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「日本の伝統芸術―茶の美とその心―」

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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.

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1 Analecta Nipponica

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「日本の伝統芸術―茶の美とその心―」