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「日本の伝統芸術―茶の美とその心―」

100%

Iijima T.

Analecta Nipponica

2015

issue 5

11-20

The tea ceremony (chanoyu) is one of the representative Japanese traditional arts. It derives from tencha and tentō, meaning making tea as an offering. In the history of the tea ceremony, the efflorescence of the Way of Tea namely sadō, was led by Murata Jukō (1423–1502) who pursued the heart of tea. The Way of Tea he aimed at was nothing but the way that associates tea with the heart, in other words, shincha (tea of heart) and zencha (tea of Zen). Jukō preferred a calm and simple tea style rather than the showy tea-parties that were popular at the time, and carried out radical reforms. Later, Takeno Jōō (1502–1555) and Sen no Rikyū (1522–1591) inherited the way Jukō started. Jōō simplified the tea inherited from Jukō, and Rikyū furthered the change. Rikyū filtered out the space and preferred the smallest tearoom, a space that has only two tatami mats. Not only the tearoom but also the garden of a teahouse roji, utensils, manners and movements, especially the heart of tea were reconsidered and developed by Rikyū. He finally established the new style of tea called wabicha. More than 400 years after Rikyū’s death, tea people still believe that the aesthetics of yō no bi (the beauty of use), fukanzen no bi (the incomplete beauty) and kiyome (purification) are the immutable essences of the Way of Tea. Although we cannot describe everything about tea with only these three keywords, I shall focus on studying these three aesthetics in the four different fields given: the garden of a teahouse, the tearoom, the utensils, and making tea.

On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji

86%

Mach-Bryson U.

Analecta Nipponica

2015

issue 5

99-116

Amongst the multiple treatises and documents that a chanoyu history researcher has at their disposal, the Yamanoue Sōji ki (Record of Yamanoue Sōji) holds a special place. First of all, written over the period from 1586 to 1590, it is a document written within the timeframe of the life of Sen no Rikyū (1522–1591) – the very person to whom the accomplished form of wabicha – tea in the style of the “beauty of noble poverty”, is attributed. It is the first tea document written with at least an attempt to record the history of chanoyu. Mostly focused on lists of noteworthy utensils, it is also a tea treatise that in a detailed manner describes the tearooms of Takeno Jōō (1502–1555) and Rikyū, including drawings to illustrate the descriptions. The Record relates the teachings of Murata Shukō (1423–1502), Takeno Jōō and Rikyū. Sōji became Rikyū’s disciple in 1565 and studied with Rikyū for over twenty years, therefore the Record is a source concerning the style and essence of Rikyū’s tea based on first-hand information. The article describes the contents of the Yamanoue Sōji ki and includes a closer analysis of two out of many aspects of the world of tea mentioned: the status of a tea jar among the widely described must-know tea utensils, and Sōji’s categories of tea men. It is the author’s belief, that study of the Record can provide a fresh insight into the nature of tea in Rikyū’s times, and can turn out to be of invaluable help for today’s tea practitioners in finding their approach to the essence of tea.

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2 Analecta Nipponica

1 Iijima T.

1 Mach-Bryson U.

2 2015

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「日本の伝統芸術―茶の美とその心―」

On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji