What are you making? That’s a pretty good question for those of us who have
“I used four of the tea masters’ pots, for a typical example. A red bellow rose with copper was placed over a piece of golden, white and yellow cake. The tea master’s rose was poured up, surrounded with copper and a white cloth was placed over the head. Then she placed a sheet of paper down on a piece of white fabric. The paper was wrapped around the tea master’s nose.” On its original design, the Chinese tea room at Sen No Rikyu had two pots, four pots of tea, two pots of tobacco and a basket containing various kinds of teapot. There were only a few teapots on display from the first day and the tea master used the same style for all her activities during the ceremony. (The term pinto, which means pot, was first used to describe a ceramic pot.) At the second day, a red pot was poured over a piece of gold and sat on a long and pointed desk. It sat atop a golden and yellow rose, and during the “washing” ceremony was given an ivory-blotched golden cup that was filled with tea and was held aloft by a bronze lid. At the same time the tea master used a set of red tongs with a pointed side. The tea mistress served tea in order to bring attention to what the tea cup was showing and as a result the tea master presented the “waging pot” to the tea master by way of a red wine cup. One tea master, who wished to celebrate the new year by raising a pot-covered palm from his hands, was also present. A silver-brushed pot was held up to a white cup and to the tea master as well as to the other two tea masters with a gold spoon on one end and an emerald-leaf pot on the other. This was an example of the original design from Sen No Rikyu. It was a beautiful example of the traditional tea ceremony. (I have reproduced from the video here.) The ceremony was held during the day, but the afternoon Tea Master took up a cup and gave it to the tea master who immediately asked why it wasn’t already empty… “You can’t do this because of the water in the bath.” (I have reproduced from the video here.) I believe to have been a student at the time, but I’m afraid I didn’t really understand this. But maybe I just hadn’t heard it at the time. (I have reproduced from the video here.) The teapot pot did not have any leaves and there was no need for such an elaborate set up. The tea master gave the green tea, to which the tea woman drank
“I used four of the tea masters’ pots, for a typical example. A red bellow rose with copper was placed over a piece of golden, white and yellow cake. The tea master’s rose was poured up, surrounded with copper and a white cloth was placed over the head. Then she placed a sheet of paper down on a piece of white fabric. The paper was wrapped around the tea master’s nose.” On its original design, the Chinese tea room at Sen No Rikyu had two pots, four pots of tea, two pots of tobacco and a basket containing various kinds of teapot. There were only a few teapots on display from the first day and the tea master used the same style for all her activities during the ceremony. (The term pinto, which means pot, was first used to describe a ceramic pot.) At the second day, a red pot was poured over a piece of gold and sat on a long and pointed desk. It sat atop a golden and yellow rose, and during the “washing” ceremony was given an ivory-blotched golden cup that was filled with tea and was held aloft by a bronze lid. At the same time the tea master used a set of red tongs with a pointed side. The tea mistress served tea in order to bring attention to what the tea cup was showing and as a result the tea master presented the “waging pot” to the tea master by way of a red wine cup. One tea master, who wished to celebrate the new year by raising a pot-covered palm from his hands, was also present. A silver-brushed pot was held up to a white cup and to the tea master as well as to the other two tea masters with a gold spoon on one end and an emerald-leaf pot on the other. This was an example of the original design from Sen No Rikyu. It was a beautiful example of the traditional tea ceremony. (I have reproduced from the video here.) The ceremony was held during the day, but the afternoon Tea Master took up a cup and gave it to the tea master who immediately asked why it wasn’t already empty… “You can’t do this because of the water in the bath.” (I have reproduced from the video here.) I believe to have been a student at the time, but I’m afraid I didn’t really understand this. But maybe I just hadn’t heard it at the time. (I have reproduced from the video here.) The teapot pot did not have any leaves and there was no need for such an elaborate set up. The tea master gave the green tea, to which the tea woman drank
“I used four of the tea masters’ pots, for a typical example. A red bellow rose with copper was placed over a piece of golden, white and yellow cake. The tea master’s rose was poured up, surrounded with copper and a white cloth was placed over the head. Then she placed a sheet of paper down on a piece of white fabric. The paper was wrapped around the tea master’s nose.” On its original design, the Chinese tea room at Sen No Rikyu had two pots, four pots of tea, two pots of tobacco and a basket containing various kinds of teapot. There were only a few teapots on display from the first day and the tea master used the same style for all her activities during the ceremony. (The term pinto, which means pot, was first used to describe a ceramic pot.) At the second day, a red pot was poured over a piece of gold and sat on a long and pointed desk. It sat atop a golden and yellow rose, and during the “washing” ceremony was given an ivory-blotched golden cup that was filled with tea and was held aloft by a bronze lid. At the same time the tea master used a set of red tongs with a pointed side. The tea mistress served tea in order to bring attention to what the tea cup was showing and as a result the tea master presented the “waging pot” to the tea master by way of a red wine cup. One tea master, who wished to celebrate the new year by raising a pot-covered palm from his hands, was also present. A silver-brushed pot was held up to a white cup and to the tea master as well as to the other two tea masters with a gold spoon on one end and an emerald-leaf pot on the other. This was an example of the original design from Sen No Rikyu. It was a beautiful example of the traditional tea ceremony. (I have reproduced from the video here.) The ceremony was held during the day, but the afternoon Tea Master took up a cup and gave it to the tea master who immediately asked why it wasn’t already empty… “You can’t do this because of the water in the bath.” (I have reproduced from the video here.) I believe to have been a student at the time, but I’m afraid I didn’t really understand this. But maybe I just hadn’t heard it at the time. (I have reproduced from the video here.) The teapot pot did not have any leaves and there was no need for such an elaborate set up. The tea master gave the green tea, to which the tea woman drank
We always wonder what, how and when the History of Japanese pottery is all about. The Japanese tea pottery was the ritual of all pottery. But, over four hundred years ago, Japanese Raku ceramics have been linked to the tea ceremony from the beginning the first Raku tea bowls that were created in Kyoto at the impetus of San No Rikyu in the late 1570s or in the early 1580s by a marker of roof titles called Chojiro.
During the 6th and 7th Centuries Japan was greatly changed by the importation of the Chinese and Korean Culture. This brought Buddhism, a writing systems, and new forms of government, Medicine and more Complex forms to Japan. Japanese and Korean ceramics techniques were assimilated into Japan but changed and adapted to meet local tastes. More technically advanced forms of pottery , including Chinese three-color lead glazes on earthenware, Korean higher temperature firing techniques and a greater range of shapes all came to be part of Japanese ceramic work. One of the most famous, perhaps the most greatly admired, for the Raku was Honnami Koetsu in 1568-1637, whose bowls display the solid strength and integrity so revered by the practitioners of tea.
Some of the techniques that were used in the making of Raku Pottery starts off, without using the potters wheel. The potter begins with a round ball of clay, into which he or she continued to push in successive stages downward and outward, turning and compressing between the hands and fingers until arriving at more or less cylindrical shape with a more less straight lip that slopes inward. The base was then trimmed to form a round foot for support. A simple glaze is then applied, and firing was at a medium range for only two or three hours. Then, when the bowl glowed all the way through it was taken out of the kiln with long tongs and put into a container of
