A hand picked collection of Japanese ceremonial tea bowls chosen for their beauty and excellence by gallery curator of Japanese ceramics, Howard Clegg. Here he gives a brief glimpse into the fascinating, mindful and cultural practice that is ritualised tea in Japan.
The Chawan ('cha' or '茶' meaning tea, 'wan' or '碗' meaning bowl) is the most highly prized of all ceramic forms in Japanese ceramics. For and artist it is not to be approached lightly and will become a standard by which he or she is judged across their practice. In Japan the 'tea ceremony', as we have termed it in the West, is central to the cultural identity of Japanese people. Be it performed in traditional tea houses by a highly trained and skilled tea master or more informally within a home setting for guests, it is considered a show of sincere and considered hospitality. A chance to free one's mind of busy and extraneous thoughts for a chance to consider the moment, the season you are in, the surroundings you find yourself in, the people you are with and, of course, the tea bowl you are drinking from.
'Chanoyu' or '茶の湯' literally translated means 'Hot water for tea' and will be translated by many as "tea ceremony' but to be more correct it should be understood as 'The way of Tea'. It is a deeply respected, secular, ritualised practice in which a humble gift of hospitality is offered through a series of codified procedures within a specialised space.
The tea master will carefully consider all aspects of the experience including the choice of the theme of the 'ceremony' (for example the emergence of Spring time), the specialist Japanese sweets eaten before taking tea, the single stem of short lived flowers arranged in a vase (hanaire) and the theme enhancing meaning of words written on a hanging scroll of calligraphy. But of utmost importance is the selection of ceramic forms that are essential for he or she to carry out the series of beautifully economical movements that they have trained so hard to graciously perform.
Within these choices which includes, but is not limited to, a fresh water container - 'Mizusashi', a tea caddy - 'Chaire' and the aforementioned 'Hanaire', they will, of course, choose the Chawan or tea bowls that tea will be prepared in and served to the participants assembled. The tea bowl should be conducive to the planned theme, be appropriate in size and weight for the person it will be offered to and, most importantly, be an object that is memorable. The Japanese have a word for the aura that is given off by a tea bowl, 'Keishiki', and it translates directly as 'scenery' but is more meaningful when applied to a tea bowl's impact. The scenery in this case refers to every aspect of the visual and tactile properties of the Chawan. The exterior texture and decorative outcome from its process of making should produce a Chawan so distinctive that it has the possibility of being vividly memorable for the rest of the recipient's life as, most likely, it will be the one and only time they will ever see and interact with the Chawan.
Other important aspects will be considered when a Chawan is considered for purchase. Its weight distribution, how effective the tea pool in its interior might work (were remnants of tea fall to after tea has been taken), 'does the Chawan have a distinctive 'face'?' (important in orienting the movement and placement of the Chawan during the 'ceremony'), 'does the foot make it easy to pick up from the tatami floor?' and 'does the sound given off when a bamboo tea scoop is gently tapped in the rim offer a suitably mellow note?'. In short, the Chawan is uniquely placed in Japanese culture with no directly comparable equivalent in Western culture for a singular object. Importantly it tells us a lot about the open mindedness of Japanese people. That a humble bowl can require such considered desire for practical function and simultaneously occupy a space at the pinnacle of High Art gives us a wonderful insight into the holistic nature of Japanese thinking.
In this collection of personally chosen and singled out Chawan take your time to consider each tea bowl's place as both receptacle and icon of Japanese arts culture. What might it say within a 'tea ceremony' theme? Who might be its ideal recipient? Is it shy and retiring, hiding a deep beauty that needs to be found or is it confidently stating its presence at first glance? Does it offer a discernible face? Would I remember the 'keishiki' scenery of it if I were only given one opportunity to study its beauty? Asking these questions and considering the answers they bring will undoubtedly allow you to connect to a Chawan that resonates in harmony with your way of thinking.