1 9 t t e h a e

m w a a s y t e o As early as the 4th century, Chinese Taoists The further development of the tea ceremony If these fundamental principles are applied to r f were already using the leaves of the tea plant culminated in the 16th century, when it was the Taoist Buddhist doctrine, “wa” stands for t for the ceremonial preparation of beverages in taken over by the tea master Sen no Rikyu¯ the connectedness of mankind and all living e their search for immortality. In the year 801, a (1521 -1591) in the so-called Way of Tea things in Buddhism, “kei” stands for the self- a Japanese monk brought tea seeds from China, (chado¯ ). control to respect all beings, “sei” represents which were then sown south of Kyoto. From The main objective of this Way is to carry the inner purity required to dive from the the year 1191, Eisai the monk, who passed on out the ceremony in a quiet atmosphere as transient world into the world of tea, and “jaku” the refined tea-making traditions of the Sung a type of contemplative art, surrounded by a the solitary detachment, the immersion into farm, was responsible for spreading throughout reduction to elegant simplicity. nothingness as the dissolution of space and Japan the idea of refining the tea-making Embedded in this idea is the goal of trans- time. process by pulverizing the tea leaves. Initially, forming life into a work of art through the tea-drinking on farms and by the samurai philosophy of pared-down aesthetics. Zen Buddhism provides tea masters with a was for the purposes of entertainment. In framework within which they can unfold the monasteries, thanks to its energising effect, For Sen no Rikyu¯ , the Way of Tea is based on Way of Tea and the associated aesthetics green tea was used to stimulate the circulation the four basic principles of: of imperfection and simplicity. By “entering” t during sustained meditation. a tea room according to Sen no Rikyu¯ 's e „wa”- harmony a requirements, each guest must move through While in more elevated social circles tea was the small opening which provides the only Harmony is not only reflected in the design of t initially served in tea rooms, over time its h the teahouse and tea garden, but also in the e access. Regardless of social standing, o preparation and serving became increasingly a everyone must subordinate themselves to the co-ordination of the tea-making implements, u ritualised and moved to smaller spaces. tea room. "Everyone who enters must bend the attunement to the seasons, and last but s r This later gave rise to the detached teahouse, e their head, as if looking at their feet, and push not least the relationship between guest and o which usually formed part of the garden. the door aside. Just as all must leave their host. o m mother's body, at the moment of entering the „kei” - reverence, respect tea room, all must return to their true nature, Respect and consideration determine both the like a new-born baby.” (Rikyu¯ ) behaviour of the participants in a tea ceremony towards each other, and their interaction with the tea-making implements and the environment.

„sei”- purity Both the actual physical cleanliness and order t of the teahouse and tea garden, as well as the h symbolic cleansing of the guests and host, e are intended to strengthen mindfulness and clean the participants’ hearts of the “dust of a t everyday life”. r e t a „jaku“ - silence o The outer silence of the teahouse goes hand-in- g f hand with the participants’ inner contemplation. a r In this atmosphere, the worries of everyday life t d e fall away, and a mood of peace and serenity e a unfolds. n 9 11 p t u e r a Ri ef ii p n c r i e ag p ut a ni og r Despite the austerity and formality, the tea The tea is now served to the guests. The bowl a n master gives the guests enough space to is always turned before being given to a guest. t i amuse themselves, and devote themselves There are many variations of the ritual for o to the details of the teahouse in silence and turning the tea bowl. In the Urasenke school n meditation. The charcoal ceremony precedes of tea-making, as a form of homage the host the actual tea ceremony. Water in a cast- offers the bowl to the guest with the most iron kettle is heated over a hearth. Pieces of beautiful side of the bowl facing the guest. The metal placed in the kettle add an acoustic guest then turns the bowl a little so as not to element to the process. At the same time, touch the most beautiful side of the bowl with incense is burned. The incense is taken from their mouth. This shows the guests’ deference lacquer boxes and placed in special metal or to their host, and their respect for the tea ceramic incense containers. At the beginning bowl. Finally, the bowl is cleaned and filled with of the actual tea ceremony, the tea bowl and a thinner tea, which in turn is served to the the caddy containing the powdered tea are guests. The host or tea master does not drink removed from their respective wooden box tea, merely prepares it. After drinking their tea, and cloth bag. The tea bowl is rinsed with guests talk amongst themselves in a relaxed hot water and dried with a cloth. Guests are mood before leaving the room. served sweets to enhance the flavour of the powdered tea.

With a small teascoop, usually made of bamboo, the tea master takes some tea powder from the ceramic caddy and places it into the tea bowl. Water is taken from the kettle using a bamboo ladle and poured over the tea powder. A small bamboo whisk is used to whisk the tea until foam is formed in the middle of the bowl.

c e r e m o n y

Zusammenstellung 07 01 2009_A_print.indd Abs1:9 08.01.2009 0:04:30 Uhr 19 21

Tt G g ee r e r a ü s ne c ee hb rn ao lw T t el e ee T t a e e e a b e w s h e n i s k Wood In the Japanese tradition, art objects were, “hako” = box, container, emerges the term 25 Holz In der japanischen Tradition wurden und wer- Schachtel, Behältnis entsteht der Begriff 21 denand Kunstobjekte still are, kept in speziellin wooden dafür containersangefertig- made„tomobako “tomobako“. Als Material”. The für tomobakomaterial mostwird commonly tenespecially Holzbehältern for them. aufbewahrt. The containers Diese Behälter are oftenam häufigstenused Kiri-Holzfor tomobako verwendet, is kiri das wood, bei also known habenas valuable, oft einen both ebenso spiritually hohen ideellen and financially, und unsas auchas als Paulownia, Paulownie, Löwenmäulchen- princess tree, foxglove tree or nichtthe objects zuletzt auch stored finanziellen within; Stellenwertthey accompany wie baum, Blauglockenbaumempress tree. Theoder woodKaiserbaum is light yet strong. As dasthe darinart object aufbewahrte and should Objekt, notsie begleitenbe separated bekannt theist. Dasupper Holz half weist of einethe geringetrunk is Dich- knot-free, it can The wooden container den Kunstgegenstand und sollten auch nicht te und eine hohe Festigkeit auf. Da der Stamm from it. This togetherness is also expressed be utilised very effectively. Kiri trees can reach von ihm getrennt werden. Diese Zusammen- über die Hälfte der Baumhöhe astfrei ist, kann Der Holzbehälter[tomobako] gehörigkeitin the Japanese drückt sichname auch for in the der containers:japani- er sehr effektivheights verwertet of up towerden. 20 m, Ein with Baum trunk diameters of schenfrom theBezeichnung terms “tomo dieser” Behälter= to accompany aus: aus andkann eineapprox. Höhe von 60 bis cm. zu 20 m und einen [tomobako] den Begriffen „tomo“ = begleiten und „hako“ = Brustdurchmesser von ca. 60 cm erreichen.

Zusammenstellung 07 01 2009_A_print.indd Abs1:20 08.01.2009 0:04:50 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:21 08.01.2009 0:04:51 Uhr 23

23 Wood [tomobako] 27

Zusammenstellung 07 01 2009_A_print.indd Abs1:23 08.01.2009 0:04:54 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:23 08.01.2009 0:04:54 Uhr Wood [tomobako] 29 25

Originally found in Central China, this tree image fits perfectly into the requirements of was introduced to Europe by Philipp Franz the tea ceremony, in which each object should von Siebold in 1840. He named it after Anna be reduced to its most aesthetic minimum, Paulowna, the daughter of Tsar Paul I, who without additional or exaggerated decoration. married into the Dutch royal family. In addition, the smooth wood offers a surface which is particularly suitable for ink inscriptions. In Japan, a kiri tree was traditionally planted Tomobako containing significant items are when a daughter was born. When the daughter inscribed and/or signed by the artist himself, eventually married, the wood from the tree or by an authorised person. These inscriptions would be used to make a kimono cabinet. In serve both as a guarantee for the authenticity addition to its use in many types of furniture, of the piece, and to provide a date. If there are kiri wood is also used to make stringed important inscriptions on the outside of the lid, instruments. these are sometimes covered with a piece of paper to protect the calligraphy before securing Another purpose which should not be the tomobako with a ribbon. underestimated is the use of kiri wood tomobako to store art objects. Due to the high-density construction of wooden houses, fire was a constant threat to valuable objects. Thanks to the low density of kiri wood, tomobako containers very quickly became saturated with the water used to fight fires, thus offering temporary protection to the items inside. For this reason, particularly valuable objects were often stored inside two or more wooden containers.

Due to the wood’s superior strength, the surfaces of the tomobako can be planed very smooth. The resultant surface feels silky- smooth, and displays a simple elegance. This

Zusammenstellung 07 01 2009_A_print.indd Abs1:25 08.01.2009 0:04:55 Uhr Wood [tomobako] 31 Holz [tomobako] 27

Zusammenstellung 07 01 2009_A_print.indd Abs1:26 08.01.2009 0:05:19 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:27 08.01.2009 0:05:21 Uhr Wood [tomobako] 33 Holz [tomobako] 29

Zusammenstellung 07 01 2009_A_print.indd Abs1:28 08.01.2009 0:05:24 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:29 08.01.2009 0:05:28 Uhr Wood [tomobako] 41 Holz [tomobako] 37

Zusammenstellung 07 01 2009_A_print.indd Abs1:36 08.01.2009 0:05:35 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:37 08.01.2009 0:05:40 Uhr Wood [tomobako] 43 Holz [tomobako] 39

Zusammenstellung 07 01 2009_A_print.indd Abs1:38 08.01.2009 0:05:43 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:39 08.01.2009 0:06:26 Uhr Textiles [shifuku] 49 Textilien [shifuku] 45

Zusammenstellung 07 01 2009_A_print.indd Abs1:44 08.01.2009 0:07:01 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:45 08.01.2009 0:07:05 Uhr Textiles [shifuku] 53 Textilien [shifuku] 49

The approximately 400 meibutsu-gire are for shifuku and gave them a very personal divided into sub-groups, of which the three note. As the ceramics generally did not have most commonlyEs foundgibt unterschiedliche are: gold brocade Untergruppen derany ca. graphicerleichterte decorations, und diesen objects eine sehr could private be Note (kinran) made from400 meibutsu-gire gold-covered, von thread denen ordrei gilt am häu-personalisedverlieh. forDa diethe Keramiken recipient größtenteils by adding keine shifuku paper strips, satinfigsten (donsu vorzufinden), and sind: striped Goldbrokat silk (kinranwith) familygrafischen crests, Dekore especially trugen, inkonnten the case vor allemof or cotton (kantoaus). TheGoldfäden introduction oder vergoldeten of kanto Papierstrei- in gifts. bei Geschenken die Objekte durch shifuku mit fen, Satin (donsu) und Streifenmuster aus Familienwappen auf die Empfänger personali- the 16th century opened up a new world of Seide oder Baumwolle (kanto). Die Einführung siert werden. diversity in tea derceremony kanto im textiles,16. Jahrhundert which eröffnete has eineShifuku are closed by making a knot in the continued up toneue the Vielfalt present in den day. Textilien For example, der Teezeremonie, folded Diecloth, shifuku or sometimes werden mit einem with aKnoten cord imknotted um- in order to referdie to sich family bis in traditions, die heutige shifuku Zeit fortgesetzt hat.into an geschlagenenelaborate flower Tuch odershape. zum To Teil make aufwendigen the were sometimesUm made beispielsweise from obi auf, kimono Familientraditionen belts. knots,hin- blumenförmigenspecial silk cords Knoten are in used. einer umlaufendenThe cords These textiles werezuweisen, usually wurden decorated shifuku gelegentlich with auchhave toKordel be very verschlossen. tightly woven Für diese so that Knoten they sind hold aus obi hergestellt, den Gürteln der Kimono. spezielle Seidenkordeln notwendig, die sehr smaller motifs than the large surface area of the the shape of the knot. Diese Textilien waren meist mit kleineren Mo- eng gefertigt sind und dadurch die Form gut kimono, whichtiven facilitated dekoriert the als adoption die großflächigen of motifs Kimono, halten. was die Übernahme der Motive für shifuku

Zusammenstellung 07 01 2009_A_print.indd Abs1:48 08.01.2009 0:07:14 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:49 08.01.2009 0:07:17 Uhr Textiles [shifuku] 55 Textilien [shifuku]

Zusammenstellung 07 01 2009_A_print.indd Abs1:50 08.01.2009 0:07:23 Uhr Textiles [shifuku] 63 Textilien [shifuku] 59

Zusammenstellung 07 01 2009_A_print.indd Abs1:58 08.01.2009 0:07:26 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:59 08.01.2009 0:07:31 Uhr Textiles [shifuku] 65 Textiles [shifuku] 67 Textilien [shifuku] 63

Zusammenstellung 07 01 2009_A_print.indd Abs1:62 08.01.2009 0:07:40 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:63 08.01.2009 0:07:42 Uhr Textiles [shifuku] 69 Textilien [shifuku] 65

Zusammenstellung 07 01 2009_A_print.indd Abs1:64 08.01.2009 0:07:45 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:65 08.01.2009 0:07:47 Uhr Textiles [shifuku] 71 Textilien [shifuku] 67

Zusammenstellung 07 01 2009_A_print.indd Abs1:66 08.01.2009 0:07:51 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:67 08.01.2009 0:07:55 Uhr Textiles [shifuku] 79 Textilien [shifuku] 75

Zusammenstellung 07 01 2009_A_print.indd Abs1:74 08.01.2009 0:07:59 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:75 08.01.2009 0:08:02 Uhr Ceramics When tea was introduced to Japan, the One of the most famous pottery dynasties, also 89 Teekeramik Mit der Einfuhr des Tees in Japan wurden für Japan verbreiteten. Eine der auch im Westen 85 dessensmall ceramicAufbewahrung caddies auch used kleine for Behälter its storage bekanntesten in the Töpferdynastien West, was founded wurde 1586 in 1585in in Kyoto: auswere Keramik also adopted.übernommen. From Ab thedem 14th 14. Jahr- century,Kyoto begründet,the Raku die school. Raku-Schule. It has Sie retained behielt its individual hundertworkshops wurden in dannJapan, in Japan above die all Teebehäl- in Seto, beganihren eigenwilligenstyle for Stilcountless über Generationen generations, bis right up to ter,producing chaire, in theireigenen own Werkstätten tea caddies produziert, or chaire .in die heutigethe presentZeit. Ihre day,Arbeiten and entsprechen for many connoisseurs vorwiegendSeto maintained in Seto. itsBis primaryzu Beginn position des 17. in thefür viele Kennerits works am meistencorrespond den Idealen to the der ideals of the tea Tea caddy Jahrhunderts behielt Seto seine vorrangige Teezeremonie. Nach der Öffnung Japans field of tea ceramics, based strongly on ceremony. After the opening of Japan to the Stellung bei der Teekeramik, die sich stark an flachte das Interesse an Keramiken vorerst Der Teebehälter[chaire] denChinese chinesischen designs, Vorbildern until the orientierte. beginning Mehr of theab, wurdeWest, dann aberinterest wiederbelebt in ceramics und hat waned bis slightly before und17th mehr century. entwickelten After this,sich danacha growing eigen- numberheute seinenreviving. hohen ItStellenwert has since in maintainedder japani- an exalted [chaire] willigeof individual Stile und styles Schulen, and die schools sich über established ganz schen Kunstposition gehalten. in Japanese art to the present day. themselves and spread throughout Japan.

Zusammenstellung 07 01 2009_A_print.indd Abs1:84 08.01.2009 0:08:18 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:85 08.01.2009 0:08:20 Uhr Teekeramik [chaire] 87 Ceramics [chaire] 91

Old rice pot Satsuma, South-Kyushu China, 12/13th century early 19th century Lid added in the 18th century Satsuma, Süd Kyushu Ehemaliges Reisgefäß Frühes 19. Jahrhundert China, 12./13. Jahrhundert Deckel im 18. Jh. zugefügt

Zusammenstellung 07 01 2009_A_print.indd Abs1:86 08.01.2009 0:08:21 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:87 08.01.2009 0:08:24 Uhr Teekeramik [chaire] 89 Ceramics [chaire] 93

Kuro Raku Aka Raku Tannyu¯ (1794 - 1850) attributed to Ichinyu (1640 - 1696) 10th generation 4th generation Kuro Raku Aka Raku Tannyu¯ (1794 - 1850) Ichinyu¯ (1640 - 1696) zug. 10. Generation 4. Generation

Zusammenstellung 07 01 2009_A_print.indd Abs1:88 08.01.2009 0:08:27 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:89 08.01.2009 0:08:31 Uhr Teekeramik [chaire] 99 Ceramics [chaire] 103

Kyoto ware Seto ware Aoki Mokubei 19th century (1766 - 1833) Seto-Ware Kyoto-Ware 19. Jahrhundert Aoki Mokubei (1766 - 1833)

Zusammenstellung 07 01 2009_A_print.indd Abs1:98 08.01.2009 0:08:41 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:99 08.01.2009 0:08:43 Uhr Ceramics [chaire] 105 Ceramics [chaire] 107 Teekeramik [chaire] 103

Zusammenstellung 07 01 2009_A_print.indd Abs1:102 08.01.2009 0:08:48 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:103 08.01.2009 0:09:02 Uhr Teekeramik [chaire] 109 Ceramics [chaire] 113

Seto ware Kuro Raku Ninsei style Ichinyu¯ (1640 - 1696) 18th century 4th generation Seto-Ware Kuro Raku Ninsei-Typus Ichinyu¯ (1640 - 1696) 18. Jahrhundert 4. Generation

Zusammenstellung 07 01 2009_A_print.indd Abs1:108 08.01.2009 0:09:25 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:109 08.01.2009 0:09:26 Uhr Teekeramik [chaire] 111 Ceramics [chaire] 115

Shigaraki ware Shigaraki-ware 19th century 18th century Shigaraki-Ware Shigaraki-Ware 19. Jahrhundert 18. Jahrhundert

Zusammenstellung 07 01 2009_A_print.indd Abs1:110 08.01.2009 0:09:28 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:111 08.01.2009 0:09:32 Uhr Teekeramik [chaire] 119 Ceramics [chaire] 123

Seto-Owari ware Seto-Oribe ware attributed Hanshichi 18th century 17th century Seto-Oribe-Ware Seto-Owari-Ware 18. Jahrhundert Hanshichi zugeschrieben 17. Jahrhundert

Zusammenstellung 07 01 2009_A_print.indd Abs1:118 08.01.2009 0:09:48 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:119 08.01.2009 0:09:49 Uhr Teekeramik [chaire] 127 Ceramics [chaire] 131

Satsuma, Chosa ware Shino ware 17/18th century signature: Ameyu used as a brazier 18th century Satsuma, Chosa-Ware Shino-Ware 17./18. Jahrhundert Signatur: Ameyu ehem. Räucherbehälter 18. Jahrhundert

Zusammenstellung 07 01 2009_A_print.indd Abs1:126 08.01.2009 0:09:52 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:127 08.01.2009 0:09:56 Uhr Ceramics [chaire] 135 Teekeramik [chaire] 131

Zusammenstellung 07 01 2009_A_print.indd Abs1:130 08.01.2009 0:10:03 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:131 08.01.2009 0:10:25 Uhr Ivory Ivory is only rarely used in tea ceremony discs to make the lids. This included pieces 159 Elfenbein Elfenbein ist bei der Teezeremonie an wenigen aus Mangel am noch raren und kostbaren 155 Objektenutensils. vorzufinden. Teascoops Teelöffel were rarelysind selten made fromMaterial ausof ivoryElfenbeinabfall not suitable gefertigt for wurden.turning into valuable darausivory, andgearbeitet, larger und ivory größere containers gedrechselte for storing Die Bereicheartifacts, von Elfenbein, for example die sich ivory nicht showing zur the Behälterchaire werezur Aufbewahrung only turned von for chairevery importantwurden Verarbeitungopening für wertvolle of the Kunstgegenstände nerve canal, or with external nurceramics. für sehr bedeutendeMost often, Keramiken ivory was herge- used for futaeigneten,, damagewaren die and mit dempitting. Durchbruch In futa ,des the opening of stellt.the chaire Am häufigsten lids. When wurde dried Elfenbein tea wasbei den introduced Nervenkanals the nerveund äußerlichen channel Beschädigun-is perfect for fashioning The chaire lid futa verarbeitet, den Deckeln der chaire. Nach gen oder Schädlingsfraß. Die Öffnung des to Japan, small ceramic and porcelain the knob of the lid. Additionally, damaged der Einfuhr des getrockneten Tees wurden Nervenkanals eignet sich bei den futa zur Der[futa] chaire - D e c k e l zunächstcontainers kleine from Keramik- China und were Porzellangefäße initially used forAufnahme ivory des Deckelknopfes,corresponds tound the Beschädi- Japanese ideal of ausstorage. China zurAs Aufbewahrungivory was a rare verwendet. and precious Als gun gen entsprechenperfection demthrough japanischen imperfection. Ideal [futa] Deckelmaterial, dienten ivory kleine offcuts Elfenbeinscheiben, were used instead die ofder Perfektion des Unperfekten.

Zusammenstellung 07 01 2009_A_print.indd Abs1:154 08.01.2009 0:11:26 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:155 08.01.2009 0:11:29 Uhr Elfenbein [futa] 157

Ivory [futa] 161

Als im Laufe der Jahrzehnte immer mehr AsElfen ivorybein zurbecame Verfügung increasingly stand, wurden available Deckel over the decades,auch in Maserrichtung lids were alsogedrechselt, turned umin thedie direction ofSchönheit the grain der in Maserung order to in emphasise den Mittelpunkt the zu beauty ofstellen. the grain.Die Umsetzung The implementation der japanischen of Ideale Japanese ging sogar so weit, dass „künstliche Beschä- ideals even went so far as to include “artificial digungen“ in Form von Fraßgängen in die futa damage”geschnitten by wurden. cutting Auch worm die Verwendunggrooves into the futa. Neithervon Hirschhorn was the war use kein of Mangel deer anantlers Material, due to a lacksie entsprach of material; dem Stilit reflected der Asakusa-Schule the style ofbei netsuke carversnetsuke-Schnitzern from the Asakusaab dem 19. school Jahrhundert. from the 19th Die im Querschnitt des Stoßzahns gearbeite- century onwards. Lids worked from the cross- ten Deckel verformten sich leichter als die sectionspäteren, of längs the dertusk Maserung deformed gefertigten. more easily than laterDurch ones die mangelnde turned in Passform the direction wurden of sie the grain. Dueaber zunehmendto their imperfect als „elegant“ fit, however, akzeptiert, theyda were increasinglyauch diese „Unperfektion“ accepted asden “elegant” Idealen der because this “imperfection”Teezeremonie entsprach. also corresponded Dies ist auch derto the ideals Grund, warum für zeitgenössische chaire bis of the tea ceremony. This is also the reason in die heutige Zeit bewusst futa im Querschnitt that,gearbeitet even werden. in contemporary chaire, futa are still consciously worked from the cross-section.

Zusammenstellung 07 01 2009_A_print.indd Abs1:156 08.01.2009 0:11:30 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:157 08.01.2009 0:11:30 Uhr Elfenbein [futa] 159

Ivory [futa] 163

An den meisten futa sind an der Deckelunter- In mostseite einfuta dünnes, a thin Holz piece und ofdarauf paper ein isvergolde- placed on testhe Papier inside angebracht. of the lid, Diewith Goldschicht a piece of und gilt paperdie Zellenover thedes top.Holzes The dienten gold als layer Puffer- and und the Sperrschicht gegen Feuchtigkeit und sollten wood cells serve as a barrier against moisture, den intensiven Geruch und Geschmack des protectingTees schützen, the tea’s der beiintense Teepulver aroma durch and die taste.erheblich In the vergrößerte case of tea Oberfläche powder, besonders these are particularlyausgeprägt pronounced ist. Unbestätigten due toAussagen the significantly zu- enlargedfol ge soll surface das Goldpulver area of nebenthe tea. den According Goldlack- to unconfirmedretuschen an statements, Keramiken die gold einzige powder, Möglich- as well keit gewesen sein, der auf Schlichtheit und as gold lacquer retouches on ceramics, were Reduktion ausgelegten Gerätschaften der theTee onlyzeremonie way of angiving einem a meisttiny hintverborgenen of exclusivity to teaDetail ceremony einen kleinen utensils, Hauch designedvon Exklusivität for their zu pared-backverleihen, undsimplicity, zugleich while den Inhalt at the des same Behäl- time honouringters zu ehren, the contents den Tee. of the container, the tea.

Zusammenstellung 07 01 2009_A_print.indd Abs1:158 08.01.2009 0:11:31 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:159 08.01.2009 0:11:32 Uhr 165 Lacquer Apart from the ceramic, Japanese lacquer art for this purpose (kashibako) and presented 167 plays an important role in the tea ceremony. on plates (kosara). While the medical dish Apart from the ceramic dishes, tea for the inro- is not used for the tea ceremony, it is a ceremony is often stored in natsume, tea traditional embellishment for Japanese men caddies with very thin walls and elaborately and often decorated with elements from the Lacquer embellished with Japanese lacquer. The tea ceremony, thus elegantly refecting its sweets offered before and during the tea deference and importance. [urushi] ceremony are kept in dishes specially made Lacquer CVihjbZ棗 (なつめ)[natsume] %)( 169 @^bjgV@dgn§!&-i]XZcijgn ø+&m+%bb

木村こりょう?は&-世紀の後半まで製作をしてい た人で、早い時期に名前を変えているが、後世の 古満一門の重要な代表者となった人である。 この珍しい棗は炭の様に見せる様に様々な漆技 法を駆逐して自然にそれと見られる様に工夫し てある。外側は木の皮に見える様に工夫して あり、それに対して蓋の上部は深く年輪を刻み込 んだ上に木口が焦げた様な模様に刻まれて いる。蓋は羽箒が描かれていて、羽箒は茶道 の時、炭火を扇いだり、茶釜の把手を摘む時に 使用された物である。内側も底の部分も黒漆が 塗られ良く磨かれている。

@^bjgV@dgn§ldg`ZY^cidi]ZaViZZ^\]iZZci] XZcijgn! ]Z X]Vc\ZY ]^h [Vb^an cVbZ ZVgan dcid@dbV#=ZXdjcihVhWZ^c\dcZd[i]Z bdhi ^bedgiVci gZegZhZciVi^kZh d[ i]Z aViZg @dbV"hX]dda# I]^h jcjhjVa cVihjbZ ]Vh WZZc YdcZ ^c V kZgn gZVa^hi^X bVccZg! gZegZhZci^c\ V e^ZXZ d[X]VgXdVa!Wj^aije^ckVg^djhaVXfjZgiZX]" c^fjZh#I]Zdjih^YZ^b^iViZhi]ZWVg`!l]^aZ i]ZX]VgXdVaZYZcY"\gV^cZYi^bWZgVgZV!V[iZg WZ^c\ Zc\gVkZY l^i] V\Z g^c\h! ]Vh WZZc YZZeanXVgkZYdci]Zided[i]Za^Y#I]ZYZX" dgVi^dc ^h bVYZ je d[ V [ZVi]Zg [Vc ]VWd`^ 羽箒! [dg gZ\jaVi^c\ i]Z ZbWZgh Yjg^c\ i]Z iZVXZgZbdcn!VcYi]ZildbZiVag^c\h`Vc 閑!l]^X]VgZcZXZhhVgnida^[ii]Z]dilViZg `ZiiaZ#I]Z^ch^YZVcYi]ZjcYZgcZVi]]VkZ WZZcYdcZ^ceda^h]ZYWaVX`aVXfjZg#

@^bjgV @dgn§ VgWZ^iZiZ W^h ^c YVh he~iZ &-#?V]g]jcYZgi!~cYZgiZhZ^cZc;Vb^a^ZccV" bZc VWZg hX]dc [g“]oZ^i^\ ^c @dbV# :g \^ai Vah Z^cZg YZg l^X]i^\hiZc KZgigZiZg YZg he~" iZgZc@dbV"HX]jaZ# 9Vhjc\ZlŽ]ca^X]ZcVihjbZ^hihZ]gcVijgVa^" hi^hX] Vah =dao`d]aZhi“X` ^c kZghX]^ZYZcZc AVX`iZX]c^`Zc Vj[\ZWVji# 9^Z 6j›ZchZ^iZ ^b^i^Zgi 7Vjbg^cYZ! l~]gZcY YZg kZg`d]aiZ =^gc]daoWZgZ^X]cVX]YZb:^cg^ioZcYZg?V]" gZhg^c\Z i^Z[ ^c Y^Z 9ZX`ZadWZghZ^iZ Z^c\Z" hX]c^iiZcljgYZ#9Vh9Z`dgW^aYZcZ^c;ZYZg" [~X]Zg]VWd`^羽箒ojgGZ\ja^Zgjc\YZgccZc" jcYJciZghZ^iZh^cY^cVjheda^ZgiZbHX]lVgo" aVX`\Z]VaiZc#

hiramakie technique hiramakie technique -& 19th century 19th century Lacquer 173

Koma Koryu¯ different laquer techniques 18th century Metal The Japanese term for the Way of Tea, by placing pieces of metal inside the kettle, 179 Metall Der japanische Begriff für Teeweg „chanoyu“ und die Blicke des Betrachters auf sich lenkt. 161 “heißtchanoyu wörtlich”, literallyübersetzt means „Wasser “hot kochen water für for Das Kochenand wird serves durch as im the Kessel first liegende meditative sound to tea”.den Tee“. This Dieses water Kochen is heated des Wassersin a cast-iron ge Metallstückeencourage akustisch guests verstärkt to und relax. dient It alsis supposed to kettleschieht which, in einem together Metallkessel, with wodurch the necessary die- erstes meditativesbe reminiscent Geräusch of zurthe Entspannung wind in the pines, or the utensils,sem eine zentraleplays a Rolle central während role derin the Zere- ceremony.der Gäste.gentle Es soll lapping an Wind of in wavesKiefern onoder the shore. Other monie und den dabei benötigten Utensilien In addition to the picture niche with scroll ein leichtesmetal Rauschen objects des used Wassers during am Uferthe tea ceremony The kettle zugesprochen wird. Neben der Bildnische erinnern. Als weitere Gegenstände aus Metall and decorated vase, the kettle is the only include rings for lifting and moving the kettle, mit dem Rollbild und der geschmückten sind während der Teezeremonie Kesselringe Der Teekessel[chagama] itemBlumenvase already ist in der the Teekessel tea room der wheneinzige the first zum Anhebena tripod des whichheißen Wasserkessels,stands in the einash basin, and guestsGegenstand, enter, welcher thus attractingsich beim Betreten their gaze. des TheDreifuß alsoccasionally Stand im Aschebecken, flower vases und and selten tea spoons. [chagama] heatingersten Gastes of the bereits water im is Teeraum acoustically befindet amplified Blumenvasen oder Teelöffel in Gebrauch.

Zusammenstellung 07 01 2009_A_print.indd Abs1:160 08.01.2009 0:11:32 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:161 08.01.2009 0:11:35 Uhr

163 Metal [chagama] 181

Kettles made of metal are mentioned in Sano, until demand from Kyoto rose sharply, Japan as early as the Nara period (645-794). and local production became increasingly It must, however, be assumed that kettles prominent. Kettles produced in the Kyoto specifically for the preparation of tea first came metropolitan area went through a range of into use in the late Kamakura period (1186- design variations, as they were influenced by 1336). Within a short time, two centres for the respective tea ceremony trends and the the production of kettles were established, masters performing them. The works were Ashiya in the present-day Fukuoka Prefecture, given the name “Kyo” for Kyoto. and Sann Temmyô in the Tochigi Prefecture. Kettles made in Ashiya were based on earlier When the government relocated from Kyoto models from China, whereas Temmyo¯ kettles to current-day capital Tokyo, the metal imitated the Korean originals. While the tops of manufacturing industry also moved to the new Ashiya kettles were often decorated with finely capital. A large number of family businesses detailed landscapes, Temmyo¯ pieces were moved their workshops, which led to a impressive in their undecorated simplicity, further fragmentation of artists’ styles. Over pared down to the surface structures. For this the course of time a great number of styles reason, tea masters preferred Temmyo¯ kettles developed, which increasingly hampered the for strict ritual ceremonies, since they were a assignment of kettles to a specific date or perfect match for the minimalist ambience of school, especially as former masterpieces the tea room. Until the mid-17th century, the were also copied or reworked, and important bulk of production took place in Ashiya and signatures were falsified.

Chagama, Ashiya type 17.-18th century Chagama, Ashiya-Typus 17./18. Jahrhundert

Zusammenstellung 07 01 2009_A_print.indd Abs1:163 08.01.2009 0:11:36 Uhr 165 Metall [tetsubin] 183 Metall [tetsubin]

Tetsubin around 1800 Tetsubin um 1800

Zusammenstellung 07 01 2009_A_print.indd Abs1:165 08.01.2009 13:57:19 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:164 08.01.2009 0:11:43 Uhr Bamboo One of Japan's best known symbols, and also as pure aesthetics, both are seen as tools 199 Bambus Eines der bekanntesten Symbole Japans und der Schöpfkelle als pure Ästhetik betrachtet 173 zugleichone of theeines most der vielseitigstenversatile materials Materialien in imJapanese werden können,to be disposed gelten beide of alsafter Werkzeug, repeated use. Highly japanischencraftwork, Kunsthandwerkis bamboo. Its ist characteristics Bambus. Sei- makewelches nachcollectible, mehrmaligem on the Gebrauch other hand, ent- are the Ikebana neit apt Eigenschaften for use in ermöglichena variety of eine areas, Verwen- which is sorgtalso wird.vases Als Sammelobjekte from the picture beliebt recesses sind and, above dungevident in vielen in the Gebieten, utensils was from sich the auch tea an ceremony. den dagegen all,die theIkebana-Vasen chashaku in, theder teaBildnische scoops used to Objekten der Teezeremonie aufzeigt. Es ist und vor allem die Teelöffel, chashaku, zum It is interesting that two of the objects most place tea powder in the bowl. In contrast to Bamboo interessant, dass die während der Zeremonie Einbringen des Pulvers in die Schale. Im Ge- central to the ceremony, the tea whisk and am meisten wahrgenommenen Gegenstände gensatz zumost den othermeisten utensils, anderen theGerätschaf- tea scoops were often alsthe Objekte ladle, arein Japan not highlykeine Rolle regarded spielen, in der Japan. ten wurdenmade Teelöffel by the häufig tea von masters Teemeistern themselves, and 竹Der [take Teelöffel ] TeebesenAlthough und the die tea Schöpfkelle. whisk can Obwohl be regarded der asselbst a gefertigtreflected und theirspiegeln ideas deren of Anspruchform and handling. [chashaku] Teebesenmasterpiece als handwerkliches of craftsmanship, Meisterwerk and the und ladle an Form und Handhabung wider.

Zusammenstellung 07 01 2009_A_print.indd Abs1:172 08.01.2009 0:11:56 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:173 08.01.2009 0:11:58 Uhr Bambus [chasen] 175 175

Bambus [chasen] 175 BambusBamboo [chasen] 201

Zusammenstellung 07 01 2009_A_print.indd Abs1:174 08.01.2009 0:12:00 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:175 08.01.2009 0:12:01 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:175 08.01.2009 0:12:01 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:174 08.01.2009 0:12:00 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:175 08.01.2009 0:12:01 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:174 08.01.2009 0:12:00 Uhr Bamboo [chasen] 203 Bambus [chasen] 177

Zusammenstellung 07 01 2009_A_print.indd Abs1:176 08.01.2009 0:12:03 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:177 08.01.2009 0:12:06 Uhr Bambus [hishaku]

179

Bambus [hishaku] 179 Bamboo [hishaku] 205

Zusammenstellung 07 01 2009_A_print.indd Abs1:178 08.01.2009 0:12:07 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:179 08.01.2009 0:12:09 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:178 08.01.2009 0:12:07 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:179 08.01.2009 0:12:09 Uhr

181 Bamboo [chashaku] 207

SSoo¯-Stil¯ style coniferNadelholz wood

Tea scoops were taken from China to Japan scoops to this day. By placing the bamboo together with the tea. In higher aristocratic node in the middle, the scoop’s function is circles, scoops were initially made of ivory, relegated to the background, while the eye since bamboo seemed to be too light to use. concentrates on its shape. In the case of scoop In other social strata, scoops were made of without nodes, or where the nodes are at the metal or hardwood. It was not until the middle end of the handle, the optical focus falls on the of the sixteenth century that tea masters tip of the s with the tea powder on it, bringing

began to carry out the ceremony with bamboo the scoop’s function to the foreground. ShinShin-Stil style scoops, which on the one hand were more ebonyEbenholz diffcult to use because of their negligible Important chashaku are stored in a bamboo weight, but enabled a more elegant use on tube, which in turn is placed inside a small the other. Through this personal connection to tomobako. Both containers are often signed, the tea masters, and due to the fact that they and labelled with further details about the tea were increasingly made by the tea masters scoop. Poems about the seasons written on themselves, tea scoops began to be revered the tomobako also show that, in the strictest in a way which still holds true today. This was forms of the tradition, certain scoops may only sometimes refected in ritual ceremonies by the be used for ceremonies in the corresponding Oribe Stil style Bambusbamboo gifting of the tea scoop itself, or of its frst use in seasons. the teahouse. This was true above all for the scoops of Sen no Rikyu¯ , which still infuence the shape of tea

Shin-StilShin style Zinntin

OribeOribe-Stil style bambooElfenbein

Zusammenstellung 07 01 2009_A_print.indd Abs1:181 08.01.2009 0:12:13 Uhr Bambus [chashaku] 185 Bamboo [chashaku] 211

Shin-StilShin style Ebenholzebony

Zusammenstellung 07 01 2009_A_print.indd Abs1:184 08.01.2009 0:12:25 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:185 08.01.2009 0:12:31 Uhr Bambus [chashaku] 187 Bamboo [chashaku] 213

Oribe Stil style Bambusbamboo

Zusammenstellung 07 01 2009_A_print.indd Abs1:186 08.01.2009 0:12:32 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:187 08.01.2009 0:12:40 Uhr 215 Ceramics The tea bowl, or chawan, is at the heart of the ideas of their tea masters and developed 217 Keramik Die Teeschale, chawan, steht im Mittelpunkt sche Teekeramik. Die Handwerker folgten den 189 einerevery jeden ceremony. Teezeremonie. More Sie so verkörpert than any wie other Vorstellungennew ihrer designs, Teemeister based und on entwickel- the unchanging keinobject, anderes it embodies Objekt die Gedankenthe thoughts und ästhe-and aestheticten neue Gestaltungen,fundamental deren principles Grundprinzip of simplicity and beauty. tischenaspirations Ansprüche of the des tea Teemeisters, master; itist is sein the mostaber immerA vollkommenepresent-day Schlichtheit viewer can und rarely understand persönlichsterpersonal object. Gegenstand. Tea bowls Auch wereTeescha- also importedSchönheit the blieb. true Durch value die ofpersönliche a good teaBezie- bowl: this comes lenfrom wurden China in ihrerin their ursprünglichen original form. Form Theiraus shapehung des fromBestellers, its personal die Verwendung connection je nach to the person The tea bowl China übernommen und im 14. Jahrhundert in Jahreszeit, die Weiterreichung über Generati- and glaze were perfected in the 14th century who commissioned it, its use according to Form und Glasur von japanischen Keramikern onen oder einfach nur die individuelle Entste- Die Teeschale[chawan] perfektioniert.by Japanese Erst potters. ab dem It17. was Jahrhundert only from thehung 17th beim the Brand season, lässt eine its beinggute Teeschale handed down from ändertecentury sich onwards der Zeitgeschmack that contemporary hinsichtlich tasteseinen heutigengeneration Betrachter to generation,nur selten den or simply its unique [chawan] einerchanged neuen toästhetischen reflect a newSensibilität aesthetic für heimi- sensitivitywahren Wertformation des Stückes in the begreifen. heat of fire. for domestic tea ceramics. Craftsmen followed

Zusammenstellung 07 01 2009_A_print.indd Abs1:188 08.01.2009 0:12:42 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:189 08.01.2009 0:12:44 Uhr 191 Ceramics [chawan] 219 Keramik [chawan]

Shino ware 18th century Shino-Ware 18. Jahrhundert

Zusammenstellung 07 01 2009_A_print.indd Abs1:191 08.01.2009 0:12:47 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:190 08.01.2009 0:12:46 Uhr Keramik [chawan]

193

Keramik [chawan] 193 Ceramics [chawan] 221

Zusammenstellung 07 01 2009_A_print.indd Abs1:192 08.01.2009 0:12:48 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:193 08.01.2009 0:12:51 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:192 08.01.2009 0:12:48 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:193 08.01.2009 0:12:51 Uhr 195 Ceramics [chawan] 223 Keramik [chawan]

Shino ware 19th century Shino-Ware 19. Jahrhundert

Zusammenstellung 07 01 2009_A_print.indd Abs1:195 08.01.2009 0:12:56 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:194 08.01.2009 0:12:54 Uhr Keramik [chawan] 199 Ceramics [chawan] 227

Hagi ware 18/19th century Hagi-Ware 18./19. Jahrhundert

Zusammenstellung 07 01 2009_A_print.indd Abs1:198 08.01.2009 0:13:15 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:199 08.01.2009 0:13:18 Uhr Ceramics [chawan] 243 Keramik [chawan] 215

In close collaboration with tea master Sen ceramics, the foot of the tea bowl is not glazed, Der koreanische Keramiker Cho¯ jiro (? - 1592) meisten anderen japanischen Keramiken wird no Rikyu¯ , in 1586 Korean ceramist Cho¯ jiro so that you can see the clay from which the begann 1586 in enger Zusammenarbeit mit der Fuß einer Teeschale nicht glasiert, um (?-1592) began demwork Teemeister on his tea Sen bowls, no Rikyu which¯ seine Arbeitenobject wasdie Erde made. zu sehen, In contrast aus welcher to this, das except Objekt for he made withoutan a Teeschalen, potter's wheel. die er ohneAs his Drehscheibe base an-a few exceptions,gefertigt wurde. Raku Im bowlsGegensatz are dazucompletely sind, bis material, Cho¯ jirofertigte. used aAls sandy Grundmaterial clay found verwendete in Choglazed.¯ jiro auf wenige Ausnahmen, die Raku-Schalen Kyoto, which is einenparticularly in Kyoto suitable vorkommenden for shaping sandigen Ton, komplett mit Glasur überfasst. into thin, elegantder walls sich bybesonders hand, andfür den cannot Aufbau der FormRed Raku is obtained by coating the item von Hand eignet und sich nicht an einer Schie- Rotes Raku wird durch den Überzug einer be worked on a wheel. After this clay has with a thin layer of strongly diluted iron-based be zu dünnen, eleganten Wandungen verar- dünnen Schlickerschicht erzielt, einem stark been prepared, beiteneven todaylässt. Nach it is derstill Vorbereitungstored des Tonesclay. Thismit layer Wasser is thenverdünntem, covered eisenhaltigem with a thin Ton. for decades beforewird itdieser is worked auch noch on byin der later heutigen Zeittransparent Diese glaze Schicht made wird mitfrom einer quartzite dünnen Transpa-and masters. Due toüber this Jahrzehnte long period eingelagert of storage, ehe er von denfeldspar, rentglasur which forms aus Quarzit a crackle und Feldspat glaze due überzo- to organic substancesspäteren mix Meisternwith the verarbeitet clay, making wird. Durchits die high gen,alkali die content. wegen ihres Black hohen Raku Alkali-Gehaltes is obtained ein the material verylange malleable Lagerzeit and vermodern easy to imshape, Ton organische by applying Craquelé a glaze ausbildet. made Für from schwarzes ground Raku black wird Substanzen, die das Material sehr geschmei- eine Glasur aus gemahlenen schwarzen Kie- yet still very strong. As these substances are pebbles with added lead. As tea is alkaline and dig und leicht formbar, aber trotzdem sehr selsteinen und einem Zusatz aus Blei aufge- burnt out duringstabil the firingmachen. process, Da diese the Substanzen ceramic beimcannot dissolvetragen. Da the Tee leadalkalisch in the ist undglaze, kein there Blei aus becomes very light.Brand In herausbrennen, addition, Raku-style wird die Keramik leicht.have beender Glasurno health lösen concerns kann, gab regardinges keine gesund- its pieces are chilledAußerdem in water werden immediately die Raku-Arbeiten after direktlater use.heitlichen Red Raku Bedenken is fired hinsichtlich at a temperature der späteren firing, which preventsnach dem the Brand completion in Wasser of sturzgekühlt, the ofwas approximately Verwendung. 1000° Rotes C, Raku black wird at bei about einer Tem- ein komplettes Durchsintern verhindert und die peratur von ca. 1.000° C gebrannt, schwarzes sintering process and makes the items softer. 1200° C. In contrast to other methods, the clay Objekte weicher erscheinen lässt. Die Verar- bei ca. 1.200°C. Der Unterschied zu anderen The clay is workedbeitung by pullingdes Tons a erfolgtflat disc durch of ein nach obenvessels Verfahrenare not heatedliegt darin slowly, dass die but Tongefäße introduced clay upwards. Asziehen a result, einer theflachen material Tonscheibe. is not Das Materialdirectly nichtinto thelangsam hot furnace.erhitzt, sondern To ensure direkt thatin den formed in the classicalwird folglich way nicht from wie inside bei den to klassischenthe iron heißenoxide Ofenin the eingebracht black-glazed werden. objects Damit beimdoes outside, but fromMethoden outside von to inside.innen nach Not außen only verformt,is not absorbAbkühlen too muchdas Eisenoxid oxygen der and schwarz turn brown glasier- the clay shapedsondern with the von thumbs, außen nach it is innen. held inEs wird auchagain duringten Objekte cooling, nicht they zu viel are Sauerstoff cooled inaufnimmt water nicht nur mit dem Daumen gedrückt, es sind und sich wieder braun verfärbt, werden diese both hands and embraced, in the same way as immediately after firing. The hardened glaze beide Hände im Einsatz und umfassen den direkt nach dem Brand in Wasser gekühlt. Die the finished tea Tonbowl in derwill gleichenlater be Art held wie duringspäter die fertigedoes notausgehärtete absorb oxygen, Glasur nimmtand thus keinen remains Sauerstoff the tea ceremony.Teeschale In most während other Japaneseder Zeremonie. Bei denblack. mehr auf und die Farbe verbleibt schwarz.

Zusammenstellung 07 01 2009_A_print.indd Abs1:214 08.01.2009 0:13:48 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:215 08.01.2009 0:13:49 Uhr Keramik [chawan] 229 Ceramics [chawan] 257

Karatsu ware 16th century restored by Raku Keinyu¯ Karatsu-Ware 16. Jahrhundert Restauriert von Raku Keinyu¯

Zusammenstellung 07 01 2009_A_print.indd Abs1:228 08.01.2009 0:14:15 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:229 08.01.2009 0:14:17 Uhr Ceramics [chawan] 259 Keramik [chawan] 231

The concept of Karatsu ceramics comes shaping of the objects on potters’ wheels, the from the city of Karatsu, located on the north unglazed pedestals, and the stylised natural coast of the South Island of Kyushu. From motifs with no local references. Thanks to very early on, Derit gained Begriff importanceder Karatsu-Keramik as a port stammt their simplicity,die fast ausschließliche for many tea Formung masters der Karatsu Objekte von der Stadt Karatsu an der Nordküste der auf Drehscheiben, unglasierte Standfüße und city and gateway to the Asian continent, as pieces corresponded to the pared-down ideals Südinsel Kyushu. Sie erlangte früh eine große stilisierte Naturmotive, die keinen lokalen it is separatedBe fromdeutung the alsmainland Hafenstadt merely und Torby zuma asia-of the highlyBe zug aufweisen.ritualised Durchtea ceremony, ihre Schlichtheit and over strait. The nametischen of the Kontinent, city comes da sie from nur durch “Kara eine” Meer-generationsent sprachen they camedie Karatsu-Arbeiten to be very highly für viele valued. = China and “tsuenge” =vom port. koreanischen In addition Festland to Kyoto getrennt Aist. market Tee meister rapidly den developed reduzierten for Anforderungen vessels of an and Mino, KaratsuÜbernommen was the ist most dies imimportant Stadtnamen „Karaevery“ kind,die strenge as a resultTeezeremonie of which, und overerlangten time, über the = China und „tsu“ = Hafen. Neben Kyoto und Generationen eine sehr hohe Wertstellung. Es centre for ceramics production from the 16th chawan made up just a small part of the total Mino war Karatsu ab dem 16. Jahrhundert entwickelte sich schnell ein Markt für Gefäße century onwards.das bedeutendste Pieces created Zentrum here für were die Keramik- output.jeglicher Art, wodurch im Laufe der Zeit die strongly influencedproduktion. by Korean Die Stücke styles, waren as sehrmany stark von chawan nur einen kleinen Teil der Gesamtpro- Korean ceramistskoreanischen had taken Einflüssen up residence geprägt, inda sich inThe chawanduktion shownausmachten. here is a very important the region, someder Regionof them zahlreiche forcibly koreanische so, after two Keramiker example from the second half of the 16th major military niederließencampaigns. oder As nachmany zwei as großen70,000 Feldzügen century. Der The nebenstehende piece was chawandamaged ist eintwice, sehr butbe- zwangsverpflichtet wurden. Ihre Zahl soll bis deutendes Beispiel aus der zweiten Hälfte des Koreans may have relocated to Japan, and was not restored with gold lacquer in the zu 70.000 betragen haben, die sich auf ganz 16. Jahrhunderts. Das Stück wurde zweimal settled throughoutJapan the verteilten. country. Dies This unterstreicht underlines die Bedeu-traditionalbeschädigt, manner. aber The nicht imperfections in der traditionellen were the importancetung of derKorean koreanischen techniques Techniken and und Formenfilled inWeise using mit ceramics, Goldlack restauriert. and only Diethe Fehlstel- fracture shapes on Japaneseauf die japanische tea ceramics. Teekeramik. lines werelen wurden retouched in Keramik in gold ergänzt lacquer. und nur The die There are two general tendencies in Karatsu restorationsBruchkanten were incarried Goldlack out retuschiert. by the 11th Die Raku ceramics: Ko-KaratsuBei Karatsu-Keramik and E-Karatsu. wird zwischen Ko- zwei MasterEr Keiny gänzungenu¯ (1817-1902) wurden vom and 11. markedRaku-Meister with Grundrichtungen unterschieden, den Ko- Keinyu¯ (1817 - 1902) durchgeführt und auch Karatsu stands for early pieces made from his seal. One of the marks was used by Keinyu¯ Karatsu und E-Karatsu. Ko-Karatsu steht für mit dessen Siegel markiert. Eine der Marken very sandy clayfrühe with Stücke a high aus iron sehr content, sandigem with und starkas a youngwurde artist, von Keinyû the otherals junger when Künstler he was ver- an simple transparenteisenhaltigem feldspar Ton and mit ashschlichten glaze Dekoren ausold man.wendet, This diechawan andere is als the er einonly alter one Mann known war. decorations. Intransparenten E-Karatsu, Feldspat-images wereund Ascheglasuren. painted so far toDieser have chawan had its ist importanceder einzige bislang underscored bekann- onto the pieceE-Karatsu using an sind iron-based die bildlichen underglaze. Dekore, die alsthrough te, its dessen restoration Bedeutung and durch branding Restaurierungen by a Raku eisenhaltige Unterglasuren aufgemalt waren. und Marken eines Raku-Meisters unterstrichen Characteristic of Karatsu goods: locally sourced master, who valued the object for a very long Charakteristisch für Karatsu-Waren sind: der wurde, der das Objekt über einen sehr langen clay, which waslokal worked gewonnene without Ton, any der ohnetype direkteof Vorbe-period Zeitraumof time, wertschätzte, and which forund him das wasihm eine worth zwei- preparation orreitungen storage, oder the Lagerzeiten almost exclusive verarbeitet wurde,repairing fache twice außergewöhnliche in this extraordinary Bearbeitung manner. wert war.

Zusammenstellung 07 01 2009_A_print.indd Abs1:230 08.01.2009 0:14:18 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:231 08.01.2009 0:14:22 Uhr 247 Ceramics [chawan] 275

The works of the Shino school originated in the temperatures, whereby the decoration and 16th century in the traditional kilns of Seto and the surface are directly dependent on each Mini, located north-east of Kyoto. The glaze other. Objects with this requirement cannot be consists predominantly of the silicate mineral manufactured in bulk in a large kiln; they are feldspar mixed with small amounts of clay and individual pieces. ash. It was the first white glaze in Japanese ceramic art. When producing Shino works, the blanks are fired at lower temperatures for a The item shown has been manufactured in prolonged period of time, then slowly cooled. the so-called shoe shape (kutsugata). The As a result, the glaze does not melt completely, bowl was not shaped on a potter's wheel, creating a thicker white surface with “crawling” but by hand alone. In the top view, the shape run marks and small holes. If a thin layer of the is reminiscent of a shoe or footprint in the glaze is applied, it becomes transparent and sand, and symbolises all that is transient in allows decorations applied using iron oxide to nature. Making a bowl without the use of a show through. Reducing the ash content in the potter's wheel is often considered to be “more glaze also increases the transparency. Thanks personal”, as the potter is able to give the piece to the slow cooling process over many days, a very individual touch. Through being shaped the ceramic becomes completely sintered, solely by the potter’s fingers, the bowl is shaped meaning that the crystalline elements solidify. to fit a pair of hands from the very first stages As a result, Shino ware is considerably harder of its creation. This means that it already “feels” than ceramics cooled in water directly after good before firing, and thus fulfils one of the firing, such as Raku ware, and it also feels basic criteria for a good chawan, its handling. heavier. By controlling the temperature during A tea bowl can still be beautiful, pared-down or Shino ware the firing process, both the transparency and decorated, but the feel is essential. The holding, early 17th century the colour of the glaze can be influenced. turning, and passing on of the bowl during the Shino-Ware The higher the temperature, the darker the ceremony is its real meaning, as its reduction Frühes 17. Jahrhundert glaze, and the more it runs. An iron oxide to the essentials should not be impaired by the underglaze only becomes noticeable at higher smallest unpleasant feeling.

Zusammenstellung 07 01 2009_A_print.indd Abs1:247 08.01.2009 0:15:04 Uhr Keramik [chawan]

249

Keramik [chawan] 249 ceramics [chawan] 277

Zusammenstellung 07 01 2009_A_print.indd Abs1:248 08.01.2009 0:15:07 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:249 08.01.2009 0:15:11 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:248 08.01.2009 0:15:07 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:249 08.01.2009 0:15:11 Uhr Ceramics [chawan] 279 Keramik [chawan] 251

Zusammenstellung 07 01 2009_A_print.indd Abs1:250 08.01.2009 0:15:15 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:251 08.01.2009 0:15:19 Uhr

261

Ceramics [chawan] 289 Keramik [chawan]

Aka Raku Aka-Raku18th century 18. Jahrhundertwith old gold lacquer repair

Zusammenstellung 07 01 2009_A_print.indd Abs1:261 08.01.2009 0:15:36 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:260 08.01.2009 0:15:32 Uhr 263

Ceramics [chawan] 291

Shigaraki is one of the oldest ceramic kilns conceivable use and marketed throughout in Japan, dating back to the year 742. The Japan. then Emperor Shomu was building a palace During the Edo period (1603 - 1867), in Shigaraki, and needed roofing tiles and techniques were increasingly enriched with vessels. Due to its geographically convenient very bright, colour-intensive glazes. In the Meiji location in Central Japan and the good quality period (1868 -1912), Shigaraki was particularly of the local clay, which had a very high quartz renowned for its blue charcoal braziers, which content, a centre for manufacturing ceramics reached up to 90% market share in Japan. was soon established. When tea ceramics The extremely thick glazes were controlled were first produced, they were characterised during the firing process through the targeted by their rustic, very unobtrusive appearance, reduction of oxygen, leading to minimal bubble which was in demand for ritual tea ceremonies. formation in the clay fragments, thus avoiding The warm, reddish tone was produced by the crater-like openings in the surface. Due to a very sandy clay, obtained from the banks of high feldspar content, the flow behaviour of Lake Biwa. In the wood-burning kilns, which the glaze during firing could be influenced, were heated exclusively with wood, oxygen leading to the formation of pronounced was added at selected points to keep the heat droplets, as can be seen in the adjacent tea high. Depending where the piece was placed bowl. Due to the thick application of this glaze in the oven, the respective sides would have with added cobalt and lead, items underwent Shigaraki ware a very different final appearance due to ash less shrinkage, and there was also little to no Shigaraki-Ware19th century with old gold lacquer repair becoming trapped, or the iron content. Due crackle in the glaze. Particularly interesting is 19. Jahrhundert to the growing popularity of the tea ceremony the combination of this glaze with rustic, open- and the increasing popularity of Shigaraki pored objects, where only parts of the item products, goods were manufactured for every were decorated with the non-porous glaze.

Zusammenstellung 07 01 2009_A_print.indd Abs1:263 08.01.2009 0:15:39 Uhr 265 Keramik [chawan]

Keramik [chawan] 265 Ceramics [chawan] 293

Zusammenstellung 07 01 2009_A_print.indd Abs1:265 08.01.2009 0:15:45 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:264 08.01.2009 0:15:42 Uhr

Zusammenstellung 07 01 2009_A_print.indd Abs1:264 08.01.2009 0:15:42 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:265 08.01.2009 0:15:45 Uhr 269 Ceramics [chawan] 297 Keramik [chawan]

Shino ware 19th century Shino-Ware 19. Jahrhundert

Zusammenstellung 07 01 2009_A_print.indd Abs1:269 08.01.2009 0:15:59 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:268 08.01.2009 0:15:55 Uhr 271 Ceramics [chawan] 299 Keramik [chawan]

Sawankhalok ware produced in Thailand for the Japanese market Sawankhalok-Ware In Thailand für Japan gefertigt 17. Jahrhundert

Zusammenstellung 07 01 2009_A_print.indd Abs1:271 08.01.2009 0:16:04 Uhr Zusammenstellung 07 01 2009_A_print.indd Abs1:270 08.01.2009 0:16:02 Uhr