Tea of the Sages: The Art of Sencha 9780824841461

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TEA

OF

THE

SAGES

TEA

OF

THE

S A G E S :

P A T R I C I A

The Art of

J .

G R A H A M

U n i v e r s i t y o f H a w a i i Press Honolulu

Sencha

•a *

i

P u b l i c a t i o n of this b o o k h a s been

•Ì m

C e n t e r for Far E a s t e r n Art Studies a n d t h e M a r y Livingston Griggs a n d M a r y Griggs Burke Foundation.

© 1 9 9 8 University of H a w a i ' i Press All rights reserved P r i n t e d in t h e United States of A m e r i c a 5 4 3 2 1

L i b r a r y of C o n g r e s s C a t a l o g i n g - i n - P u b l i c a t i o n D a t a G r a h a m , Patricia J a n e . Tea of t h e sages : t h e a r t of s e n c h a / Patricia J. G r a h a m , p.

cm.

Includes bibliographical references and index. ISBN 0 - 8 2 4 8 - 1 9 4 2 - X (cloth : alk. p a p e r ) . — ISBN 0 - 8 2 4 8 - 2 0 8 7 - 8 ( p b k . : a l k . p a p e r ) 1. J a p a n e s e tea c e r e m o n y . GT2910.G69

I. Title.

1998

3 94.1'5—dc21

98-16702 CIP

University of H a w a i ' i Press b o o k s a r e p r i n t e d on acid-free paper and meet the guidelines f o r p e r m a n e n c e a n d d u r a b i l i t y of the C o u n c i l on Library Resources

D e s i g n e d by S t u a r t M c K e e San F r a n c i s c o , CA

* *

* 4

-t f

4

i

i f

SL)-IS66). of Folklore.

FOUR

SENCHA

Nagasaki;

porcelain

H: v i cm.

Nagasaki

Tokyo

III A C U P S

SENCH

A

OF

4 1.

LANDSCAPE

IN

THE

STYI.E

Kinbeizan

irare,

blue decoration United

OF

States.

N I Z A N - c a .

Yamaguchi by Hine

Photo:

P.

prefecture;

18 6 8 fan-shaped

Taiwan (I 81.1-1869). Graham

plaque,

porcelain

17.8 x .J S.J cm. Private

with

underglaze collection.

BUN JINCHA, SENCH THE LITERATI

products for export and wider domestic consumption. It continued

and Taizan died in 1869, so the date for this work can be closely

to decline and finally closed in 18 6 5.

approximated."

28

During its heyday, though,

A

OF

local literati painters, including Kinoshita Itsuun (1799-1866), and their visiting friends, such as Tanomura Chikuden, frequently

The bunjin contributed to the general public's fascination with their

collaborated with potters in decorating Kameyama wares for

lifestyles through their prolific writings, impressive artworks, and

sencha with casually brushed underglaze blue designs of land-

forceful personalities. They helped spread appreciation of sencha

scapes, flowers, or fruits and vegetables.

through participation in shogakai,

29

Typical of their work is a

set of teacups with lively, light-hearted depictions of daikon

(Japa-

nese radish) and shrimp by Itsuun (Figure 40). Although literati painters occasionally dabbled in forming and decorating ceramics for their own amusement, by the middle of the nineteenth century utensils and accouterments in a Sinophile taste

authorship of tea treatises

written in vernacular Japanese, and production of paintings with sencha themes. They were also instrumental in establishing aesthetic standards for sencha utensils through patronage of potters and other artisans who devised sencha tea utensils. Yet they alone were not responsible for adapting the essential

associated with sencha were routinely being created as collabora-

elements of bunjincha to a broader constituency. This task was

tive efforts of potters and literati scholars and artists. 50 By the very

further accomplished by other promoters of sencha who sought to

end of the Tokugawa period, this collaboration became trans-

integrate it more fully with the aesthetics and etiquette of

formed into a routine commercial undertaking. One literati artist to

Those who contributed to the final assimilation of sencha as a

participate in this endeavor was Hine Taizan (1813-1869), whose

formal ritual in Sinified Japanese taste and the concurrent prolifera-

fan-shaped porcelain plaque for adorning the wall of a sencha

tion of sencha arts and architecture that followed are the subject of

tearoom is a particularly fine example (Figure 41). The plaque is

the following chapter.

treated as a painted fan and decorated with an austere landscape in one of the artist's favorite styles, that of the reclusive Chinese Yuan dynasty literati painter Ni Zan (1301-1374). The box that accompanies the piece indicates that it was fabricated at the Shohei kiln (a popular name for Kinbeizan ware), which was located near Iwakuni in Yamaguchi prefecture. The kiln was founded in 1868

chanoyu.

135

The Assimilation of Sencha CHAPTER

SIX

into Japanese Society

i

ms

TEA

OF

THE

SAGES

Concurrent with the flourishing of bunjincha among the Japanese

etiquette of chanoyu nor could afford its expensive utensils. Naga-

literati, seticha also gained favor among samurai, courtiers, and

tani Soen's descendants continued to produce sencha of such high

commoners, all of whom, for a variety of reasons, considered it an

quality that they extracted an annual fee from the family business

elegant beverage to serve guests. This growth in popularity

of their Edo distributors, the Yamamotosan teashop of Nihonbashi,

occurred in response to two main factors. One was practical: the

up to 1874 (Kumakura 1980, 126).

tea tasted better as a result of adoption of new processing tech-

As markets for sencha increased, competition among

niques. The other was social: many of these sencha drinkers

merchants and growers intensified. The sixth-generation head of

possessed an intense desire to be perceived as cultivated, and par-

the Yamamotosan teashop, Yamamoto Tokujun (Kahei) undertook

ticipating in Chinese literati avocations such as sencha attested to

an exhaustive study of the history of tea cultivation and prepara-

their sophisticated taste. In this latter context, sencha utensils

tion in Japan in order to develop a better, more desirable product.

became reflections of their owners' sense of style and discrimina-

He published the results of his research in the 1834 Small

tion, further encouraging production of finer quality sencha accou-

about Sencha (Sencha shojutsu), which he composed in vernacular

terments. Yet learning the correct means of preparing and serving

Japanese. He included listings of where sencha was cultivated and

the tea required teachers and materials that instructed users on

descriptions on how to use its utensils.

proper etiquette. This was the final step in the process toward widespread adoption of sencha in Japan.

Book

Tokujun used his research to develop a new and improved leaf tea product, which he began selling to the public in 1835. After observing matcha tea cultivation techniques, Tokujun instructed sencha growers of Uji to adopt the use of an arbor to shade the

Gyokuro

(Jade Dew), S t e e p e d Tea for Connoisseurs

delicate tea plants and to protect them from damage by unseason-

Although leaf tea had been processed in Japan from the mid-seven-

ably late frost. This covering also reduced the tannin and increased

teenth century, its popularity only increased substantially after

the caffeine content. Concurrently, Tokujun employed a new

1738 when Nagatani Soen perfected his processing technique for

method for quick-drying the steamed tea leaves. These innovations

sencha. His tea was comparable to superior imported Chinese

preserved the attractive bright green color of the leaves and

varieties, but it was more widely available. It fulfilled the need for a

increased the sweetness of their flavor. So famous was Tokujun's

tea product for those who neither had interest in the elaborate

shaded tea arbor for sencha plants that it appeared in another book

T H E A S S I M I L A T I O N OF SENCHA INTO JAPANESE SOCIETY

he wrote about sencha, the 1848 Secret Guide to Sencha

(Sencha

tebiki no shu), illustrated by Katsushika Oi (fl. second quarter of

Sencha

the nineteenth century), Hokusai's daughter (Figure 42).

Regardless of the setting for enjoying sencha, from bunjincha

This new tea was named gyokuro

(jade dew) after the

shogakai

Utensils for a Wider Market and

gatherings to informal service at restaurants and teahouses

appearance of the byproduct created when the steamed tea leaves

or as the focus of a formal tea ceremony, the same types of sencha

were rolled (Shufunotomosha 1981, 4 4 7 - 4 4 8 ; Tanihata 1984,

utensils could always be used. Thus accouterments for steeped tea

20; Kumakura 1980, 126-131). Gyokuro,

that appear in the backgrounds of many Ukiyo-e prints, such as a

whose taste turns

bitter if it is steeped in water that is too hot, was, and still is,

pictorial calendar for the year 1811 designed by Totoya Hokkei

prepared by the ertcha method in which water is heated in a kettle

(1780-1850) (Figure 43), are vessel types associated with the bun-

on a brazier and another vessel, a teapot, is employed to steep

jin. For the calendar, the artist depicted a plain, unglazed pottery

the tea.

brazier and kettle resembling the wares of Kiyomizu Rokubei I.

After the invention of gyokuro,

the popularity of leaf tea

Sencha utensils were different, however, from vessels used in

soared and, for the first time ever, surpassed chanoyu, although this

the preparation of common tea or bancha.

situation lasted only through the first decades of the Meiji period

larger, as the milder flavored, less costly tea could be consumed in

(Kumakura 1980, 138). The complexities of the manufacturing

greater quantities. Water for bancha was heated in heavy iron

process for gyokuro

kettles (tetsubin) (Arts 1988). These were used in only the most

accounted for its high cost and marked it as a

Bancha teacups were

product that only connoisseurs could afford. Consequently, leaf tea

informal services of sencha. More frequently, when metal kettles

of various lower qualities continued in production in quantities that

were employed to heat water for sencha they were of lighter weight

far exceeded gyokuro.

and made from finer materials: copper, silver, or gold. Generally

From this time forward, gyokuro

was classi-

fied separately from sencha and bancha as the highest grade of

known as ginbin, these sat upon large hibachi-shaped braziers

green leaf tea in Japan. Gyokuro

(binkake)

became the standard tea for

sencha gatherings, though for some special occasions, such as services of tea in honor of Baisao, sencha would be used and

such as pictured in a page from Chinzan's 1838

surimono-style

woodblock album (Plate 1).

The popularity of gyokuro

had profound impact on the

brewed by the older preparation method of throwing the leaves

Japanese ceramics industry. Increased tea drinking resulted in

into freshly boiled water.

greater demand for utensils. Both established and newly opened

139

42.

THE

YAMAMOTO

TEA

Katsushika

PLANTATION

IN

Öi ( f l . second quarter

UJI — 1 8 4 8 of the nineteenth

Sencha (Sencha tebiki no shü). Woodblock-printed National

Japanese

Sencha Association

Library,

century).

From Secret Guide t o

book; ink on paper. 8 x 32 cm. Manpukuji,

Uji. Photo: P.

Graham

43.

COURTESAN,

CLIENT, Totoya

AND Hokkei

style woodblock Spencer Memorial.

COMIC (1780-1850),

ENTERTAINER pictorial

print; ink, colors,

Museum of Art, University

calendar

for the year 1811.

silver, and gold on paper. of Kansas,

Lawrence;

Surimono-

13.8 x 18.7

William Bridges

cm. Thayer

TEA

OF

T H E

SAGES

pottery workshops began producing more and varied utensils tailored to the eticha brewing method for gyokuro.

As utensil

makers increased, they began to personalize and sign their wares, making subtle modifications in styles to accord with their clients' means and tastes. They nevertheless followed standards set by Kyoto potters, especially Mokubei, who specialized in sencha utensils to a greater extent than did any other potter of his day. Many of these newly devised sencha wares were created in styles virtually indistinguishable from products for chanoyu

(Tanihata

1984). Mokubei and other Kyoto potters assisted in founding a 142

number of pottery workshops where sencha wares were made. Sometimes they traveled to these kilns to oversee operations directly, but they also provided technical assistance in the form of publications, such as the Pottery Manual (Toki shinan) of 1830 by Kinkodo Kamesuke. So closely were ceramics for sencha associated with Kyoto potters (whose wares were generally known as Kiyomizu, after the district of the city where their workshops proliferated) that they were among the most famous of Kyoto's local products. Ando Hiroshige (1797-1858) indicates this in his 1839 Ukiyo-e print Kiyomizu

Ceramics and Blossoms

from the

owner's" Cherry Tree in Kyoto (Keishi kiyomizuyaki sakura), from the series Famous Products of the (Shokoku

"Land-

jinushi no

Provinces

meisan) (Figure 44). The lion-handled teapot illustrated

was a popular style from the 1830s. 44.

KIYOMIZU

CERAMICS

LANDOWNER'S" Andò

Hiroshige

(1797-1858}.

(Keishi k i y o m i z u y a k i jinushi no s a k u r a ) , from

F a m o u s P r o d u c t s o f the P r o v i n c e s ( S h o k o k u m e i s a n ) . Woodblock paper,

l i . ? X 168 cm. Elvehjem

Museum

of Art,

University

of

print;

the

series

ink and colors

Wisconsin-Madison.

AND

CHERRY

on

BLOSSOMS

TREE

IN

FROM

THE

K Y O T O - 1 8 3 9

THE A S S I M I L A T I O N OF SENCHA INTO JAPANESE SOCIETY

Creative Kyoto potters drew inspiration f r o m many sources, including the earlier Kyoto master potters Ninsei and Kenzan; Chinese kochi, shonzui,

kinrande,

and celadons; and European

Delft ware, the exotic appearance of which was especially popular at midcentury when interest in Western culture intensified. One style in high demand, initially popularized by Mokubei, featured overglaze enameled designs of Chinese figural subjects. Brush paintings in miniature form, these designs became a vehicle for the personal artistic expression of the potter-decorators w h o made them.

!!•

• ••' . •f t i•f f ,

li

Among those w h o excelled at this style of decoration was

Ì

N i n ' a m i Dohachi. Wrapping around the surface of one of his fresh

l i

water ewers like a handscroll are images of scholars lounging about in a garden setting (Plate 7). Dohachi brushed above the figures the

Wq

wWß

style aka-e (overglaze red). His animated, sketchlike figures and

4

i

Jj f t » "Éi f ^n

143

y "

i c • i t ®

central section of Lu Tong's famous "Tea Song" poem in Mokubei-

l

* * f TM U *H .,

Mm

j l r

^^

1

n

simplified landscape combined with the brightly colored glazes— purple, green, yellow, red, and pink—to create a charming and spirited interpretation of the theme. Dohachi's talented younger brother, Ogata Shuhei (1783-1839), also produced sencha wares, such as a fine example of a brazier decorated with a sophisticated landscape in underglaze blue with a long inscription in Chinese dated to 1837 (Figure 45). This piece is one of many sencha utensils collected for use by Kyoto's famed Sumiya restaurant. 1 Another important Kyoto potter w h o produced sencha wares

Ogata

Shuhei

(1783-1839).

diam:

12.7 cm. Sumiya,

Porcelain Kyoto.

45.

BRAZIER

WITH

with design

in underglaze

blue. H: 16 cm;

LANDSCAPE

SCENERY

—1837

TEA

OF

THE

SAGES

was Eiraku Hozen (1795-1854). At a young age Hozen was

times brushed on the surface with iron oxide pigment. Rengetsu

adopted by the Kyoto potter Eiraku Ryózen (1770-1841), who

must have learned something about sencha and its accouterments

specialized in chanoyu pottery braziers for daimyo patrons. Hozen

from Akinari, for her misshapen, handmade teapots and teacups

developed his own specialties, however, one of which was kinrande.

resemble his in spirit (Figure 46). However, her favorite thick,

His meticulous and precise designs in this style result from the care-

cream-colored glaze more closely resembled the gohonde glaze that

ful application of cut gold leaf to the overglaze enameled surface

Mokubei used on his last set of teacups (Plate 6).

(Plate 8). Although this is the same technique used by Mokubei

As the drinking of sencha spread nationwide from the

(Plate 4), the surface design has a very different character. Indeed,

mid-1830s, many potters at older, well-established kilns, such

though they lived and worked in the same city, Hozen and

as Seto, Bizen, Tamba, and Shigaraki, began adding sencha utensils

Mokubei are thought to have never associated (Pollard 1989, 43;

to their repertoire of chanoyu accouterments and vessels for

Nakanodò 1981, 117).

everyday use. Rengetsu's manner of joining poetry with pottery

Although Mokubei's styles for sencha utensils inspired the

exerted direct influence on potters from Shigaraki, whom she

professional studio potters of Kyoto, another local potter, the nun

came to know personally (Cort 1979, 243-245). The mass-

Otagaki Rengetsu (1791-1875), created her own distinctive style of

produced sencha products of provincial kilns such as Shigaraki,

2

sencha vessels that also became extremely popular. Rengetsu, a

however, remained destined for use among those who could not

celebrated waka poet and a calligrapher of Japanese kana syllabary,

afford the higher-priced sencha wares of Kyoto's elite studio

studied poetry with Ueda Akinari between 1805 and 1809. After

potters.

the tragic early deaths of both her husband and child, she began supporting herself by making ceramics: sake bottles, food dishes, flower containers, incense burners, teacups and pots for sencha,

Adopting the lemoto System, Creating Schools for a

and tea bowls and water containers for chanoyu. She had profes-

Sencha Tea Ceremony

sional potters fire them for her in local workshops (Maeda 1979;

For nearly one hundred years after Baisao began promoting sencha

Kyoto Prefectural Library 1984). Like all her ceramics, she embel-

as an alternative to chanoyu in the 1730s, devotees eschewed the

lished and personalized her sencha wares with her waka poems

formalism and factionalism that had developed among chanoyu

composed in delicate script, sometimes incised into wet clay, other

followers in the wake of Sen no Rikyu's death in 1591. In that

46.

SET

OP

SHNCHA

PIVE

LOTUS

TEACUPS

LEAF-SHAPED

INCISED

Ötagaki

Rengetsu

WITH

WAKA

(179l-lS7S).

POEMS White stoneware

H: 4.1 cm. Mary Griggs Burke Collection.

with cream-colored

Photo: Oi-Cheong

Lee

glaze.

TEA

OF

THE

SAGES

earlier era, a host of charismatic leaders and their disciples and

ish during this time because large numbers of avid amateur partici-

descendants began propagating their own interpretations of an

pants pursued various means of self-cultivation. In this context the

orthodox chanoyu tea ceremony. In many ways the evolution of

boundaries between professionals and amateurs became increas-

sencha schools mirrored these developments, and it is useful to

ingly blurred as amateurs became adept at their arts and rose in

review the emergence of structured schools of chanoyu as a

rank as paid teachers.

precursor to sencha's formalization. By 1757 chanoyu lineages were being perpetuated through

146

In some arts the number of iemoto remained fairly stable, while for others their quantity increased as high-ranking teachers

adoption of the "headmaster system" (iemoto seido) (Varley 1989,

decided to found their own lineages. Thus the iemoto system could

173). This system was applied to diverse Japanese traditions,

in different circumstances either legitimize innovation or perpetuate

including most performing and martial arts, flower arranging, and

established methodologies. Although the largest, most influential

even some types of literature (Gardner Museum 1993). It facilitated

chanoyu lineages adhered to the latter model, one, the Sekishu

the transmission of knowledge and skills within a household (ie)

school, did not. This school was founded by a daimyo, Katagiri

from one generation to the next. Some aspects of the iemoto system

Sekishu (1605-1673). His students were also daimyo, many of

appeared as early as the eighth century, though its apogee is gener-

whom opted to follow their own paths after mastering the art

ally considered to have occurred during the Tokugawa period,

rather than submit to domination by a school structure (Varley

when it functioned as a means of differentiating distinct schools

1989,174). A similar situation would prevail in the development of

(ryu or ha).

schools for sencha, due to its indebtedness to the ideals of the Japa-

Although it was adopted in various ways by practitioners of the different arts, as applied to the Tokugawa period five main features of the iemoto system have been distinguished: hereditary

nese bunjin, who followed the Chinese literati in respecting selfexpression and individuality. Nevertheless, hierarchies and competing lineages did

succession; secret transmission of the teachings (hiden); adoption of

develop within the world of sencha. The 1828 Ryozando's

a permit system to clearly define teachers and pupils; a hierarchical,

on Tea provides the first hint of such a fragmentation in its

authoritative organizational scheme; and maintenance of the

description of bunjincha as a specific type of sencha gathering

lineage through cultivation of loyalty among both teachers and

associated with a particular group of people. Yet bunjincha cannot

students (O'Neill 1984, 635-637). The iemoto system could flour-

rightfully be considered as a lineage itself, but rather it was a

Chats

THE A S S I M I L A T I O N OF SENCHA INTO JAPANESE SOCIETY

source of philosophical and aesthetic concerns for the later sencha schools. Bunjin followers of sencha prevailed in Kyoto under the influence of Baisao and several generations of his admirers. But owing to the influence of the most important early proponents of sencha, such as Oeda Ryuho, Kimura Kenkado, and Ueda Akinari, sencha

H

as an alternative tea tradition initially made more and varied converts among the residents of Osaka than elsewhere in Japan. Ozata Koan, a native of Edo, compiled information on twenty-two of these individuals in an unpublished, illustrated handwritten manuscript, the Collection of Great Sencha Tea Masters of Naniwa [Osaka] (Naniwa sencha taijin shit), of 1835. The author

147

indicated in his afterword that he had created the album to inform the people of his home city about sencha's heritage. He wrote that as it was a popular beverage consumed at all times of the day, its traditions needed to be better understood. He wrote about Baisao as the father of sencha in Japan and provided information on contemporary sencha practices and leaders in Osaka, each of whom he illustrated.3 The manuscript contains short biographies of those figures, including one woman, Shinozaki Sachiko (Figure 47), the wife of the Confucian scholar Shinozaki Shochiku, who was also included. In organizational structure and style, it mimicked pictorial handscrolls that depicted famous ancient Japanese poets. These had become extremely popular during the Tokugawa period and 47.

PORTRAIT

OF S H I N O Z A K I

From Collection of Great Sencha Tea Masters of Naniwa [Osaka} (Naniwa sencha taijin shu). Hand-painted Osaka Prefectural

album; ink and light colors on paper. 29.2 x 21.6

Nakanoshima

Library. Photo: P. Graham

cm.

SACHIKO —1835

TEA

OF

THE

SAGES

featured imaginary portraits of the poets seated alongside a short

age sixteen he inherited the family business and proceeded to

biography and selection of their writing. Among the sertcha masters

expand it, while continually seeking to improve its product. During

pictured, some were celebrated literati painters and Confucian

the course of his research, he realized that fine quality water was an

scholars, while others were obscure figures who shared a common

essential element and discovered an excellent source on his own

interest in literary arts, collecting antiquities, or pursuing an

premises, the "chrysanthemum" well. Water from this well came

eremitic existence. Some were samurai, while others were

from the famed Kiyomizu (pure water) spring, which gave its name

merchants, physicians, or Zen priests.4 Twelve of those included

to the district of Osaka in which Kakuo lived (Kiyomizu-cho). By

here were also listed in a section on sencha tea masters in one of the

1823 Kakuo was a well-known sencha tea master whose early

popular "who's who" compendia of the region, the 1837 edition of

concern for water was widely held as contributing to his later

the Continuing Record of Old Friends of Osaka (Zoku

successes in brewing fine-tasting

kyoyuroku).

Naniwa

While some of these compendia were arranged in

sencha.6

Kakuo studied chanoyu during his youth, when he also began

iroha order (the equivalent of an alphabetical listing), others,

drinking sencha. His complete devotion to sencha resulted from the

including this one, were divided into sections according to the

influence of his Obaku Zen teacher Monchu during the Bunsei era

person's occupation or avocation, with sections on painters, callig-

(1818-1830). Kakuo's rapid rise to prominence in the realm of

raphers, poets, Confucian scholars, physicians, tea masters, and the

sencha is chronicled in various contemporaneous publications. The

like. If a person excelled at more than one art, his or her name

most extensive mention of him appears in the 1859 (latter) edition

would be included in each relevant section. This text appears to

of the garden manual Notes on Constructing

have been the first to contain a separate section for sencha tea

Gardens (Tsukiyama

masters. Heading this category was Tanaka Kakuo, known by his

preface dates to 1828). Included is an illustration of Kakuo's small

studio name of Kagetsuan.

thatched tea hut, the Kagetsuan (hermitage of flowers and moon-

niwa tsukuriden),

Artificial Hills and

by Akizato Rito (whose

light), and its surrounding garden, evocatively titled The Stream Garden of Kagetsuan,

Jade

the Secret Haunt of Master Tanaka at

Tanaka Kakuo and the Kagetsuan School

Rdkashima

Tanaka Kakuo (1782-1848) was born into a family of sake brewers

property was located) (Figure 48). Rito augmented the illustration

whose famous Ebisudai sake was shipped as far away as Edo. 5 At

with the following text:

(Rokashima was the district of Osaka in which his

T H E

A S S I M I L A T I O N

I N T O

J A P A N E S E

T h e K a g e t s u a n t o w e r s a b o v e the west b a n k o f the Higashi [east] Y o k o b o r i R i v e r just w h e r e it c o n n e c t s with the Y o d o River. At the highest p o i n t o f the p r o m o n t o r y is its v e r a n d a , which a f f o r d s a view o f the port. T h e I k u t a m a forest floats in t h e mist and t o the south is the K a o k u Bridge. In the g a r d e n , b r a n c h e s o f willows from C h i n a ' s West L a k e and bush clover from the imperial palace c o m p o u n d mingle together. T h e r e is a " s p i r i t hiding r o c k " a n d a " s p i r i t calling r o c k . " It is a garden t h a t possesses every element o f J a d e Stream G a r d e n [Lu T o n g ' s g a r d e n ] . T h e hut c o n t a i n s p o r t r a i t s o f Lu Yu and Lu T o n g , and a stone statue o f B a i s a o is also enshrined. O n the s i x t e e n t h day o f each m o n t h a m e m o r i a l service for B a i s a o is held. Friends from all over gather then t o engage in elegant pursuits and w i t h o u t fail, on this day every m o n t h the m a s t e r b r e w s tea all day long. Additionally, on the sixth day o f the third m o n t h , a special m e m o r i a l service for Lu Yu is held. After offering s o m e tea t o Lu Yu's spirit, the first harvest o f the new year is c o n s u m e d . T h i s is one o f

sencha's

traditions.

A d e s c r i p t i o n o f K a k u o w a s a l s o i n c l u d e d in t h e f o r m o f a l o n g kanshi,

" O n M e e t i n g the M a s t e r o f the H e r m i t a g e o f F l o w e r s

a n d M o o n l i g h t , " c o m p o s e d in 1 8 2 7 b y O k u b o S h i b u t s u , w h o w r o t e t h e r e t h a t h e h a d l e a r n e d h o w t o b r e w sencha

48.

THE

JADE

SECRET

STREAM

HAUNT

(RÖKASHIMA INSEI,

NO

OF

GARDEN

OF

MASTER

TANAKA

UGHI

KAGETSUAN

TANAKA

GYOKUSEN From volume

KAGETSUAN, AT

TEI

NO

ZU)

2 of the latter edition

ink on paper.

tutelage:

NO

of Notes on Constructing Artificial Hills and Gardens

(Tsukiyama niwa tsukuriden), preface book;

c o m e t o a p p r e c i a t e its s p i r i t u a l s i g n i f i c a n c e u n d e r K a k u o ' s

THE

R 0 K ASH IM A

SOREGASHI

26 x 32 cm. Kyoto

dated

and had

1828, published

University

Library.

in 1859. Photo:

P.

Woodblock-printed Graham

OF

S O C I E T Y

SENCHA

T E A

OF

T H E

S A G E S

The master of the Hermitage of Flowers and Moonlight sencha, for which he created his own

enjoys

lineage.

Fond of the great Ko Yiigai of the past, he employs

various

utensils, reserving special esteem for Chinese-made

ones.

His Song dynasty bronze brazier has a fine patina, the green and blue spots meld with the red sand. Each of the pottery vessels is strange and wondrous, of the West and the East fill up an entire

products

carriage.

He prefers above all his Nanban objects, fine, like gold, are pure and

they

flawless.

For a novice like me, attempting to light the coals, I struggle at even the first step, but finally succeed in improving 150

the

flavor of my brew. Enjoying

things that are simple but elegant, I have a natural

affinity for this activity. From this time forward,

I derive contentment

listening to the silence of the floating

from

simply

7

flowers.

Kakuo was not merely celebrated for his ability to brew finetasting tea, but for rituals he created to enhance its appreciation. These rituals came to be identified as his means of pursuing the ideals of furyu in the book Records of the Elegant Pleasures of Life in Osaka (Naniwa furyu hanjoki), published sometime during the Tenpo era. This volume described in both words and pictures what furyu meant to assorted notables of Osaka. Kakuo's friend Yasui Bokuzan (fl. early nineteenth century) provided a sketch for the 49. Yasui Bokuzan

(fl. early nineteenth

century),

from

volume

Woodblock-printed

University

Library,

Osaka.

book; Photo:

ink and light P.

Graham

colors

K A K U Ô

2 of R e c o r d s of the E l e g a n t

P l e a s u r e s of L i f e in O s a k a ( N a n i w a f u r y u h a n j o k i ) , Tokugawa 1844).

T A N A K A

period,

Tenpo

on paper. 24 x 16 cm.

era

(1830-

Kansai

AT

THE

K A G E T S I J A N

THE INTO

ASSIMILATION JAPANESE

OF

SENCHA

SOCIETY

volume showing the tea master in his hermitage along with two friends (Figure 49). The caption reads: "In the clear moonlight, sketching a picture by the light of the full moon, he boils tea to capture the lofty spirit of Lu Yu." As this description indicates, Kakuo was not adept just at brewing sencha, he was also well versed in various literati arts and indeed was famous for those avocations. Another of the era's "who's who" compendia, The New Edition of Records of Residents ofNaniwa

[Osaka] (Shinkoku

Naniwa jinbutsushi),

of 1824,

records his name in its category of participants in elegant literati activities (bunga), a category that encompassed painters and poets. Kakuo had studied waka poetry with a famous poet of Kyoto, Kagawa Kageki (1768-1843), also a friend of Okubo Shibutsu, and mingled, as a patron in the tradition of bunjin bokkyaku,

with

numerous literati in Osaka and elsewhere during various sojourns. Among these friends was the Confucian scholar Fujisawa Hakuen (also known as Togai; 1794-1864), who ran an influential private Confucian academy in Osaka, the Hakuen Shoin (est. 1825). His descendants have remained loyal supporters of Kagetsuan up to the present. Kakuo's literati associates also included Okubo Shibutsu, Aoki Mokubei, Tanomura Chikuden (Sakai 1987), and Yamamoto Baiitsu, who painted his portrait (Figure 50). Kakuo appears here dressed in his formal sencha master attire, a crane robe, like that worn by Baisao, topped by a crane-shaped cap (fuyokin). Holding a 5 0. P O R T R A I T OF T A N A K A Yamamoto Manpukuji,

KAKUO Baiitsu (1783-1856), Hakugan

inscribed

Enyo (1767-1836).

by the twenty-ninth Hanging scroll;

color on paper. 78 x 25.4 cm. Private collection,

Japan.

abbot

ink and Photo:

P.

of

light Graham

151

TEA

OF

THE

SAGES

nyoi scepter (C: rui; named for its shape inspired by the legendary

water each, finally arrived on a Chinese trading vessel and were

Chinese Daoist fungus of immortality), Kakuo is solemn and digni-

forwarded to the offices of Osaka's administrators, who notified

fied as he sits surrounded by the tools of his trade, a basket contain-

the surprised Kakuo of their arrival. Delighted, Kakuo gathered

ing assorted sencha paraphernalia and a small three-level stand

together ten of his closest friends to share his bounty. However,

that houses his most important utensils, a tea scoop on the upper

they all agreed that to deny others the opportunity to taste authen-

shelf, a teapot in the middle level, and a brazier with kettle

tic Chinese water was selfish, so they devised a plan to share it with

below. Hakugan Enyo (1767-1836), the twenty-ninth abbot of

the entire population of their city. They decided to place the water

Manpukuji, inscribed a kanshi about Kakuo on the scroll above his

into a large, small-mouthed ceramic pot and bury it in the upper

seated figure.

reaches of the Yodo River. This way, the precious Chinese water

During the 1830s Kakuo traveled extensively, and his fame as

would seep out slowly into the river, the city's drinking water

a master of sencha grew. He hosted numerous sencha gatherings.

source, where it would be consumed in minuscule doses by all.

One that took place in Edo in 1832 was attended by about ten

Mokubei was commissioned to fabricate the pot in imitation of an

people, including Tani Buncho, Okubo Shibutsu, and the

antique Chinese leaf tea storage jar in Kakuo's collection. After

Kokugaku

much discussion with government bureaucrats who had gotten

scholar Hirata Atsutane (1776-1843). While in the

capitol, he was also invited to prepare sencha for the eleventh

wind of the plan, and who initially opposed it out of fear that the

shogun, Tokugawa Ienari (1773-1841). When he returned to

Chinese water would poison the drinking supply, the task was even-

Osaka, Kakuo was befriended by the Kyoto courtier Ichijo Tadaka

tually carried out on the fifteenth day of the eighth month of 1833.

as well as daimyo from the Owari and Kii domains. Kakuo was famous for eccentric exploits, such as the follow-

Another of Kakuo's well-documented sencha events was a formal ceremony he hosted as part of a memorial service for his

ing episode, which demonstrates his extraordinary devotion to

teacher Monchu in 1835, on the seventh anniversary of his death. 8

sencha. Yearning for his tea to be as authentically Chinese as possi-

Many of the same people who appeared in the 1835 Collection of

ble, Kakuo sought to prepare tea with water from China's West

Great Sencha Tea Masters ofNaniwa

Lake. Because he could not travel to China himself, he requisi-

Artworks on display included calligraphies by Zen monks asso-

tioned water from China via authorities in Nagasaki. A year after

ciated with the sencha lineage: Monchu, Baisao, Daiten, and Kosen

submitting his request, three bottles, containing eighteen liters of

(1633-1695), Manpukuji's fifth abbot. In contrast to Baiitsu's

were listed as attendees.

THE A S S I M I L A T I O N OF SENCHA INTO JAPANESE SOCIETY

famous sencha gathering at Maruyama Shoami in the same year,

his teachings to select initiates. This accorded with methods for

the utensils Kakuo used represented a more diverse range of

transmission of chanoyu rules of etiquette and reveals Kakuo's

Chinese and Japanese ceramics, and many were closer in style to

indebtedness to the chanoyu

vessels appreciated in chanoyu circles. They included Chinese Nanban wares, kochi, and kosometsuke

underglaze blue wares, but

structure.

Within its seven volumes, fine line drawings illustrate the appropriate arrangement of the utensils for preparing sencha in a

also Japanese copies of these and other wares, including Swatow,

variety of settings, social situations, and according to the two main

celadons, and white Korean porcelains.

preparation techniques of sencha and encha. Utensil usage and

By 1838 Kakuo had adopted the mantle of iemoto

arrangement differed according to rules that were indicative of

of

Kagetsuan and wore, as the formal attire of his position, a crested

levels of propriety. Borrowing the terminology for these rules from

kimono and haori (short formal jacket), which the Kii daimyo,

chanoyu, procedures were divided into stages extending from

Tokugawa Kerutomi, presented to him that year. Thereafter he held

informal (so), to semiformal (gyo), to extremely formal (shin), with

sencha ceremonies at many locations, such as by the gates of

various levels of formality within each category. There were also

famous Kyoto temples, at the founder's hall of Nara's Horyuji, and

separate methods for tea competitions, again dependent upon

even in the Sento Gosho (the retired emperor's villa) in Kyoto.

whether one was utilizing sencha or encha preparation techniques

Kakuo's positive reception from citizens of diverse social backgrounds may in part be due to his adaptation of rules of

for the tea. The illustrations indicate the use of a wide range of vessels.

etiquette (temae) for tea preparation from chanoyu, with which the

Although Kakuo devised his own assemblages of these, they gener-

general public was undoubtedly familiar. These have been recorded

ally reflected preferences of the bunjin. Most frequently, illustra-

in a long document, A Detailed Explanation

tions showed several braziers of different types used in the same

Commodity

of the

Elegant

of Boiled Tea (Seifuryu hocha shoshiki shokai),

which

service, sometimes arranged on formal stands. This kind of organ-

he apparently composed some time during the Tenpo era. Three

ization has already been seen in the 1838 accordion-folded printed

slightly dissimilar manuscript editions of this text are extant, copied

book illustrated by Chinzan (Plate 1). Utensils could also be placed

out by his disciples or by professional scribes in the Meiji period.

directly on a mat, as in the illustration reproduced here, for the

As the manuscript has never been reproduced in printed form, it

arrangement of the third informal level of the semiformal style

must be considered a secret text (hidensho)

(Gyoso sanso kazari no zu) (Figure 51).

that was used to convey

153

TEA

OF

THE

SAGES

Additional drawings depicted a waiting bench for guests and the interior of a small three-mat sencha tearoom, perhaps the earliest reference to a tearoom designed especially for sencha service (Figure 52). Bunjin had never devised such rooms, as they drank sencha in their studies or in formal parlors (zashiki) adorned with Chinese-style decoration. At first glance, this tiny room appears to be indistinguishable from tearooms for chanoyu, with a tokonoma, a wooden board running down the center of the room to separate the host from the guests, and a low shelf by a window for displaying writing implements. However, it possessed some unusual features: a large, round, Chinese-style window of the sort 154

that became ubiquitous in later sencha tearooms, and a wooden board in the tokonoma, like that seen in Rai San'yo's study (Figure 23). Throughout his life Kakuo actively promoted Chinese literati activities and participated in sencha as an avocation, while deriving his livelihood from his sake business. Although his taste in sencha utensils remained true to the literati spirit, in his formalization of the methods and settings for the drinking of sencha according to rules derived from chanoyu, he departed from the spontaneity and informality that characterized bunjincha gatherings. Through his influence sencha became transformed into a refined ritual so closely resembling chanoyu that by the 1840s Fukada Seiichi was compelled to lament in his Secrets of Steeped Tea by

Bokusekikyo

that it was no longer being distinguished as a separate tea tradition. SENCHA

UTENSIL

INFORMAL

LEVEL

ARRANGEMENT OF

THE

From volume

OF

THE

SEMIFORMAL 1 of the Kagetsuan

THIRD STYLE

school

manual

(Seifuryu h o c h a s h o s h i k i s h o k a i ) , Meiji-period Tenpd

era (1830-1844).

Handwritten

album;

A Detailed E x p l a n a t i o n of t h e Elegant C o m m o d i t y of Boiled Tea (1868-1912)

copy of an original

ink on paper. 26 x 16 cm (sight).

from Private

the Tokugawa collection,

period, Japan.

THE A S S I M I L A T I O N OF SENCHA INTO JAPANESE SOCIETY

Similarly, compendia of famous personages of the 1840s no longer distinguished sencha masters from those adept at chanoyu. Kakuô's name, for example, appeared in the section titled simply "chajin" (tea master) of two books of that decade, the Record of Famous Schools ofNaniwa

[Osaka] (Naniwa meiryu ki) and the Record of

Famous People of the Time in Naniwa [Osaka] (Naniwa

tôjijinmei

roku), both published in 1845. Because he had no son, Kakuô adopted his eldest daughter's husband, Tokuô (1805-1885), who, as his successor, adopted the surname Tanaka. After Kakuô's death, Tokuô carefully preserved all his father-in-law's possessions in a storehouse and taught his children Kakuô's sencha etiquette. His elder son inherited the

155

family business, and when he retired around the time of the Meiji Restoration, his younger son, Tanaka Issô, began to earn his living as a professional teacher of the Kagetsuan school of sencha. Issô was then designated the third-generation iemoto of Kagetsuan.

Disseminating a Tea Ceremony for Sencha through Teachers and Texts Contemporaneous with Tanaka Kakuô's efforts in Osaka, Ogawa Kashin (1786-1855) (Figure 53) began promoting sencha in Kyoto. He regarded sencha as a formal ritual intimately tied to principles associated with the Japanese imperial tradition that could be traced 52. From volume

6 of the Kagetsuan

school

A THREE-MAT

manual A Detailed Explanation of the Elegant

Commodity of Boiled Tea (Seifuryu hdcha shoshiki shokai), Meiji-period copy of an original from the Tokugawa album;

ink on paper. 26 x 16 cm (sight).

SENCHA

period,

Tenpd era (1830-1844).

Private collection,

Japan.

Photo:

(1868-1912) Handwritten P.

Graham

TEAROOM

TEA

OF

THE

SAGES

back to Chinese beliefs. The school he ultimately founded is commonly regarded as the second oldest sencha lineage. Kashin, who came from a samurai family in the service of the Fukui daimyo of Echizen province, was said to have enjoyed sencha from his youth. Later he settled in Kyoto where he became a physician.9 Kashin's involvement with sencha intensified after his move to Kyoto, and some accounts indicate that he may even have been involved in the research that led to the perfection of gyokuro in 1835 (Kyoto 1973, 540). The next year he abandoned his medical practice to devote himself completely to promoting the benefits of sencha for both body and spirit. Unlike Tanaka Kakuo, Ogawa Kashin's name does not

1 5 6

appear in Tokugawa-period publications enumerating those who frequented the fashionable intellectual and artistic circles of his day. Indeed, Kashin's apparent ideological distance from these individuals is reflected in the criticism of his Ogawa school in Fukada Seiichi's bunjincha treatise; Kashin's was the only school cited by name as one of the disparaged lineages of zokujincha.

Many of the

documents and other materials related to the early history of the Ogawa school were destroyed in fires during the Meiji period, but two that do survive, the Record of a Boiled Tea Ceremony

(Hocha

ki) of 1851 (which only exists in copies dated 1909) and Korakudd's Talks on Tea Drinking (Korakudo

kissa ben) of 1857,

indicate that Kashin's closest supporters were not the intellectuals or artists of his day but rather Kyoto's aristocrats.10 53.

PORTRAIT

OF

OGAWA

KASHIN

Kosai (active ca. mid-nineteenth

century).

95 x 36.5 cm. Private collection,

Japan.

Hanging scroll; Photo:

courtesy

ink and colors Ogawa

Koraku

on silk.

THE A S S I M I L A T I O N INTO

Like the literati, the courtier class was considered an elite

Kashin's Korakudo's

Talks on Tea Drinking

JAPANESE

is a plainly

group within Japanese society. Although they comprised the highest

written manual on sencha preparation techniques, but it also

class, the aristocrats were in fact controlled by the military regime,

contains a highly theoretical discourse on the relationship of tea to

w h o nevertheless accorded them certain privileges and responsibili-

Daoist cosmology. Ogawa Kashin apparently orally transmitted the

ties. The shogunate provided courtiers with a stipend and kept

text from his deathbed, in 1854, to his disciple Tachibana M o r o m i ,

them occupied with mandated court ceremonies. They also pursued

and it was published posthumously in 1857 on the occasion of

assorted elegant activities befitting their exalted status. During the

the third memorial service of his death. The courtier Horikawa

late Tokugawa period, courtiers had the support of many intellec-

Yasuchika provided a preface, a short history of tea appreciation in

tuals, both Sinophile and Kokugaku

Japan.

scholars alike, who worked to

overthrow the weakening and ineffectual shogunate and restore the

The main body of the text covers practical matters first in

Imperial House to power. The mutual interest in sencha on the part

sections on precepts, boiling methods, preparation of the teapot,

of these groups became a point of commonality and a mark of their

varieties of tea, and tea utensils. Three relatively abstract sections

outsider status (Ogawa 1975a, 10-11). Although high-ranking

follow: fire, water, and wind—subjects derived f r o m ancient

samurai, including the shogun, did indeed participate in sencha, it

Chinese cosmology. Kashin's association of these elements with tea

was not a prescribed form of etiquette as was chanoyu.

stemmed from his belief that sencha was a living entity for which

Its hints at

antiauthoritarian idealism as promulgated by celebrated masters

systematic preparation methods existed in nature. Uncovering these

such as Baisao and Akinari were too conspicuous, while it was

could be accomplished by devising a ritualistic presentation method

simultaneously seen as too plebeian as a result of its strong support

for sencha that adhered to the principles and respected the

a m o n g the middle classes. Although Tanaka Kakuo introduced

elements—yin and yang (in-yd), fire, water, and wind—which regu-

sencha to some of the courtiers, Ogawa Kashin formulated the

lated the natural order of the universe and the calendar.

ideology that tied sencha to their loyalist cause. This association

Although Kashin was the first to apply these concepts to tea,

may also have contributed to the growing appreciation of sencha

they were well known among Japanese aristocrats, for they had

among a public dissatisfied with the shogunate, and by extension

guided court liturgy in Japan since the Heian period. Emperor Saga,

its rituals, such as chanoyu,

an early proponent of tea and literati culture, is credited with codi-

period.

in the waning years of the Tokugawa

fying much of the liturgy (Miller 1971, 107). During the Heian

OF

SOCIETY

SENCHA

TEA

OF

THE

SAGES

period, Japan was governed by legal codes adapted from the

great importance on brewing the best-tasting tea possible. Like

Chinese imperial tradition. These laws had originally been devised

them, he studied processing and preparation techniques, sources for

as part of the complex early Han (second century B.C.) cosmo-

water, and so on. However, he departed from the literati by stress-

logical system that decreed the emperor as arbiter of yin and yang,

ing the underlying importance of attuning sencha preparation to

ruler of the four cardinal points, and governor of the four seasons

the annual cycle of the four seasons and twelve months (shiki jitni

and five elements.

setsu). By modifying the procedures according to the calendar, he

These beliefs grew into the complex liturgies of religious

could adjust for variables of humidity and temperature that

Daoism, whose imperial bureaucratic offices regulated life first in

affected the taste of the tea. This interest in the impact of seasonal

China and then in Japan with the establishment of the bureau of

fluctuations on tea's physical properties must have been aroused by

Yin and Yang (Onmyo-ryo)

Kashin's study of the natural sciences during his training as a physi-

in 709. This bureau's authority was

expanded and codified during the Heian period, when it promul-

cian. Kashin may also have adapted some of his brewing techniques

gated the annual calendar and oversaw the implementation of cere-

from methods of preparing Chinese medicines and gongfu tea

monies around which life revolved (Miller 1971). By linking sencha

(Ogawa 1986a, 34-35). Additional concerns with the hygienic

to principles that had dominated the imperial court at its height,

benefits of the beverage led to his devising certain procedures

Kashin's appeal among the courtier class was assured.

unique to his Ogawa school: a distinct method of wiping the

Kashin asserted in his treatise that the contents of the teapot

teacups with a clean cloth, offering tea sweets with chopsticks

contained the essence of heaven and earth. Drinking tea, he said,

instead of fingers, and drinking a cup of plain hot water between

invigorated the body, but the spirit could only be harmonized with

servings of tea (Ogawa 1975a, 7).

the universe when quietly seated beside a brazier observing the

Kashin emphasized that preparation techniques and the flavor

convergence of the natural forces in the tea. As the wind picked up,

of the tea took precedence over the appearance of the utensils. He

the fire burned hotter. The fire caused the water to boil, and then,

asserted that other sencha masters made sencha into dogu cha

as these essential elements were synchronized, their natural

(utensil tea), as they were more concerned with using authentic

rhythms brought forth the true flavor of the tea (Shufunotomosha

Chinese utensils, implements imitating those that Baisao had

1981,413).

employed, or Japanese copies of such vessels. He claimed not to

Like the literati and other promoters of sencha, Kashin placed

care whether utensils were Chinese or Japanese, old or new, so long

THE A S S I M I L A T I O N OF SENCHA INTO JAPANESE SOCIETY

as they functioned well. This attitude also encouraged creativity on the part of Japanese makers of sencha utensils, for it allowed them freedom to experiment with a wider range of styles than had previously been deemed acceptable in sencha circles. Still, Kashin did not disregard veneration of utensils entirely. One page from his of a Boiled Tea Ceremony,

Record

for example, features an elaborate stand

for seven tea caddies (apparently for the service of tocha)-, like similar containers for precious chanoyu utensils, each caddy was wrapped in its own cloth bag (Figure 54). Despite his claims to disregard literati preferences, their ideals permeated the ambiance of Kashin's sencha world. In fact, the Record

of a Boiled Tea Ceremony,

which documented a tea cere-

mony that Kashin hosted at Kodaiji in Kyoto in 1851, included descriptions of many types of Chinese wares and their Japanese copies in styles known to have been appreciated in bunjin circles. Kashin also displayed at this gathering paintings and calligraphies by several Kyoto literati painters who were his contemporaries: Nakabayashi Chikuto, Uragami Shunkin, and Nukina Kaioku. The prominence of these artworks by native literati artists was at odds, however, with the literati practice of bestowing highest status on Chinese works of art and authentic Chinese utensils. With this shift from veneration of China's literati traditions to those of Japan itself, Kashin played an important role in furthering the naturalization of sencha. Kashin and his followers created a distinctive atmosphere in 54. S E N C H A T E A R O O M OP THE OGAWA From Record of a Boiled Tea Ceremony (Hocha ki), 1909 copy of an 1851 Handwritten Photo:

album;

courtesy

ink on paper.

Ogawa

Koraku

2 6 . 5 x .i 1 cm. Private

collection,

Japan.

original.

SCHOOL

TEA

OF

THE

SAGES

their tearooms by having utensils designed to their specifications,

with literati sencha aficionados. Later he opened a teashop in Edo,

often imprinted with yin and yang symbols, and by furnishing the

but left around 1805 to wander along the Tokaido road selling

rooms with specially designed accouterments. For example, in

sencha, like Baisao, from a portable bamboo carrying case. During

accordance with the taste of Kashin's aristocratic patrons, they

his roamings he found an abandoned temple, Yatsuhashi

sometimes displayed curtain stands (kichô), which had been used to

Muryoshoji, in Mikawa province (Aichi prefecture), near the loca-

divide rooms in ancient Heian aristocratic mansions. Their rooms

tion of the fabled eight-plank bridge (yatsuhashi)

also featured a hearth screen consisting of four panels, with the two

ninth-century Tales oflse

in the center angled to form the shape of a mountain; hence its

restoration of the temple his life's work. He continued to prosely-

appellation of "mountain screen" (sanjibyô).

tize sencha in that region and is today considered the founder of

Its design, character-

ized by the placement of a number of small paintings and calligraphies scattered across its surface in the manner of ancient courtly

(Ise monogatari).

described in the

Settling there, he made

Nagoya's Baisa school of sencha.11 Beginning in the late 1840s pocket-sized guides to sencha lore

shikishi (decorated papers with poems written upon them), appears

and practice became widely available to supplement personal

in the Record of a Boiled Tea Ceremony

instruction by teachers. These books made sencha understandable

(Figure 54).

Although the motivations of Kakuô and Kashin in promoting

to aspiring devotees and contained short biographies of the most

a formalized sencha etiquette differed, their efforts had similar

important sencha masters—Lu Yu, Baisao, and Ueda Akinari—and

results. Through their followers sencha became accessible to diverse

annotated illustrations of utensils (mostly teapots and braziers) and

segments of the population. Although these two had the most

their proper assemblage. Significantly, they did not include step-by-

widespread and lasting influence, they were not sencha's only

step procedures to follow in preparing the tea, for that remained

popularizers.

the domain of the teachers. The earliest of these texts was the New

One of the most important of these other promoters was a

Selections of Sencha at a Glance (Shinsen sencha ichiran), published

Rinzai priest, Yatsuhashi Baisa ( 1760?—1828). Born into a samurai

in 1847, by Sakura Seitan. It included some of the same Chinese

family in Fukuoka, Baisa joined the Buddhist priesthood when

utensils Chikuden had published in his Pictorial Album of Tea

young (a common profession for younger sons of samurai families)

Utensils and served as the model for another popular volume, the

and went to study at a temple in Nagasaki. Around 1786 he moved

1851 Outline of the Pure Spirit of Sencha (Seifu sencha yoran), by

to Kyoto, where he became affiliated with Myôshinji and mingled

Toen. Similar in scope and format was Yamamoto Tokujun's Secret

THE A S S I M I L A T I O N OF SENCHA INTO JAPANESE SOCIETY

Guide to Sencha of 1848, which was published simultaneously in Edo, Osaka, and Kyoto. By far the most ambitious of these popular guides was the

Sencha

in the Culture of the Samurai Elite

Though many of the individuals involved with the promotion of

Elegant Sayings about Sencha (Sencha kigen), published in 1857

sencha came from samurai backgrounds, they were not, with few

(volume 1) and 1858 (volume 2), by Togyu Baisa (1791-1857), an

exceptions, from the highest samurai rank of daimyo. Most of

influential student of Tanaka Kakuo. This Baisa was born in Kyoto

those men continued to prefer chanoyu over sencha, as participa-

and when young became a Soto Zen priest. Later he moved to

tion in the former was required for individuals of their status. Still,

Osaka and owned a teashop, but abandoned it and relocated to

some adopted sencha as a private pastime in conjunction with their

Edo. Eventually he returned to Kyoto, where he taught sencha and

pursuit of the literati arts deemed appropriate civilizing activities by

became acquainted with many local literati and artists, including

the bakufu. For these men, participation in Chinese customs such

the potter Kiyomizu Rokubei II (ca. 1797-1860). Several of these

as sencha helped to define their status. Sencha apparently was

friends contributed to the second edition of his book: Uragami

admired as much for the elegant ambiance in which it was

Shunkin designed a portrait of Lu Yu for the preface and Nukina

consumed as for its flavor.

Kaioku contributed a poem.

In fact, it is a sencha tearoom designed for a daimyo, the

Togyu Baisa's book became extremely influential in the late

Sankatei (pavilion of three flowers), that is the oldest tearoom for

Tokugawa and early Meiji periods, as it provided the most exten-

sencha in existence today (Figure 55). It was designed in the Kaei

sive chronology of sencha in Japan up to its time. According to

era (1848-1854) for the Edo residence of the thirteenth daimyo of

him, the lineage of sencha began with the scholar-recluse of Kyoto,

the Maeda clan of Kaga province (Ishikawa prefecture), Maeda

Ishikawa Jozan, who had before this time been absent from such

Nariyasu (1811-1884). In 1949 the structure was relocated to its

chronologies. Within Togyu Baisa's configuration of the lineage,

present site, where it was attached to the residence that Nariyasu

Baisao Ko Yugai was followed by Yatsuhashi Baisa, identified as

had constructed for his mother in 1863, the Seisonkaku, located in

Baisao II, then himself as Baisao III (bypassing his teacher, Kakuo).

Kenrokuen Park in Kanazawa. The Sankatei consists of three main

Enumerated thereafter were an enormous number of latter-day

interconnected rooms: a five-mat sencha room that adjoins a four-

followers of sencha from throughout Japan, including samurai and

mat room for depositing one's sword (saya no ma) and a three-mat

women (Shufunotomosha 1981, 824-837).

study, identified also as a room for serving the fragrant flower or

1

61

55.

SENCHA

TEAROOM

(PAVILION

IN T H E

OF T H R E E

S A N K AT EI

FLOWERS)

Constructed

in the Tokugawa

at the Seisonkaku,

Kenrokuen,

period, Kaei era (1848-1854). Kanazawa.

Photo: Matsumura

Among a suite of Yoshiharu

rooms

THE A S S I M I L A T I O N OF SENCHA INTO JAPANESE SOCIETY

herb tea, kosen. The complex also includes a storage room

of scholars' accouterments; and Chinese hardstone door pulls. A

(mizuya) and a separate three-mat waiting room (Kitao 1957,

Qing dynasty black lacquer four-panel screen has been used as a

1 0 - 3 9 ; Yokoyama 1987, 261).

sliding door (fusuma) to separate the sencha and kosen rooms. Its

With its rich and idiosyncratic details, it may be considered an

surface is covered with literati emblems: the side facing the sencha

extravagant distant cousin of the Chinese-influenced interior design

room features mother-of-pearl inlaid designs of the symbolic plants

of rooms where Japanese butijin enjoyed sencha. Tsubaki Chinzan,

denoted by Chinese literati as the "four friends," or

in fact, was commissioned in 1852 to carve a design of bamboo and

(plum, bamboo, orchid, and chrysanthemum), while the reverse

a rock into a large standing stone for installation in the adjacent

contains calligraphy in maki-e (inlaid lacquer with sprinkled gold),

garden. Perhaps the most distinctive feature of the interior, walls

a line from Wang Xizhi's famous Lanting Gathering preface. There

painted deep blue and purple, has now been covered over. How-

are also insets of Chinese fabrics, underglaze blue porcelain and

ever, the effect can be interpolated from observing a similar color

lacquer panels, and simulated ink cakes incorporated into the walls

scheme preserved in several second-story rooms of the Seisonkaku

and cabinet doors as decorative adornments.

(Hashimoto 1981, pis. 1 6 9 , 1 7 0 ) . Another unusual design feature is

shikunshi

The opulent and exotic atmosphere of the Sankatei owes

the presence of a bronze bell suspended from the ceiling adjacent to

much to the architectural interiors of the finest restaurants of the

the tokonoma in the tearoom. The rooms also feature elegantly

entertainment areas, such as Kyoto's Sumiya, and to long-held

shaped etched-glass windows. The most exotic element in this suite

daimyo preferences for Chinese material culture. However, in its

filled with curiosities may be the giant narwhal's horn that spans

eclectic fusion of Japanese, Chinese, and Western elements, the

the nearly nine-foot-long transom (ramma) separating the sencha

rooms have redefined traditional Japanese interior space in a new

room from the sword deposit room.

aesthetic specifically identified with sencha.

Generally though, the Sankatei abounds with architectural

The Sankatei is a unique example of a sencha tearoom

details in Chinese taste, including a wisteria vine ceiling in the study

complex designed for a daimyo. Other daimyo, however, incor-

area; unusually shaped windows, such as a large, round paper-

porated similar aesthetic elements into rooms designed as their

covered window on an exterior wall and a cutout opening between

private retreats, essentially places where they drank leaf tea

rooms shaped like a double gourd; paper-covered shoji with elegant

(sencha) informally, served chanoyu,

Chinese-style bamboo lattice patterns; elevated shelves for display

activities. A surviving example of a structure of this type is found at

and practiced literati (bun)

TEA

OF

THE

SAGES

the Ii family residence in Hikone, a rambling estate originally constructed by the fourth-generation family daimyo, Ii Naooki (1656-1717). Like the Sankatei, these rooms date from the mid-nineteenth century. The suite is known as the Rakurakutei (pavilion for the enjoyment of various pleasures) in reference to the four scholarly arts of calligraphy, painting, playing go, and music that would be enjoyed there. Although today the spirit of wabi dominates the aesthetic of chanoyu tearooms, in the late Tokugawa period Chinese aesthetics were so fashionable that even enthusiastic proponents of chanoyu, such as the Ii family, whose members included the powerful daimyo Ii Naosuke (1815-1860), an author of various books on the subject, succumbed to this influence. The Rakurakutei contains a chanoyu tearoom adjoining a raised tatami-matted study (Figure 56), both larger in scale than similar rooms at the Sankatei.12 In deference to the family's inclinations toward chanoyu,

Chinese aesthetic elements are here more

subdued and wabi taste is reflected in some prominent interior features such as the unfinished twisted tree limb used as the main pillar of the tokonoma. Chinese design features include the several large, decoratively shaped windows, lattice patterns covering the shoji, and the placement of a plaque with the name of the suite, Rakuraku, inlaid in mother-of-pearl in scholarly clerical script, inset into the transom between the two main rooms. In addition to participating in sencha themselves, daimyo contributed to its further promulgation through sponsorship of 5 6.

THE

RAKURAKUTEI

ENJOYMENT Constructed li daimyo

in the mid-nineteenth family,

Hikone.

Photo:

century. P.

Suite of rooms

Graham

at the former

residence

of

OP the

(PAVILION

VARIOUS

POR

THE

PLEASURES)

THE A S S I M I L A T I O N OF SENCHA INTO JAPANESE SOCIETY

ceramic kilns in their jurisdictions. During the nineteenth century

painted a pastoral narrative of a fisherman on one side and a bird-

most of their kilns specialized in porcelain and produced scholars'

and-flower motif in a medallion on the other. Prominent among the

accouterments and sencha utensils. Some of these kilns had been

overglaze colors on this teapot is a rosy pink, used to define the

established earlier in the Tokugawa period, but many were founded

flower petals. One of Shoza's favorite pigments, this color owes its

in the early nineteenth century following directives from the bakufu

appearance to his adaptation of Western chemical compounds

to encourage local craft industries as a means of improving a weak-

imported during the Meiji period.

ened economy. In many instances, potters from Kyoto, who were

Eiraku Hozen also established important kilns for daimyo

considered experts in the fashionable new styles in butijin taste,

patrons. In 1827 he accompanied his adopted father to Kii

were called in to oversee the operations. The Zuishi kiln of the

province, where they established a personal kiln, the Kairakuen, for

Tokugawa daimyo of Kii province (Wakayama prefecture), for

the local daimyo, which produced wares for chanoyu and other

example, was established in 1801 by Mokubei, who also helped to

formal occasions. 14 Eiraku also taught his methods of applying

revive the Maeda daimyo's ceramics industry in Kanazawa by

decoration on kinrande wares to potters at the Koto kiln at Hikone,

working at the Kutani ware Kasugayama kiln (in 1806).

active between 1829 and 1862 under the sponsorship of three

Kutani quickly became one of the most important and

successive generations of Ii daimyo: Naoaki, Naosuke, and

commercially successful centers of production for porcelain sencha

Naonori. Representative of their kinrande products is a sencha

wares and scholars' accouterments in the late Tokugawa and Meiji

teacup from a set of five decorated with Chinese figures in medal-

periods." Other Kyoto potters who assisted at Kutani included

lions, signed by the potter Meiho (Figure 57). Koto potters also

Hozen's son Eiraku Wazen (1823-1896), who initiated the produc-

excelled at underglaze blue, celadon, and copies of Kutani and

tion of kinrande

Imari wares.15 Since this kiln existed for but a short span of time

wares there, using the powdered-gold application

technique. Kutani became particularly famous for this style in the

and did not distribute widely, and since many of its wares were

early Meiji period under the leadership of Kutani Shôza (1816—

later destroyed in fires, it is not well known today.

1883), the most famous and creative Kutani potter of the era. His

Other daimyo kilns that produced sencha wares within the

designs are characterized by the incongruous pairing of scenes of

sphere of influence generated by Kyoto literati and potters have

different subjects on a single vessel. His wares are opulently deco-

likewise become obscure, as they also ceased production in the

rated, as in a delicate teapot for sencha (Plate 9). Here he has

early Meiji period. They include the Sanda and Ochiyama kilns in

165

TEA

OF

THE

SAGES

Hyogo prefecture (Sasayama 1991, 48-60; Sasayama 1988), famed for their celadons, and the Tozan kiln sponsored by the Sakai daimyo at Himeji (Mitsuoka 1975). By the end of the Tokugawa period, sencha had become transformed into much more than a casually ingested beverage. As its promoters adopted chanoyu etiquette and aesthetic preferences in karamono,

the assimilation of sencha into Japanese culture was

complete. No longer was it the private avocation of intellectuals and eccentrics. Its champions had rationalized an appropriateness for samurai, aristocrats, and the middle classes alike. Entire industries, from tea schools to craft workshops, were devoted to its

166

promotion. Sencha's Chinese literati-inspired aesthetic had so completely infiltrated public consciousness that the marginal role of the sencha ceremony in modern Japanese society seems a surprising turn of events. The fate of sencha after the Meiji Restoration is the subject of the final chapter of this book.

5 7.

SENCHA

TEACUP

FROM

Meihd

A SET

(fl. Tokugawa

Hikone; Museum.

porcelain

OF period.

FIVE mid-nineteenth

with overglaze

red enamel

century). and gold.

Kinrande-sfy/c? Koto

ware,

H: 4.5 cm. Hikone

Castle

PLATE

I.

ALBUM

OH SENCHA Tsubaki

UTENSIL

Chinzan

woodblock-printed Private collection,

A RR A N G EM E N T S — 1 8 3 8

(1801-1854). book; Japan.

Section

of an accordion-folded

ink, gold, silver, and colors Photo:

P.

Graham

surimono-siy'''

on paper. 26 x 32 cm

(sight).

PLATE

2.

A SMALL

SENCHA Tsubaki

GATHERING Chinzan

(1801-1854).

(SENCHA Section

SHOSHU)—1838 of a woodblock-printed

colors on paper. H: 12.4 cm. Private collection,

album; ink and

Japan. Photo: P.

Graham

light

l'I. A T E

3.

FRESH

WATER

EWER

Aoki Mokubci collection,

( 1767-1833).

Japan.

Photo:

Porcelain P.

Graham

with celadon

glaze.

H: 20 cm.

Private

PLATE

4.

SIDE-HANDLED FLYING

Aoki Mokubei

(1767-1833).

TEAPOT

WITH

DESIGNS

OF PLANTS

AND

BIRDS Kinrande-sfy/e porcelain

rim on lid. H: 9 cm. Private collection,

with clear glaze, overglaze

Japan. Photo: courtesy

Yanagi

Takashi

red ground, gold leaf, and

metal

PLATE

5.

SET

OF TWELVE Formerly

SENCHA

UTENSILS

owned by Kyukyodd,

and wooden with assorted

Kyoto,

with all but the mat, Chinese pottery

teacup saucers by Aoki Mokubei glazes.

Tokyo

National

(1767-1833).

Museum.

Porcelain

and

kettle, stoneware

PLATE

6.

SET

OF

FIVE Aoki

SENCHA Mokubei

Museum.

TEACUPS —1833 (1767-1833).

Porcelain

with gohonde glaze.

H: 5 cm. Iruma

City

PLATE

7.

FRESH "TEA

WATER

EWER

WITH

THE

TEXT

AND

IMAGES

OF

LU

TONG'S

SONG" Nin'ami

Dohachi

(1783-1855).

Porcelain

els. H: 14.5 cm. Private collection,

with underglaze

Japan. Photo: P.

blue and overglaze

Graham

enam-

PLATE

8.

SET

OF

FIVE

SENCHA

TEACUPS

Eiraku Ho zen (1795-1854). underglaze Museum

Kinrande-s/y/e porcelain

with over glaze red

blue, and gold leaf. H: 3.8 cm. Saint Louis Art Museum, Shop

Fund.

enamel,

purchase:

PLATE

9.

TEAPOT

WITH Kutani enamels

NARRATIVE Shoza

(1816-1883).

and gold.

AND

FLORAL

MOTIFS

Kinrande-style Kutani

H: 5.5 cm. Private

collection,

ware porcelain

Japan.

Photo:

with P.

overglaze

Graham

IM\km PLATE

10.

WOMEN

PRACTICING

LITERATI

Noguchi Shohin (1847-1917). cm. Private collection,

A R T S IN

A

GARDEN—1872

Hanging scroll; ink and light colors on silk. 111.5 x 37

Japan. Photo: courtesy

Yamanashi

Prefectural

Museum

of Art

PLATE

11.

SERVING

GUESTS Mizuno

SENCHA

Toshikata

long handscroll;

IN

(1866-1908).

A ROOM

WITH

Woodblock-print

A FINE triptych

VIEW—1890

mounted

ink and colors on paper. 3 5 . 5 x 70.5 cm. Iruma City

as a section Museum.

of a

PLATE 12.

BONSAI

DISPLAY—1874 Tanomura Chokunyu

(1814-1907),

from Pictorial Record of a Sencha Tea Ceremony.

Section from a set of three handscrolls; ink and colors on paper. 26.7 x 963.9 cm (overall). Saint Louis Art Museum, purchase: funds given by the Mr. and Mrs. Oliver M. Langenberg Endowment

Fund, Mr. and Mrs. David Mesker, Mrs. Winifred

Garber,

Viola Story in memory of Eugene "Buddy" Story, Florence Morris Forbes, Mrs. James Lee Johnson, Jr., and Mr. and Mrs. Charles Lowenhaupt,

and funds given by the John

R. Goodall Trust, Mr. and Mrs. Lawrence B. Langsam, Mrs. Charles W. Lorenz, Mr. Jack Ansehl, Miss Helen M. Longmire, Mr. and Mrs. David W. Mesker, the

Gateway

Apparel Charitable Trust, Mr. and Mrs. James Lee Johnson, Jr., Mr. Thomas F. Schlafly, Mrs. Charles A. Thomas, and other donors through the 1992 Annual and Museum

Purchase.

Appeal,

PLATE

13.

SERVING

SENCHA

W H I L E SEATED IN C H A I R S — 1 8 7 4

Tanomura Chokunyu

(1814-1907),

from Pictorial Record of a Sencha Tea Ceremony.

Section from a set of three handscrolls; ink and colors on paper. 26.7 x 963.9 cm (overall). Saint Louis Art Museum, purchase: funds given by the Mr. and Mrs. Oliver M. Langenberg Endowment

Fund, Mr. and Mrs. David Mesker, Mrs. Winifred

Garber,

Viola Story in memory of Eugene "Buddy" Story, Florence Morris Forbes, Mrs. James Lee Johnson, Jr., and Mr. and Mrs. Charles Lowenhaupt,

and funds given by the John

R. Goodall Trust, Mr. and Mrs. Lawrence B. Langsam, Mrs. Charles W. Lorenz, Mr. Jack Ansehl, Miss Helen M. Longmire, Mr. and Mrs. David W. Mesker, the

Gateway

Apparel Charitable Trust, Mr. and Mrs. James Lee Johnson, Jr., Mr. Thomas F. Schlafly, Mrs. Charles A. Thomas, and other donors through the 1992 Annual and Museum

Purchase.

Appeal,

PLATE

14.

SENCHA AND

TEA

SET WITH

DESIGNS

OF

BAMBOO,

PLUM,

ROCKS,

POEMS Miura Cbikust'n

1 (¡854-1915),

with decoration

in underglaze

h: 6.3 cm. Iruma City

ten cups, water cooler, and a teapot.

Porcelain

blue. Cups h: 4.7 cm; teapot h: 7.5 cm; water

Museum.

cooler

PLATE

15.

GROUP

OF

BANKO

Excavated Bunkyd-kit,

WARE

TEAPOTS

in a commoners'

neighborhood

Tokyo, from the mid-late

at the Mukogaoka

nineteenth

glazes. H: 9 cm (sight). Tokyo Municipal

High School

century. Stoneware

Government.

with

Photo: P. Graham

site, assorted

PLATE

16.

KETTLE —1876 Hata Private

Zöroku

(1823-1890).

collection,

Japan.

Gold Photo:

with two intertwined courtesy

Yanagi

jade rings on lid. H: 14.S

Takashi

cm.

C H A P T E R

S E V E N

Sencha in Modern Japan

IS

TEA

OF

THE

SAGES

The Meiji Restoration of 1868 constituted a radical break with the

charted through printed books and other pictorial records. These

past in terms of internal politics and international relations, though

are divisible into four distinct types of documents: (1) commemora-

corresponding changes in values—evident in the Japanese public's

tive records of sencha gatherings that illustrate the environments

preferences for art, literature, daily and ritual customs, ethical

(seki) where sencha was served and the arrangements of the utensils

teachings, etc.—came about more slowly. The leaders of this new

(kazari) within them; (2) studies of the art objects (principally of

age set in motion a program of modernization under the rubric of

Chinese manufacture) associated with sencha; (3) reprints of older

bunmei kaika (civilization and enlightenment), seeking to refashion

Chinese and Japanese books on sencha; and (4) guides to the use of

Japan in the image of industrialized Western powers. Yet so

standardized types of utensils according to rules (teniae) set by

entrenched were Chinese ideals and their associated arts and

sencha schools.

customs that they could not easily be dislodged. By the middle of the nineteenth century, rituals associated 168

w

ith drinking sencha had become widely practiced by people from

Sencha and Chanoyu

in Relation to Japan's Modern Identity

virtually all walks of life, but still its aesthetics and tenets remained

By the 1880s, in reaction to the zealous adoption of Western ways,

closely affiliated with admiration for classical China. The contin-

Japanese political leaders recognized the need to cultivate for Japan

ued presence of sencha and its material culture in the modern era—

a unique cultural identity as a modernized but still distinctly Asian

from the Meiji period to the present—reflects not only the depth of

nation. Although numerous aspects of Japan's cultural patrimony

penetration of its philosophy and aesthetics into Japanese society,

encompassed assimilated Chinese values, many questioned and

but also the tenacity of the Japanese Sinophile literati scholars

sought to overturn Japan's traditional deferential relationship with

(Kangakusha)

China as that country became fragmented by internal power

during an era in which their high regard for China's

cultural legacy was deemed by many to be nostalgic and obsolete.

struggles and subjugated by Western forces. These attitudes helped

This chapter surveys the variety of individuals in Japan's modern

provoke the Sino-Japanese War of 1 8 9 4 - 1 8 9 5 . Japan's subsequent

era who continued to embrace sencha and explores the richness of

military victory over China was so stunning that it strengthened

arts devoted to it as one facet of the aesthetic environment of

feelings of superiority over other Asian nations as well. Japanese

modern Japan.

leaders ultimately concluded that it was only in their country that

Sencha's continuing evolution in the modern era can be

the wisdom of the East, which had originally emanated from

SENCHA

IN

MODERN

China, could now be preserved. Widely promoted in the Meiji

affected the reception of sencha in modern Japan, as its apprecia-

period, this concept had its roots in the ideology of Tokugawa-

tion continued to be intimately tied to respect for traditional

period Confucian scholars.

Chinese culture.

Sinophile intellectuals, epitomized by Naito Konan ( 1 8 6 6 -

In contrast, the rituals and aesthetics of chanoyu,

though

1934), maintained conflicting sentiments toward China; they

remotely based on Chinese tea preparation techniques and encom-

continued to praise its past achievements but expressed dismay at

passing an appreciation of karamono,

its present weakness, which they sought to rectify through the

ticed solely in Japan. Thus the suitability of sencha as an element of

offering of various kinds of assistance. By the late nineteenth

"Japanese" culture both to the world outside and among the Japa-

century, Kangaku

nese public was questioned by the new pan-Asianists, such as

supporters of classical Chinese culture and

were conceived and prac-

thought, with whom Naito sided, and all of whom seem to have

Okakura Kakuzo (Tenshin; 1862-1913), who promoted

participated in sencha, were often coming into conflict with

instead (Okakura 1903; Okakura 1906).

modernist scholars of Toyo (East Asia). These so-called pan-Asianists (Toyogakusha)

deemed Kangakusba

old-fashioned idealists and

focused instead on contemporary developments in Asia.1 These attitudes led to two contradictory developments that

JAPAN

chanoyu

Even before Okakura's time, from the very beginning of the Meiji period, impetus for reappraisal of the status of chanoyu emanated from chanoyu tea masters themselves, particularly those associated with the Urasenke school. They intensified efforts to

further affected both the relationship between China and Japan

reform and expand their following by allowing the use of chairs for

and the definition of Japan's national identity. On the one hand,

guests (formally adopted in 1872), holding large public tea cere-

there was a sense of urgency to appropriate China's cultural arti-

monies to overcome the image of chanoyu as an elitist occupation

facts and intellectual heritage in the guise of preservation of the

of samurai and wealthy merchants (from 1877), and cultivating

material culture that represented Eastern values. On the other was

participation by women as a means of instructing them in proper

a desire to create a less China-oriented cultural identity for Japan.

etiquette (begun in the 1880s but entering the formal curriculum of

The former led to the collecting and cataloguing of Chinese art,

women's education from 1913). The reputation of sencha was

including the first systematic surveys of the great cave temples.

finally surpassed by chanoyu as the powerful new industrialists of

The latter stimulated the promotion of Japanese artistic traditions

the late Meiji period became enthusiastic participants and collected

less obviously indebted to those of China. Both these attitudes

its related arts. Thus chanoyu became a status-enhancing avocation

169

TEA

OF

THE

SAGES

for this new "merchant class" (Guth 1993, 7 2 - 7 5 ; Varley 1989,

still clung to Chinese artifacts is evident in the Chinese-style

188-191).

furnishings, such as the rug, hearth screen, tables, flower arrange-

In general, sencha did not fare well in the competition with

ments, and hanging scroll. As in the sencha rooms of the late

chanoyu for patrons; it did not enjoy the advocacy of those in posi-

Tokugawa period, Chinese elements—the lattice designs of the rail-

tions of economic power, nor did it have a single strong institu-

ing and the cracked ice-patterned windows—are combined with

tional base, like Urasenke, from which to rally. Yet its proponents

more standard Japanese interior design features, in this case, an ele-

tried to refashion its identity and expand its constituency in ways

vated, tatami-covered tokonoma.

similar to what was occurring within the chanoyu establishment. As early as the 1870s, sencha, together with other Chinese literati

1 7 0

arts, was being promoted as an edifying activity for ladies. Several

Sencha

and Literati Culture in the Meiji and Taisho Periods

paintings from this decade by a female literati painter from Osaka,

In the early Meiji period, most members of the new political elite

Noguchi Shôhin (1847-1917), including the delicately brushed

continued to uphold Chinese literati values and pursuits as morally

Women Practicing Literati Arts in a Garden, 1872 (Plate 10),

correct. These leaders had received their educations prior to the

depict women enacting bunjin activities, with sencha prominent

Meiji Restoration, when Chinese Confucian teachings served as the

among them.2

mainstay of the educational curriculum. They acquired a taste for

By the 1890s, however, motivations for women to participate

related literati avocations in their formative years and encouraged

in sencha had changed. Sencha was, for them, no longer associated

continued respect for writings in Chinese (kanbun). Donald Keene

with the mastery of Chinese-influenced literati arts. Rather, partici-

has observed that writing in kanbun was, by the Meiji period, no

pants learned the custom as a means of acquiring gracefulness in a

longer considered an alien language; it was instead the language of

task that was, and remains today, an essential skill employed in the

the educated, to be used when composing serious books for a liter-

entertaining of guests in Japanese society. Woodblock prints, such

ate audience (Keene 1985). Under the influence of these Chinese-

as a triptych by Mizuno Toshikata (1866-1908), Serving

educated leaders, Chinese antiquities remained the art of highest

Guests

Sencha in a Room with a Fine View, dated 1890 (Plate 11), suggest

status among collectors. Ex-samurai politicians also admired and

this shift in the formal poses of the seated guests and the orderly

collected related Japanese arts and artworks by Japanese literati

arrangement of the utensils. However, that the air of refinement

painters from similar backgrounds. Rai San'yo, Watanabe Kazan,

SENCHA

IN

MODERN

and Tanomura Chikuden, for example, were accorded particular

pated reveal that he strove tirelessly to promote sencha as an educa-

esteem, and disciples of these artists were patronized by the new

tional activity. In 1863 he published the earliest and most famous

leaders (Addiss 1982; Guth n.d.).

example of this effort in a three-volume illustrated book, Pictorial

Of the many literati painters active from the late Tokugawa

Record of the Azure Sea Tea Gathering

(Seiwan chakai zuroku),

an

period through the Taisho period, Tanomura Chokunyu ( 1 8 1 4 -

account of two related sencha gatherings that took place in Osaka

1907) and Tomioka Tessai (1836-1924) were the two most

in 1862 and 1863 (Kramer 1985, 150-157). Volumes one and two

admired by the new elite politicians not only for their talent as

were devoted to the first gathering, volume three to the second.

artists, but also for their pre-Restoration associations with support-

The first gathering convened to commemorate the one-hundredth

ers of the loyalist movement. N o t surprisingly, they were also the

anniversary of the death of Baisao. Its main event was the erection

most influential promoters of sencha in literati circles. Friends of

of a stone tablet on the bank of the Yodo River at the supposed site

very different temperaments and ambitions, their pictorial records

of O b a k u Ingen's pronouncement that the scenery resembled that

and studies on sencha reveal complementary approaches to its

of China's West Lake, a place famed in Chinese literati lore. The

preservation and modernization.

5

Chokunyu, a native of Takeda, Tanomura Chikuden's home-

agenda of the second gathering seems to have been less specific. To finance these gatherings and the erection of the memorial stele,

town, was from a family of ikebana (flower-arranging) teachers. A

Chokunyu painted one hundred portraits of Baisao, which he sold

child prodigy in painting, he became a student of Chikuden at age

to his friends.

eight and was adopted by him soon after. Later he studied Chinese

Both gatherings featured seki devised by various sencha

poetry with Shinozaki Shochiku in Osaka. Settling in Kyoto in

coteries, or sencha masters and their disciples. These rooms were all

1868, where he met Tessai, Chokunyu became an influential

illustrated in the book, accompanied by thematically related poems

teacher and promoter of literati painting and related culture. He

in Chinese and detailed descriptions of the important sencha

served as the first director of the Kyoto Prefectural Painting School

utensils they contained (of Chinese, Japanese, Korean, Ryukyuan,

(Kyoto-fu Gagakko) when it opened in 1879 and later, together

and European manufacture). Among the treasures displayed in one

with Tessai, was instrumental in founding the Japanese Literati

of the seki (Figure 58) were the famous utensils made by Akinari,

Painting Society (Nihon Nanga Kyokai).

his crab-shaped brazier and kettle (Figure 21). Still, despite the

The records of sencha gatherings in which Chokunyu partici-

JAPAN

eclectic nature of the accouterments, the appearance of the settings

171

TEA

OF

THE

SAGES

remained overwhelmingly Chinese, with rooms furnished with an abundance of Chinese wooden and bamboo tables, trays, stools, ancient bronzes, and ceramics. The book's format, an exhaustive, illustrated record of the objects connected with a sencha gathering, came to serve as the model for the seemingly mandatory publications commemorating such events in the succeeding Meiji and early Taisho periods. As many earlier participants in bunjiticha had also been respected authorities on Chinese antiquities, the shift in emphasis in this text, from descriptions of the sencha tea ceremony itself to a detailed account of the utensils, was a natural extension of bunjin interests. 172

It foreshadowed the new climate in which art collecting was to become an avocation of the culturally enlightened in the modern age. The most distinguished defender of the values outlined in the

ft ;» •ft

t-d-

Pictorial Record of the Azure Sea Tea Gathering during the Meiji

ï* m> * t fe

and Taisho periods was the literati painter and scholar Tomioka Tessai. Born into a Kyoto merchant family, Tessai had a scholarly temperament from his youth, when he studied poetry with the nun Otagaki Rengetsu. After an extended stay in Nagasaki in 18611862 to elude shogunal authorities seeking to punish imperial loyalists such as himself, and a brief return to Kyoto where he opened a private academy, Tessai embarked on a long period of wandering, taking up permanent residence in Kyoto in 1881. There he moved into a house that had once belonged to Ogawa Kashin,

58.

ARRANGEMENT

OF

SENCHA

Tanomura

UTENSILS

Chokunyu

(1814-1907),

IN

A ROOM

from

volume

—1863 2 of Pictorial Record of the Azure

Sea Tea Gathering (Seiwan chakai zuroku). Woodblock-printed 19.5 x 23 cm. Osaka

Municipal

Museum

of Art. Photo:

P.

book; Graham

ink on

paper.

SENCHA

IN M O D E R N

founder of the Ogawa school, though he had no particular affinity

volume, Record of Clay Pots ofYixing

for sencha as practiced by that master (Tessai 1991). Introspective

seurship study, the first of its kind, of assorted Chinese Yixing ware

and modest by nature, Tessai considered himself foremost a scholar

teapots illustrated alongside the names of their makers. In his

and eschewed public fame as a painter despite his prodigious

volume he translated into Japanese the earliest-known treatise on

output. Still he received many honors for his paintings and is

Yixing wares in China, An Account of the Teapots of

widely acknowledged as the greatest creative genius among Japa-

(Yangxian minghu xi; J: Ybsen meiko kei), by Zhou Gaoqi, written

nese literati painters of the modern period. His many other learned

during the Wanli era of the Ming dynasty (1573-1620). Although

avocations revolved around his devotion to sencha and other

Yixing wares had been appreciated and used by earlier sencha

literati arts, including book collecting, seal carving, connoisseurship

masters, and the names of famous Yixing potters were known, they

of old paintings, and collaboration with Kyoto artisans in the

had not been well understood due to lack of reliable information.

production of sencha utensils (Conant 1 9 9 5 , 1 6 6 - 1 6 7 ; Tessai 1991;

Tessai's publication changed that by increasing access to original

Kyoto Municipal Museum 1985, cat. nos. 4 3 1 - 4 7 7 ) .

Chinese sources. The second volume of Tessai's book, Sketches of

Tessai contributed to the continued fascination with Chinese

Pure Scholar's Accouterments

(Giko jihu fu), is a connois-

Yangxian

(Bunbo seiyaku zu), defined in

literati and sencha through numerous paintings that idealized the

pictures and explanations the appropriate Sinified atmosphere in

bunjin lifestyle. His works showed scholars brewing sencha in soli-

which to enjoy sencha, with some of the illustrations borrowed

tary reverie or attending boisterous literati gatherings. Part of the

from those published in Chikuden's books, and others closely

charm in his paintings of sencha themes lay in his self-deprecating

resembling the seki found in Chokunyu's tea-gathering record of

humor, such as exhibited in his casually brushed Blind Men

1863.

Critiquing Beauty (Figure 59), in which a group of sightless old

Among the influential new Meiji leaders with whom Tessai

men grope at a painting and assorted sencha utensils—several

and Chokunyu associated was Kido Takayoshi (1833-1877), also a

braziers, a basket carrying case for utensils, tea caddies, an ink-

serious collector of the paintings of San'yo and Chikuden and

stone, and an ancient Chinese bronze vessel.

patron to talented literati artists.4 Kido's circle also included the

Tessai also significantly elevated the level of scholarship on

Osaka art dealer Yamanaka Kichirobei (Shunkodo), whose family

the material culture associated with sencha in his two-volume

firm was soon to become a leading supplier of East Asian art in the

Tessai's Tea Records

Western market, and the merchant Kumagai Naotaka, proprietor

(Tetsuso chafu), published in 1867. The first

JAPAN

173

5 9.

li I.I N I )

MEN

CRITIQUING Tomioka

BEAUTY

Tessai (IS.i6-li)24).

29.2 cm. Nelson-Atkins White

Groupp).

Hanging

Museum

scroll; ink and light colors on paper. 22.9 x

of Art, Kansas City (Gift of I. Groupp

and

Julieann

SENCHA

IN M O D E R N

of the Kyukyodo. Together with these friends, Kido participated in

mented several in painted handscrolls and another in an illustrated

sencha gatherings that, soon after the Meiji Restoration, became

woodblock book. One of the handscrolls records a gathering that

occasions for public exhibitions of Chinese antiquities, paintings,

took place over a five-day period in 1873. One hundred and thirty

and calligraphies. Kido and other Meiji leaders promoted these

guests convened to celebrate the sixty-first birthday of an adminis-

exhibitions, modeled after shogakai,

trator from Harima (Hyogo prefecture), Kameda Tamekazu ( 1 8 1 1 -

as a means of spreading the

literati values that they considered an essential component of

1883), and bid him farewell prior to his departure for Tokyo on

education for the general public. One of the earliest of these exhibi-

official business (Ogawa 1975b).

tions of antiquities took place at an unnamed Kyoto teahouse in

In January of the following year, Chokunyu organized

1869 and was hosted by seven literati of Kyoto, who also served

another sencha arts extravaganza, this one for the general public.

their guests sencha (Kido 1 9 8 3 - 1 9 8 6 , 1: 213).

He recorded its appearance in a set of three long handscrolls. In the

Two years later, in 1871, a larger and more formally orga-

epilogue to the scrolls he wrote that the exhibition took place in his

nized exposition, precursor to the many that were held throughout

home district of Toyokuni (northern Kyushu), over a period of

Japan into the first decade of the twentieth century, opened in

three days and nights. Friends had asked him to arrange it as a

Kyoto. Conceived by Kyoto's governor Makimura Masanao

means of helping to impart understanding of the values of "civiliza-

(1834-1896), with assistance from Kyoto's intellectual and artistic

tion and enlightenment" (he used the term "bunmei kaika")

elite, it contained numerous Chinese Ming and Qing paintings of

area's commoners. As its goals were educational, it received the

the sort that would have been appreciated in sencha circles. The

blessing of the provincial governor. Some twenty to thirty regional

main intent of the exhibition, however, was to promote Kyoto's arts

officials and eight hundred local men, women, and children came

and crafts industries, which Makimura championed in the slogan

to view the displays. Chokunyu wrote that he considered himself

"enrich the country through the arts" (bijutsu fukoku)

useless and aged, but he agreed to formulate this exhibition to aid

(Conant

1995, 19). In the mid-1870s exhibitions of sencha accouterments and Chinese paintings and antiquities took place in various cities

JAPAN

to the

in the transformation of the social trends of the nation in the aftermath of the Restoration. 5 The large, detailed, colored paintings create a far more

around Japan. Tanomura Chokunyu served as one of the foremost

impressive effect than the small, woodblock-printed illustrated

promoters and chroniclers of these ventures. Chokunyu docu-

books that were the standard records of sencha gatherings. The

175

TEA

OF

THE

SAGES

handscrolls were organized like the books, with an illustration of

form a general category of ikebana

known as sencha hana

(sencha-

each room followed by careful descriptions of the Chinese and

style flowers) or bunjin bana (literati-style flowers) (Ogawa 1986b). Continuing on through the rooms, the fifth seki featured an

Japanese objects displayed and the names of their owners. The fete encompassed eight different seki, which guests passed

unusual setting for sencha, incorporating Chinese, Western, and

through in succession, beginning with a gallery of some thirty-nine

Japanese design features including a Chinese rattan chair for the

paintings and calligraphies, mostly Chinese, all carefully repro-

host; wooden slipcovered chairs for the guests placed around a

duced. Artists represented include some venerable names in literati

six-sided, black-and-red lacquer table; and a tokonoma containing

circles: Chinese artists Wu Zhen, Shen Zhou, Yi Fujiu, and a joint

artworks by Rai San'yo and Uragami Gyokudo alongside a flower

work by Japanese literati painters Rai San'yo and Tanomura

arrangement that featured the surprising addition of a crab (Plate

Chikuden. Next came a small room or hallway containing flowers

13). The next room was devoted to a display of scholars' accouter-

in pots (binka) and an oversized gourd, followed by the first of

ments (bunbo seki). Writing utensils were set upon a low Chinese

three seki devoted to environments decorated in sencha taste with

table covered by a Chinese rug, while a tiger skin was spread below

all the accouterments necessary for serving the beverage. The fourth

the table on the floor. The last sencha seki was more conventional

seki was devoted to potted plants and dwarf trees (bonsai), which

in appearance, with utensils arranged on a mat. The handscrolls

Chokunyu sketched with great sensitivity (Plate 12).

concluded with a table set for a shippoku

This inclusion of flowers and plants must have been inspired by similar practices in chanoyu,

but here the plants selected

ryon-style Chinese

banquet. Later in the same year, 1874, Chokunyu was involved in

possessed allusions to Chinese rather than Japanese culture:

another, even larger sencha celebration for the general public in

bamboo, prunus, peonies, and pines. Their containers and stands

Osaka sponsored by the Azure Sea Tea Association. The art dealer

were similarly Chinese in style. Chokunyu must have become

Yamanaka Kichirobei wrote a small four-volume woodblock book

acquainted with Chinese-style flower arrangements through his

recording this event, Pictorial Record of Famous Utensils Used at

teacher, Chikuden, who had authored a Treatise on Flower

the Azure Sea Tea Gathering

ing (Binkaron),

Arrang-

which incorporated ideas from Chinese Ming

(Seiwan meien zushi), published in

1875, which Chokunyu illustrated. As many wealthy merchant-

texts. The arrangements of the plants featured in Chokunyu's

collectors of Chinese art lived in the Osaka area, the treasures

scrolls and books were regular features of sencha gatherings and

displayed were impressive.

6

SENCHA

IN M O D E R N

JAPAN

The gathering featured extensive displays of Chinese paintings and calligraphies (listed but not illustrated), bonsai and cut flowers arranged in antique Chinese vessels, and thirteen separate sencha seki with portions of each devoted to bunbogu

(Figure 60). The

rooms contained ubiquitous Chinese furnishings: tables, stools, bronze vessels, plants, musical instruments, writing implements, and assorted decorative objects and baskets. Short descriptions followed the illustrations, while separate pages featured drawings and discussions of noteworthy Chinese utensils and antiquities— Yixing wares, ancient bronzes, musical instruments, jades in archaic shapes, flower baskets, and the like. This book, distinguished as the first to exclusively focus on Chinese antiquities

177

appropriate for sencha, was soon followed by other specialized studies of Chinese arts related to sencha. The earliest of these connoisseurship studies was the 1876 Pictorial Record of Famous Teapots (Meiko zuroku), in which the author, Oku Randen (Saburobei; 1835-1897), a wealthy Tokyo merchant who served in the Lower House of the Diet, illustrated and described thirty-two teapots, mostly Yixing wares, owned by himself and his friends (Lo 1986, 252). Unlike Tessai's book, which had highlighted the teapots of illustrious potters, those in this text were identified first by color and shape. To this day, the classification and connoisseurship of Yixing wares in Japan is dependent upon this approach. In the late Tokugawa period, appreciation of Yixing wares 60. Tatiomura

Cbokunyu

(1814-1907),

from

volume

A ROOM

ink on paper.

17 x 20 cm. Private

collection,

SERVING

4 o/Pictorial Record of Famous

Utensils Used at the Azure Sea Tea Gathering (Seiwan meien zushi). book;

FOR

United

States.

Photo:

Woodblock-printed P.

Graham

SENCHA

— 1875

TEA

OF

THE

SAGES

had been closely associated with the bunjin followers of sencha,

bled tearooms for chanoyu, though a sense that the room was

such as Mokubei, Chikuden, and Baiitsu. With the publication of

appropriate for sencha was manifested in the details: designs of

Tessai's volume and this book, however, the ware gained greater

door pulls, shapes of windows, patterns of railings, and the like.7 In

exposure and grew fashionable among a wider group of sencha

some of the surviving examples, Chinese-style interior ornamenta-

aficionados who adopted the use of Yixing teapots exclusively for

tion dominated a single wing or room of a house that was other-

serving gyokuro.

wise designed in a more typical Japanese residential style. In others,

Representative of the Yixing wares available to

collectors in Japan around the time of the book's publication in the 1870s is a large collection owned by the Kozone family of Nagasaki

Chinese elements were integrated throughout the entire dwelling. Perhaps the most impressive example of the former is the

(Figure 61). These wares were probably acquired directly from

Shinakan (Chinese-style pavilion), a wing of a sprawling town-

Chinese traders in Nagasaki by this family of wealthy and politi-

house in Nagahama on the eastern shore of Lake Biwa. Owned by

cally well-connected merchants who, judging from the variety and

the Shibata family, affluent wholesalers of crepe (chirimen), the

quality of these examples, must have had first pick of newly

house was originally constructed in 1694. It was enlarged in 1907

imported vessels.

by the tenth-generation family head, Genshichi. The architect he

The intellectuals and merchants in Japan's major urban

commissioned for the project, Tsukamoto Yasushi (1869-1937),

centers succeeded in spreading their passion for Chinese arts in

was an 1893 graduate of, and later professor at, the Tokyo Imperial

literati taste throughout Japan, for throughout the Meiji and well

University's School of Architecture. Sent abroad to study Western

into the prewar Showa period, collectors of literati arts (both

architecture soon after he graduated, Tsukamoto is best known for

Chinese and Japanese) abounded. The collectors included scholars

his devotion to the French Art Nouveau style (Finn 1995, 214). Yet,

who taught at local academies, the wealthy farmers and merchants

judging from this example, he had great appreciation for Chinese

who were their pupils, and free-spirited artists and writers. Many

domestic architecture, which he must have learned about during a

of these individuals amassed substantial collections of Chinese

trip to China in 1906.

antiquities and Japanese arts in Chinese taste, which they displayed

Genshichi's interest in Chinese culture led to his friendship

in Chinese-style suites of rooms designed to complement their

with prominent Kyoto scholars and artists of similar persuasion,

enjoyment of sencha. The design of most of the sencha tearooms

who would visit his home and partake in lively discussions in the

from the late Meiji through the early Showa periods closely resem-

salonlike setting there. Among those friends were Naito Konan and

GROUP

OP

YIXING

WARE

Chinese, stoneware. Itahashi

TEA

UTENSILS

eighteenth-mid-nineteenth H: 6.5 to 12 cm. Kozone Ward Museum

of Folklore,

centuries. Kichiro Tokyo

Burnished, collection,

unglazed, Nagasaki.

huff and Photo:

brown courtesy

TEA

OF

THE

SAGES

the master potter, calligrapher, and seal carver Kitaoji Rosanjin

several scholarly studies (Pierson 1980, 32). Like San'yo's Sanshi

(1883-1959), who contributed the design for a large etched-glass

Suimeisho, Soho had his estate reconstructed as a private retreat,

window in the anteroom (Figure 62). Replete with elegant Chinese

with its adjacent main rooms designed as a study and sencha

designs for patterned latticework, molding, and fancifully shaped

tearoom.

windows, the ambiance was enhanced by tiled flooring; Chinese tables, stools, and chairs; curtains; light fixtures; and a coffered

features: a cut stone veranda, elegantly shaped windows, patterned

wooden ceiling. The tearoom proper was a standard Japanese size,

railings, interior doorways covered with curtains or painted sudare

six mats, but the floor was covered entirely by tiles, which extended

(bamboo blinds), rugs, and Chinese furnishings (Figure 63). Yet it is

into the oversized tokonoma (Ito and Yokoyama 1983-1985,

the building's setting, in a landscaped garden amid picturesque

6: 33-43).

mountains, for which it is most distinguished. In 1688 the land had

Equally impressive for its recreation of a Chinese environ180

The building integrates numerous Chinese-influenced

been granted to Soho's family patriarch, a village headman, by the

ment, but quite different in character, is the Chokoen (garden of

local daimyo, Hosokawa Amitoshi, as reward for meritorious

fishing and cultivation) in Kumamoto, constructed for the eminent

service. The estate's name was taken from a four-character phrase

scholar-journalist Tokutomi Soho (1863-1957), an influential

Amitoshi composed in Chinese, "Koun chogetsu" (cultivating the

promoter of Japan's modernization. It dates to the late Taisho or

clouds and fishing for the moon). Soho had the estate encircled by a

early Showa period (ca. 1920-1930), presumably inspired by archi-

Chinese-style stone wall inset with pierced green-glazed tiles mass-

tecture Soho viewed during his first sojourn to China in 1906.

produced for export in China. After entering the central gate

During this trip, Soho visited many famous cultural sites, including

(Figure 64)—a set of red-painted double doors in an arched stone

Tiger Hill in Suzhou and the West Lake of Hangzhou (Fogel 1996,

gateway—one passes through a dense bamboo grove along the

212-213).

route to the main building, situated beside a shallow pond

Soho's education had begun with the Chinese Confucian classics, the passion of his father, and he later studied Christianity, Western learning, and English, which he combined into a single

surrounded by banana and pine trees (Aoyama 1986, 393-394; Kateigaho 1982, 93-96). The spirit of sencha as practiced by these antiquarians and

curriculum at his private academy in Kumamoto. He nevertheless

scholars of eccentric proclivities was evocatively and sympatheti-

reserved highest respect for Rai San'yo, about whom he authored

cally evoked by the novelist Natsume Soseki (1867-1916) in his

62.

THE

A N T E R O O M OF

TUE

SII IN AK A X

( C 111 N E S E - S T Y L E P A V I L I O N ) Constructed

in 1907,

Ycisnsbi (IS69-IV.Ì7), tit the Shibata Nagahama Photo:

family

City, Shiga

Misiiwa

Hiroiiki

Tsiikamoto architect, residence. prefecture.

TEA

OF

THF.

SAGES

book The Three-Cornered

Room (J: Kusa makura), published in

1906. Soseki's artist-protagonist sought refuge in the countryside, where he was invited to attend a tea ceremony at the home of a retired gentleman. He described his apprehension at attending the gathering:

W h e n I h e a r d t h e w o r d " t e a , " m y e n t h u s i a s m w a n e d a little. T h e r e is n o b o d y a s o s t e n t a t i o u s , o r a s p e r s u a d e d of his o w n r e f i n e m e n t of t a s t e a s t h e m a n w h o p e r f o r m s t h e t e a - c e r e m o n y . . . . T h o s e w h o t a k e p a r t in t h e t e a - c e r e m o n y a r e r e a l l y o n l y t r a d e s m e n , m e r c h a n t s a n d t h e like w h o h a v e n o t t h e f i r s t i d e a of w h a t t h e w o r d s " a r t i s t i c t a s t e " m e a n ( N a t s u m e 1 9 6 8 , 6 8 ) .

However, the tea ceremony turned out to be sencha, which the scholar's daughter described as "tea without any ceremony," certainly a reference to bunjincha, as it was described as an opportunity for the old man to "show off his nick-nacks" (Natsume 1968, 69, 115-119). Soseki used his commentary on the sencha tea ceremony to compare the merits of Chinese, Japanese, and Western aesthetics for his readers, noting that

i n s t e a d of a c u s h i o n , t h e r e w a s a b e a u t i f u l r u g s p r e a d t h e r e , w h i c h w a s o b v i o u s l y C h i n e s e . . . . | I t s ] c h a r m lay in its l a c k of f r i v o l o u s d e t a i l . . . . T h i s l a c k is n o t o n l y n o t i c e a b l e in C h i n e s e c a r p e t s , b u t in all t h e i r f u r n i t u r e a n d o r n a m e n t s . L o o k i n g a t 6 3.

RO O M

I N

1 HE

C: 11 « K Ô E N

( (, A R D E N C) F F I S 11 I N G A N D

CULTIVATION)

Estate

of Tokittftmi

Photo:

courtesy

Sohô,

lssd-jn,

constructed Osaka

ca. 1920-19W.

Kunnunoto

City.

64.

MAIN

GAT1-: T O T H E

CIIOKOF.N

( G A R I) U N O F F I S H I N G

AND

CULTIVATION)

Estate of Tokutomi Photo: courtesy

Sohd, constructed

Issa-an,

Osaka

ca. 1920-1930.

Kawamoto

City.

TEA

OF

THE

SAGES

t h e m , you c a n n o t fail t o realise t h a t they w e r e c r e a t e d by a

sencha until his death in 1924, and a few other prominent men

s t o l i d , p a t i e n t p e o p l e . W h a t m a k e s t h e s e o b j e c t s so s u p e r l a t i v e

of letters (for example, Tokutomi Soho and Asakura Fumio)

is t h e i r a b i l i t y to a b s o r b o n e ' s interest utterly and c o m p l e t e l y .

constructed sencha rooms in the early Showa period, this erudite

J a p a n p r o d u c e s her w o r k s o f a r t with t h e a t t i t u d e o f a p i c k -

lifestyle was becoming more of an aberration than a standard. By

p o c k e t , w h i l e in the W e s t e v e r y t h i n g m u s t be on a g r a n d s c a l e ,

the early twentieth century, interest in scholarship on classical

a n d i n s e p a r a b l e f r o m the m a t e r i a l w o r l d ( N a t s u m e 1 9 6 8 ,

1 10-111).

Chinese arts, including the study of kanbun and the appreciation of Japanese literati painting, had declined owing to the displacement

Soseki also described in detail the tiny teapots and cups by Mokubei that the host used for the occasion, and eloquently praised the exquisite taste of gyokuro

tea:

of Chinese aesthetics and scholarship by ideas from the West, with which they were largely incompatible (Keene 1985, 85; Guth n.d.). Concurrent with these cultural transformations, sencha practitioners were beginning to place greater emphasis on the history of

T h e a v e r a g e person t a l k s o f " d r i n k i n g " t e a , b u t this is a

the custom in their own country than on its indebtedness to China.

m i s t a k e . O n c e you h a v e felt a little o f t h e pure liquid s p r e a d

Apart from the continued reverence of Baisao, increased respect for

s l o w l y o v e r y o u r t o n g u e , t h e r e is s c a r c e l y a n y need t o s w a l l o w

Kimura Kenkado became particularly strong. Leadership of this

it. It is m e r e l y a q u e s t i o n o f letting the f r a g r a n c e p e n e t r a t e

new direction came not from the bunjin, but from the professional

f r o m y o u r t h r o a t right d o w n t o y o u r s t o m a c h . O n n o a c c o u n t

sencha schools, particularly Kagetsuan of Osaka, which possessed

s h o u l d it be swilled r o u n d t h e m o u t h a n d o v e r the t e e t h , f o r

many sencha utensils that both Baisao and Kenkado had owned.

this is e x t r e m e l y c o a r s e .

"Gyokuro"

tea e s c a p e s t h e i n s i p i d n e s s

o f pure w a t e r and yet is n o t so t h i c k as t o r e q u i r e a n y t i r i n g j a w a c t i o n . It is a w o n d e r f u l b e v e r a g e . S o m e c o m p l a i n t h a t if they drink tea they c a n n o t s l e e p , b u t t o t h e m I w o u l d say t h a t it is b e t t e r to g o w i t h o u t sleep t h a n w i t h o u t tea ( N a t s u m e 1968, 113).

In 1901, on the one-hundredth anniversary of Kenkado's death, Kagetsuan-school tea masters and other admirers in Osaka held a commemorative gathering featuring displays of his writings, paintings, books, and other personal possessions. A record of this event was published, the Illustrated Posthumous

Soseki has here invoked a world that at the time of his writing was rapidly disappearing. Although Tessai continued to promote

Catalogue

of Old Man

Kenka's

Works (Kenka iboku tenran zuroku). Its text was one

of the earliest sencha publications to be typeset, but the book also included woodblock-printed illustrations. On the one-hundred-

SENCHA

IN M O D E R N

fifteenth anniversary of Kenkadô's death in 1916, the group held

son Tanaka Akihito (born 1957), the present and sixth-generation

another memorial exhibition, also accompanied by an exhibition

head of the school.

catalogue, Illustrated Works by Kenkadô

Catalogue (Kenkadô

of the Exhibition ibokuhinten

of

Posthumous

shuppin zuroku).

This

JAPAN

The Kagetsuan school's influence remained strong for many reasons, including the exalted lineage of its iemoto,

whose family

was a public event at the most up-to-date of venues for art exhibi-

possessed a historically important sencha utensil and painting

tions, Osaka's preeminent department store, Takashimaya, which

collection, and the deep respect accorded the Tanaka family for

was the first in the country to contain a gallery for displaying art (it

their knowledge of sencha etiquette. In 1877 the school's prestige

had opened in 1911). These two publications marked the beginning

was validated and enhanced when Isso and his father, Tokuo, were

of a new era for sencha, dominated by the institutions that carried

invited to serve sencha to the Meiji emperor. This took place during

its traditions into the twentieth century.

festivities at the Osaka Prefectural Government office to mark the opening of railroad service between Kyoto and Osaka. For this occasion Isso donned formal Western attire, a swallow-tailed coat

The Modern Institutionalization of Sencha

(Tanaka 1973, 322-323).

Throughout the Meiji and early Shôwa periods, Kagetsuan, with a

Under Isso, a well-devised training system for students was

familial succession that remained unbroken from the time of its

established at Kagetsuan. They were taught in specially designed

founder, continued in its leadership role among sencha devotees.

sencha tearooms that Isso had constructed at his family home in

Issô (1845-1922), the long-lived third-generation iemoto,

Uemachi, Osaka. Datable to the late Meiji period (late nineteenth

was

largely responsible for the school's transition into a modern institu-

to early twentieth centuries), this two-story tearoom complex

tion. He helped secure its status by involvement with public sencha

remains today among the best examples of Japanese sukiya

gatherings, like those to commemorate Kenkadô, which illuminated

style tearooms designed with interior features in sencha taste.

its links to venerable sencha masters of the past. As iemoto

from

shoin-

The first floor comprises a four-mat entryway (genkan), two

around 1867 to his death, Issô completely devoted himself to the

tearooms, one six and the other four and one-half mats, and a

propagation of sencha. Upon his death, Issô's eldest son, Tanaka

utensil storage and preparation room (mizuya). The second floor

Futani (1874-1939), became the fourth iemoto of Kagetsuan. He

consists of two adjacent rooms of six and eight mats that can be

has been followed by his son Tanaka Seiha (1904-1979) and grand-

opened to create a large open space in the manner of an elegant

185

TEA

OF

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SAGES

literati salon. Though the rooms appear at first glance quite similar to chanoyu

tearooms, with tatami mats and plain wood surfaces,

they include many of the features closely identified with a sencha aesthetic: tokonoma alcoves with boards flush with the tatami flooring and a conspicuous absence of a crawl door for the entrance of guests, obligatory in chanoyu

tearooms. The smaller of the two

tearooms also has more the appearance of a scholar's study than a tearoom, with its built-in writing desk suitable for display of bunbôgu

and books (Figure 65). The room also contains subtle

Chinese design features, a small, round shoji-covered window embellished with Chinese-style bamboo latticework and a hanging Chinese bamboo shelf for display of scholars' accouterments, whose original function was as a backpack frame for itinerant Chinese peddlers and priests/ Kagetsuan-school sencha was also promoted through influential books, which can be considered among the earliest examples of modern sencha manuals. These manuals were easily distinguished from earlier Meiji-period records of sencha gatherings and exhibitions of sencha-related

antiquities as they discussed the functions of

utensils in specific temae, rather than focusing on their intrinsic aesthetic or historical qualities. The first such modern guide to Kagetsuan-school sencha was the 1917 Illustrated for the Pure Enjoyment Kagetsuan

School

of Sencha According

(Kagetsuanryu

hôshiki

Book

to Methods

zufu sencha

of Rules of the seiganki),

published in the traditional bag-binding (fukuro toji) format.

Constructed

¡cite nineteenth-early

twentieth

centuries.

Osaka.

Photo:

Okamoto

Shigeo

SENCHA

IN M O D E R N

Authored by Sakata Keizo (Shuken), who ultimately left Kagetsuan

lineage continued with the third-generation head, Ogawa Hisataka

to found his own school (Kagetsuan Shukenryu), it was produced

(Kairaku; 1854-1894), son of Tamemi. After Hisataka's untimely

and distributed by an art dealer, Mizutani Seisaburo. It featured

death, his younger brother, Ogawa Jijiro (Katei Koraku; 1 8 6 4 -

paintings from Kagetsuan's collection (portraits of Lu Yu, Baisao,

1937), became iemoto. During Jijiro's early years as iemoto,

Obaku Monchu, and Tanaka Kakuo) with detailed biographies

had gone out of fashion among the courtiers who had been the

of the individuals pictured. It also contained information on

Ogawa school's primary patrons, and he was obliged to pursue

Kagetsuan-school philosophy and methods, a glossary of names for

outside employment. He took a job in Nagasaki as a bureaucrat in

tea utensils, and photographs of utensils arranged in kazari accord-

the Ministry of International Trade and Industry.

ing to temae taught at the school.

While Jijiro was away from Kyoto during the 1920s and

In 1927 Sakata authored a more detailed how-to guide for Kagetsuan-school temae, the Popular Methods Sencha (Tsuzoku sencha hoshiki).

sencha

of Preparation

for

This was one of the most impor-

1930s, Reizei Tamenori, descendant of a courtier family who had long supported the Ogawa school, served as substitute iemoto.

He

assisted in popularizing Ogawa-school sencha among a broader

tant publications on sencha etiquette of the early Showa period, as

audience by redefining its values and rituals in terms relevant to the

it provided detailed instructions on every step of the preparation

lives of ordinary people (Ogawa 1982, 28). The effort apparently

and serving process for aspiring students. The educational level of

succeeded, for when Ogawa Jijiro finally returned to Kyoto, local

its target audience was evidently rather low, for nearly all Chinese

newspapers gave him a banner headline.9 Jijiro's successor as

characters (kanji) were accompanied by phonetic pronunciation

iemoto was his daughter, Ogawa Shioko (1899-1972), whose

guides (furigana). With this publication, the transmission of sencha

formal title was Ogawa Koraku V.

protocol moved from the realm of secret teachings handed down

Even outside Japan's major urban centers, where the

from master to disciple, to rules of conduct accessible to a general

Kagetsuan and Ogawa schools were most active, by the early twen-

public.

tieth century sencha had become a familiar custom in most cities

Meanwhile the Ogawa school continued to flourish in Kyoto.

and towns. Many of the practitioners in provincial communities

Like Kagetsuan, the Ogawa lineage became formalized with

devised their own methods for sencha's preparation, which they

professionalization of an iemoto under Kashin's son, the second-

shared with friends and disciples in small coteries. Out of these

generation family head, Ogawa Tamemi (Kiraku; 1820-1892). The

groups grew autonomous ryu (schools), which bore only perfunc-

JAPAN

T E A OF T H E

SAGES

tory relationships to the well-established sencha schools of Kyoto,

to Baisaô, and to construct the Yùseiken (house with a voice), a

Osaka, and Tokyo. About fifty distinct sencha schools may have

sencha teahouse, in 1928, open to all sencha devotees. Although

already existed by the beginning of the Showa period, and some of

the pivotal roles of Obaku monks—Ingen, Baisao, and Monchu—

their leaders began publishing manuals on sencha preparation from

had been acknowledged by premodern writers of sencha texts, the

the first decade of the twentieth century."1

close identification of the Obaku religious institution with the

By the late 1920s new attitudes toward preservation of

188

formalized sencha tea ceremony must be considered a modern

Japan's cultural achievements encouraged a reassessment of sencha

phenomenon. No actual sencha ritual existed in Ingen's time, and it

and hastened its emergence as a cultural institution that in ways

was common knowledge that both Baisao and Monchu had left the

paralleled similar developments in chanoyu. The person most

clergy in order to devote themselves to sencha's propagation.

directly responsible for this transformation was Fukuyama

Nevertheless, by closely allying Manpukuji with sencha, Fukuyama

Chogan (Gyoan; 1873-1946), an abbot of the Manpukuji sub-

effectively broadened the patronage of his temple and boosted its

temple of Horinin who was active in temple governance. Fukuyama

status in ways similar to the benefits Rinzai Zen temples derived

sought to promote sencha as a unified tradition through emphasis

from associations with schools of

on its early association with Obaku monks. Focusing especially on

chanoyu.

While Fukuyama was promoting this reappraisal of Baisao,

the preeminence of the Obaku monk Baisao, who was responsible

other scholars were evaluating the contribution of the first uphold-

for sencha's initial popularization, he conducted the first systematic

ers of his legacy—the late Tokugawa bunjin—to the history of the

research on Baisao, which he subsequently published in 1933

sencha tradition. Yukawa Gen'yô published his Biographies

(Fukuyama 1933). This text included reprints of all of Baisao's

Elegant People of the Early Modern Era (Kinsei gajinden) in 1930,

major writings and a detailed chronology of Baisao's life (Baisao

which contained some one hundred and twenty biographical

nenpu), which he had first published in 1928. Fukuyama's study,

sketches of Tokugawa bunjin who excelled at painting and calli-

though not without errors, remains an invaluable source of infor-

graphy. Although the works of some of the more prominent of

mation today.

these artists had been appreciated in sencha circles since the early

of

To link Baisao more closely with Obaku, Fukuyama encour-

Meiji period, the all-inclusive nature of his book was intended by

aged Manpukuji to establish the Baisado (alternately pronounced

the author as a guide for selection of artworks that were suitable

"Maisado"), a memorial hall for holding commemorative services

for display at sencha gatherings. The author focused exclusively on

SENCHA

IN

MODERN

Japanese literati artists, a reversal of the preferences of earlier

instilling allegiance in Japan's military cause. The irony of enlisting

bunjin themselves.

Chinese belief systems in the war against China is typical of Japan's

A much smaller group of Japanese literati artists who had been directly involved with butijincha was featured in the 1943 book The Way of Sencha (Sencbado)

by Nakajima Yosuke. 11 In

imperialist-period contradictions. In the immediate postwar era, as revival of interest in traditional Japanese arts emerged, leaders of sencha schools restructured

addition to providing a history of sencha in China and Japan and

their organizations for greater popular appeal. Still leading the way

explaining the main points of Ueda Akinari's

was Kagetsuan, the practices of which were described in the highly

Comments

on the Way of Pure Elegance,

Miscellaneous

the author included a

detailed Rules of Etiquette for Sencha (Sencha temae) by Saeki

short chapter on the relationship of sencha and bunjin values, with

Futoshi in 1949. Like Sakata Keizo's 1927 text upon which it was

biographies of prominent bunjincha

modeled, it placed less emphasis on explanation of the historical

literati painters, including

Chikuden, San'yo, and Baiitsu. He concluded with information on

tradition of sencha and its early practitioners, and more on provid-

heirs to this tradition in the Meiji period who were responsible for

ing detailed information about rules of conduct for preparing tea.

popularizing sencha in his hometown of Fukui, particularly

This actually may have been the first book to utilize the term

Yamamoto Chikuun (1820-1888), a literati painter and seal carver

"temae" in its title, a term more closely associated with etiquette

who was in his day a respected connoisseur of Chinese paintings

for chanoyu. Furthermore, the book was published as the sole

and sencha utensils.12

volume devoted to sencha in a general series, Books on the Tea

Nakajima, writing in the midst of World War II, indicated in

Ceremony

(Chado bunko), on chanoyu. Its inclusion in this series

the preface to his book that he wrote about sencha to arouse

reinforced sencha's legitimate but subservient position within the

nationalistic sentiments in his readers during the difficult wartime

world of tea in Japan dominated by

era. To him, the elegant simplicity of sencha's moralistic values,

chanoyu.

Shortly thereafter, in 1951, seven sencha-school

iemoto

derived from the Chinese literati, inspired loyalist convictions in the

collaborated to host public tea gatherings at famous Kyoto scenic

bunjin sencha devotees whom he admired as nationalist heroes of

locales: in spring these took place at Nijo Castle, in summer at

the past. With this statement, Nakajima both mythologized the

Gion's Yasaka shrine, and in autumn at the Heian shrine (Shufuno-

bunjin and their beliefs as spiritual progenitors of modern sencha,

tomosha 1981, 415). In 1956 various sencha-school

and put sencha-related

throughout Japan convened at Manpukuji. The result of their meet-

values forward as a suitable model for

JAPAN

iemoto

from

189

TEA

OF

THE

SAGES

ing was the formation of the National Japanese Sencha Association

present offices and meeting rooms dating to a 1985 expansion of

(Zen Nihon Senchado Renmeikai), the establishment of which

the association's original home in the Yuseiken. The association

stimulated further revival of interest in sencha. Under this group's

continues to serve as an umbrella organization for member sencha

influence, publications on sencha increased in both number and

schools, though not all of the nearly one hundred in existence

quality. The earliest, and to this date still the best, modern critical

belong." The Kagetsuan and Ogawa schools, for example, initially

commentary on primary textual materials relating to sencha was

participated but later dropped out, along with several of their inde-

published first in 1965 (and reprinted in 1983) by Hasegawa

pendent offshoots.

Shoshokyo (1905-1989), a Kagetsuan-school adept (Hasegawa 1965). Sencha"s status as an officially sanctioned traditional Japanese

According to the original bylaws of 1966, there are five categories of membership in the National Japanese Sencha Association. The highest category is the regular member (seikaiin), comprised of

art was finally achieved in 1970, when sencha tea ceremony

sencha-&c\\oo\ iemoto.

demonstrations took place as part of the International Exposition

each of whom paid annual dues of ¥ 3 0 , 0 0 0 (in 1994, roughly

in Osaka that year; perhaps sencha's association with Osaka's

$300). The second highest level is the councilor member (sanji-

historic traditions influenced its inclusion. Japan's resumption of

kaiin), nominated by the regular members and comprised of senior

full diplomatic relations with China in 1972 may have contributed

teachers of the various schools. In 1994 there were 4,781 such

to its continued growth during the 1970s. From that decade come

members who paid annual dues of ¥2,000 each. Following this

numerous volumes devoted to sencha, which both illustrated and

category is the ordinary member (futsukaiin),

explained in detail the temae of assorted individual schools and

instructors, again nominated for membership by the regular

provided historical accounts of the tradition in general. These

members. Their individual annual fee in 1994 was a mere ¥ 5 0 0

books were mostly authored by individuals associated with various

(about $5). An additional category of membership is the supporting

sencha schools, and the main audience continued to be an expand-

member (sanddkaiin),

ing roster of pupils.

purpose of the organization—crafts makers, tea suppliers, and the

In the 1980s the National Japanese Sencha Association inten-

As of 1994 there were forty such members,

lower-ranking sencha

consisting of individuals who endorse the

like—who, in 1994 paid an annual membership fee of ¥ 2 0 , 0 0 0

sified its efforts to popularize sencha. Officially incorporated in

each. The last category of membership is the honorary member

1966, it has been situated since its inception at Manpukuji, with the

(meiydkaiin),

individuals who have performed some meritorious

SENCHA

IN

MODERN

service on behalf of the organization. They are chosen by a resolu-

tors (Ogawa 1982, 142-143). In contrast, most National Japanese

tion of the general assembly.

Sencha Association member schools are limited only to their

The association sponsors many activities, including a large sencha gathering that has been held annually each M a y at

home city. The Ogawa school's sixth-generation iemoto (since 1973) is

M a n p u k u j i since 1955. The event is open to all, who, for a fee, can

Ogawa Kôraku (Narabayashi Tadao; born 1939), nephew of the

participate in sencha ceremonies hosted by selected iemoto of

previous iemoto, Shioko. He is a prolific writer of scholarly and

member groups. In this festival-like atmosphere, the approximately

popular texts about sencha's historical development and aesthetics.

four thousand visitors admire antique sencha utensils and related

Under his direction, for example, the school began publishing a

artifacts owned by members; view exhibitions of O b a k u arts and

scholarly journal, Ogawa-ryû

contemporary sencha crafts; and purchase utensils, tea, and books

1973. Respect accorded the Kagetsuan school comes f r o m its

f r o m vendors. The association also hosts more intimate sencha

lengthy, unbroken lineage and the impeccable provenance of its

ceremonies as part of memorial services for Baisao at the Baisado

artistic treasures, which are brought out on special occasions

on the sixteenth day of each month; invites all visitors to

for students' inspection and included in major art exhibitions.

M a n p u k u j i to participate in sencha ceremonies every Sunday;

Kagetsuan is also the only sencha school to host sencha ceremonies

produces a monthly magazine for members; sponsors occasional

annually as part of Kenninji's Yotsugashira

sencha (Ogawa-school sencha) in

festivities.

leisure activities such as cruises; and, since 1988, has participated in demonstrations of sencha at tea organizations in the Peoples' Republic of China. Sencha, as practiced by the schools affiliated

Utensils for Sencha

with this group, varies widely in form and content.

Makers of fine crafts for serving sencha and furnishing its tearooms

While the M a n p u k u j i association spearheads many of the

JAPAN

in Modern Japan

continue to flourish, perpetuating lineages and aesthetic standards

efforts to popularize the sencha tea ceremony, the t w o largest and

that date f r o m sencha's apogee in the late Tokugawa and early

oldest independent sencha schools, Kagetsuan and Ogawa, remain

Meiji periods. From the early twentieth century, however, sencha

active as well. Though their headquarters are located in Osaka and

utensils have been overshadowed in the public eye by products for

Kyoto respectively, they both maintain branches in various cities

chanoyu and Western-influenced crafts, both sculptural and func-

throughout Japan, where their teniae is taught by certified instruc-

tional. Nevertheless, close inspection of sencha crafts reveals a rich-

191

TEA

OF

THE

SAGES

ness and variety that mirror the diversity of the tea's proponents. In

patrons came from this group, as well as from sencha practitioners

characteristic Japanese fashion, the best of the studio artisans

associated with established old sencha schools such as Kagetsuan.

producing sencha crafts are highly skilled technicians who imbue

A sencha tea set with elegantly painted literati-style underglaze blue

their products with a sense of their personal artistic spirit through

designs of bamboo, plum blossoms, rocks, and kanshi poetry (Plate

innovations in technique and creative adaptations of traditional

14) testifies to Chikusen's scholarly inclinations.

forms and designs.

Chikusen is distinguished as the founder of two separate

The most essential sencha utensil is the teapot; its infinite

lineages of pupils, both of which have successfully preserved the

array of forms and styles reveals the genius of Japanese craftspeople

orthodox Kyoto styles for sencha wares into the present age and

for innovative designs within set parameters (Nitta 1990; Morse

contributed to new directions in porcelain artistry in Japan. The

1901). During the Meiji period, as steeped leaf tea came to be

first includes eldest family sons Miura Chikusen II (1882-1920),

widely consumed, teapots were fabricated at virtually all Japanese

Miura Chikusen IV (1911-1976), and Miura Chikusen V (born

kilns. Among these, potters at the Kyoto, Tokoname, and Banko

1934). The second lineage was established by Miura Chikusen III

kilns produced the most technically refined, innovative, and

(born 1900), third son of Chikusen I. He took the title Chikusen III

popular styles for teapots of their day.

in 1921, but changed his name to Chikken in 1934, when the first

For many Kyoto potters, sencha waned in importance as

son of Chikusen II became the family head as Chikusen IV.

opportunities increased for production of tablewares for sale

Chikken's expertise in porcelain was recognized by the Japanese

abroad and for participation in international expositions. One

government in 1955, when he was designated a Living National

notable exception was the potter Miura Chikusen I (1854-1915),

Treasure (Ningen kokuhô).

who continued to specialize in ceramics for sencha closely modeled

Kawase Chikuô (also known as Chikushun I; 1894—1983), who ini-

after earlier Kyoto potters' works: celadons, kinrande,

tiated the making of porcelains in Japan with Ming-style doucai

sometsuke,

One of his prominent pupils was

shonzui, overglaze enamel, and Swatow. He learned these tech-

(competing colors) glazing, overglaze designs outlined with under-

niques from his teacher, Takahashi Dôhachi III (1811-1887), prior

glaze blue. Chikuô's son, Chikushun II (born 1923), carries on the

to establishing his own kiln in 1883. Chikusen was also a member

family's trademark overglaze enamel and underglaze blue styles

of Kyoto's community of Sinophile scholars; he studied painting

today. Chikushun II's son, Kawase Shinobu (born 1950), whose

with Tanomura Chokunyu and consorted with Tomioka Tessai. His

fame has eclipsed that of his father, has moved in another direction

SENCHA

as a specialist in porcelains with celadon glazes (Baekeland and Moes 1993, 133-134, 139-140; Faulkner 1995, 42). As the popularity of Chinese Yixing ware escalated in the late

IN

MODERN

The Tokoname potter credited with initiating production of wares with this burnished finish was Sugie Jumon (1828-1897). One of his finest creations is a chrysanthemum-shaped teapot with

Tokugawa and early Meiji periods, regional potters began trying to

an intricately fashioned petal-shaped lid that fits precisely into

emulate its appearance in response to requests from local clientele.

corresponding niches in the lip of the pot (Figure 66). Unlike later

It remained difficult to reproduce these unglazed teapots, which

Tokoname wares formed on a wheel, Jumon made this teapot

were dependent upon the quality of unknown clays and unfamiliar

utilizing the more arduous Chinese slab-formed technique. By the

Chinese forming techniques. One place with a suitable brown and

mid-Meiji period, burnished teapots and matching sets of cups in

red iron-rich clay was Tokoname in Aichi prefecture, where the

this style were being mass-produced at numerous Tokoname facto-

potter Akai Tozen II (1796-1858) and others began to experiment

ries, many of which are still active today. Finer quality limited

with Yixing-style wares by the mid-1840s (Yamada 1986).

production wares also continued in production for discerning

As the tea brewed in these teapots was deemed to have a better flavor, production at Tokoname thrived. From around 1860 Tokoname potters began attempting to reproduce the smooth-

clients by studio potters descended from Jumon and his most famous disciple, Yamada Jozan I (1868-1942).

14

Not far from Tokoname, another distinctive style of teapot

burnished surface texture of Chinese Yixing wares. They finally

for sencha began to be produced by Banko ware potters in the late

succeeded in 1877 with the assistance of an immigrant Chinese

Tokugawa period. A ware identified as Ko-Banko (old Banko) had

literatus from Anhui, Jin Shiheng (J: Kin Shiko) (Tokoname 1986).

first been made in Kuwana, Mie prefecture (Ise province), by a

He also taught potters the Chinese slab-formed beating method

wealthy merchant, Numanami Rozan (1718-1777), who may have

(panpart set), in which a slab-built tube was beaten into desired

studied with Ogata Kenzan. Rozan specialized in stoneware

shapes. Today though this difficult technique has largely been aban-

chanoyu utensils with overglaze enamels in the styles of Ninsei and

doned in favor of hand-built, wheel-thrown, and molded forming

Kenzan, utilizing clay and glazing chemicals possibly imported

production methods. Under Jin's tutelage, specialized decorators

from China (Morse 1901, 96-97).

started engraving on leather-hard pots the fine-lined calligraphy

JAPAN

After Rozan's death, pupils continued to manufacture Banko

and pictorial motifs that have remained hallmarks of Tokoname

in nearby communities. Meanwhile its production languished in

pottery into the present.

Kuwana until 1831, when a local antique dealer, Mori Yusetsu

193

TEA

OF

THE

SAGES

( 1 8 0 1 - 1 8 8 2 ) , somehow obtained Rozan's old formulas for clay and glazes and revived the ware under sponsorship o f the Matsudaira daimyo who ruled the region. Known as Yusetsu Banko, the kiln mainly produced sencha

teapots. Throughout the late

Tokugawa and early Meiji periods, numerous potters in the region began to manufacture teapots resembling Yusetsu's, and the center of production of Banko wares shifted to the town of Yokkaichi, where they are still produced today. Like Tokoname ware, Banko emulated Yixing stonewares, in this case a special type that featured overglaze enamel designs on bare clay. Yet the Yusetsu and Yokkaichi Banko potters were not 194

mere imitators but creative synthesizers o f various styles. They drew inspiration from the delicate overglaze floral designs of Kyoto wares and devised original adaptations of literati motifs, sometimes decorating the surfaces of their pots with random impressions of seals. Banko ware was distinguished by its paper-thin white stoneware clay bodies modeled by hand, moldmade, or wheel thrown. Handles were patterned with elegant pierced designs

(herame)

terminating in dangling rings, and lids were adorned with knobs sculpted in the shape of jewels or flowers. Yokkaichi's factories employed many people left impoverished and homeless by the natural disasters and political turmoil of the times. As early as 1 8 5 9 , Banko ware had become such a thriving industry that its products were sold abroad, with the finest of the pieces displayed at major international expositions in Europe and

66.

C II R Y S A N I I I E M U M - S II A P E D Siigie Jiimon

TEAPOT

(1828-1897).

H: 7 cm. Tokoname

Tokoname

City Folk

ware;

Museum.

unglazed

burnished

red

stoneware.

SENCHA

IN M O D E R N

the United States (Morse 1901, 97; Schaap 1987, 95). The majority

ancient bronzes, and finely wrought silver kettles. Of these objects,

of domestic buyers for Banko ware were the throngs of travelers

only Chinese bronzes had a long history of appreciation in Japan

w h o passed through the towns where it was made along the

among chanoyu and ikebana enthusiasts for w h o m artisans had

T o k a i d o road between Kyoto and Tokyo. These patrons particu-

been copying Yuan and Ming bronzes since the Muromachi period.

larly enjoyed teapots exhibiting whimsical designs in unusual, often

Although bronzes routinely were created by casting (chiikin),

zoomorphic shapes with three-dimensional surface ornamentation,

of the sencha utensils made of other metals featured textures and

a style that Banko potters created in the third quarter of the nine-

designs created by meticulous hammering (tankin) and chasing

teenth century. A group of Banko wares excavated f r o m a Tokyo

(chokin) techniques.

commoners' neighborhood reveals the wide range of popular

most

The first metalsmith to fashion metal kettles especially

Banko ware teapots produced for the mass market (Plate 15).

designed to heat water for sencha (ginbin) was Kata Ryumon

Although they were mass produced, no two pieces appear to be

(1780-1841), better known by his studio names of Yasuhei or

identical. They date from the mid-Meiji period (1870s-1880s), the

Ryumondo. N o t only was he a close friend of both Rai San'yo and

era of production of the best quality Banko wares, prior to 1889,

Aoki Mokubei, he also became a disciple of Mokubei in pottery.

when trains supplanted overland traffic and customers dwindled

Mokubei in turn had learned techniques for casting coins in his

(Mizutani 1986; Mitsuoka 1981, 6: 76, 8 2 - 8 3 , 129-133).

youth f r o m Ryumon's father, Ryumondo I (1731-1798) (Mitsuoka

Other than ceramics, the most significant quantities of sencha

JAPAN

1990, 93). Ryumon's official successor, Kata Yasunosuke ( 1 7 9 6 -

utensils have been made by craftspeople specializing in metallurgy,

1850), was also patronized by the literati crowd; he is known to

working in bronze, pewter, silver, and even gold to create kettles,

have made bronze teapots and scholars' implements for Kumagai

leaf tea containers, flower vases, and saucers for teacups. Unlike

N a o t a k a of the Kyukyodo. Another of the students in Ryumon's

other premodern metal artisans, w h o specialized in traditional

atelier, H a t a Z o r o k u (1823-1890), became the most famous metal-

forms that were nearing obsolescence in the beginning of the Meiji

worker of the Meiji period, noted for his studious analysis and

period—mirrors, sword fittings, and cast bronze Buddhist sculp-

replication of ancient Chinese bronzes (Museum of the Imperial

tures—their patronage increased during this era in response to

Collections 1995, pis. 29, 30). Among his more opulent commis-

sencha's popularity. They took as models imported examples of

sions for sencha use was a kettle dated to 1876, cast in solid gold

similar objects from China: pewter leaf tea containers and saucers,

and topped with two intertwined jade rings, with relief and incised

1

'5

TEA

OF

THE

SAGES

taotie (mythic Chinese animal form) designs on the lid and shoulder

Yet another important category of crafts associated with

reminiscent of ancient Chinese bronzes (Plate 16). His style, repre-

sencha is woven bamboo basketry. Since sencha tea gatherings

sentative of the highest quality and character of sencha metalcrafts,

often featured flower arrangements within the tokonoma of the

has been perpetuated by followers and descendants, including Hata

tearoom, as well as in separate areas devoted to displays of flowers

Zoroku IV (born 1898), who carries on the tradition today

and bonsai, their containers were in great demand. Symmetrical

(Shufunotomosha 1981, 285, 358).

and finely woven Chinese baskets were preferred initially. Earlier,

The tea scoop is another essential sencha utensil that has

these had been appreciated by chanoyu masters such as Kobori

inspired the creativity of skilled studio artisans from the Meiji

Enshu (Fujioka 1973, fig. 144; Nakamura M. 1986, pis. 46,

period to the present. It was originally made from a lengthwise

48-51, 54-56, 58). Gradually, by the beginning of the Meiji

section of bamboo in the shape of Chinese scholars' wrist rests,

period, native basketmakers began incorporating Chinese knotting

though smaller in proportion. Traditional bamboo tea scoops

techniques into original designs in response to requests from

featured convex exteriors carved or incised with calligraphic

patrons.

inscriptions in Chinese, or designs of landscapes, figures, or plants

Baskets in Chinese styles for sencha became a specialty of arti-

and animals. These were often the work of seal carvers and sculp-

sans who resided in Sakai, south of Osaka. Prior to the shogun

tors such as Kano Tessai (1845-1925), who created an image of

Toyotomi Hideyoshi's rise to power in 1579, Sakai was actually a

Baisao for Manpukuji's Baisado (Shufunotomosha 1981, 4 2 7 - 4 2 8 ;

larger, more cosmopolitan city than Osaka. It had a long and rich

Parker 1984), or netsuke carvers who were skilled at sculpting in

history beginning in the fifth century with the placement of numer-

miniature. During the late Meiji and Taisho periods, shapes of tea

ous large burial mounds (kofun) in its vicinity. By the Muromachi

scoops became more elaborate and, as with netsuke, artisans devised

period, Sakai had become Japan's largest autonomous city, a haven

them from many other materials, including wood, bone, silver,

from fighting elsewhere, populated by merchants, traders, and

lacquer, and porcelain (Art Gallery of Greater Victoria 1981).

intellectuals. Until the establishment of Nagasaki as the sole inter-

Sometimes they were carved in fanciful shapes imitating Chinese

national port in the early seventeenth century, Sakai served as the

zithers (qin), animals, or leaves, such as a stained ivory tea scoop in

main embarkation point for foreign trade missions. As a result, a

the shape of lotus leaf by one of the most respected netsuke carvers,

thriving international community developed there, which included

Masatsugu Kaigyokusai (ca. 1813-1892) (Figure 67).

immigrants knowledgeable in foreign handicraft techniques, such

6 7.

SENCHA OF

TEA

A LOTUS Masatsugu Stained

SCOOP

IN T I I E

SHAPE

LEAF Kaigyokusai

ivory.

(ca.

1813-1892).

16.1 cm. Saint Louis

Muse inn, purchase:

Museum

Shop

Art Fund.

TEA

OF

THE

SAGES

as basketmaking, who passed down their skills to naturalized descendants. The Chinese-style baskets made in Sakai are characterized by precision, detail, and symmetry. They belong to the most formal and conservative shin style of basket design that was codified in the early Showa period (Faulkner 1995, 9 1 - 9 3 ) . Among the first basketmakers to work in this style was Hayakawa Shokosai I ( 1 8 1 5 - 1 8 9 7 ) , who was also one the earliest to sign his work in emulation of similar practices by studio potters (Hasabe 1985, 19; McCallum 1988, 2 7 - 3 0 ) . Another important basketmaker working in this tradition was Tanabe Chikuunsai I ( 1 8 7 7 - 1 9 3 7 ) , who initiated a distinctive style inspired by hanging baskets he saw in paint-

198

ings by the literati painter Yanagisawa Kien (Moroyama 1989). Contemporaneous with Chikuunsai was Maeda Chikubosai I (ca. 1 8 7 2 - 1 9 5 0 ) , whose work is representative of the finest Chinese-style baskets these studio artists created. Chikubosai I began studying bamboo weaving when he was fourteen, establishing his own atelier at the young age of seventeen. In 1922 he became famous after the British crown prince visited his studio and admired his work. A flower container dated 1940 is an impressive example of his oeuvre (Figure 68). Typical of his personal style, it combines fine weaving with boldly placed bamboo root handles. Chikubosai also favored shapes that were allusions to objects made of other materials; in this case, his form was inspired by the shape of a boat. His son, Chikubosai II (born 1917), still works in Sakai 68.

BOAT-SHAPED

FLOWER Maeda 54.5 Fund.

BASKET—1940

Chikubosai cm. Saint

I (ca. 1 872-1

Louis

Art Museum,

9:SO). Woven

bamboo

and bamboo

purchase:

William

K. Bixby

root.

Oriental

26.7 x 2 6 . 7 x Art

Purchase

SENCHA

IN

MODERN

today and is considered one of the foremost basketmakers in Japan,

Kôgei Kyôkai), established in 1987. Patronized by sencha partici-

though favoring a more modern interpretation of the traditional

pants and administered by the sencha association at Manpukuji,

style (Hasabe 1985, 42).

the group holds its major sales exhibition in conjunction with

Beginning around the time of World War II, changes to the

Manpukuji's annual sencha gathering, awarding prizes to outstand-

organizational hierarchy of traditional craft industries deeply

ing works. This exhibit then circulates to selected cities at galleries

affected the public's perception of the leading artisans who created

in major department stores. Department stores also exhibit sencha

studio crafts. Wartime austerity programs limited the output of

crafts personally selected by tea masters of particular schools, who

studio artisans, as their products were deemed luxury goods. To

concurrently stage sencha demonstrations to promote the crafts

assuage fears that techniques and traditions were being lost, the

and encourage interest in their schools. Like other craftspeople in

government passed a Cultural Properties Protection Act in 1950 to

contemporary Japan, the most prominent of the sencha utensil

help sustain high technical skill among artisans working at tradi-

makers also hold one-person exhibitions in department store and

tional crafts and to encourage public patronage. The accomplish-

private galleries.

ments of selected craftspeople were subsequently exhibited and offered for sale in a newly instituted Traditional Crafts

Exhibition

Today, practitioners of the sencha tea ceremony form a thriving subculture within contemporary Japanese society,

(Dentô Kôgeiten), held at Tokyo's Mitsukoshi Department Store

comprised of networks of antique dealers who specialize in sencha

annually since 1954, the same year the Japan Crafts Association

utensils and related literati arts, contemporary craftspeople,

(Nihon Kôgeikai) was formed. Artisans producing crafts for sencha

amateur and professional tea masters, tea manufacturers, confec-

were asked to join this group and other newly formed craft asso-

tioneries, scholars, and publishers. These groups play a major role

ciations in order to reach patrons through officially sanctioned

in sustaining public interest in the arts of Tokugawa-period literati

channels for disseminating crafts in contemporary Japan (Faulkner

painting and calligraphy.

1995, 11-15; Moeran 1982-1983). While the finest craftspeople who continue to make accouterments for sencha show their creations in juried exhibitions sponsored by national craft associations, many are also affiliated with the National Japanese Sencha Crafts Association (Nihon Sencha

JAPAN

199

So completely has chanoyu come to dominate the world of tea in Japan that when people today think of a Japanese tea ceremony, they invariably think of chanoyu. Most, in Japan as well as the West, are unaware that an alternate tradition exists, or are only vaguely familiar with its history and practice. From the modern perspective, the notion that senchado at one time surpassed chanoyu in popularity seems incredible. Chanoyu developed first, and it has been more successful in promoting its ideology and asserting its position as an essential Japanese art form. But sencha, which originated in opposition to chanoyu, and which has devel-

Conclusion

oped over time a complex relationship with the older tradition, has made significant contributions to Japanese culture and society. When Baisao first promulgated sencha, he stressed its spiritual ties to ancient Chinese sages as a means of protesting and coping with an intolerable political climate. Baisao, celebrated for his untrammeled personality and unceremonious presentation of tea, became mythologized, admired rather than emulated, for his proclivities toward eccentricity could not be handed down from one generation to the next. Some would say that Baisao's linkage of the drink with spirituality and self-cultivation became subsumed by the polluting and formalizing influences of chanoyu. Yet it is precisely these influences—the incorporation of chanoyu"s emphasis on stylized etiquette and appreciation of utensils as treasured material possessions—that have enabled sencha to develop an iden-

TEA

OF

THE

SAGES

tity of its own. The standardized procedures and accouterments of

spirit of the sages of Chinese literati culture, sencha has success-

sencha are in large measure what have endeared it to its many

fully forged a distinct philosophical identity. Ultimately, the new

followers and consequently allowed for its assimilation into Japa-

canon of aesthetic taste and philosophical values identified with

nese culture. This assimilation is remarkable since initially, along

sencha incorporated and expanded upon, rather than rejected

with its role as a vehicle for achieving spiritual fulfillment, the

outright, ideas and forms associated with chanoyu. While their

drinking of sencha carried strong antiestablishment sociopolitical

familiarity contributed to the ready acceptance of sencha among

implications. Sencha at once served as a symbol of rejection of both

the Japanese populace, they also linked it irrevocably with

chanoyu and of the political status quo, and as an affirmation of

chanoyu.

deep respect for Chinese literati culture. Despite this initial ideological rift, chanoyu exerted profound

Although Chinese artifacts had been incorporated into chanoyu from its beginnings, the arts of China revered in sencha

influence on sencha in numerous subtle and not-so-subtle ways.

circles were not synonymous with those admired by chanoyu

Unintentionally, the detractors of chanoyu who initiated the sencha

followers. They encompassed a broader range of Ming and Qing

tea ceremony created formalized alternate rituals that paralleled the

arts, especially those associated with the elite of Chinese society,

forms they ostensibly sought to obliterate. Following similar

such as literati painting and Yixing ware ceramics. Sencha, in its

tendencies in chanoyu circles, they venerated and copied Baisao's

close association with the esteemed bunjin, has served as the main

utensils, for example. Chanoyu offered them models for organizing

path by which Chinese literati ideals and artistic taste entered and

formalized schools and for creating standardized nomenclature of

moved to the forefront of the Japanese public's consciousness,

accouterments. Sencha also emulated chanoyu's many varieties of

though its followers often had conflicting motivations for their

publications, which ranged from records of famous tea ceremonies

adoption. For some, particularly those who identified themselves as

and self-promoting histories to meticulous documents describing

bunjin, the political agenda of Baisao and his immediate followers

and illustrating intricate rules of etiquette.

remained valid, while for others sencha became a means of demon-

What has continued to distinguish sencha from chanoyu,

strating proficiency in Chinese literati pastimes appreciated for

however, has been its clearly identifiable Sinicized canon of taste,

their perceived moral and intellectual superiority. Thus, through

defined in the appearance of its accouterments and in the ambiance

sencha, appreciation for Chinese arts and Sinified-style arts pro-

of its serving environments. Further, through veneration of the

duced in Japan became widely admired among the Japanese public.

CONCLUSION

The richness and diversity of sencha represent a startling

Chinese spiritual roots. Beyond its enduring popularity as a

expansion from its beginnings with Baisao, who sought to

beverage, sencha has enriched the Japanese cultural landscape

introduce a philosophy along with a beverage to the populace

immeasurably with values and aesthetics that have inspired the

of Kyoto. During the course of its evolution, sencha has both

creativity of Japanese writers, artists, and seekers of spiritual

reflected and influenced broader cultural changes. The transfor-

fulfillment for nearly three hundred years.

mation from sencha as a simple beverage, to an emblem of the bunjin, to mass consumption accompanied by prescribed accouterments and set rules of conduct, and finally, a return to relative obscurity in the shadow of chanoyu, reveals much about the evolution of Japanese aesthetic taste, patterns of consumption, and the nation's complex and ever-changing relationship with China. Ultimately, sencha arts and aesthetics reflect Chinese literati ideals filtered through the lenses of their Japanese practitioners' viewpoints and experiences. The embracing of sencha by followers from different backgrounds, holding a wide range of often conflicting ideologies, and the persistence of the tradition into contemporary culture reveal the Japanese society's success at metabolizing imported customs and integrating them into its cultural core. Furthermore, the proliferation of the relatively small schools of sencha that exist today reflects an important aspect of Japanese civilization, a predilection toward individuality and nonconformity within set parameters. Sencha is not a moribund ritual; rather, it has continued to mature and transform over time. In this it reflects a spirit that can be considered, at least in part, a legacy of its

INTRODUCTION

7. For illustrations o f the gongfucha

1. On the meaning o f these terms, see Cahill ( 1 9 7 6 , 9 - 1 2 ) and Yonezawa and Yoshizawa

359). 8. For a good discussion o f wabicha

(1974, 129-141).

ceremony art in wabi CHAPTER

and tea

taste, see Guth ( 1 9 9 3 ,

54-60).

ONE

9. O b a ( 1 9 6 7 , 6 8 8 d ) indicates that the Eight

T h e T r a n s m i s s i o n of C h i n e s e T e a Culture to Japan

courses

1. Unless otherwise noted, information on the

on the Art of Living,

Dis-

for example, had

been imported t o J a p a n in 1 7 1 1 . For an anno-

development o f tea and tea utensils in Chinese

tated list o f selected M i n g and Qing b o o k s on

history is derived from Chiu ( 1 9 9 1 ) and Ayers

literati culture, with an emphasis on those

(1991).

relating to painting, see van Gulik ( 1 9 5 8 ) . For

2. Translated into English by Francis Ross

Notes

brew-

ing method, see Flagstaff House ( 1 9 9 1 ,

Carpenter in Lu ( 1 9 7 4 ) . For a concise summary o f the text and biographical infor-

Artificial niwa

Expressions

of Idle Feelings,

Casual

for 1 7 1 1 and

1804.

1984,120-121. 4 . T h e latter edition o f the b o o k Notes

(Tsukiyama

listed. 10. O b a ( 1 9 6 7 , 2 4 3 b , 6 7 8 c ) has found t w o official records for the importation o f the

mation on Lu Yu, see Sen ( 1 9 7 7 a ) . 3. Translation by J o n a t h a n Chaves, in Addiss

Constructing

many o f these, dates for J a p a n e s e reprints are

Hills and

tsukuriden),

on Gardens

1 8 5 9 , illus-

trates a J a p a n e s e garden in K a m a k u r a , the Gyokusentei, which was ostensibly modeled

CHAPTER

TWO

T h e R e c e p t i o n of C h i n e s e M a t e r i a l C u l t u r e in T o k u g a w a J a p a n 1. On clandestine importation o f b o o k s , see O b a

after a Tang dynasty garden where Lu Yu and

( 1 9 8 0 , 4 5 - 6 9 ) ; translated into English in O b a

Lu Tong enjoyed drinking tea. See Uehara

( 1 9 9 5 - 1 9 9 7 ) . For a summary o f O b a ' s

(1989). 5. For excerpts from Eisai's treatise, see Tsunoda (1958, 237-240). 6 . This scroll is known only through a number of Tokugawa-period copies. T h e original is attributed to Tosa M i t s u n o b u ( 1 4 3 4 1 5 2 5 ) ; see M o r i T. ( 1 9 8 5 , 1 1 - 1 2 , pi. 3 8 ) .

research in English, see O b a ( 1 9 8 8 ) . 2 . See Innes ( 1 9 8 0 , 3 2 8 - 3 3 2 and the table on p. 6 3 6 ) for documentation o f the large numbers o f Chinese ships that were refused entry into Nagasaki and thus became potential smugglers. 3. O n e catty is calculated as being equivalent to 1 . 3 2 5 pounds.

NOTES

TO

PAGES

27-40

4. On the history of the school and its temple, see

11. Such a person, accompanied by an attendant

15. A woodblock illustration of the table setting

Backus (1974, 1 0 4 - 1 1 2 , 1 2 3 - 1 2 5 , 1 3 4 - 1 3 6 ) .

carrying a parasol, is so labeled in the British

for shippoku

For an illustrated handscroll of a Confucian

Museum handscroll; see Narazaki (1987,

Oto (1976, pi. 246).

ceremony in 1729 and statues of Confucius and his disciples from the Owari Tokugawa family collection, see Shogun (1983, 1 7 9 - 1 8 0 ) . 5. Few of these Confucian temples survive. One is discussed and illustrated in Mason (1993, 247-248). 6. Biographical information on Chu comes from Ching (1975) and Ching (1979). 7. On this book, see Ching (1975, 187). Tea is discussed in vol. 4. 8. Biographical information on Chen comes from Cort (1992, 145) and Addiss ( 1 9 8 6 , 13). 9. For illustrations of the temple, ceremonial

pi. 73).

ryori is illustrated in Etchu and

16. For general information on the influence of

12. For a recently published facsimile edition of the Saiyii ryodan,

see Shiba (1992).

Chinese people and activities appear on pp. 112, 136.

visiting Chinese artists on Japanese painters, see Addiss (1986) and Jansen (1992, 6 0 - 6 4 ) . 17. The 1828 sencha treatise Rydzandd's Tea (Ryozando

13. Varieties of Chinese tea imported to Japan and utensils are recorded in Nakagawa C. ( 1 9 6 6 , 62: 3 - 7 ) , where both sencha

and oolong tea

chawa)

Chats

on

quotes Sugai Baikan's

descriptions of hunjin asohi

in Nagasaki as

occasions during which sencha

was served.

18. The two best published extant daimyo collec-

are mentioned, although the everyday tea

tions are the Hosokawa collection (now

preparation method described is for oolong

housed at the Eisei Bunko, Tokyo) and the

tea prepared in individual lidded cups.

Owari Tokugawa collection, now in the

Nakagawa C. (1966, 70: 6 6 - 6 8 ) illustrates a

Tokugawa Art Museum, Nagoya. Several

number of tea utensils, including a tea caddy;

recent international exhibitions have high-

utensils, and a statue of Confucius used there,

a charcoal brazier; a teapot, described as a

lighted the Tokugawa collection. See, for

see Etchu and Oto (1976, 1 0 9 - 1 1 1 ) .

tea bottle; a spouted pottery ewer for boil-

example, Montreal (1989), esp. the chapter by

ing medicine, which closely resembles later

Christine Guth ( 4 1 - 5 1 ) . For scholars' para-

compound attributed to Watanabe Shuseki and

Japanese sencha

phernalia from the Hosokawa collection, see

his followers owned by the Kobe Municipal

and a lidded cup for steeping oolong tea,

Museum and the Nagasaki Prefectural

which according to Nakagawa C. (1966, 70:

Museum of Art, see Itabashi (1996, pis.

96) was the only kind utilized by the

logues, see Weigl ( 1 9 8 0 , 2 6 7 - 2 7 0 ) , Nezu

7 - 1 - 7 - 5 ) . For excerpts from an eighteenth-

Chinese.

(1976), Shimizu and Wheelwright ( 1 9 7 6 , 223

10. For sections of handscrolls of the Chinese

century version in the British Museum, see

pots for boiling water;

14. Completed during the Bunka-Bunsei eras

Hosokawa (1978) and Hosokawa (1982). 19. On the Ashikaga shogunal collection cata-

n. 13), and Sen (1977a, vol. 2). On Ashikaga

Narazaki (1987, pis. 7 1 , 72). For additional

( 1 8 0 4 - 1 8 3 0 ) , this five-volume book was

shogunal taste for karamono

sections of the Nagasaki Prefectural Museum

compiled by Tsuruta Akiyoshi and illustrated

in these catalogues, see Guth (1993, 4 6 - 5 4 ,

as represented

of Art scroll, see Plutschow (1983, 7 8 - 8 3 ) .

by Uchibashi Chikuun (reputedly a student of

Kawahara Keiga (ca. 1 7 8 6 - 1 8 6 0 ) , best known

a famous visiting Chinese painter, Fei

as a Nagasaki-school artist of Western sub-

Hanyuan, who had made numerous visits to

referred to the study chamber in abbots' resi-

jects and styles, also painted similar scrolls

Nagasaki between 1734 and 1756). For

dences of Zen temples. It was here that early

of the Chinese quarter; see Etchu and Oto

reasons unknown, it was not published until

chanoyu

(1976, 64).

1931.

sixteenth century the term came to be applied

2 0 5 n. 4). 20. The shoin,

literally "writing hall," originally

tea ceremonies were held. By the late

NOTES

TO

PAGES

to a set type of formal residential architecture

Among the various sixty-one secular books

credited with the creation of the wabi aesthetic

that featured interiors having straw mat floor-

was Lu Yu's Cha jing.

of chanoyu.

ing (tatami); an alcove for displaying artworks, flower arrangements, and a hanging scroll (tokonoma); staggered shelves (chigidana

or

2. Kano Sansetsu ( 1 5 8 9 - 1 6 5 1 ) , for example, depicted this theme in a pair of eight-fold

Rikyu, whose fame, by the late seventeenth

screens now in the collection of Zuishinji,

century, was actually greater.

simply tana); a built-in writing desk low to the

Kyoto. See Tokyo National Museum (1979,

floor (tsukeshdin);

pi. 154).

sliding screens rather than

the more old-fashioned fixed walls

(fusuma);

translucent white paper and lattice-covered

Curiously, the author of this poem

mentions these two figures by name and not

11. On the meaning of this poem, see Otsuki ( 1 9 9 5 - 1 9 9 6 , pts. 1 0 - 1 7 ) .

3. Arthur Waley's free translation of Wang's preface is published in Rawson (1992, 9 9 -

12. This is recorded in the first true sencha tise, Chats on Tea by the Azure

trea-

Harbor

windows (shoji); and sliding wooden shutters

100). For another translation, see Lin (1961,

(Seiwan chawa),

for the windows

98-99).

echoed by all later writers; see Hasegawa

(amado).

21. For examples of these wares and a discussion of them within the broader context of Japanese

4. The term "fucha"

(C: bucha)

seems to have

entered the Japanese language in connection

1756, by Oeda Ryuho, and

(1965, 8 7 - 8 8 ) . 13. For illustrations of some of Ingen's personal

taste in Chinese ceramics, see Hayashiya S.

with Obaku. Standard dictionaries give its first

possessions owned by Manpukuji, including

(1977) and Kyoto National Museum (1991).

appearance in the Obaku

sencha

For a selection of these ceramics in the

( 1 9 8 5 , 1080) and Nihon Daijiten Kankokai

1 1 2 - 1 2 8 ) and Kyoto National Museum (1993,

( 1 9 7 5 , 17: 417).

pis. 3 7 - 5 0 ) . For several other sencha

Idemitsu Museum of Arts, Tokyo, see Seattle (1988).

sbingi. See Zengaku

5. For an English translation, see Baroni (1993,

22. The play has been translated into English in

318-340).

Keene (1961, 5 7 - 1 3 1 ) . On the relationship

6. From vol. 3, p. 12.

of the characters to those from life and

7. For transcription and discussion of these, see

knowledge of Confucian principles among Chikamatsu's audience, see Jansen ( 1 9 9 2 , 8 4 - 8 5 ) and Keene (1984, 1 3 0 - 1 3 4 ) . 23. For information on the Sumiya in English, see Nishi and Hozumi ( 1 9 8 5 , 1 2 8 - 1 3 1 ) and Yasutaka (1989, 2 3 - 2 4 ) .

Otsuki ( 1 9 9 5 - 1 9 9 6 , pts. 5 - 8 ) . 8. Enshin is the priest name of Akamatsu Norimura ( 1 2 7 7 - 1 3 5 0 ) , a powerful samurai who was also a fervent Zen Buddhist. 9. The third shogun, Ashikaga Yoshimitsu ( 1 3 5 8 - 1 4 0 8 ) , resided at Rokuonji (Deer Park), popularly known as the Kinkakuji (Golden

CHAPTER

Pavilion).

THREE

C h i n e s e Literati Ideals in the F o r m a t i o n of A p p r e c i a t i o n for

10. Wabi is here used as synonymous with cba-

accouterments, see Gifu (1992, pis. items

purported to have been owned by Ingen and now in the Kagetsuan collection, see Tanaka (1973, 2 3 9 , 2 4 8 , 255). 14. Unless otherwise noted, biographical information on Jozan comes from the sensitive portrayal of his life, cultural milieu, and artistic pursuits in Rimer (1991b). 15. The present appearance of Jozan's home is somewhat different than what it was originally. See Suzuki H. (1991, 9 9 - 1 0 1 ) . 16. Such towers were not uncommon in Japan; see Suzuki H. (1991, 1 0 0 - 1 0 1 ) . 17. On furyu in the context of the aesthetic

Sencha

noyu. J o o is Takeno J o o ( 1 5 0 2 - 1 5 5 5 ) , and

preferences of famous chanoyu

1. For a complete catalogue of books Ingen

Shuko is Murata Shuko (died 1502). These

the early eighteenth century, see Kramer (1985,

two men, forerunners to Sen no Rikyu, are

122). On the historical development of this

brought to Japan, see Ingen Zenshi (1917).

tea masters in

41-60

NOTES

TO

PAGES

61-81

term, see Ueda M . ( 1 9 8 3 ) . In Tokugawa-period

12. O f the numerous portraits of Baisao by

poems translated into English, see Watson

Jakuchu, the three most scholars agree are

to sui (elegance). For a discussion of furyu in

(1990, 37-61).

genuine, including the one illustrated here, are published in Shufunotomosha ( 1 9 7 5 , 6 7 - 6 9 ) .

this latter sense, see Tsuji ( 1 9 9 4 ) .

5. Translation by Norman Waddell, in Waddell

18. Translated in Wilson ( 1 9 9 1 , 6 6 - 6 9 ) .

1 9 8 4 , 1 0 5 - 1 0 6 . The translation has been

19. For translations of these, see Wilson ( 1 9 9 1 ,

modified from the earlier published version at

see Takeuchi ( 1 9 9 2 , 123). For English transla-

the request of the translator.

tions of Ban Kokei's introductions to these

206). 2 0 . See translations in Chaves ( 1 9 9 1 , 4 3 ) and Watson ( 1 9 9 0 , 30).

6. Translation by Norman Waddell, in Waddell 1 9 8 4 , 9 8 , from the Verses of the Old

2 1 . See translations in Watson ( 1 9 8 3 , 3 2 , 36). 2 2 . The Kenzan scholar Richard Wilson (in private correspondence) indicates that he thinks Kenzan also drank the

208

4. For Rikunyo's biography and a selection of his

popular culture, furyu was similar in meaning

Tea

1 9 8 4 , 110.

whom he drank tea are recorded in his diary. document, see Mizuta ( 1 9 7 2 ) .

calligraphy, see Hickman and Sato ( 1 9 8 9 ,

CHAPTER

9. A translation of this incident as recorded in

138-139).

1. On elegance in Nankai's poetry, see Keene

texts, see Marceau ( 1 9 8 9 , 2 0 6 - 2 0 9 ) . 14. On Kenkado's Seifusha, see Tsukuda I. ( 1 9 8 5 ,

For a modern printed, indexed edition of this

beverage.

Sencha in t h e E i g h t e e n t h C e n t u r y , u n d e r the S p e l l of B a i s a o a n d B e y o n d

den,

120) and Tsukuda I. ( 1 9 8 1 , 4 8 6 ) . Friends with

Peddler. 7. Translation by Norman Waddell, in Waddell 8. For the Jakuchu portrait and title page

FOUR

13. On kijin in the context of the Kinsei kijin

15. This text, one of ten ethical treatises that Ekken wrote for the general public, has been

the Verses of the Old Tea Peddler

appears in

translated into English with sections on

sencha

identified as "green t e a " ; see Kaibara ( 1 9 7 4 , 81-83).

Waddell ( 1 9 8 4 , 1 2 2 - 1 2 3 ) . The utensils thought to have been burned are recorded

16. When this text was actually written remains

( 1 9 7 8 , 5 4 2 - 5 4 3 ) . For an English translation of

in Saga ( 1 9 8 3 , 109), but the source for this

unknown. It has been speculated to have been

Nankai's comments on ga and zoku,

list is not stated, nor is it known if it is

penned as early as the Kyoho era ( 1 7 1 6 - 1 7 3 6 ) ;

complete.

see Sen ( 1 9 7 7 a , 3: 4 9 0 ) . For an annotated

see

Nakano ( 1 9 8 9 , 1 2 7 - 1 2 8 ) . 2. On the influence of kyo and ki in eighteenth-

10. Jakuchu paintings with Baisao inscriptions

century Japanese visual arts, see Kano ( 1 9 9 0 ,

include a Rooster

4-13).

Arthur M . Sackler Museum, Harvard Univer-

3. Information presented here on Baisao's well-documented life is culled from the

in the collection of the

sity, and Chrysanthemum

and a Rock,

at the

Los Angeles County Museum of Art and pub-

following sources, all based on primary

lished in Moss ( 1 9 9 1 , n.p.). A painting of Crab

materials: Hasegawa ( 1 9 6 5 , 8 8 - 9 1 ) ,

and Bamboo

Tanimura ( 1 9 8 3 ) , and Waddell ( 1 9 8 4 ) , who

by the eighty-two-year-old Baisao is published

has translated into English portions of the

in Tanaka ( 1 9 7 3 , 2 3 1 ) .

1 7 6 3 Verses of the Old Tea (Baisao

gego).

Peddler

by Taiga inscribed with a poem

11. Translation by Norman Waddell, in Waddell 1984, 120.

edition of Talks on the Origin of Tea, see Sen ( 1 9 7 7 a , 3: 3 9 7 - t 9 7 ) . 17. Brewing methods, as recorded in this and other Japanese sencha

texts, are discussed in Hase-

gawa ( 1 9 6 5 , 98). 18. See poem vii in Waddell ( 1 9 8 4 , 102). 19. This entire album is illustrated in color in Shufunotomosha ( 1 9 7 5 , 9 - 1 1 ) . 20. Many of these have been published in Saga ( 1 9 8 3 ) and Shufunotomosha ( 1 9 7 5 ) . 21. For documentation, see Saga ( 1 9 8 3 , 2 1 ) .

NOTES

22. The preface to Ryuho's 1756 book on Chats on Tea by the Azure Harbor,

sencha,

indicates

that the manuscript for Miscellaneous

Records

was already in existence at that time, although the latter was not published until 1762.

into Japanese in ca. 1 8 0 4 - 1 8 0 5 . His brother

mo, sono hito no kokoro wa shiru mono nari.

(1991, fig. 4 0 , no. 16). Several of Baiitsu's Chinese utensils—an Yixing ware teapot, a pewter

and Zen temple roof tiles.

31. For examples of his work, see Kyoto National

notable exception being the Song treatise Illustrated Notes on Tea Utensils (C: Chaju This book was included in the

tuzan).

Complete

Collection

the first section of volume 1. It is discussed in

and reprinted there just one year after publica-

Takahashi H. ( 1 9 8 8 , 1 6 0 - 1 6 1 ) .

tion of the Woodblock

Words, see Young (1982,

127, 157, n. 64). 26. Akinari's best-known work is Tales of light and Rain (Ugetsu monogatari),

The Illustrated

on Boiled

Tea.

Notes also was one of the

Chinese books on tea appended to the first

(1981, pi. 115).

Bunjincha,

FIVE

Sencha of the Literati

1. For biographical information on San'yo, see Woodson (1983, 6 - 7 ) and Watson ( 1 9 7 6 , 1 2 1 -

28. The original reads "tenzuru wa ken, senzuru

6. The other more elaborate version, dated to

7. The National Japanese Sencha Association CHAPTER

ments, see Young ( 1 9 8 2 , 1 0 8 - 1 0 9 ) .

scholars helped revive interest in

1850, has a teapot atop a brazier beside a

information on Akinari, see Young (1982) and

Com-

Kokugaku

waka during the late Tokugawa period.

basket of charcoal. See Nagoya City Museum

Moon-

19-94).

tury. Often lyrical and sentimental in tone, they are the antithesis of poetry in Chinese.

published in Japan in 1758. a selec-

Leon Zolbrod's commentary in Ueda (1977,

a form of literary Japanese found in Japan's

Japanese edition of the Classic of Tea,

tion of supernatural stories. For biographical

27. For discussion of the Miscellaneous

well known in Japan Book

teapot, see Shufunotomosha (1981, 234). 5. Waka are five-line, thirty-one syllable poems in earliest poetic anthologies of the eighth cen-

general section on scholars' utensils, which is

Teisho, see Nakamura Y. ( 1 9 6 1 , 1 5 3 - 1 5 7 ) .

of Tea Books,

leaf tea container, and a pottery brazier—are in Japanese private collections. For the Yixing

32. Few Chinese books illustrated utensils, a

urusashi"—is from the introduction to the

25. On the Drunken

scroll by Tomioka Tessai dated 1917 in Tessai

on sencha

Zoku ni shite ga narazaru mono wa miru mo

24. On Ryuho and his relationship with Tsuga

PAGES

Garekisha, also a monk, was a noted authority

Museum (1990, 188, figs. 2 6 , 27).

23. This passage—"Hito no moteru chodo ni te

TO

Library at Manpukuji has a photocopy of the original, which remains in the possession of a private collector. 8. Hagoromo

must here refer to the crane robe

170), which also includes translations of his

(kakushö-e)

kanshi

other Japanese eccentric intellectuals some-

and several prose essays.

2. The fathers of both Shunkin and Hanko were

that Chinese Daoists, Baisaö, and

times wore. It is an oblique reference to the

wa sei" and is discussed in Tsukuda I. ( 1 9 8 5 ,

more famous literati painters, Uragami

ability of the tea to impart a sense of immor-

166-167).

Gyokudo ( 1 7 4 5 - 1 8 2 0 ) and Okada Beisanjin

tality to those who drank it. The story first

( 1 7 4 4 - 1 8 2 0 ) , respectively.

appears in Takeda (1897, 6 - 7 ) and is repeated

29. Translation by Blake Morgan Young, in Young 1 9 8 2 , 109. 30. In private correspondence, the scholar Andrew Markus indicated that Ransui had an interest

3. His art has been well published and researched; for a study in English, see Berry (1985).

in gems, minerals, and rocks and was famous

4. For a better view of Baiitsu's inner study with

in his day for a translation of Chinese drama

a clearer picture of the utensils, see a hand-

in Sugihara (1910, 716). 9. This gathering is discussed, in the context of Edo bunjincha,

in Umezawa (1919, 8 2 2 - 8 2 4 ) .

10. A gathering of sixteen Chinese literati that took place in the year 1086.

8 3-116

NOTES

TO

PAGES

116-143

11. T h e f i r s t t o be d o c u m e n t e d w i t h a c a t a l o g u e

17. F o r a r e p r e s e n t a t i v e s a m p l i n g of his w a r e s ,

listing t h e e x h i b i t e d i t e m s o c c u r r e d in T a k a -

see K a w a h a r a ( 1 9 9 0 , c o l o r p l s . 4 3 - 5 3 , figs.

m a t s u in 1 7 9 3 ; see Y a m a n o u c h i ( 1 9 8 1 ,

40-45).

456-460). 12. In 1 8 3 6 , o n e y e a r a f t e r his d e a t h , C h i n e s e a n d J a p a n e s e p a i n t i n g s t h a t h a d b e e n o w n e d by C h i k u d e n w e r e e x h i b i t e d ; see K i z a k i ( 1 9 2 9 ,

n i a n I n s t i t u t i o n , W a s h i n g t o n , D . C . , see C o r t (1992, 4 7 [colorpl.1,215). 2 8 . F o r d o c u m e n t s r e l a t i n g t o t h e h i s t o r y of t h e

18. F o r t h e l e t t e r s , see I s h i k a w a J . ( 1 9 7 9 , 1 2 6 -

K a m e y a m a k i l n , see E t c h ü ( 1 9 6 8 ) . See a l s o i l l u s t r a t i o n s in M i t s u o k a ( 1 9 8 1 , 11: 7 5 - 7 7 ) ,

140). 19. O n M o k u b e i ' s r e l a t i o n s h i p w i t h C h i k u d e n a n d S a n ' y o , see S a s a k i ( 1 9 8 2 ) .

A i c h i ( 1 9 9 1 , pis. 1 5 2 , 1 5 3 ) , Ayers ( 1 9 8 2 , pi. 6 1 e ) , S m i t h ( 1 9 7 3 , pis. 5 1 - 5 4 ) , J e n y n s ( 1 9 6 5 ,

2: 4 9 1 , 5 0 8 - 5 1 5 ) . O n e x h i b i t i o n s of C h i n e s e

2 0 . T r a n s l a t e d i n t o E n g l i s h in C h u ( 1 9 1 0 ) .

2 5 6 - 2 5 8 , pi. 2 4 a ) , N a g a s a k i C i t y M u s e u m

p a i n t i n g s held t o h o n o r a n d m e m o r i a l i z e

2 1 . F o r i l l u s t r a t i o n s f r o m t h i s a l b u m , see I s h i k a w a

( 1 9 9 5 , pis. 9, 17), a n d I t a b a s h i ( 1 9 9 6 , pis. 3 5 ,

B a i i t s u , see G r a h a m ( 1 9 8 6 ) a n d G r a h a m (1983, 106-116). 13. T h i s r e f e r e n c e t o b r e w i n g tea in t h e s n o w is

J . ( 1 9 7 9 , pis. 2 2 - 2 9 , 5 3 - 6 5 ) . 2 2 . T h e e x t e n t of t h e i m p o r t of D e h u a w a r e s t o

37-44, 127-128). 2 9 . F o r i n f o r m a t i o n o n I t s u u n a n d sencha,

see

J a p a n in t h e T o k u g a w a p e r i o d r e m a i n s

N a g a m i (1927, 93), Nagasaki (1923, 364,

r e m i n i s c e n t of O b a k u I n g e n ' s p o e m s o n t h e

unclear, but implications are that trade was

370), and Hayashi (1932). On Chikuden's

t h e m e of s n o w t e a . T h e s t o n e k e t t l e r e f e r s t o

b r i s k ; see D o n n e l l y ( 1 9 6 9 , 1 2 2 , 2 0 7 , pi. c,

i n v o l v e m e n t w i t h t h e K a m e y a m a k i l n , see

Y i x i n g t e a p o t s , t h e s u r f a c e s of w h i c h r e s e m -

fig. 6 1 ) .

bled s t o n e . 14. F o r t h e f a m i l y ' s C h i n e s e p a i n t i n g s , see S u z u k i K. ( 1 9 8 3 , 4 : 4 7 5 - 5 0 5 ) . 15. P a r t i c i p a n t s i n c l u d e d O k u b o S h i b u t s u a n d K i k u c h i G o z a n , t h e w r i t e r O t a N a n p o (1749— 1823), a n d the literati painters W a t a n a b e Kazan, K a m e d a Bosai, and H a r u k i N a n m e i , whose father, N a n k o , had studied with Kimura K e n k a d o . For references to m a m m o t h

Berry ( 1 9 8 5 , 102, 174, nn. 155, 156).

2 3 . M o k u b e i v e r i f i e d t h e s o u r c e of i n s p i r a t i o n

3 0 . See, f o r e x a m p l e , a sencha

t e a set w i t h

kanshi

f o r his p o t in his i n s c r i p t i o n o n t h e a c c o m -

p o e t r y by N u k i n a K a i o k u in c o l l a b o r a t i o n

panying box.

w i t h t h e K y o t o p o t t e r W a k i Kitei V ( 1 8 0 8 -

2 4 . It is i l l u s t r a t e d , a l o n g w i t h its b o x i n s c r i b e d by sencha

l u m i n a r i e s , in S h u f u n o t o m o s h a

(1975, 21).

1 8 7 1 ) in G r a h a m ( 1 9 8 5 b , 1 9 3 , fig. 14). 3 1 . F o r i n f o r m a t i o n o n t h i s k i l n , see S h i m o n a k a ( 1 9 8 4 , 1 0 8 ) o r M i t s u o k a ( 1 9 8 1 , 9: 1 3 5 - 1 3 6 ,

2 5 . O n e , a f r e s h w a t e r p o t , is i l l u s t r a t e d in M i t s u o k a ( 1 9 9 0 , c o l o r p l . 7). 26. Letters M o k u b e i w r o t e to friends Tanaka

pi. 2 5 6 ) . T h e kiln s p e c i a l i z e d in p o r c e l a i n w i t h underglaze blue decoration; potters were recruited f r o m Seto and p a i n t e r - d e c o r a t o r s

g a t h e r i n g s s p o n s o r e d o r a t t e n d e d by t h e s e

K a k u o a n d T o n o m u r a Keiin, a n o t h e r O s a k a

c a m e f r o m K y o t o . It is u n k n o w n w h e n p r o -

m e n , see M a r k u s ( 1 9 9 3 , 1 3 7 , 1 4 6 - 1 4 7 ,

m e r c h a n t - p a t r o n , d e t a i l t h e s e e v e n t s . See

duction there ceased.

152-153).

W a k i m o t o ( 1 9 2 1 , 1 9 5 , l e t t e r n o . 2 t o Keiin)

16. A m o n g t h o s e p i c t u r e d w e r e K a z a n ' s p a i n t i n g

a n d I s h i k a w a J. ( 1 9 7 9 , 139, for a letter to

pupil Y a m a m o t o K i n k o k u ( 1 8 1 1 - 1 8 7 3 ) , Tani

K a k u o ) . I h a v e m a d e use of t r a n s l a t i o n s i n t o

B u n c h o ' s p u p i l s T a k a h i s a Aigai ( 1 7 9 6 - 1 8 4 3 )

E n g l i s h of t h e s e a n d o t h e r l e t t e r s in a n u n p u b -

and Onishi Chinnen (1792-1851), and Chinz a n ' s w i f e a c c o m p a n i e d by t h e c o u p l e ' s t w o young children.

lished m a n u s c r i p t by J o h n T e r a m o t o . 2 7 . F o r a shonzui-sty\e

dish a t t r i b u t e d t o K a t o

T a m i k i c h i in t h e F r e e r G a l l e r y of A r t , S m i t h s o -

CHAPTER

SIX

The A s s i m i l a t i o n of Sencha Society 1. F o r o t h e r e x a m p l e s of sencha

into J a p a n e s e u t e n s i l s in t h e

S u m i y a c o l l e c t i o n , see K a w a h a r a a n d D e g a w a (1993).

NOTES

2. F o r a discussion of Rengetsu in the c o n t e x t of

9. Satake Jusen: a pottery disciple of Mokubei and Kiyomizu Rokubei and a student

seal carver who was also a kanshi

see Fister ( 1 9 8 8 , 1 4 4 - 1 4 6 , 1 4 9 - 1 5 7 ) .

of sencha

calligrapher, and painter.

designing bonseki

3 . For a detailed discussion of this manuscript and reproduction of all the illustrations, see

Kyoto's Zen temple of Tenryuji who lived like a hermit.

of Naniwa

Monchu.

tea masters Tea

11. Kimura Kenkado: famous for his many

(with the main points from

friends and skilled at poetry and ink painting;

included in the Collection

of Great

Sencha

he collected sencha

their accompanying biographies):

utensils once owned by

Baisao. 1. Nosato Baien: a friend of Tanaka Kakuo. 2. Kondo Seiga: a post office proprietor who played No drums. 3. Zojuan Chizen: a Zen priest, collector of antiquities, and well-known connoisseur. 4. Yasuda Roshu: a samurai who collected

12. Okada Hanko: a famous painter of Osaka,

Confucian scholar and calligrapher. 6. Tonomura Rosai: a rice dealer who poetry and was known for

mation on K a k u o is derived from T a n a k a ( 1 9 7 3 , 3 1 5 - 3 2 1 ) , a modern history of the tea school, authored

by T a n a k a Seiha, the fifth-generation

son of Beisanjin; he was good at calligraphy and

Whenever possible I have c o r r o b o r a t e d

kanshi

the facts therein with other primary

poetry.

15. Baichushi: a waka

poet and disciple of

6. T h i s is an often repeated story that first appeared in two b o o k s published in 1 8 2 3 , Collection

16. Yagi Sonsho: a painter and calligrapher,

[OsakaI

Confucian scholar, and inheritor of some of

Continuing

Baisao's sencha

Osaka.

utensils.

17. Hayashi Bairin: a participant in

iemoto.

sources.

13. Hiraoka Kajo: a moneylender.

Kakuo.

5. Shinozaki Shochiku: a samurai, famous as a

5 . Unless otherwise noted, biographical infor-

Kagetsuan sencha

14. Sachiko: the wife of Shinozaki Shochiku.

gourds.

excelled at waka

poet,

2 2 . Kogetsu Yosho: formerly a priest at

gardens). 10. Kishida Kiyu: a disciple of Obaku

Onchi (1983). 4 . T h e following are the sencba

Masters

(miniature tray

kyogen

of the Golden (Naniwa Record

kinran

Brocade

of

Naniwa

shu) and the

of Old Friends

of

7. T h e " f l o a t i n g f l o w e r s " must refer to the

having acquired a teapot once owned by

(comic No theater), an antique dealer, and a

brewing of the tea leaves. Yet this may also

Baisao.

neighbor of Kakuo.

refer to the Lanting Gathering, where cups

7. Tanaka Kakuo: a sake merchant considered the third-generation successor to Baisao's Way of sencha

and the greatest

sencha

18. Kagawa Shutetsu: an obstetrician who collected antiquities, porcelains decorated with

sencha

teacher of Osaka; he collected antique utensils and held regular memorial

landscapes, and unusual rocks; also known as a poet of kanshi

and

waka.

the style of Basho and studied sencha

(annually).

Kakuo.

disciple of Tanaka Kakuo.

in

with

20. Inoue Kakushu: a Shinto priest and fortune teller.

filled with wine floated in a stream. 8. A record of the utensils used at this gathering appears in Saeki ( 1 9 4 0 , 1 9 5 - 2 4 2 ) . 9. Information on Kashin and his O g a w a school

19. Sen Jinshi: a poet who wrote haikai

services to Baisao (monthly) and Lu Yu

8. Sugimura Shohakuan: an antique dealer,

PAGES

21. Abe Kenshu (Ryozando): a famous

other women artists of the T o k u g a w a period,

with Kakuo; he excelled at

TO

is based on personal interviews with the present head of the school, O g a w a K o r a k u , and publications by him; see S h u f u n o t o m o s h a ( 1 9 8 1 , 4 1 2 - 4 1 3 ) , O g a w a ( 1 9 7 5 a ) , and O g a w a (1986a, 34-35).

144-156

NOTES

TO

PAGES

156-193

10. The 1909 copies of the Record Ceremony

of a Boiled

Tea

contain numerous omissions of

Jansen (1967), Keene (1971), and Tanaka S. (1993).

8. Records indicate that this particular example was once owned by the thirteenth abbot of

characters and mistakes in transcription; see

2. For others, see Fister (1988, 1 7 4 - 1 7 5 ) .

Akai (1970). Courtier patrons of Ogawa

3. Information on these two artists and their

Manpukuji, Jikuan Join ( 1 6 9 9 - 1 7 5 6 ) . 9. Information on the history of the Ogawa

Kashin included Takatsukasa Masamichi

involvement with sencha comes from Ibara

school and this particular event was provided

( 1 7 8 9 - 1 8 6 8 ) , Konoe Tadahiro ( 1 8 0 8 - 1 8 9 8 ) ,

(1992), Kyoto Prefectural Library (1985), and

by Ogawa Koraku.

Horikawa Yasuchika, and Ichijo Tadaka, who

Tessai (1991).

was also a friend of Tanaka Kakuo. 11. For information on Yatsuhashi Baisa, see

10. It is practically impossible to find written

4. These included Yamanaka Shinten'o ( 1 8 3 2 -

information on when the emergence of the

1885) and two prominent women painters,

many discrete schools for sencha

Noguchi Shohin and Okuhara Seiko ( 1 8 3 7 -

The number of schools suggested as existing at

here indicated to be 1760, but other sources

1913). See Kido ( 1 9 8 3 - 1 9 8 6 ) , Guth ( 1 9 9 3 ,

this time comes from conversations with vari-

state he was born in 1758 or 1759.

3 0 - 3 5 ) , and Guth (n.d.).

ous sencha

Kodansha (1982, 4 4 - 4 6 ) . His date of birth is

12. The sencha

room contains thirteen mats and

5. Translations and transcriptions of Chokunyu's

the study, four. For additional illustrations,

accompanying text were provided by Philip

see Kitao (1957, 4 0 - 6 3 ) .

Wu and Du Zhonggao.

13. For information on the Kutani kilns of the late

tea masters, whose families have

been practicing the art for generations. 11. His father, a samurai in the service of the daimyo of Fukui, had relocated to Tokyo where he opened an antique shop and founded

6. Berry (1985, 2 4 6 - 2 4 7 ) , Tsuchida

Tokugawa period, see Kaga (1984), Ishikawa

(1973), and Murayama (1973). The

his own lineage of sencha

(1975), and Komatsu (1974).

Binkaron

teaching of Baisao.

14. For works from this and other daimyo kilns

is an undated, handwritten

manuscript discovered after Chikuden's

of Wakayama, see Sasayama (1991, pis.

death. According to Murayama, it appears

11-37).

to date from the Bunsei era ( 1 8 1 8 -

15. For other examples of Koto wares, see Hikone (1988) and Sasayama ( 1 9 9 1 , pis. 38-53).

7. For examples of some of these rooms, see Ito aficio-

nados included the Nihonga painter HashiSencha

SEVEN

in M o d e r n J a p a n

1. For information on Naito Konan's attitude

12. For an example of a painting by Chikuun on a sencha

theme, see Rogers ( 1 9 9 7 , 186). sencha

schools throughout Japan, see Shufunoto-

and Yokoyama ( 1 9 8 3 - 1 9 8 5 , vols. 2, 3, and 6)

CHAPTER

inspired by the

13. For an admittedly incomplete list of

1830).

and Kitao (1957). Well-known sencha

occurred.

moto Kansetsu ( 1 8 8 3 - 1 9 4 5 ) from Kyoto and the Western-style sculptor Asakura Fumio ( 1 8 8 3 - 1 9 6 4 ) of Tokyo. Asakura's home and

toward China and a general introduction to

studio (constructed in 1936), which includes

Meiji Sinology, see Fogel (1984). For broader

rooms designed in sencha taste, is now an

overviews of various Japanese attitudes toward

easily accessible museum open to the

Asia and China in the early Meiji period, see

public.

mosha (1973, 3 0 2 - 3 0 9 ) . 14. See, for example, teapots by Yamada Jozan III (born 1924), illustrated in Wilson (1991, colorpl. 19).

Although their forms are generally standardized, many sencha utensils are known by more than one name, some borrowed from chanoyu, some not. An asterisk (*) following a term indicates that the utensil is also used for chanoyu, although the actual appearance and corresponding function of the piece may be different. I have attempted to list first the most commonly used name, but this is not always possible for which term employed depends upon various factors such as school affiliation and personal preference. Illustrations show most, but not all, of these utensils arranged for service, with some utensils appearing in more than one of the drawings.

GLOSSARY

Sencha

However, the drawings are not intended to convey the full extent

Utensils

of the diversity of utensil assemblages or the unique serving styles of sencha. While most utensils are employed for all types of sencha service, some are used on special occasions, such as at nodate (informal, outdoor picnics), with gyokuro tea (which requires careful monitoring of water temperature), or in the two main types of tea preparation methods: sencha temae (when tea leaves are thrown directly into the kettle full of boiling water) and encha temae (when the tea leaves are placed in the teapot first, and hot water from the kettle is poured over them). Useful sources for preparing this glossary were Tanaka (1973), Shufunotomosha (1988), and Zen Nihon Senchado Renmei (1992). I have also relied upon the advice and assistance of Tsukuda Ikki of the Issa-an school, who supplied photographs that served as models for figures A and B. Figure C is based on my photograph of a sencha utensil arrangement of the Kagetsuan school.

Drawings

are by David

M. Dun

fichi

GLOSSARY

OF

SENCHA

UTENSILS

Chagu

Joku

1. Tea service mat (for placement underneath tea utensils and brazier)

Kikyoku Teiran

2. Tea utensil cabinet 3. Tea utensil basket (used in nodate

or outdoor ser-

vice; not pictured) Chabitsu/Torüre

4. Lidded b o x for tea utensils (used in the most informal of tea ceremonies; not pictured)

Tana/Chaka/Meíka

37

Robyò/Kekkai

30

Uf u/S um i k a g o *

40

Hibashi*/Kakyo

43 41

10

Habóki

Kon ro/Ryoro Hairo

22

6. Hearth screen 7. Charcoal basket 8. Feather broom (for dusting charcoal) 9. Charcoal tongs 10. Tall, cylindrical pottery brazier 11. Stout brazier of metal or pottery

Binkake* Rodaì/Roba n/Roza Rosen

1 2 . Brazier stand 13. Brazier fan (used only with tall, cylindrical pottery brazier)

12 21

(Karo)/

5. Tea utensil stand

Suichü M¡zusashi*/Chüsh¡ M ¡zutsugi*

14. Fresh water ewer 15. Fresh water bucket 16. Fresh water pot (for replenishing fresh water ewer or bucket; not pictured)

Hyòshaku

17. Gourd water ladle (for use only with fresh water bucket)

FIGURE

Chawan*/Meiwan Wanto Chataku*/Takusu Chakin* Cha kínzutsu*/ Kínzutsu

18. Teacups 19. Teacup storage container 20. Teacup saucers 21. Teacup cleaning cloth 22. Tube-shaped container for teacup cleaning cloth

(Kínto)

Kínbako/Kingo Meibon/Tòsaibon B o n kìn

23. Small lidded box for storing teacup cleaning cloth 24. Teacup tray 25. Cloth to wipe the teacup tray

GLOSSARY

Bonkinzutsu Kyüsu/Kibishö/

OF

SENCHA

26. C o n t a i n e r f o r the c l o t h t o w i p e t h e t e a c u p t r a y 27. S i d e - h a n d l e d t e a p o t

KyQshö Chachö/Chachü/ Chahei Höhin

28. L o o p - h a n d l e d t e a p o t (used for serving w i t h encba

gyokuro

temae)

29. H a n d l e l e s s t e a p o t (used only w i t h

gyokuro;

not pictured) Böfura/Yuwakashi/

30. P o t t e r y kettle (for b o i l i n g h o t w a t e r o n a b r a z i e r ;

Tökan

t e r m originally used i n t e r c h a n g e a b l y w i t h o t h e r s

Ginbin/Böfura/

31. M e t a l kettle (silver o r g o l d ; f o r b o i l i n g h o t w a t e r

for teapot)

Yuwakashi

o n a s t o u t brazier)

Tetsubin

32. Iron kettle (for i n f o r m a l service, used only w i t h

Yusamashi

33. W a t e r c o o l e r ( s p o u t e d vessel i n t o w h i c h b o i l i n g

stout brazier; not pictured)

(Yuzamashi)

w a t e r f r o m t h e kettle is p o u r e d p r i o r to b e i n g p o u r e d i n t o the t e a p o t ; f o r use w i t h encba a n d gyokuro-,

Bindai/Chöza Binshö/Binshiki Kayoi

Bindai

teniae

see Plate 14)

34. T e a p o t s t a n d 35. Kettle s t a n d 36. Small t r a y o r b a s k e t (to place u n d e r t e a p o t w h e n p a s s i n g it t o guests; n o t p i c t u r e d )

Chashiriko/Chaire*/

37. Leaf tea c o n t a i n e r (tea c a d d y )

Hachaki FIGURE

B

Chagö

(Sagö)/

38. Tea s c o o p

Chary Ö/Chasoku/ Senbai Fukusa*

39. S q u a r e of silk b r o c a d e o r p r i n t e d c o t t o n c l o t h (for c e r e m o n i a l l y w i p i n g tea s c o o p a n d leaf tea container)

Senkö*

40. Stick incense

Közara

41. Stick incense s a u c e r

Közutsu

42. Stick incense c o n t a i n e r (not p i c t u r e d )

UTENSILS

GLOSSARY

OF

S EN

CH A

UTENSILS

Kdza/Kotate

43. Small s u p p o r t f o r lighted stick incense

Koro*

44. Incense b u r n e r ( n o t p i c t u r e d )

Kogo*

45. Incense b o x (see P l a t e 5 , f a r right)

Sen bin

46. W a t e r p o t ( s p o u t e d vessel, o f t e n m e t a l ; c o n t a i n i n g clean w a t e r f o r r i n s i n g utensils)

Noo/Kensui* Chahashi 3 8

39 18

48. Tea c h o p s t i c k s ( f o r r e m o v i n g used tea leaves f r o m teapot)

Chohei/Hashitate Shiu/Chakotsu

Ire

49. Tea c h o p s t i c k s h o l d e r 50. L i d d e d r e f u s e b o w l (for used tea leaves; not pictured)

Soka/Bunjin

Bana

M o ri mo no H a n a ire*/Ka k\*f 17

47. W a s t e w a t e r b o w l

51. F l o w e r a r r a n g e m e n t (see Plate l l ) 52. A r r a n g e m e n t of f r u i t s a n d vegetables (not p i c t u r e d ) 53. F l o w e r vase (see Plate 11 a n d Figure 5 2 )

Hanaike* Bun bo K a z a n *

54. D i s p l a y of s c h o l a r s ' w r i t i n g i m p l e m e n t s (see Figure 6 3 )

Cha ren/Cha hata

7

FIGURE

C

55. Tea c e r e m o n y b a n n e r

Abe Kenshü (Ryözandö) Aoki Mokubei Aoki Shukuya Asaka Tanpaku

Baisanshü chafu

ryaku

Baisaö

I k s ®

Baisaö chagu zu Baisaö cbaki zufu Baisaö

gego

bancha bindai G L O S S A R Y

binkake ffl ítL ik

Binkaron

Characters

binshiki T h i s list is l i m i t e d t o n a m e s o f i m p o r t a n t

binsbó

p e o p l e , b o o k s , tea t e r m i n o l o g y , a n d u t e n s i l s

böfura

r e l e v a n t t o t h e s t u d y o f sencha

in J a p a n .

íklt

Bokusekikyo

C h i n e s e b o o k s p u b l i s h e d in J a p a n , c i t i z e n s

bonkin

a c t i v e in J a p a n , a n d a p p r o p r i a t e d C h i n e s e

bonkinzutsu

t e r m s a r e r e n d e r e d in J a p a n e s e .

bunbö

sencha

ketsu fèiw.'fcitt

kazari

Bunbö seiyaku zu bunbögu

ZZiït-îM

bunga bunjin

asobi

bunjin baña bunjin

bokkyaku

bunjincha bunmei

kaika

i-?"-fir

i. Aiä KAli ÍA.J.

x m

Cha shi chabitsu chachó

%

UK'S-

S Ä

Ki < t

C H A R A C T E R

G L O S S A R Y

chachü

chüshi

iif-

Daichò G e n k ò

¡fe

chagó chagu joku

S A *

Chagu zufu

Daiten K e n j ò

chahashi

dashicha

chahata

Dazai Shundai

£ £ £ £

chahei

Dokugo

fti£

chaire Edo ryùkò ryóri tsù daizen

chajin

££

chaka Chaka

suigen

Eicha

iif;A-ftttaü^

sbiroku

itüt

Eiraku Hozen

encha

chakai chakin chakinzutsu

Fu Shizen

chakotsu

fucha

ire

Chakyò Cbakyó

shósetsu

chanoyu

Sí- CO

charen

«

charyó

-f&tt«

fuga

Aíft

Fukada Seiichi

fukusa

Chasetsu zufu

^íüBIlf 'C;

chashinko zenshü

A'ÍP

füryü

A;«.

Füzoku

monzen

$•*']

chataku

S-Jt

m Gankyoko

chato

Gayü

chawan

Gekkai Gensho

chasetsu

itmli&ií S-ifS.

M i i í í

chawa

Gettan D ò c h ò

Gikó jihu fu

Chókóen choza

Genryü

manroku

Geppò Shinryò

Chin Genpin

chohei

A f e x »

g"

chasoku

Chikudensó

A.

Fukuyama Chògan

furo

Charyó zusan

Chasho

fucha ryóri

StA

Gikókan

« *

ita

CHARACTER

ginbin

iMH

Gion Nankai

ifcffl

Goshin Genmyö

fe'ü«n

gy°

•ft

Kaibara Ekken

I S ä t f

gyokuro

i f

kaki

&tl

Gyokusentei

i ill 4 .

kakyö

Kagetsu fak

Kagetsuan Kagetsuanryü

böshiki

zufu sencha

seiganki i i f l

^r&ÜrJiSHiS.'^-it-ÍÁ.it

Kameda Ryörai haböki

karamono

fe®

bachaki

Katayama Hokkai

A

kayoi

iMué-

hairo banaike

iii.

banaire

bindai

¿tilfe

kazari

íH

kekkai

ííJf

Hasegawa Shöshökyo

ftS-JiWi-CÄ

kencha

tt£

bashitate

f-A

kensui

ít^lc

Hata Zöroku

ki

*

bibashi

kibisbö

é t i k

böcha

kijin

Höcha

ketsu

Höcba

ki

Höcha

sbinsbo

Höcha

Kikuchi Gozan

sansbU

Kimura Kenkadö

sbösho

höhin Honcbö

Kimura Köyö foil

sbokukan

&

+a

kinbako

iemoto Iiyama Gihö

^ttíir»

Kin Shikö

byöshaku

kingö

+ ár

Kinryü Döjin

ír-íitA

kinzutsu ÍS. J j ti_7¡

Ike Taiga

+«

Kitaöji Rosanjin Kiyomizu Rokubei

Ingen

P,S>t

Ishikawa Jözan

Í )l| 3t

Itö Jakuchü

irB-gf

Kiyota Tansö

Jj

Kö Fuyö Kö Yügai Köcha

Ka Juhö

OJ

Mi&í

kikyoku

kögo

roku

£ ^

GLOSSARY

C H A R A C T E R

konro Körakudö kissa ben köro kosen kötate köza közara közutsu kucba Kutani Shöza

kyö Kyükyodö kyüshö kyüsu

G L O S S A R Y

rn.tr f

morimono M u r a s e Kötei

ü-M Nagatani Söen Nakajima Rakusui

if- JUL

Nakajima Yösuke

iL'4-ä.S.

Nanban Naniwa füryü hanjöki Naniwa sencha taijin sbü Nanpöroku Nihon Sencha Kögei Kyökai

a

.t-ft

Nin'ami Döhachi

t N f l i i A

m

nodate nöo

ff M. Wt

ö.

Lu T o n g

Am

L u Yu

Manpukuji •tgJj^jfr

Ogawa Hisataka (Kairaku)

timn.

¿MS&Jj

O g a w a J i j i r ö (Katei K ö r a k u ) O g a w a Kashin Ogawa Köraku (Narabayashi Tadao)

Mitani Söchin

-S-S-t«

Ogawa Shin'an

Miura Chikusen

«

Ogawa Shioko

mizusasbi mizutsugi

Ogawa Tamemi (Kiraku)

Kyoroku

hii

O g a t a Shühei

tJii*®

Morikawa

#«

Ogata Kenzan

M i n a g a w a Kien

Monchü Jöfuku

M J f i t t t ^

Öbaku

Oeda Ryühö

matcha meika Meiko zuroku meiwan

t

Öbaku shingi Obakusan

Maeda Chikubösai

M a s u y a m a Sessai

ä *

Mujaku Döchü

M t ; f 41

-iwil^Tift •WH

O k u Randen (Saburöbei)

-Hil fife

Ö k u b o Shibutsu

• H H & (i- H . 5 P Ä )

O k u d a Eisen

3)

CHARACTER

O t a g a k i Rengetsu

*.SJÍ2ÍÉfl

O z a t a Kóan

sencha hana

sencha

Sencha hayasbi Rai San'yo

Sencha

ketsu

Rakurakutei

Sencha

kigen

Rikunyo

Sencha

roban

Sencha

robyó

nan 13; £ ifc

ryakusetsu shiki

Sencha

shojutsu

rodai

iris

Sencha

shoshu

rosen

ir m

Sencha tebiki no shit

roza

ir A

senchado

ryoro

•Xir

Ryózandó

ti-»*.

Ryü G e n c h o Ryüi

senji cha t

chawa

senji

tfr.S-HI««

M U &

mono

L' ft

senko senten

hisho

Ryükatei Ransui

A

*

shin Shinakan

Saeki Futoshi

Shinozaki Sachiko

Sakata Keizó

JA03 ± s £

Shinozaki Shochiku

Sakura Seitan

S-frlí

Shinsen

Sankatei Sanshi

Suitneisho

shiu sagen

Seifü sencha Seifüryü Seiwan Seiwan Seiwan

ichiran

kibun

ftJM&í yóran

hócha shoshiki cbakai

¡íí.

shogakai Shoin rojin

shókai

KA

zuroku

chawa meien

fttefcM

Shisendo

seifü Seifü

sencha

Shinzoku

zuiroku

Shu Koki

UlitjM

Shu Ryukyo

ktitfá

Shu Shunsui zushi

•(•»««att

seki

Shunsui

* *- X ;>.

Shushidanki

so

* f

Sen Inzen

ftflll-S-

So Senshun

senbai

-fOj-tft

Sochoo

senbin

i*.«.

soka

i * it

GLOSSARY

C H A R A C T E R

GLOSSARY

«-«•ai

Sugai Baikan

Tsubaki Chinzan

Sugie J ù m o n

Tsuga Teishò

suichu

Tsukamoto Yasushi

sumikago

Tsukiyama

Sumiya

out

tsusen

niwa tsukurìden

kóhen

ili Ì J f ?

Tsusentei Tachi Ryuwan

Tsùzoku

takusu

ìt^

tana

toi

Tanaka Akihito

S Jj&ièftitss ilfJj^.

shiki

sencba

bóshiki

i i 18- i i S- & A.

Ueda Akinari

jL&ikà.

ufu

m

Tanaka Futani

w tfcS-

Uno M e i k a

$*f*fitt

Tanaka Issò

1 5 + — ig.

Uragami Shunkin

US - t . f r * -

Tanaka Kakuò

ùroncba

Tanaka Seiha Tanaka Tokuò

® tfSii

Tanomura Chikuden

wéitt+t m

Wakatt

Tanomura Chokunyu

fflilttlt

wantò

teiran

itti

wabicba

A.

chasbi

Watanabe Kazan

ÌSt^^jj

temae Yabunouchi Chikushin

tencha tetsubin

m i

Y a m a m o t o Baiitsu

iMi&ìt

Y a m a m o t o Chikuun

Jj-Mtt

tócha

Si]

Y a m a m o t o Tokujun

Jj&ftifl

Tòen

£18

Yamanaka Kichiròbei (Shunkódó)

¿ t

Tetsusò

chafu

Tògyu Baisa

Yaozentei

tòkan

Yatsuhashi Baisa

Tokutomi Sohò Tomioka Tessai

Yixing t rs] ^ S-

toriire tòsaibon T ò t o Utaguchi Totoki Baigai

Yójókun Yòsen Yósen meiko

jMMìo

kei

Yotsugashira Yukawa Gen'yó

e? li.

( i l

C H A R A C T E R

G L O S S A R Y

yusamashi Yusei

1ft i t

yuwakashi Zen Nihon Senchado Zemin

Rentneikai

shokisen

zoku

&

zokujincha

223

A n n o t a t e d B i b l i o g r a p h y of S e l e c t e d P r e m o d e r n J a p a n e s e T e x t s on Sencha Texts are listed chronologically. All attempts

text to emphasize the

history of tea in China. Genryii chawa

(Talks on the Origin of Tea), pub-

were made to examine original editions or at

lished in 1745 but perhaps written as early as

least to read them in modern printed versions,

the Kyoho era ( 1 7 1 6 - 1 7 3 6 ) . 1 volume. By

although those are scarce for books on

Yabunouchi Chikushin. Surveys the history of

sencha.

Several of the books were totally

inaccessible; in those instances reliance on

Bibliography

The first chanoyu

tea in China and Japan (Sen 1977a, vol. 3). Baisanshii

chafu ryaku (A Collection

information from other scholars is indicated

ments from the Plum Mountain),

of Tea

Docu-

1748;

by an asterisk (*) at the beginning of the

expanded edition published 1838. 1 volume.

entry. Citations are to reprints, facsimile

By Baisao. Presents Baisao's views on tea

editions, or English translations of the texts.

(Hayashiya, Yokoi, and Narabayashi 1972,

Major Chinese tea texts are discussed and reproduced in facsimile in Nunome (1987). For short descriptions of a larger selection of books on sencha,

see Tsukuda I. (1981) and

5 9 - 6 7 ; Shufunotomosha 1975). Seiwan chawa

(Chats on Tea by the Azure

1756; reprinted as Sencha shiyo (Collected

Essentials

on Sencha),

1913. 2

volumes. By Oeda Ryuho. Preface by Tsuga

Shufunotomosha (1976, 2 0 0 - 2 1 3 ) .

Teisho. The first treatise on a sencha *Honcho

shokukan

Our Time),

(Compendium

of Food

from

1692. 12 volumes. Sencha is

described as a popular morning beverage among the women of Edo. Gankyoko

(Manuscript

bayashi 1972, 6 9 - 1 5 2 ) . "Chato

(Tea Treatises),

1758. 1 volume. By Xia

Shufang (J: Ka Juho). Preface by Kiyota

of the Rock

Dweller),

Tanso. Published in Kyoto; the first Japanese edition of the Chinese book Chadong

Docho. Contains a long, historical poem

Treatises)

Yojokun

(Precepts

titled Sencha on Health

uta.

Chakyo

Care), 1713. 1 vol-

ume. By Kaibara Ekken. One of the jukun (Ten Primers of Ekken).

Ekken

Sencha is

recommended for good health (Kaibara

Japan),

(Classic

(Classic

(Documents

on Tea in China

and

of Tea), 1758. 2 volumes. By Lu

of Tea), based on a Ming edition that

included several other Chinese tea books. Pastimes),

1728. 3 volumes. By Mitani Sochin.

(Tea

of circa 1610.

Yu. The first Japanese reprint of the Cha jing

Gayu manroku

1974). Wakan chashi

tea

ceremony (Hayashiya, Yokoi, and Nara-

preface dated 1703. 6 volumes. By Gettan about sencha,

Harbor),

shit

(Miscellaneous

Records

of

Elegant

1762. 7 volumes. By Oeda Ryuho.

Describes various Chinese literati pastimes and related material culture.

BIBLIOGRAPHY

Baisao gego (Verses of the Old Tea Peddler),

Preface by Kikuchi Gozan. Published by

1763.

Sencha shiki (Sencha Techniques),

1804. 1 volume.

1 volume. By Baisao. Compiled by Kinryu

Maekawa Zenbei. A Japanese translation of

By Masuyama Sessai. How to host a sencha

Dojin and others. Preface by Kinryu Dojin.

the Chinese text Jiancha

gathering in the style of the Chinese literati.

Biography by Daiten Kenjo. Portrait of

Steeped

Baisao by Ito Jakuchu. Title calligraphy by

tal information on sencha

Ike Taiga. Afterword by Daicho Genko. The

Shinzoku

jue (Secrets of

Tea), by Ye Zhuan, with supplemen-

kihun (Record

Chaka

in Japan.

of Chinese

suigen (Drunken

Words of a Tea

Addict),

begun 1806, completed circa 1807. 1 volume.

Customs),

By Ueda Akinari. The author's personal rumi-

main source of information about Baisao's

1799. 6 volumes. By Nakagawa Chuei. The

life, poetry, and philosophy (partially trans-

lifestyles and material culture of Chinese

phy of purity in the manner of the Chinese

lated in Waddell 1984; Shufunotomosha

residents in Nagasaki are discussed (Naka-

literati (Nakamura Y. 1961, 2 1 9 - 2 4 9 ) .

1975). Sencha

gawa C. 1966).

ketsu (Secrets of Steeped

Cha shi (History

Tea), 1764;

nations on sencha and its underlying philoso-

*Encha

of Tea), 1801. 2 volumes. By Liu

shiki (Techniques

of Encha),

1819. 1

volume. By Master Shitekika. A sencha

reprinted in Edo by Iiyama Giho, 1838.

Yuanzhang (J: Ryu Gencho). Preface by

manual for the less educated, sencha

1 volume. By Ye Zhuan (J: Yosen). Edited by

Totoki Baigai. The first Japanese edition of

sented in terms of chanoyu

Daiten Kenjo. Published by Kimura Kenkado.

the important Chinese tea compendium Cha

The first Japanese edition of the Chinese

shi (History

treatise Jiancha Chakyo

jue (Secrets of Steeped

(Detailed

Tea).

Sencha hayashi

nan (Quick

Guide to Sencha),

of Baisao's

Tea

kado. Published and appended posthumously by Kenkado's son, Koyo. Illustrations by

plains sencha

Aoki Shukuya. A printed album, with sup-

Kenjo. The first Japanese vernacular trans-

utensils borrowed from chanoyu

lation of Lu Yu's tea treatise.

Yokoi, and Narabayashi 1972, 2 2 3 - 2 5 8 ) .

of Tea Investigation),

Inner title: Sencha hayashi to Sencha). Sencha

of the

Record

1823. 1 volume. By Kimura Ken-

Classic of Tea), 1774. 2 volumes. By Daiten

roku (Record

Explanation

chaki zufu (Pictorial Utensils),

1802. 1 volume. By Ryukatei Ransui. Ex-

*K5cha

shosetsu

Baisao

of Tea), of circa 1675.

is pre-

rules of etiquette,

1779.

nan (Quick

Guide

1 volume. By Toto Utaguchi.

in Edo is discussed.

Seifu sagen (Miscellaneous of Pure Elegance),

shosho

(Woodblock

Book

on the Way

1794. 2 volumes. By Ueda

Akinari. Preface by Murase Kotei. A bestseller in its day, this book helped propel wide(Iwahashi 1918,

(Hayashiya,

on Boiled

plementary information, of Kenkado's sketchbook Baisao

Tea),

Baisao's

chagu zu (Illustrations

Tea Utensils)

of

(Shufunotomosha

1803. 1 volume. By So Senshun. Tea and

1975, 9 - 1 1 ) . A 1924 edition of 300 copies

utensils are explained in the first part of this

was published in memory of Tanaka Kakuo.

book; in the second part, Charyo

Comments

spread popularity of sencha

Hocha

in simple terms, with names of

(Notes on a Tea Gathering),

zusan

Ryozando

by Okubo

Shibutsu, utensils used at a specific gathering zenshii (Complete

Books),

(Ryozando's

Chats on Tea),

reprinted 1919. 2 volumes. By Abe Kenshu

are described. Chasho

chawa

preface dated 1824, published 1828, (Ryozando). An important source for under-

Collection

of Tea

standing bunjincha

1804. 3 volumes. Edited by Yu

in the early nineteenth

century.

2: 4 7 9 - 5 0 2 ; Hayashiya, Yokoi, and Nara-

Zheng (J: Yusei). Preface by Minagawa Kien.

bayashi 1972, 1 5 3 - 2 1 0 ) .

The first reprint in Japan of the Ming (1613)

volume. By Tanomura Chikuden. Written in

compendium Chashu quanji (Complete

kanhun,

Collection

processing, and utensils; republished as

Sencha

ryakusetsu

(Detailed

Record

of

Sencha),

1798. 1 volume. By Nakajima Rakusui.

of Tea Books).

Hocha

ketsu (Chats on Boiling

Tea), 1829. 1

this book discusses sencha

growing,

BIBLIOGRAPHY

volume 3 of Chikuden's 1831 compendium

reprinted together in 1850 with an introduc-

Hocha

tion by Shinozaki Shóchiku.

shinsho

New Books

sanshu (A Collection

of

Three

on Boiling Tea), with a preface by

Zhu Liuqiao (Shu Ryukyo). Chagu zufu (Pictorial

chasetsu

Chikuden),

Album of Tea

1829. Inner title: Sekisansai

Chikudenso

Utensils),

chagu

zufu

(Discussion

general book about the history of tea and utensils for

on Tea by

Naniwa

sencha

Sencha

1831. 1 volume. By Tanomura

sencha.

taijin shu (Collection

of

Tea Masters of Naniwa

Great

[Osaka]),

Chikuden. A Japanese vernacular edition of

1835. 1 volume. By Ozata Koan. An illus-

Chikuden's book Hocha

trated handwritten manuscript, unpublished.

ketsu (Chats on

Boil-

ing Tea) with different illustrations. It was

Short biographies and illustrations of twenty-

1 volume. A Chinese text, abridged and

published together with Chagu zufu

two sencha tea masters of Osaka from

adapted by Tanomura Chikuden for a Japa-

Album of Tea Utensils) in 1831 in the

nese audience. The original Chinese author,

Chasetsu

Old Man Sangzhu (J: Sochoo), wrote a five-

Tea). This book was also printed together

part text on tea, Chaju tupu (Pictorial

with Hocha

(Sekisansai's

Pictorial

of Tea Utensils).

Album of Tea

Utensils).

Album

zufu (Illustrated

Discussion

ketsu (Chats on Boiling

Chagu zufu (Pictorial

A Chinese merchant in

(Pictorial

various walks of life are included (Onchi about

Tea) and

Album of Tea

Utensils)

Nagasaki, Fu Shiran (J: Fu Shizen), reduced

as volume 2 of Chikuden's 1831 compen-

the text to two volumes. Chikuden's text is

dium, Hócha

based on a one-volume abridgement by

Three New Books

another Chinese merchant, Xian Yinshan

Hócha

shinsho

shinsho

of

Tea). The zufu

(J: Sen Inzen). Chikuden also republished this

contain prefaces by Rai San'yó copied by his

Hocha

pupil Goto Shóin.

shinsho

New

sanshu (A Collection on Boiling

of Three

Tea). It contains extensive

examples of Chinese sencha

utensils and

Seifüryü hócha

shoshiki

Explanation Boiled

Gathering),

1916. 1 volume. Illustrations by Tsubaki Preface by Kameda Ryorai. Epilogue by gathering in Edo. * Eicha shiroku

(Written Record

of Poems on Tea),

1839. 1 volume. Edited by Tachi Ryuwan. shókai

(A

of the Elegant

Detailed

Commodity

Preface by Kameda Ryorai. Epilogue by of

Tea), a manuscript written sometime

Iiyama Giho. A collection of Chinese poems about tea from the Tang through the Ming

other ceramic utensils for rice, wine, and

during the Tenpó era ( 1 8 3 0 - 1 8 4 4 ) of the

food. The 1831 edition has a preface by the

Tokugawa period. 7 volumes. By Tanaka

Chinese merchant Zhu Liuqiao (J: Shu

Kakuó. Three slightly dissimilar copies exist.

at a Glance),

Ryukyo). This book was also published in a

Procedures for preparing sencha

Seitan. A pocket-sized guide to

different 1831 compendium (reprinted in

of settings are explained, using assorted

1870) by Chikuden, Chasetsu trated Discussion his Chikudenso by Chikuden).

about chasetsu

(Discussion

Chikuden's Hocha

(Chats on Boiling (Pictorial

zufu

(Illus-

Tea), together with

Tea) and Chagu

on Tea ketsu zufu

Album of Tea Utensils) were

in a variety

utensils according to rules borrowed from chanoyu. *Sencha

shójutsu

1838;

Iiyama Giho. A pictorial record of a sencha

sanshü and the Chasetsu

as volume 1 of his 1831 compendium, Books

(A Small Sencha

reprinted in an accordion-folded album, Chinzan. Title calligraphy by Tachi Ryuwan.

sanshü (A Collection

on Boiling

1983). Sencha shoshu

dynasties. Shinsen sencha

ichiran

(New Selections

of

Sencha

1847. 1 volume. By Sakura sencha,

intended for the general public. Sencha

tebiki no shit (Secret Guide to

Sencha),

1848. 1 volume. By Yamamoto Tokujun. (Small Book

about

Sencha),

1834. 1 volume. Inner title: Sencha (Understanding

Sencha).

tsü

By Yamamoto Toku-

jun. Written in vernacular Japanese, this is a

Illustrations by Katsushika Oi. A popular, pocket-sized manual for sencha, to the Shinsen sencha ichiran of Sencha at a

Glance).

very similar

(New

Selections

BIBLIOGRAPHY

Bokusekikyo

sencha

ketsu (Secrets of Steeped

by Bokusekikyo),

Tea

Seiwan chakai

zuroku

(Pictorial

Azure Sea Tea Gathering),

1849. 2 volumes. By

Record

of the

1863. 3 volumes.

Meiko

zuroku

(C: Ming hu tu lu; Pictorial

of Famous

Teapots),

Record

1876. 2 volumes. By

Fukada Seiichi. Explains the essential points

By Tanomura Chokunyu. The first detailed

Oku Randen (Saburöbei). Thirty-two teapots,

of bunjittcba

record of a sencha gathering, this book

mostly Yixing wares, owned by the author

as practiced by plebeians, described as

became the model for many that followed. It

and his friends are illustrated and described

zokujincba

recorded the people, artifacts, and events

(Chinese reprint in Huang and Deng 1963).

and distinguishes it from

sencha

(Hayashiya, Yokoi, and Nara-

connected with two gatherings in Osaka in

bayashi 1972, 2 5 9 - 2 7 0 ) . Seifu sencha yoran (Outline Sencha),

of the Pure Spirit of

1851. 1 volume. By Toen. Another

1862 and 1863. Tetsuso chafu (Tessai's Tea Records),

1867. 2

pocket-sized guide based on the Shinsen

volumes. By Tomioka Tessai. The first volume

sencha

of this book, Giko jihu fu (Record

ichiran (New Selections

Glance)

and the Sencha

Guide to *H6cba

of Sencha at a

tebiki no shu

(Secret

Sencha).

ki (Record

of a Boiled

of Clay

Pots of Yixing) is an illustrated connoisseurship study of Yixing ware teapots. It includes

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Teapots

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Page numbers in italic refer to illustrations.

aristocrats: interest in sencha,

1 5 6 - 1 5 7 , 160. See

also elites Abe Kenshu (Ryòzandò), 1 0 3 - 1 0 4

Arita potters, 128

An Account of the Teapots of Yangxian

(Yang-

xian mingbu xi; Zhou Gaoqi), 173

39^11, 42, 43; appreciation of in Zen

Akai Tòzen II, 193

Buddhism, 16, 50; collectors, 39, 178; displays

Akinari. See Ueda Akinari

at shogakai,

Akizato Rito, 1 4 8 - 1 4 9 , 149

4, 16, 39, 128, 1 7 5 - 1 7 7 , 1 8 8 - 1 8 9 ; imported

Album of Connoisseurship (Kokikan

of Old

Vessels

zujó; Aoki Mokubei), 127

Anthology

of Customs (Fuzoku

116; exhibits at sencha gatherings,

paintings at Manpukuji, 5 0 - 5 2 ;

karamono

(displays), 1 6 , 4 0 ^ 1 1 art, of literati painters. See literati painters

Andò Hiroshige, 142, 142 monzen;

Asaka Tanpaku, 29, 67 Asakura Fumio, 184

Morikawa), 54

Index

art, Chinese: appreciation of in Japan, 7 - 8 ,

Aogai no Ma (mother-of-pearl room), Sumiya

Ashikaga Yoshimitsu, 24 Azure Sea Tea Association, 176

teahouse, 44, 45 Aoki Jikan, 107, 113 Aoki Mokubei, 101, 106, 124, 1 2 5 - 1 3 2 ,

Baigai. See Totoki Baigai

151, 195; assemblage of sencha utensils,

Baiitsu. See Yamamoto Baiitsu

1 2 8 - 1 2 9 , plate 5; ewers, 128, 129, plate 3;

Baisadö (Manpukuji), 188, 191, 196

kilns established by, 165; sencha gather-

Baisaö chagu zu (Illustrations

of Baisaö's

ing planned by, 130; sencha wares, 1 2 7 -

Utensils; Kimura Kenkadö), 79, 82

128, 1 3 0 - 1 3 2 , 142, 143, 144, 152, 184;

Baisaö chaki zufu (Pictorial Record of

teacups, 132, plate 6; teapots, 128, 1 3 0 - 1 3 2 , 131,132,

plate 4; training,

130 Aoki Shukichi, 127 Aoki Shukuya, 79, 80

Tea

Baisaö's

Tea Utensils; Aoki Shukuya), 79, 80, 82, 104, 226 Baisaö gego (Verses of the Old Tea

Peddler;

Baisaö), 7 2 - 7 3 , 79, 83, 226 Baisaö Kö Yügai, 63, 6 8 - 7 4 ; appearance,

Araki Kunsen, 38, 39

7 3 - 7 4 ; calligraphy, 73, 74, 74, 152; death, 72;

architecture: Chinese influences in Japan, 117,

followers, 69, 78; as founder of sencha, 82, 87,

118; Chinese temples, 49; glass windows, 1 0 2 -

106, 147, 152, 161, 201, 203; poetry, 7 0 - 7 1 ,

103, 103, 118, 163; sukiya shoin style, 45, 58,

73, 74, 83; portraits of, 7 3 - 7 4 , 75, 94, 108,

117, 185; Western, 102. See also interior

114, 171, 187; reverence for, 68, 7 4 - 7 5 , 1 0 3 -

design

104, 149, 184, 188, 191, 201; reverence for

utensils belonging to, 1 0 3 - 1 0 4 , 184, 2 0 2 ; tea

blanc de chine,

brewing m e t h o d , 7 1 - 7 2 ; t e a p o t of, 81, 8 ! , 93,

Blind Men Critiquing

130; tea selected by, 7 1 - 7 2 ; tea stall, 70, 7 1 72; utensils belonging to, 73, 78, 7 9 - 8 1 , 80, 81, 82, 87, 90, 96; writings, 7 2 - 7 3 , 188 Baizhang Order),

Rules of

See kettles:

bunjin bokkyaku

bofura

sencha ketsu (Secrets of Steeped

Tea

Fukada Seiichi), 115, 154,

bunjincha

(literati ink guests), 100, 151

(literati tea), 100, 103, 1 4 6 - 1 4 7 ; activ-

ities, 104; a t m o s p h e r e , 113; books o n , 115, 146; formalization of, 1 1 3 - 1 1 4 ; in Kyoto, 111,

156, 2 2 8

15

accouterments), 176 bunjin. See literati, Japanese

by Bokusekikyo;

qing gui (One Hundred

bunbö seki (room with a r r a n g e m e n t s of scholar's Beauty (Tomioka Tessai),

173, 174 bofura.

Bokusekikyo

Baisa sencba school, 160

17

books, sencha, 2 0 , 72, 8 4 - 8 7 , 88, 91, 103, 1 0 6 -

113; lineage of, 115; in novels, 1 8 2 - 1 8 4 ;

107; of eighteenth century, 8 3 - 8 4 , 8 5 - 8 7 , 93;

organized by Baiitsu, 1 1 0 - 1 1 3 , 115; paintings

b a m b o o : baskets, 1 9 6 - 1 9 9 , 198; tea scoops, 196

historiographic, 14, 5 6 , 1 0 6 ; Kagetsuan school,

of, 1 1 1 , 1 1 2 ; p r o m o t e r s of, 107; records of,

bancba

1 5 3 - 1 5 4 , 154, IS5, 1 8 6 - 1 8 7 ; of nineteenth

1 1 3 - 1 1 5 ; utensils, 107, 114, 1 2 3 - 1 2 4 , 139,

bakufu

(Tokugawa bureaucracy), 2 5 , 28, 4 2 (common tea), 1, 2, 16, 139

century, 9 4 - 9 6 , 97, 1 3 8 - 1 3 9 , 157, 1 6 0 - 1 6 1 ,

Ban Kokei, 74 B a n k o ware: 192, 1 9 3 - 1 9 5 , plate 25 banquets. See sbogakai

(painting and calligraphy

Bao yan tang bi ji (Secret Book Collection Treasured Basainshu

of the

See literati painters

95, 168, 1 7 1 - 1 7 2

bunraku

(puppet theater), 4 2

(Chado

bunko),

189

Casual Expressions

cbafu ryaku (A Collection

of Tea

from the Plum Mountain;

Baisao),

72, 2 2 5

braziers, 90, 92, 93, 1 2 3 , 1 3 9 , 153; binkake,

of Idle Peelings

(jianqing

ouji; Li Yu), 20, 101

Bourdieu, Pierre, 4 2

Writing Hall), 21

Documents

168; recent, 7; records of sencha gatherings, Books on the Tea Ceremony

gatherings)

153, 159 bunjinga.

139;

fiiro and ryoro, 93; m a d e by M o k u b e i , 129; underglaze blue, 143, 143

celadon wares, 1 2 3 - 1 2 4 , 127, 143, 153, 192 ceramics: Chinese b o o k s on history of, 127; Delft ware, 143; early Japanese sencha wares, 93,

Basho. See M a t s u o Basho

brick tea, 11, 13, 14

106; imported f r o m China, 4 1 , 4 3 , 125, 128;

baskets: b a m b o o , 1 9 6 - 1 9 9 , 198; shin style, 198

bronzes, Chinese, 2 9 , 128, 195

Korean-style, 129, 132, 153; Nanban

The Battles of Coxinga

Buddhism: Chinese temples in N a g a s a k i , 32, 33,

9 0 - 9 1 , 91, 110, 111, 129, 1 2 9 - 1 3 0 , 150, 153;

(Kokusenya

gassen;

Chikamatsu Monzaemon), 42 binkake.

See braziers

Binkaron

(Treatise on Flower Arranging;

Tano-

mura Chikuden), 176 Biographies

of Eccentrics

Biographies Modern

of Elegant

of Recent Times People of the

Era (Kinsei gajinden;

Gen'yo), 1 8 8 - 1 8 9 Bizen kiln, 144

37; memorial services, 53; tea drinking at

slab-formed beating m e t h o d (panpan sei), 193;

temples, 13, 16. See also C h a n Buddhism; Zen

stoneware, 124, 193, 194. See also kilns, J a p a -

Buddhism Buddhist m o n k s : regulations, 15; secular influ-

kijin den; Ban Kokei), 74 Early

Yukawa

(Kinsei

styles,

nese; porcelain sencha utensils; utensils for sencha; Yixing s t o n e w a r e

ences, 1 5 - 1 6 ; tea rituals, 14, 15, 5 2 - 5 3 . See

Chadö bunko

also O b a k u m o n k s

Chadong.

bun (literary arts), 3 9 bunbogu

(scholar's accouterments), 3 9 , 102, 128

bunbo kazari (arrangements of scholar's accouterments), 3 9

(Books

on the Tea Ceremony),

189

See Chatö (Tea Treatises; Xia Shufang)

Chagu zufu (Pictorial Album

of Tea

Utensils;

T a n o m u r a C h i k u d e n , ed.), 2 2 , 106, 114, 2 2 7 Cha jing (Classic of Tea; Lu Yu), 1 0 - 1 2 , 15, 78, 121,225

INDEX

Chaju tupu. See Chagu

zufu

Cbaka

Words of a Tea

suigen

(Drunken

Chasho Addict;

Ueda Akinari), 87, 2 2 6 Chakyo

shosetsu

Classic

(Detailed

of Tea; Lu Yu)

Explanation

of the

of Tea; Daiten Kenjo), 12, 7 9 , 2 2 6

Cha liaoji (Records

(Complete

of a Tea Hut; Lu Shusheng),

22

Chashu

quanji.

Collection Chatö

Collection

of

Tea

2 1 , 6 2 , 92, 2 2 6

Cha shu (A Commentary

See Cha jing (Classic

Chakyo.

zenshu

Books),

(Tea Treatises;

Chats on Boiling

edge of Öbaku monks, 5 0 ; popular appeal 106

on Tea),

See Chasho

of Tea

zenshü

in Japan, 4 2 ^ 1 5 , 1 3 3 . See also art,

(Complete

Xia Shufang), 2 1 , 7 8 , 2 2 5

Tea (Hôcha

15, 4 8 - 4 9 , 5 2 , 5 3 , 6 2 ; monks, 14, 2 9 , 4 8 - 4 9 ;

Tanomura

ketsu;

tea rituals, 14, 15, 5 2 - 5 3 , 5 4 . See also

Obaku

monks

(wenren);

A Chinese Scholar's Study, 3 5 Chin Genpin. See Chen Yuanbin Chin Nanpin. See Shen Nanpin

Chats on Tea by the Azure Harbor chawa;

Chinese; literati, Chinese Nagasaki

Books)

Chikuden), 1 0 6 - 1 0 7 , 2 2 6 - 2 2 7

Chan Buddhism, 1 0 - 1 1 ; Linxi (Rinzai) sect, 14,

Japanese culture, 3, 3 1 , 6 2 , 97, 1 6 9 ; knowl-

(Seiwan

Chinzan. See Tsubaki Chinzan

Öeda Ryühö), 2 0 , 8 4 - 8 7 , 2 2 5

Chö Gesshö, 9 4

(secular tea gatherings), 16

Chököen (garden of fishing and cultivation), 1 8 0 ,

cha yoriai

Chen Yuanbin, 2 9 - 3 1 , 30, 4 0 , 5 8 , 61

182,

183

Chikamatsu Monzaemon, 4 2

ChokunyO. See Tanomura Chokunyü

in, 7 6 - 7 8 ; collections of objects associated

Chikken (Miura Chikusen III), 1 9 2

chönin.

with, 3 9 ^ 1 0 ; criticism of, 5 6 , 7 5 - 7 6 , 8 8 ;

Chikubösai. See Maeda Chikubôsai I

Chu Shun-shui. See Zhu Shunshui

Chikuden. See Tanomura Chikuden

cities: entertainment districts, 3 6 - 3 7 , 3 8 , 4 3 - 4 5

chanoyu:

books on, 1 8 9 ; Chinese influences seen

displays of Chinese objects (karamonoj,

16,

40—41; dominance of, 6, 1 8 9 , 2 0 1 ; during Meiji restoration, 1 6 9 - 1 7 0 ; elites' adoption of, 19, 1 6 9 - 1 7 0 ; factionalism, 1 4 4 - 1 4 6 ; history, 14; influences on sencha,

4, 93, 9 5 - 9 6 , 111,

1 5 3 , 1 5 4 , 2 0 1 - 2 0 2 ; kaiseki

meals, 5 2 ;

kosen

Cbikudensö Chikuden; Cbikudensö Painting

cbasetsu

(Discussion

on Tea by

Tanomura Chikuden), 1 0 7 , sbiyü garoku Teachers

(Records

and Friends;

of

Chikuden), 1 2 7 Chikusen. See Miura Chikusen I

to gods, 15; popularity surpassed by

Chikushun I (Kawase Chikuö), 1 9 2

sencha,

1; role in

Japanese culture, 6 - 7 , 10, 1 6 9 ; schools, 6, 7 5 , 7 8 , 1 4 6 ; tea competitions (tocba),

16; tea

Chikuden's

Tanomura

drinking, 8 7 ; meaning of furyu in, 6 0 ; offerings 1 3 9 ; preparation of tea (matcha),

111

China: diplomatic relations with J a p a n , 2 4 , 2 5 , 1 6 8 - 1 6 9 , 1 9 0 ; tea culture in, 1 0 - 1 2 ; trade with

1 4 2 ; utensils used for sencha,

Chinese

Cha shi (History 91-92,226

literati,

Chinese culture: appreciation of in J a p a n , 7 - 8 , 2 4 , 1 7 0 , 1 8 2 - 1 8 4 ; books on, 3 6 ; decrease in

of Tea; Liu Yuanzhang), 2 2 ,

Collections

ruijü),

of Japanese

Nagasaki

Classics

40

Scenes of Famous

Sites of Past

(Nagasaki

kokon

and

shitran

36

A Collection

water imported from, 1 5 2 . See also

169

(Gunsho

meisho-e),

Chikushun II, 1 9 2

7 6 , 1 0 1 , 1 0 4 - 1 0 5 , 1 6 4 ; utensils, 4 1 , 1 2 3 , 1 2 5 , aesthetic, 19, 6 0 , 1 6 4 ; women's participation,

The Classified

Present

Japan, 13, 2 4 - 2 6 , 4 1 ; trade restrictions, 2 4 , 2 6 ;

wabi

of Tea (Cha jing; Lu Yu), 1 0 - 1 2 , 15, 7 8 ,

121,225

Collected

masters, 4 0 - 4 1 , 6 2 , 1 4 6 , 1 6 9 ; tearooms, 4 5 , 93, 95;

Classic

See commoners (chönin)

of Tea Documents

Mountain

(Basainshü

chafu

from ryaku;

the

Plum

Baisaö),

72, 225 Collection Naniwa

of Great Sencha [Osafea]

(Naniwa

Tea Masters sencha

taijin

of sbii;

Ozata Köan): 1 4 7 - 1 4 8 ; 147, 2 1 1 n . 4 , 2 2 7 A Commentary

on Tea (Cha shu),

106

commoners (chönin), 2 7 ; Confucian academies

influence in J a p a n , 7, 1 6 9 , 1 8 4 ; emulated by

for, 2 7 ; education, 4 2 ; tea consumption, 16,

Japanese literati, 3, 1 6 8 , 1 6 9 ; influence on

2 0 , 85

Compendium

of Food from Our Time

shokukan),

Collection

Daiten Kenjô, 69, 71, 73, 125; books, 12, 22, 79,

16, 87, 95, 113, 153

of Tea Books

(Chasho

zensbit), 21, 62, 92, 226

Ebiya Kiyobei, 125

Dazai Shundai, 67, 7 5 - 7 6

eccentricity (ki), 6 7 - 6 8

bronze vessels used in rites, 128; diverse

Dehua wares, 17, 127, 128

eccentrics (kijin), 7 4 - 7 5

schools in Japan, 6 6 - 6 7 ; Kogaku

Delft ware, 143

school, 27,

67, 88; promotion of by shogunate, 24, 25, 2 6 - 2 7 , 28, 38; sekiten ceremonies, 27, 28; Shushigaku

school, 66, 68; temples, 29, 32;

Ydmeigaku

school, 6 6 - 6 7

Connoisseurship Continuing

Records

Courtesan,

of Old Friends of

Client, and Comic

Scholar (Kaopan

on the Abode

Osaka

148 Entertainer

(Totoya Hokkei), 141 courtesans: in Nagasaki, 36 court liturgy, 1 5 7 - 1 5 8

shökai;

shösetsu;

Daiten Kenjö), 12, 79, 226

Explanation

of the Elegant

ryakusetsu;

Diary of a Visit to the West (Saiyû nikki; Shiba Kökan), 36

Cooking

of

for the Epicures of

Edo),

1 2 1 - 1 2 3 , 122, 123 education: availability to commoners, 42; in samurai, 27, 28, 3 8 - 3 9 (Written Record of Poems on Tea;

Tachi Ryüwan, ed.), 1 1 4 - 1 1 5 , 2 2 7 Eichu, 13

on Ceramics

Eight Discourses (Tao shuo; Zhu Yen),

127

on the Art of Living

(Zunsheng

bajian; Gao Lian), 18, 20 Eiraku Hozen, 128, 144, 165, plate 8

Discussion

on Tea by Chikuden

(Chikudensö

chasetsu; Tanomura Chikuden), 107, 2 2 7

Cultural Properties Protection Act, 199

Fashionable

Eicha shiroku

Nakajima Rakusui), 22, 9 2 - 9 3 , 226

Discussions

cuisine: Chinese, 6, 37, 52, 1 2 1 - 1 2 3

94-96 Edo ryükö ryöri tsü daizen (Handbook

Chinese language and philosophy, 27, 28; of Record of Sencha (Sencha

crafts: associated with Chinese literati, 18;

195-196

shoshiki

Tanaka Kakuö), 1 5 3 - 1 5 4 , 154, 155,

Ding wares, 14, 127, 128

199; influence of sencha, 7, 79; metal,

Com-

227 Detailed

in, 107, 1 1 3 - 1 1 5 ; Confucian

academies, 27, 29; Obaku temples, 49; shogakai in, 1 1 8 - 1 1 9 , 121; tea peddlers, 20; writers,

of the Classic of Tea

Coxinga, 4 2 , 4 9 baskets, 1 9 6 - 1 9 9 ; industries, 62, 165, 175,

Retired

yushi; Tu Long), 21

Explanation

A Detailed

of the

modity of Boiled Tea (Seifüryü höcha

40

(Zoku Naniwa kyoyuroku),

Edo: bunjincha

Remarks

(Chakyö

Manual on Chinese Art (Kun-

daikan sayu choki),

Desultory Detailed

suigen;

17, 7 8 - 7 9 . See also sencha (steeping

method)

Confucianism, 48; academies, 2 7 - 2 8 , 67, 151;

Words of a Tea Addict (Chaka

Duli. See Tai Mangong

Daoism, 12, 24, 4 8 , 6 7 - 6 8 , 157, 158 dashicha,

Drunken

Ueda Akinari), 87, 226

92; in sencha lineage, 7 8 - 7 9 , 152

competitions, tea (tocha), Complete

(Honcbo

20, 225

Documents

on Tea in China and Japan

( Wakan

chashi; Mitani Söchin), 78, 225

Eiraku Ryözen, 144 Eiraku Wazen, 165 Eisai, 1 4 - 1 5 , 72 Eisen. See Okuda Eisen

dögu cha (utensil tea), 158

elegance (C: y a; J: ga), 1 8 - 1 9 , 68, 84

Daicho Genko, 69, 73

Döhachi. See Takahashi Döhachi I

elegance (seifü), 71, 85

daimyo: cbanoyu

Dokugo

Elegant Gathering in the Western Garden (Seigen

tea masters, 146; Chinese art

(Soliloquy;

Dazai Shundai), 7 5 - 7 6

collections, 3 9 ^ 0 ; private retreats, 1 6 3 - 1 6 4 ;

Dokuryü. See Tai Mangong

sponsorship of kilns, 1 6 4 - 1 6 6 . See also

Dokushö Shöen, 61

samurai

Dokutan Shökei, 69

gashü),

115-116

Elegant Sayings about Sencha (Sencha Tögyü Baisa), 62, 161, 228

kigen;

INDEX

elites: appreciation of Chinese arts and artifacts, 2 4 , 3 8 - 4 1 , 1 7 0 - 1 7 1 , 1 7 8 ; interest in

sencha,

1 5 6 - 1 5 7 , 1 6 0 , 1 6 1 - 1 6 3 ; participation in chanoyu,

19, 1 6 9 - 1 7 0

encha

(tea brewing method), 7 8 - 7 9 , 1 3 9 , 1 4 2

Encha

shiki

(Techniques

Shitekika),

of Encha;

226

Fujisawa Nangaku, 6

Gikökan,

Fujiwara Seika, 5 8

ginhin.

Fukada Seiichi, 1 1 5 , 1 5 4 , 1 5 6

Gionji, 2 9 Gion Nankai, 5 0 , 68

Fukuyama Chôgan (Gyôan), 188

gohonde

Funaya Ichimu, 83

gold. See kinrande

See braziers

151

Eppô Dôshô. See Yuefeng Daozhang

Fu Shiran, 2 2 , 1 0 6 Fu Shizen. See Fu Shiran

7; by Mokubei, 1 2 8 , 129, plate

plate

3

fahua

Places

of Settsu Province Province

(Owari

meisho

zue), 30, 3 1 , 1 1 6 - 1 1 7 for Sugai Baikan

(Araki

Gankyokô

(Manuscript

Gunsho

of the Rock

Dweller;

Records

(Wuzazu;

Xia

Zhaozhi), 2 0 flowers: arrangements, 1 7 6 , 1 9 6 ; baskets for, 1 9 6 , 1 9 8 , 198

(leaf tea)

ruijü (The Classified

Pastimes;

of

Japa-

Gyöan. See Fukuyama Chögan (Gyöan) (jade dew tea), 1, 2, 1 3 9 , 1 5 6 ; flavor of,

2, 1 8 4 ; served at sencha

(Miscellaneous

Collections

40

nese Classics), gyokuro

gardens, 2 9 , 5 8 , 1 8 0 Elegant

See fiiga (graceful and cultured)

Five Miscellaneous

tea); sencha

(jade dew

Guangdong (Canton) Temple, 3 2

Gayû manroku

Feiyin Tongrong, 5 3

(gosu)

green tea, 1 , 2 , 17. See also gyokuro

Customs;

G a o Lian, 18

Kunsen), 3 8 , 3 9 fengya.

of

Gettan Dôchô), 5 5 , 6 1 , 2 2 5

Fanyi, 5 0 - 5 2 , 51 Gathering

(Anthology

ga. See elegance (C: ya; J : ga)

Sites of Owari

Farewell

monzen

gosu. See Swatow wares

Gozan. See Kikuchi Gozan

meisho

zue), 4 3 , 43 Famous

Hermits;

Morikawa Kyoroku), 5 4 (Settsu

1 7 - 1 8 , 36

Goshun. See Matsumura Goshun of Japanese

Gensei), 61

(ruled design) wares, 41

Famous

gongfucha,

Goshinji, 3 2

Fusô in'itsu den (Records Fuzoku

6

(gold brocade) wares

Goshin Genmyö, 6 9

eremeticism. See réclusion ewers, 14, 17, 125, 126; by Dôhachi, 143,

glaze, 1 3 2 , 1 4 4 , plate

Gomizunoo, Emperor, 4 9

fûryû (floating with the wind), 6 0 , 6 8 , 9 6 , 1 5 0 -

Enshù. See Kobori Enshii

ginhin

Fukusaiji, 3 2

fdro.

Enkakuji, 15

81, 1 3 0 . See also Yixing stoneware See kettles:

Records

of

Ôeda Ryùhô), 2 0 , 8 3 - 8 4 ,

gatherings, 1 3 9 ; uten-

sils for, 1 3 9 , 1 4 2 , 178 Gyokusentei (jade stream garden), 13

84, 2 2 5 geisha: in Nagasaki, 3 6

haikai

Gekkai Genshô. See Baisaô Ko Yûgai

Hakuen Shoin Confucian academy (Osaka), 151

Genryû

chawa

(Talks

on the Origin of

Yabunouchi Chikushin), 7 8 , 2 2 5

fucha

(tea ritual), 5 2 , 53

Gensei, 3 1 , 6 1 , 6 2

fucha

ryôri (food to accompany tea), 3 7 , 5 2 , 1 2 3

Genshichi. See Shibata Genshichi

Tea;

poets, 6 0 , 88

Hakugan Enyö, 1 5 2 Handbook

of Fashionable

Cooking

cures of Edo (Edo ryükö 1 2 1 - 1 2 3 , 122,

fiiga (graceful and cultured), 6 8

Geppô Shinryô, 7 6 , 77, 1 0 1 , 116

Fujisawa Akiko, 6

Gettan Dôchô, 5 4 - 5 6 , 6 1 , 7 2

Seventy-One

Fujisawa Hakuen (Tôgai), 151

Gihô. See Iiyama Gihô

chi-ban

Handscroll

Epi-

daizen),

123

of Poetry

Competition

Different

shokunin

for the

ryöri tsü

Matches

Occupations

uta-awase

emaki),

of

(Nanajüi16

Haruki Nanmei, 1 2 1 , 121

interior design: Chinese elements in teahouses,

Horikawa Yasuchika, 1 5 7

Hasegawa Shôshôkyo, 1 9 0

4 5 ; Chinese influence in tearooms, 1 6 3 ,

Hosokawa Amitoshi, 1 8 0

Hata Zôroku: 1 9 5 - 1 9 6 , plate

16

1 6 4 , 1 7 0 , 1 7 6 , 1 7 8 - 1 8 0 , 1 8 6 ; popularity of

Hozen. See Eiraku Hozen

Chinese design in Japan, 3 6 - 3 7 , 1 8 2 - 1 8 4 ;

Hata Zôroku IV, 196 Hayakawa Shôkosai I, 198 Hermit

Preparing

of scholars' studies, 1 0 2 , 1 0 8 ;

Ichijo Tadaka, 1 5 2

Hayashi Razan, 2 1 , 2 7 , 3 1 , 5 8 , 6 0 , 62, 125 Tea Under a

iemoto

Banana

(headmaster system), 1 4 6 . See

seido

also

tea masters Ihara Saikaku, 61

10S

Ii family: Naoaki, 1 6 5 ; Naonori, 1 6 5 ; Naooki,

Hiin Zenshi Feiyin),

goroku

(Sayings of the Zen

master

53

Hine Taizan, 134,

135

humous

of Tea (Cha sbi; Liu Yuanzhang), 2 2 ,

Tea; Tanomura

on Boiling of a Boiled

Tea

Ceremony;

Illustrated

Ogawa Kashin), 1 5 6 , 1 5 9 , 1S9, 1 6 0 ,

(Nagasaki

228 hdcha.

Illustrations See encha

(tea brewing method);

sencha

(steeping method) Hocha

shôsho

( Woodblock

Book

on Boiled

Tea;

Our Time),

(Compendium

20, 225

Works by Kenkado

Kage-

Catalogue

of

iboku-

iboku

of Food

from

Japan Crafts Association (Nihon Kögeikai), 199 Japanese Literati Painting Society (Nihon Nanga

of Old Man Kenka's

(Kenka

Jakuchü. See Itö Jakuchü Post-

185

zuroku),

Itö Jinsai, 2 7 , 5 0 , 6 2 Itsunen (Yiran), 3 3 , 4 8

zufu

(Kenkado

tenran

Postzuroku),

Kyökai), 171 Jiancha

jue. See Sencha

ketsu (Secrets

of

Steeped

Tea; Ye Zhuan) Guide

to Famous

meisho

Sites of

Nagasaki

Jiang Jiapu, 38, 106

(Baisao

Jianqing

Jiang Yungge, 1 0 6

zue), 3 6

of Baisad's

Tea Utensils

chagu zu; Kimura Kenkado), 7 9 , 82

ouji (Casual

Expressions

Jian ware tea bowls (temmoku),

Ingen (Yinyuan), 4 8 - 4 9 , 5 0 , 5 3 , 6 9 , 1 7 1 ; poetry,

Jieziyuan

patriarch, 5 4 , 5 6 , 87,

of Idle

Feel-

ings; Li Yu), 2 0 , 101

imperial court, 1 5 7 - 1 5 8 , 185

1 0 6 , 1 8 8 ; tea utensils, 5 6 , 5 7 , 81

Hokusai. See Katsushika Hokusai shokukan

hoshiki

of the Exhibition

5 4 ; regarded as sencha

So Senshun), 95, 2 2 6 Honchd

of the

Sakata Keizo), 1 8 6 - 1 8 7

Catalogue

Works

Enjoyment

184

Chikuden), 1 0 6 - 1 0 7 , 2 2 6 - 2 2 7 ki (Record

humous

to Methods

(Kagetsuanryu

hinten shuppin Illustrated

(Chats

According

school, 6

Itö Jakuchü, 6 9 , 7 2 - 7 3 , 7 4 , 75

of Rules for the Pure

seiganki;

Illustrated

91-92, 226

Hdcha

Book

tsuan School

Hiroshige. See Andô Hiroshige

ketsu

Issö. See Tanaka Issö

sencha

Hirata Atsutane, 1 5 2

lineage, 6 2 - 6 3 , 161

Ike Taiga, 5 0 , 7 4 ; paintings, 85, 86; relationship

of Sencha

Hirado, 2 5 ; kiln, 1 3 2 - 1 3 3

Hdcha

6 0 ; in sencha Issa-an sencha

Illustrated

Hikone: Kôtô kiln, 1 6 5

raphy, 61; home, 5 8 , 59, 6 1 , 6 2 , 1 0 1 ; poetry,

Iiyama Giho, 1 1 4 - 1 1 5 with Baisao, 6 9 , 7 3 , 81

Hijiridô, 2 9

History

Ishikawa Jözan, 4 8 , 5 7 - 6 0 , 6 1 , 6 2 , 7 4 - 7 5 ; biog-

1 6 4 ; Naosuke, 1 6 4 , 165

Hiin Tsùyô. See Feiyin Tongrong

shoin

style, 4 5

Tree (Tanomura Chikuden), 1 0 5 - 1 0 6 ,

hermits. See réclusion

shoin-style

rooms, 4 0 , 4 5 , 2 0 6 n . 2 0 ; sukiya

huajuan

of Painting;

(Mustard

14

Seed Garden

Manual

Li Yu), 2 0 - 2 1

Jingdezhen wares, 14, 17, 4 1 , 82, 82, 1 2 7 , 128

Ingen cha (Ingen tea), 5 4

Jin Shiheng, 193

intellectuals. See literati

Jöshü. See Z h a o Zhou

INDEX

Journey

to the West (Saiyu ryodan; Shiba Kokan),

36, 102

Kano Tan'yu, 58, 60

Kenninji, 15

Kanö Tessai, 196

Kenshü. See Abe Kenshü (Ryözandö)

kanshi poetry, 53, 60, 108, 1 4 9 - 1 5 0

Jözan. See Ishikawa Jözan

Kaopan Kaempfer, Engelbert, 20

karamono

Kagetsu (teahouse of flowers and moonlight;

zufu sencka seiganki

trated Book of Rules for the Pure of Sencha According tsuan School;

to Methods

(Illus-

Enjoyment of the Kage-

Sakata Keizö), 1 8 6 - 1 8 7

Kagetsuan sencha school, 190; branches, 191; commemoration of Kimura Kenkadö, 184— 185; iemoto,

Kenzan. See Ogata Kenzan

on the

Abode

155, 185; influence, 185;

Kerin Döryö, 68 kettles: böfura,

(displays of Chinese objects), 16,

40-41

81, 92, 93, 96, 107, 124, 128,

130, 131, 139, 152, 171, plate 5; ginbin, 1 9 5 - 1 9 6 , plate 16; tetsubin,

Kasai Inze, 127

Nagasaki), 3 6 - 3 7 , 3 7 , 101 Kagetsuan hermitage, 1 4 8 - 1 4 9 , 149, ISO, 151 böshiki

Remarks

of the Retired Scholar; Tu Long), 21

Kagawa Kageki, 151

Kagetsuatiryü

yushi (Desultory

139,

139

ki (eccentricity), 6 7 - 6 8

Kashien gaden. See Jieziyuan

huajuan

(Mustard

Seed Garden Manual of Painting; Li Yu)

Kido Takayoshi, 1 7 3 - 1 7 5 kijin (eccentrics), 7 4 - 7 5

Kashin. See Ogawa Kashin

Kikuchi Gozan, 9 2 - 9 3 , 95, 104, 113

Kasugayama kiln, 165

kilns, Japanese, 124, 125, 1 3 2 - 1 3 5 , 144, 1 9 2 -

Katagiri Sekishü, 146

195; sponsored by daimyo, 1 6 4 - 1 6 6 . See also

Kata Ryümon (Yasuhei or Ryümondö), 195

ceramics; Kyoto potters; porcelain sencha utensils; utensils for sencha

Katayama Hokkai, 69

Kimura Kenkadö, 70; Baisaö's utensils owned by,

Kata Yasunosuke, 195

manuals, 1 5 3 - 1 5 4 , 154, J 55, 1 8 6 - 1 8 7 , 189;

Katö Tamikichi, 132

7 9 - 8 1 , 82, 96, 184; books published by, 78,

sencha gatherings, 4 - 6 , 185; tearooms, 1 8 5 -

Katsushika Hokusai, 121, 123

79, 92, 104; Chinese books owned by, 21, 22,

186, 186; utensils of Baisaö owned by, 79, 184

Katsushika Öi, 139, 140

127; literati activities, 88; promotion of

Kawara no Ma (spring rain room), Kagetsu, 3 6 -

sencha, 76, 78, 82, 87; relationship with Aoki

Kagetsuan Shükenryü sencha school, 187 Kahei. See Yamamoto Tokujun (Kahei) Kaibara Ekken, 76

Mokubei, 125, 127; reverence for, 1 8 4 - 1 8 5 ;

37,37

shogakai

Kawase Chikuö (Chikushun I), 192 Kawase Shinobu, 1 9 2 - 1 9 3

Ka Juhö. See Xia Shufang

kazari (assemblage of tea utensils), 114, 187. See

Kakuö. See Tanaka Kakuö Kameda Bösai, 114, 121 Kameda Ryörai, 114, 115 Kameda Tamekazu, 175 Kameyama kiln, 1 3 3 - 1 3 5 Kamo no Chömei, 48 Kanai Shason, 38 Kangakusha 168, 169

(scholars of Chinese learning),

also bunbö

kazari

Keene, Donald, 170 ibokuhinten

trated Catalogue

Kinbeizan ware, 135

shuppin zuroku

(Illusof

Posthu-

185

Kenka iboku tenran zuroku (Illustrated logue of Old Man Kenka's

Seiro-

ken Kyösen), 61

of the Exhibition

mous Works by Kenkadö),

Works), 184

Kimura Köyö, 79 Kindai yasa inja (Recent Stylish Recluses;

Kenkadö. See Kimura Kenkadö Kenkadö

organized by, 116; utensils produced

for, 94

Kairakuen kiln, 165

Kinkodö Kamesuke, 125, 142 Kinoshita Itsuun, 133, 135 kinrande

Cata-

Posthumous

(gold brocade) wares, 41, 1 2 3 - 1 2 4 ,

143, 144, 192; by Mokubei, 127, 128; Kutani ware, 165; teacups, 144, 165, 166, plate 8; teapot, 165, plate 9

Kinryu Dôjin, 69, 72, 73 Kinsei gajinden

{Biographies

Kokusenya of Elegant

People

of the Early Modern Era; Yukawa Gen'yô), 188-189 Kinsei kijin den (Biographies

of Eccentrics

of

Recent Times; Ban Kokei), 74 of Drinking Tea for

Good

kissa ben (Körakudö's

Ceramics and Blossoms

from

the

Hiroshige), 142, 142

antiquities, 1 7 5 - 1 7 6 ; literati gatherings, 45,

228

88, 101; literati in, 48, 62, 6 9 - 7 0 , 88, 104, Talks on Tea Drinking.

See Köra-

Körakuen (garden of the philosopher's pleasure),

customs in, 16; trade with Japan, 25

Kyoto-fu Gagakkò (Kyoto Prefectural Painting School), 171

(old underglaze blue) wares, 4 1 ,

129, 153. See also underglaze blue wares

Kiyota Tansô, 21, 78

(sometsuke) Kötei. See Murase Kötei

Ko-Banko ware, 193

Kötö ware, 165

1 4 2 - 1 4 4 , 173, 1 9 2 - 1 9 3 ; stoneware, 124 132-135 kyiisu. See teapots

Kö Unkaku. See Jiang Yungge

Kobori EnshO, 4 0 - 4 1 , 196 Tôto

Kö Yügai. See Baisaö Kö Yügai

Lanting (Orchid Pavilion) Gathering, 5 0 - 5 2 , 85,

Közanji, 14, 72

Utaguchi), 95, 226 kdchi wares, 41, 1 2 3 - 1 2 4 , 125, 127, 129, 143,

104,115

Kozone family collection, 178

Laozi, 31

Kumagai Naotaka, 128, 1 7 3 - 1 7 5 , 195

153

Kundaikan

Kôfukuji, 29, 32, 48, 54

sayü chöki (Connoisseurship

Later Chronicles Manual

on Chinese Art), 4 0

Kô Fuyô, 6 9 - 7 0 , 81, 125, 130 Kogaku

sencha wares produced by, 91, 94, 106, 124, Kyushu: porcelain manufactured in, 4 1 , 124,

koan (Zen riddles), 5 3 - 5 4

of Tea Investigation;

Kyoto potters, 62, 165, 1 9 2 - 1 9 3 ; increased number of, 142; porcelain utensils, 62, 125;

163

Kiyomizu wares, 142

Kôcha roku (Record

1 5 5 - 1 5 7 , 171; public sencha gatherings, 189; Sumiya teahouse, 44, 4 5 , 143; temples, 15

Kösai, 156

kosometsuke

Kiyomizu Rokubei II, 161

villa, 111, 112, 116; Ogawa sencha school, 1 5 5 - 1 5 6 , 158, 187; promoters of sencha,

kösen (fragrant herb or flower tea), 4, 8 5 - 8 7 ,

Kiyomizu Rokubei I, 93, 106, 124, 125

147, 161, 1 7 2 - 1 7 3 , 1 7 8 - 1 8 0 , 192; literati painters, 69, 159, 171; Maruyama Shoarni

ben

Kosen, 152

Kiyomizudera, 113

in, 107,

industries, 62, 175; exhibits of Chinese art and

Talks on

Korea, 24; ceramics styles, 129, 132; Chinese tea

Cherry Tree in Kyoto (Andô

Kyoto: aristocrats, 1 5 6 - 1 5 7 ; bunjincha

111, 113; Confucian academies, 27; crafts

29

Kitaôji Rosanjin, 180 "Landowner's"

Coxinga;

Tea Drinking; Ogawa Kashin), 156, 157,

kudö kissa

Health; Eisai), 15 Kiyomizu

Körakudö

Körakudö's

Kin Shikô. See Jin Shiheng Kissa yôjà ki (Record

gassen (The Battles of

Chikamatsu Monzaemon), 42

Kusa makura

Confucian academy, 27, 67, 88

(The Three-Cornered

Natsume Söseki), 182

Koishi Genzui, 101

of Japan

Later Compilation (Shoku Nihongi),

Room;

(Nihon kòki),

of the Chronicles

of

13 Japan

61

literati, Chinese (wenren): activities, 29, 60, 96; association with sencha, 3, 35, 38, 57, 76, 202;

Kô Kaho. See Jiang Jiapu

Kutani Shöza, 165, plate 9

bunbógu

Kôkan. See Shiba Kôkan

Kutani ware, 165, plate 9

elegance (ya) associated with, 18-19; Elegant

Kokikan

zujô (Album of Connoisseurship

Vessels; Aoki Mokubei), 127

of Old

(scholar's accouterments), 39, 128;

Kuwana, 1 9 3 - 1 9 4

Gathering in the Western Garden (Seigen

Kyorei Ryökaku, 54

gashù), 1 1 5 - 1 1 6 ; emulated by Japanese, 18,

INDEX

6 0 - 6 1 , 83, 1 1 5 - 1 1 6 , 168, 169; gatherings, 13,

bunjincha

1 1 5 - 1 1 6 ; ideals, 48, 62, 6 7 - 6 8 , 72, 2 0 2 , 203;

shogakai

(literati tea); sencha tea ceremonies; (painting and calligraphy gatherings)

Makimura Masanao, 175 Manpukuji, 48, 49, 50, 60, 61, 69, 70, 189, 190;

illustrations of, 35, 35; in Japan, 3 7 - 3 8 , 4 8 -

literati painters, Chinese, 38, 101, 105; collectors

Baisadö, 188, 191, 196; Japanese visitors, 50,

4 9 , 106; Lanting Gathering, 5 0 - 5 2 , 85, 104,

of works, 117, 1 7 0 - 1 7 1 ; exhibits of works,

52; sencha gatherings, 199. See also Zen Nihon

115; material culture, 21, 87, 169; painters, 38,

116, 1 7 5 - 1 7 7

105; painting manuals, 2 0 - 2 1 ; preparation of

Senchadö Renmeikai

literati painters, Japanese, 2 - 4 , 38, 58, 60, 6 1 -

leaf tea, 17; recluses, 13, 48, 67, 100; seen as

62; biographies of, 189; collectors of works,

influence on chanoyu,

1 7 0 - 1 7 1 ; exhibits of works, 159, 176; in

7 6 - 7 8 ; taste of, 1 8 - 1 9 ,

Manual of Zhou Dynasty Rituals (Zhou li), 10 Manuscript

of the Rock Dweller (

Gankyokö;

Gettan Döchö), 55, 61, 225

202; tea drinking, 13, 14, 62. See also Chinese

Kyoto, 69, 159, 171, 192; in nineteenth cen-

Markus, Andrew, 1 1 8 - 1 1 9

culture

tury, 101, 171; paintings of literati gatherings,

Maruyama district (Nagasaki), 3 6 - 3 7 , 38

38, 39, 173, 174; paintings of sencha prepara-

Maruyama Shöami villa (Kyoto), 111, 112,

literati, Japanese (bunjin), 6 0 - 6 1 , 100; activities, 68, 83, 84; aesthetic taste, 3; affinity for

tion, 1 0 5 - 1 0 6 , 105, 173; patrons, 117; sub-

sencha,

jects, 85; uta-e (poem-pictures), 110; wares

Masatsugu Kaigyokusai, 196, 2 97

decorated by, 124, 133, 134, 135

Master Zhu Shunshui's Illustrious

100, 104, 202; association with Öbaku

monks, 50; biographies, 1 8 8 - 1 8 9 ;

bunbögu

(scholar's accouterments), 102; collections of

literati tea. See bunjincha

Chinese artifacts, 128; coteries, 68, 100; during

Liu Yuanzhang, 22

Meiji Restoration, 169; efforts to popularize

Li Yu, 2 0 - 2 1

culture of, 107, 119; emulation of Chinese,

Li Zhongfang, 130

2 - 3 , 14, 6 0 - 6 1 , 83, 1 1 5 - 1 1 6 , 168, 169; for-

Longwei

malization of lifestyle, 96; influence on utensil

(literati tea)

mishu (Secret Book of the

Dragon),

Masuyama Sessai, 9 5 - 9 6 Matazaemon. See Nakano Matazaemon Majestic

production, 1 2 3 - 1 2 4 , 125, 159; in Kyoto, 48,

Lu Dingcan, 12

62, 6 9 - 7 0 , 88, 104, 147, 161, 1 7 2 - 1 7 3 , 1 7 8 -

Lu Shusheng, 22

180, 192; in nineteenth century, 100; objects

Lu Tong, 1 2 - 1 3 , 71, 72, 85, 143, 149

associated with, 83; in Osaka, 103, 104, 151;

Lu Yu, 1 0 - 1 2 ; Classic of Tea, 1 0 - 1 2 , 1 5 , 7 8 , 1 2 1 ,

political support for aristocrats, 157; recluses,

225; Japanese translations of work, 79; por-

48, 58, 83; scholarly arts, 100; visits to

traits of, 108, 110, 1 1 9 - 1 2 1 , 111, 149, 187;

Nagasaki, 3 5 - 3 6 , 38; wares decorated by, 124,

reverence for, 11, 71, 72, 149, 151

ties of, 170. See also bunjincha

(literati tea);

elegance

Lectures

(Shunsui Shushi dankt; Zhu Shunshui), 29, 85-87

21, 127

133, 134, 135; women's participation in activi-

116

matcha (powdered green tea), 1, 11, 90 material culture: of Chinese literati, 21, 87, 169; of sencha, 3 - 4 . See also art; crafts; interior design; utensils for sencha Matsumura Goshun, 88, 89, 94 Matsuo Bashö, 60, 61, 68 meals: fucha ryöri, 37, 52, 123; kaiseki,

52. See

also cuisine Meihö, 165, 166 Meiji Restoration, 1 6 8 - 1 6 9 ; leaders, 1 7 0 - 1 7 1 ,

Maeda Chikubosai I, 198, 198 Maeda Chikubosai II, 1 9 8 - 1 9 9

literati gatherings: activities, 6, 84; in China, 13,

Maeda Nariyasu, 161

5 0 - 5 2 , 85, 104, 1 1 5 - 1 1 6 ; in Kyoto, 45, 88,

Maekawa Zenbei, 92

101; paintings of, 38, 39, 173, 174. See also

Maisado. See Baisado (Manpukuji)

173-175 Meiko zuroku (Pictorial Record of Teapots;

Famous

Oku Randen), 1 7 7 - 1 7 8 , 228

merchants, Chinese, 24, 25, 26, 31, 38, 81, 106, 178

Mori Yüsetsu, 1 9 3 - 1 9 4

Nakabayashi Chikutö, 101, 107, 159

rati, 62, 83; interest in Chinese luxury goods,

Mujaku Döchü, 5 2 - 5 3

Nakajima Rakusui, 9 2 - 9 3

42; participation in chanoyu,

Murase Kötei, 88, 106, 115, 124

merchants, Japanese: emulation of Chinese lite19

metal artisans, 1 9 5 - 1 9 6

Nakajima Yösuke, 189

Mustard Seed Garden Manual of Painting

Minagawa Kien, 88, 92

(Jie-

family estate, 1 1 7 - 1 1 8 , 117, 118

ziyuan huajuan; Li Yu), 2 0 - 2 1

Minamoto Sanetomo, 15

Myöe, 14, 72

Ming China, 3; literati, 1 8 - 1 9 ; tea treatises, 11,

Myöshinji, 49, 57

Nanajüichi-ban (Handscroll

19, 20, 21, 62; underglaze blue ceramics, 41. See also Yixing stoneware Record of Famous Teapots;

(Pictorial

Oku Randen)

Ming loyalists (Ming yimin), 24, 25, 27, 34, 49; in Japan, 2 8 - 3 1 , 4 0 , 4 1 , 4 9 , 81 Miscellaneous Elegance

Comments

on the Way of Pure

(Seifü sagen; Ueda Akinari), 22, 87,

88, 90, 91, 94, 189, 226 Miscellaneous Secluded

Record of the Old Man of the

Miscellaneous

Records

(Gayü manroku;

of Elegant

Ingen), 54

Pastimes

Öeda Ryühö), 20, 8 3 - 8 4 ,

Miyako

meisho zue (Pictorial

Places of the Capital), Miyako

Guide to

Famous

rinsen meisho zue (Views of

Celebrated

Gardens of Kyoto), 76, 77, 111, 1 12 Mizuno Toshikata, 170, plate 11

Nanban-sty\e ceramics, 9 0 - 9 1 , 92, 110, 111,

Nanbö Sökei, 19

106; Chinese residents, 20, 24, 29, 3 1 - 3 8 , 81,

nanga (southern-school painting), 2. See also lite-

106; Chinese restaurants, 38, 52, 123; as foreign trade port, 25, 26, 32; illustrations of interest in Chinese culture of, 3 1 - 3 2 , 33, 3 5 36; Japanese literati in, 38, 105, 135; Japanese visitors, 3 5 - 3 6 , 38, 69, 101; Maruyama district, 3 6 - 3 7 , 38; opening of port, 33; pub-

in Nagasaki), Nagasaki

36

kokon

Nagasaki), Nagasaki

(Collected Present

36

Naniwa meiryü ki (Record

of the

Elegant

1 5 0 - 1 5 1 , ISO

of Famous Schools

Guide to

36

miyage (souvenirs of Nagasaki), 3 4 - 3 5

Mokubei. See Aoki Mokubei

Nagatani Söen, 72, 138

Monchü Jöfuku, 62, 69, 148, 152, 187, 188

Nagoya: Baisa school, 160; literati in, 31; shogakai in, 116; Suisetsurö restaurant, 1 1 6 - 1 1 7

of

Naniwa \Osaka\), 155 Naniwa sencha taijin sbü (Collection

of

Great

Sencha Tea Masters of Naniwa \Osaka}\ Özata Naniwa töji jinmei roku (Record

of

Famous

Nankäi. See Gion Nankai Nanpöroku

(Records

ofNanpö;

Nanbö Sökei),

19

meisho zue (Illustrated

Naitö Konan, 169, 1 7 8 - 1 8 0

(Records

Pleasures of Life in Osaka),

People of the Time in Naniwa \Osaka\), 155

shüran meisho-e

Famous Sites of Nagasaki),

rati painters, Japanese Naniwa füryü hanjöki

Köan), 1 4 7 - 1 4 8 , 147, 21 In. 4, 227

bunken roku (Things Heard and Seen

Nagasaki

Mori Shunkei, 104

of

16

pound (Töjin Yashiki), 3 2 - 3 4 , 36; Chinese lite-

Mizutani Seisaburö, 187

Morikawa Kyoroku, 54

Occupations),

rati in, 29, 31, 38; Chinese painters in, 38, 104,

Scenes of Famous Sites of Past and

61

Different

129, 1 3 0 - 1 3 2 ; confusion with Yixing ware,

Nagasaki

Miura Chikusen I, 192, plate 14; lineage, 192

emaki Matches

8 1 - 8 2 , 1 2 9 - 1 3 0 ; popularity of, 150, 153

lishers, 35; Western residences, 102

84, 225 Mitani Söchin, 78

uta-awase

Buddhist temples, 32, 33, 37; Chinese com-

Chinese life in, 3 3 - 3 5 , 34, 35, 36; Japanese

Pines (Shöin röjin zuiroku;

shokunin

of Poetry Competition

Seventy-One Nagasaki: Chinese Buddhist monks, 49; Chinese

Ming hu tu lu. See Meiko zuroku

Nakano Matazaemon, 117; waterside pavilion on

Narabayashi Tadao. See Ogäwa Köraku National Japanese Sencha Association (Zen Nihon Senchadö Renmeikai), 1 9 0 - 1 9 1 , 199 National Japanese Sencha Crafts Association (Nihon Sencha Kögei Kyökai), 199 Natsume Söseki, 1 8 0 - 1 8 4 netsuke carvers, 196

INDEX

The New Edition Naniwa

of Residents Naniwa

of jinbu-

151

tsusbi),

New Selections sencha

of Records

\Osaka\ (Shinkoku

ichiran;

(Sbinsen

Sakura Seitan), 160,

Nibon gaisbi (Unofficial

History

Rai

of Japan;

Orchid Pavilion. See Lanting (Orchid Pavilion)

shingi (Öbaku

Order),

Sect Monastic

Nihon Kögeikai (Japan Crafts Association), 199 (Later Chronicles

of Japan),

13

Nihon Nanga Kyökai (Japanese Literati Painting Society), 171 Nihon Sencha Kögei Kyökai (National Japanese Sencha Crafts Association), 199

added to drinking water, 152; Confucian

Ode to Sencha (Sencha uta; Gettan Döchö),

scholars in, 151; Hakuen Shoin academy, 151;

5 5 - 5 6 , 72

International Exposition, 190; Issa-an 103, 104, 151; popularity of sencha,

sencha gatherings, 149, 1 7 1 - 1 7 2 , 1 7 6 - 1 7 7 ;

Ogata Shühei, 143, 143

sencha practitioners in, 8 3 - 9 1 , 104, 1 4 7 - 1 4 8 ,

Ogawa Hisataka, 187

211n. 4; shogakai

Ogawa Jijirö, 187

imported goods, 4 3 , 43. See also Kagetsuan

Ogawa Kashin, 1 5 5 - 1 5 6 , 156, 157, 1 5 8 - 1 6 0 ,

Ogawa sencha

Nonomura Ninsei, 124, 143 Artificial

Hills and Akizato

Ritö), 1 4 8 - 1 4 9 , 149

Mujaku Döchü), 52

geki;

Owari meisho Province),

Okuda Eisen, 1 2 4 - 1 2 5 , 126, 127

Öbaku Monchü. See Monchü Jöfuku

Oku Randen, 1 7 7 - 1 7 8

Öbaku monks, 29, 6 8 - 6 9 ; contacts with literati,

One Hundred no sho),

tea, 56; founding of sect, 49; knowledge of

One Hundred gm), 15

ofTödaiji

Owari

painters, Japanese pan-Asia scholars (Töyögakusha),

150, 151, 152

5 8 - 6 0 , 6 1 - 6 2 ; critics, 5 2 - 5 3 ; cultivation of

Sites of

painters. See literati painters, Chinese; literati

Okubo Shibutsu, 95, 113, 1 1 6 - 1 1 7 , 121, 1 4 9 -

Books

zue (Famous

30, 31, 1 1 6 - 1 1 7

Özata Köan, 147

Öbaku Kosen. See Kosen

Chinese literature and philosophy, 50; rituals,

(Öbaku

Ogawa Tamemi, 187

Okakura Kakuzö, 169 Öbaku;

View of Öbaku

overglaze wares, 165, 192, 194, plate 9

Okada Hankö, 101, 104

sencha

Mujaku Döchü), 52

Ogawa Shioko, 187 Ogyü Sorai, 50, 67, 68

View of

An Outsider's

Ogawa Shin'an, 6 2 - 6 3 , 83

Numanami Rözan, 193, 194 geki (An Outsider's

school

yöran; Töen), 160, 2 2 8

school, 1 5 5 - 1 5 6 , 1 5 8 - 1 5 9 , 187,

Nukina Kaioku, 113, 117, 159, 161

Öbaku

in, 116; shops selling

Outline of the Pure Spirit of Sencha (Seifü

190, 191; tearooms, 259, 160

niwa tsukuriden;

sencha

147-148;

Ötagaki Rengetsu, 144, 145, 172

172-173

10

sencha

spring, 148; literati in,

Ogata Körin, 61

Ogawa Köraku V, 187

(Tsukiyama

school, 6; Kiyomizu

Ogata Kenzan, 6 1 - 6 2 , 124, 143

N i Z a n , 135 Noguchi Shöhin, 170, plate

Gathering

Öchiyama kiln, 1 6 5 - 1 6 6

Ogawa Köraku, 191

Gardens

of

17-18

Osaka: bunjin artists in, 103, 104; Chinese water

Nin'ami Döhachi, 106, 125, 143, plate 7

Notes on Constructing

Rules

52, 53

Öeda Ryühö, 20, 22, 8 3 - 8 8 , 84, 106

San'yö), 101

köki

oolong tea (wulongcha),

utensils, 81; temples, 4 9 - 5 0 Öbaku

of Sencha at a Glance

227

Nibon

52, 53; sencha drinking, 4 8 , 5 2 - 5 6 , 188; tea

(Tödaiji

hyakugö

sei (slab-formed beating method), 193

paocha.

See sencha

Rules of Order (Baizhang

qing

(steeping method)

peddlers. See tea peddlers Pictorial

16

169

panpan

Album of Tea Utensils (Chagu

Tanomura Chikuden, ed.), 22, 106, 114, 111

zufu;

Pictorial (Miyako Pictorial

Guide to Famous meisho Record

Places of the

Capital

of the Azure Sea Tea

(Seiwan chakai zuroku;

Gathering

Tanomura Chokunyu),

1 7 1 - 1 7 2 , 172, 2 2 8 Pictorial

Record

in twentieth century, 184, 1 8 7 - 1 8 8 . See also promoters of sencha

zue), 61

Popular

Methods

porcelain sencha

of Baisao's

Tea Utensils

(Baisao

Guide to Sencha (Sencha hayashi

nan;

Ryükatei Ransui), 94, 94, 2 2 6 for Sencha (Tsw-

of Preparation

Sakata Keizo), 187

zoku sencha hoshiki;

Quick

utensils: advantages of, 2; blanc

de chine, 17; Chinese, 14, 17, 41; manufac-

Rai San'yó, 28, 1 0 0 - 1 0 1 , 105, 127, 180, 189, 195; coterie of, 101, 104; paintings, 176; study (Sanshi Suimeisho), 1 0 1 - 1 0 3 , 102, 103; works

chaki zufu; Aoki Shukuya), 79, 80, 82, 104,

tured in Japan, 4 1 , 124, 127, 1 3 2 - 1 3 3 , 165;

226

manufactured in Kyoto, 62, 125; teacups, 2;

Rakanji, 49

teapots, 17; types of decoration, 41

Rakurakutei (pavilion for the enjoyment of vari-

Pictorial zuroku; Pictorial

Record

of Famous

Teapots

(Meiko

Portrait of Lu Yu (Haruki Nanmei), 119, 121,

Oku Randen), 1 7 7 - 1 7 8 , 2 2 8 Record

of Famous

121

Utensils Used at

the Azure Sea Tea Gathering

(Seiwan

meien

Portrait of Lu Yu (Yamamoto Baiitsu), 108, 110 Portrait of Ogawa

Kashin (Kosai), 156

228

Portrait ofTanaka

Kakuo

Record

of a Sencha Tea

pirates (wako),

12-13

arrangements, 176,

on tea, 14, 21, 50, 1 1 4 - 1 1 5 ; haikai group, 60, 53, 60, 108, 1 4 9 - 1 5 0 ; by Lu Tong,

5 5 - 5 6 , 62, 76, 108; waka,

110, 111,

144, 209n. 5; of Zen Buddhist monks, 16 Poetry Party at the Orchid

Pavilion

on Health

(Ike Taiga),

85, 86

(Xiaozhuang

42

from a Small

qingji; Wu Cong), 2 0

at the Orchid Pavilion

(Fanyi),

qin (zither), 29, 60, 83

ration of chanoyu

Qing China, 17, 19, 25; tea treatises, 2 1 - 2 2 ;

elements, 4, 93, 153, 166; 116;

trade restrictions, 26

(Hôcha

ki;

of Chinese

Customs

(Shinzoku

kihun;

of Drinking

Tea for Good

Health

(Kissa

yôjô ki; Eisai), 15 Record

of Famous

Records

(Naniwa

of Famous

(Naniwa

People

of the Time in

tôji jinmei roku), Schools

Naniwa

155

of Naniwa

[Osaka]

meiryü ki), 155

of Chikuden's

Friends (Chikudensó

Painting Teachers shiyü garoku;

and

Tanomura

Chikuden), 127 Records

culture, 159, 166, 188, 189, 2 0 2 , 2 0 3 ; incorpo-

Tea Ceremony

Nakagawa Chuei), 36, 2 2 6

Record Window

commoners, 85; assimilation into Japanese

pocket guides, 1 6 0 - 1 6 1 ; role of shogakai,

of a Boiled

Ogawa Kashin), 156, 159, 159, 160, 2 2 8

[Osaka]

5 0 - 5 2 , 51

37, 9 1 - 9 7 ; among

ideal, 108; of Japanese literati, 58, 60, 61, 83

Record 67, 7 8 - 7 9 , 8 2 - 9 1 , 107,

puppet theater (bunraku),

Purification

popularization of sencha,

Kaibara

1 5 5 - 1 5 7 , 160, 171; in twentieth century, 184,

A Pure Record

(Kindai yasa inja; Seiro-

ken Kyósen), 61

Record

Care (Yojokun;

Ekken), 76, 2 2 5 promoters of sencha,

Recent Stylish Recluses

Record

188

1 2 - 1 3 ; by Obaku monks, 54, 5 5 - 5 6 ; on sencha,

Sencha

pottery. See ceramics; kilns, Japanese; stoneware; Precepts

poetry: by Baisao, 7 0 - 7 1 , 73, 74, 83; by Chinese 88; kanshi,

Brewing

utensils for sencha

plate 12; symbolic, 163 plaques: porcelain, 134, 135

Razan. See Hayashi Razan

reclusión: of Chinese literati, 48, 67, 100; as

Portrait of Ueda Akinari

(Matsumura Goshun), 88, 89

24, 4 2

plants: included in sencha

(Yamamoto Baiitsu),

1 5 1 - 1 5 2 , 151

Ceremony

(Tanomura Chokunyu), 1 7 5 - 1 7 6 , plates

ous pleasures), 164, 164 Ransui. See Ryükatei Ransui

zushi; Yamanaka Kichirobei), 1 7 6 - 1 7 7 , 177, Pictorial

collected, 1 7 0 - 1 7 1

of Japanese

Hermits

(Fusü in'itsu

den;

Gensei), 61 Records 19

ofNanpô

(Nanpôroku;

Nanbó Sókei),

INDEX

of a Tea Hut (Cha liaoji; Lu Shusheng),

Records 22 Record

Ryusenji, 116

Sayings of the Zen master Feiyin (Hiin

Ryüshinji, 68, 69 of Tea Investigation

(Köcha

roku;

scholars. See literati

Töto Saeki Futoshi, 189

schools, chanoyu.

Reizei Tamenori, 187

Saga, Emperor, 13, 157

schools, sencha.

Rengetsu. See Ötagaki Rengetsu

Saibokuyü

Utaguchi), 95, 2 2 6

restaurants: Chinese, 38, 52, 1 2 1 - 1 2 3 ; in Nagoya, 1 1 6 - 1 1 7 ; shogakai sukiya shoin-style,

shisö (Journal

during a Second

held in, 121;

of Poems

Excursion,

Written

to the

North;

Saigyö, 4 8

Riku Gyo. See Li Yu

Kökan), 36

Riku U. See Lu Yu

to the West; Shiba Kökan),

36, 102

Rinzai (Linxi) sect, 14, 15, 4 8 ^ t 9 , 52, 62 Ro Dô. See Lu Tong

an Excursion

Rokubei. See Kiyomizu Rokubei 1

116

of Poems

Composed

during

to the West; Okubo Shibutsu),

Sakai: basketmakers, 1 9 6 - 1 9 9 ; Shuköin, 19

Rözan. See Numanami Rözan

Sakata Keizö, 187

for Sencha (Sencha

education of, 27, 28, 3 8 - 3 9 ; participation in

See kettles

chanoyu,

Ryözandö

chawa

(Ryözandö's

Chats on Tea; Abe

Chats on Tea. See Ryözandö

chawa

the Majestic

mishu (Secret Book

Dragon)

Ryukatei Ransui, 94, 94, 209n. 30

28, 9 5 - 9 6 , 157, 1 6 1 - 1 6 3 ; taste for Chinese art, Sanda kiln, 1 6 5 - 1 6 6 Sangzhu, 106

Ryü Genchö. See Liu Yuanzhang Ryüi hisho. See Longwei

sencha,

42. See also daimyo; elites

Kenshü), 1 0 3 - 1 0 4 , 146, 2 2 6 Ryözandö's

19, 161, 164; participation in literati

activities, 163, 164; participation in

Ryözandö. See Abe Kenshü (Ryözandö)

of

Sankatei (pavilion of three flowers; Seisonkaku), 1 6 1 - 1 6 3 , 162 Sanshi Suimeisho (abode of purple mountains

Ryü Kobi, 76

and clear water; Kyoto), 1 0 1 - 1 0 3 , 102,

Ryümondö (Kata Ryümon), 195

103

Ryümondö I, 195

Writing

of the Majestic

Dragon

(Longwei

Yamamoto Tokujun), 139, 140, 1 6 0 - 1 6 1 , 2 2 7 Secrets of Steeped

Tea (Sencha ketsu; Ye Zhuan),

San'yö. See Rai San'yö

Secrets of Steeped

Tea by sencha

Bokusekikyo

ketsu; Fukada Seiichi),

115, 154, 156, 2 2 8

samurai: collections of objects, 3 9 - ^ 0 , 1 7 0 - 1 7 1 ;

Ryokei Shösen, 4 9 ryöro.

of the Treasured

mishu), 21, 127

(Bokusekikyo

Sakura Seitan, 160

temae;

Collection

Hall (Bao yan tang hi ji), 21

2 1 - 2 2 , 78, 92, 1 1 4 , 2 2 6

Rokunyo. See Rikunyo

Saeki Futoshi), 189

of

Secret Guide to Sencha (Sencha tehiki no shii;

Saiyü shisö (Journal

Rodrigues, Joao, 1 9 - 2 0

Rules of Etiquette

of Eccentrics

Recent Times (Zoku kinsei kijin den; Ban

Secret Book

Saiyü ryodan (Journey

schools

schools

Second Series of Biographies

Secret Book

Saiyü nikki (Diary of a Visit to the West; Shiba

Rikunyo, 69, 74

See chanoyu: See sencha

Kokei), 74

Okubo Shibutsu), 116

45

Zenshi

53

goroku),

seifii (elegance), 71, 85 Seifuryu hocha Explanation Boiled

shoshiki

shokai

of the Elegant

(A

Detailed

Commodity

of

Tea; Tanaka Kakuo), 1 5 3 - 1 5 4 , 154,

155, 2 2 7 Seifii sagen (Miscellaneous Way of Pure Elegance;

Comments

on the

Ueda Akinari), 22, 87,

88, 9 0 , 9 2 , 9 4 , 1 8 9 , 2 2 6 Seifii sencha yoran (Outline of the Pure Spirit of Sencha; Toen), 160, 228 Seifusha (elegant society), 76 Seigen gashii (Elegant Gathering in the Western Garden), 1 1 5 - 1 1 6 Seiichi. See Fukada Seiichi

Seika. See Fujiwara Seika

expression of admiration for Chinese literati

Seiroken Kyosen, 61

culture, 3 - 4 , 10, 84, 168, 169, 202; formaliza-

Seisonkaku, 1 6 1 - 1 6 3 , 362

tion of, 3-4, 82, 9 5 - 9 7 , 153, 154, 1 5 5 - 1 5 6 ,

Seiwan, 83

158, 2 0 1 - 2 0 2 ; growth in popularity, 85, 9 1 -

Seiwan chakai zuroku (Pictorial Record the Azure Sea Tea Gathering;

of

Tanomura

152; indebtedness to chanoyu,

4, 93, 9 5 - 9 6 ,

111, 153, 154, 2 0 1 - 2 0 2 ; influence on Japanese

Chokunyu), 1 7 1 - 1 7 2 , 1 72, 2 2 8 Seiwan chawa (Chats on Tea by the Azure Harbor;

97, 138; importance of water, 90, 107, 148,

Oeda Ryuho), 20, 8 4 - 8 7 , 225

Seiwan meien zushi (Pictorial Record of

Famous

Sencha shiki (Sencha Techniques;

Masuyama

Sessai), 9 5 - 9 6 , 226 Sencha shojutsu (Small Book about

Sencha;

Yamamoto Tokujun), 138, 2 2 7 Sencha shoshii (A Small Sencha Gathering;

Tsu-

baki Chinzan): 114, 2 2 7 , plate 2 sencha tea ceremonies, 2; activities, 4, 84, 96;

crafts, 7, 79; influence on Japanese culture,

banned in 1830s, 1 0 7 - 1 0 8 , 113; books on, 95;

7 - 8 ; lineage of, 6 2 - 6 3 , 82, 87, 106, 152, 161;

contemporary, 4 - 6 , 191, 199; exhibits of

as official traditional art, 190; opponents of

Chinese objects, 4, 16, 39, 128, 1 7 5 - 1 7 7 , 1 8 8 -

Gather-

chanoyu influences, 115; samurai participation

189; exhibits of Japanese crafts, 1 5 9 , 1 9 9 ;

ing; Yamanaka Kichirobei), 1 7 6 - 1 7 7 , J 77,

in, 28, 9 5 - 9 6 , 157, 1 6 1 - 1 6 3 ; women's partici-

formalization of, 96; growing popularity of,

228

pation in, 170. See also books, sencha;

Utensils Used at the Azure Sea Tea

seki (tea serving environments), 111, 1 7 1 - 1 7 2 , 176, plates

Senchadö

12-13

Sekishu chanoyu

school, 146

cultivation in Japan, 138; exports to West, 2; flavor of, 2; health benefits, 76, 90; imported from China, 26; mentioned by Lu Yu, 11; popularity in Japan, 72, 138, 139; production shogakai,

116, 119; sold by Baisao, 7 1 - 7 2 sencha (steeping method), 1, 16, 17; descriptions

(The Way of Sencha; Nakajima

of, 11, 36, 78, 79; used by Baisao, 7 1 - 7 2 , 78; use in Japan, 1 9 - 2 0 , 5 2 - 5 6 , 139

Sencha;

Sencha ketsu (Secrets of Steeped Tea; Ye Zhuan), Sencha kigen (Elegant Sayings about

Sencha;

Record of

Sencha;

Nakajima Rakusui), 22, 9 2 - 9 3 , 226 sencha schools, 1 7 1 - 1 7 2 ; Baisa, 160; contemporary ceremonies, 4 - 6 ; early, 114, 115, 1 4 6 -

sencha chakai.

national association, 1 9 0 - 1 9 1 , 199; Ogawa,

See sencha tea ceremonies

confluence with chanoyu,

1 5 4 - 1 5 5 ; creation

1 5 5 - 1 5 6 , 158, 187, 190, 191; in postwar era, 1 8 9 - 1 9 0 ; proliferation of, 6, 1 8 7 - 1 8 8 ; rules on

of, 78, 79; current practitioners, 199; decline in

utensils, 160, 168, 1 8 6 - 1 8 7 ; variations in prac-

popularity in late nineteenth century, 169, 170;

tices, 4 - 6 , 191. See also Kagetsuan sencha

as distinct from chanoyu,

school

5 5 - 5 6 , 72, 88; as

96; public, 1 7 6 - 1 7 7 , 185, 189, 191, 199; serving environments), 111, 1 7 1 - 1 7 2 , 176, plates 12-13; tea competitions, 16, 87, 95,

Tögyü Baisa), 62, 1 6 1 , 2 2 8 (Detailed

1 8 2 - 1 8 4 ; offerings to gods, 15; origins, 76; in

records of, 4 0 , 95, 168, 1 7 1 - 1 7 2 ; seki (tea

2 1 - 2 2 , 78, 92, 114, 226

147; Issa-an, 6; Kagetsuan Shükenryü, 187;

(Way of sencha), 2; aesthetic of, 163;

Kyoto, 171, 189; in late nineteenth century,

Osaka, 149, 1 7 1 - 1 7 2 , 1 7 6 - 1 7 7 ; outdoors, 76,

Ryukatei Ransui), 94, 94, 226

sencha chajin. See tea masters senchado

served at, 139; informality,

175; linked to Obaku monks, 188; in novels,

Sencha hayashi nan (Quick Guide to

Sencha ryakusetsu

1 5 2 - 1 5 3 ; gyokuro

3 - 4 , 63, 68, 76; kosen drinking, 4, 87; in

Yösuke), 189

sencha (leaf tea): consumption in Japan, 1 - 2 , 20;

in Japan, 72, 1 3 8 - 1 3 9 ; served at

popu-

larization of sencha

113, 153. See also bunjincha

(literati tea);

tearooms sencha tearooms. See tearooms, sencha Sencha tebiki no shu (Secret Guide to

Sencha;

Yamamoto Tokujun), 139, 140, 1 6 0 - 1 6 1 , 2 2 7 Sencha Techniques

(Sencha shiki; Masuyama

Sessai), 9 5 - 9 6 , 226 Sencha temae (Rules of Etiquette for

Sencha;

Saeki Futoshi), 189 Sencha uta (Ode to Sencha; Gettan Docho), 5 5 - 5 6 , 72

INDEX

sencha

utensils. See utensils for

Shinsen

sencha

Sendai, 6 9 Sen Inzen. See Xian Yinshan

Shinzoku

Sen no Rikyu, 19

ichiran

(boiling tea), 5 2 - 5 3

Sequel

to the Classic

of Tea (Xu chajing;

Lu

Sencha

in a Room

with a Fine 11

Sessai. See Masuyama Sessai Seto kiln, 1 2 5 , 1 3 2 , 1 4 4 Province),

of

(Record

of Chinese

Customs;

Places

of

Settsu

4 3 , 43

Soho. See Tokutomi Soho

shogakai

sometsuke

(painting and calligraphy gatherings),

Soseki. See Natsume Soseki

Shöin röjin zuiroku

ware

Old Man of the Secluded shoin-style

Shigaraki kiln, 144

Shökadö Shöjö, 5 8

Shimosho

Shoku

of Naniwa

\Osaka)),

151

Record

su. See vulgarity of the

Pines; Ingen), 5 4

Nihongi

(Later

shonzui-style

Su Dongpo. See Su Shi Sugai Baikan, 3 8 , 1 0 4 Sugawara Michizane, 61

rooms, 4 0 , 4 5 , 2 0 6 n . 2 0

icles of Japan),

of Residents

stoneware, 1 2 4 , 1 9 3 , 1 9 4 . See also Yixing stone-

(Miscellaneous

Shi Dabin, 1 3 0

of Records

So Senshun, 95 So Shoku. See Su Shi

Shibayama Kikusen. See Baisao

Edition

Dazai Shundai), 7 5 - 7 6

(sometsuke)

drinking at, 1 1 6 , 119; settings, 1 1 7 -

Shöheizaka Gakumonsho. See Shöheikö

{The New

S u g i e j u m o n , 1 9 3 , 194 Compilation

of the

Chron-

Suisetsuro restaurant (Nagoya), 1 1 6 - 1 1 7 sukiya

61

wares, 4 1 , 1 2 7 , 1 3 2 , 1 4 3 , 1 9 2

shoin style, 4 5 , 5 8 , 1 1 7 , 185

Sumiya teahouse (Kyoto), 44, 4 5 , 143

Shuköin, 19

Su Shi, 14

Shundai. See Dazai Shundai

Su T o b a . See Su Shi

Shunködö. See Yamanaka Kichiröbei (Shunködö) Shunsui

Shushi danki

Illustrious

shojutsu;

wares. See underglaze blue wares

21 On. 15; in Nagoya, 1 1 6 - 1 1 7 ; origins, 1 1 6 ;

Shibata Genshichi, 1 7 8 - 1 8 0

jinbutsushi

(Dokugo;

Sorai. See Ogyu Sorai

Shöheikö, 2 7 , 2 8 , 101

Naniwa

(Sencha

1 1 9 - 1 2 1 , 120, 122; in Edo, 1 1 8 - 1 1 9 , 1 2 1 ,

Shiba Kokan, 3 6 , 1 0 2

dence), 1 7 8 - 1 8 0 , 181

Tsu-

S o c h o o . S e e Sangzhu

Soliloquy

Shöhei kiln, 1 3 5 , 2 1 0 n . 31

Shin'etsu. See Xinyue

shoshu; 2

Sofukuji, 3 2

Shen Zhou, 1 7 6

Shinakan (Chinese-style pavilion; Shibata resi-

Sencha

Shöfukuji, 3 2

Shen Nong, 10

82

about

Shishin. See Uno Meika (Shishin)

1 1 8 , 121

(child and mother bells) teacups, 8 2 ,

(Sencha

Yamamoto Tokujun), 1 3 8 , 2 2 7

Shisendö (abode of the poetry immortals; Kyoto),

Shen Nanpin, 3 8

Shibutsu. See Okubo Shibutsu

Gathering

baki Chinzan), 1 1 4 , 2 2 7 , plate Small Book

1 1 5 - 1 2 3 ; art exhibits, 1 1 6 ; drawings of,

zue (Famous

Sino-Japanese War, 168 A Small Sencha

ryöri. See cuisine: Chinese

sencha

Shinkoku

Sencha

58,59,61,62,101

View (Mizuno Toshikata), 1 7 0 , plate

Settsu meisho

kibun

shippoku

Dingcan), 12 Guests

(New Selections

Sakura Seitan), 1 6 0 , 2 2 7

Nakagawa Chüei), 3 6 , 2 2 6

senten

Serving

sencha

at a Glance;

Lectures),

(Master

Zhu

Shunshui's

Swatow wares (gosu),

41, 62, 1 2 3 - 1 2 4 , 125,

126, 1 3 3 , 1 5 3 , 1 9 2

29, 85-87

Shin Nanpin. See Shen Nanpin

Shüseki. See Watanabe Shüseki

Tachibana Jitsuzan, 19

Shinozaki Sachiko, 1 4 7 , 147

Shushigaku

Tachibana M o r o m i , 1 5 7

Shinozaki Shochiku, 1 0 1 , 1 0 4 , 1 4 7 , 171

Shu Shunsui. See Zhu Shunshui

Confucian academy, 6 6 , 6 8

Tachi Ryuwan, 1 1 4 - 1 1 5

Tai Mangong, 29

Tao shuo (Discussions

Takahashi Dôhachi I, 94

on Ceramics;

Zhu Yen),

127

Takahashi Dôhachi III, 192

plate 15; books on, 1 7 7 - 1 7 8 ; copies of Chi-

tea: brick, 11, 13, 14; consumption in Japan, 13,

Takashimaya department store, 185 Talks on the Origin of Tea (Genryù

chawa;

Yabunouchi Chikushin), 78, 225

teapots, 5, 93, 103, 192; Banko ware, 194, 195, nese, 130; early, 17; erroneously identified as

14, 16; cultivation in China, 10, 14, 1 6 - 1 7 ;

Yixing stoneware, 81, 81, 130; imported from

cultivation in Japan, 14, 56; exported from

China, 26, 43, 93; Japanese, 91, 93; by Kutani

China to Europe, 17; green, 1 , 2 , 17; imported

Shoza, plate 9; Kutani ware, 165; lion-handled,

Tamba kiln, 144

to Japan, 1, 13, 26; köan riddles on, 5 3 - 5 4 ; as

142, 142; mass-produced, 194, 195; by Miura

Tanabe Chikuunsai I, 198

luxury product, 18; matcha (powdered green

Chikusen, plate 14; by Mokubei, 128, 1 3 0 -

Tanaka Akihito, 185

tea), 1, 11, 90; medicinal value, 10, 15, 76, 90;

132, 131, 132, plate 4; Nanhan style, 9 0 - 9 1 ,

Tanaka Fiitani, 185

oolong, 17-18; preparation methods, 11, 1 6 -

91, 110, 111, 129, 1 3 0 - 1 3 2 ; owned by Baisao,

Tanaka Issô, 155, 185

18; processing techniques, 1, 14, 16-17; scar-

81, 81, 93, 130; porcelain, 17, 192; Tokoname

Tanaka Kakuô, 1 2 5 - 1 2 7 , 1 4 8 - 1 5 5 , 160, 161;

city in 1830s, 1 0 7 - 1 0 8 ; spiritual benefits, 10,

ware, 193, 194; Yixing stoneware, 17, 56, 57,

expertise in literati arts, 151; Kagetsuan

12, 71, 72, 90, 158; types, 1 - 2 . See also sencha

hermitage, 1 4 8 - 1 4 9 , 149, 150, 151; portraits

(leaf tea)

8 1 - 8 2 , 106, 123, 173, 1 7 7 - 1 7 8 , 179 tearooms, chanoyu,

of, 1 5 1 - 1 5 2 , 151, 187; request for water from

tea bowls, 11, 14

4 5 , 76, 101, 1 0 4 - 1 0 5 , 164

tearooms, sencha, 96, 154, 155; of Baiitsu, 108,

China, 152; rules written by, 153; sencha

tea ceremonies, sencha. See sencha tea ceremonies

109; Chinese elements in decoration and struc-

gatherings, 1 5 2 - 1 5 3 , 157; as tea master, 148,

tea competitions. See competitions, tea (töcha)

ture, 163, 164, 170, 176, 1 7 8 - 1 8 0 , 186;

1 4 9 - 1 5 1 , 1 5 2 - 1 5 5 ; utensils used by, 150, 152,

teacups, 90; bancha,

displays in, 39, 108; foreign elements other

153

139; Chinese, 17, 43; cov-

ered, 1 7 - 1 8 ; cream-colored glaze, 144, 145;

186, 186; Meiji-period, 1 7 8 - 1 8 0 , 1 8 5 - 1 8 6 ; of

early, 17; illustrations, 91; kinrande-style,

Tanaka Tokuô, 155, 185

165, 166, plate 8; by Mokubei, 132, plate 6;

Ogawa school, 159, 160; Sankatei (pavilion of

Tani Bunchô, 104, 113, 118, 121, 152

owned by Baisaö, 82, 82; porcelain, 2;

three flowers), 1 6 1 - 1 6 3 , 162; Sanshi

Tanomura Chikuden, 101, 1 0 4 - 1 0 7 , 151, 189;

Shimosbö

books owned by, 22; books published by, 1 0 6 107, 114, 127; flower arrangement treatise,

(child and mother bells), 82, 82;

tea scoops, 196, 197

plate 14 teahouses: Chinese, 18; sukiya shoin-style,

decorated by, 135; shogakai

tea huts: of Chinese literati, 21

tearoom, 1 0 4 - 1 0 5

tea masters, 4 , 6; chanoyu,

Tanomura Chokunyu, 1 7 1 - 1 7 2 , 173, 1 7 5 - 1 7 6 ,

45

4 0 - 4 1 , 62, 146, 169;

female, 6, 147, 147; in Osaka, 104, 1 4 7 - 1 4 8 ,

192; books, 171, 172; paintings, 1 7 5 - 1 7 6 ,

147, 21 In. 4; in twentieth century, 1 8 9 - 1 9 0 .

plates 12-13; promotion of sencha,

See also sencha schools

woodblock prints, 177 Tan'yû. See Kanô Tan'yu

171-172;

tea peddlers: Baisaö as, 70, 7 1 - 7 2 ; sencha sold by, 1 6 , 2 0

Suimeisho, 1 0 1 - 1 0 3 , 102, 103; in twentieth century, 180, 184, 188

underglaze blue, 82, 82, 123, 133, 135,

176; paintings, 105, 171, 176; sencha wares in tribute to, 116;

144,

than Chinese, 43; of Kagetsuan school, 1 8 5 -

Tanaka Seiha, 185

"Tea Song" (Lu Tong), 1 2 - 1 3 , 85, 143 tea treatises: Chinese, 1 0 - 1 2 , 18, 19, 20, 2 1 - 2 2 , 62, 83, 95, 106; Japanese, 15, 78; Japanese editions of Chinese, 2 1 - 2 2 , 78, 79, 9 1 - 9 3 , 106, 114 Tea Treatises (Chato; Xia Shufang), 21, 78, 225 Techniques 226

of Encha (Encha shiki; Shitekika),

INDEX

teiran (portable carrying case), 96

Tokugawa Ieyasu, 24

Teisho. See Tsuga Teisho

Tokugawa Kerutomi, 153

temae

(rules) of sencha,

tencha

(Buddhist tea ritual), 53

tencha

(powdered tea). See matcha

(powdered

2 6 - 2 7 , 28, 38, 66; support of local craft

See Tetsuso

See kettles:

tetsubin.

chafu Tomioka

Tessai), 173, 1 7 8 , 2 2 8

Things Heard and Seen in Nagasaki tocha. Todaiji

roku),

Todaiji),

(Notes on

Construct-

Akizato Rito),

Hills and Gardens;

1 4 8 - 1 4 9 , 149

Tokutomi Sohö, 180, 184

Tsusentei, 70

Tomioka Tessai, 171, 1 7 2 - 1 7 3 , 178, 192;

Tsuzoku

Tôsetsu.

(Nagasaki

184

sencha

Preparation

hóshiki

(Popular

Methods

of

Sakata Keizò), 187

for Sencha;

Tu Long, 18, 21

See Tao shuo (Discussions

on

Ceramics;

(tocha)

no sho (One Hundred

Books

of

lineage, 115; poetry, 90, 144; por-

Totoki Baigai, 92, 95

trait of, 88, 89; promotion of sencha,

Toto Utaguchi, 95

utensils associated with, 5; utensils designed by, Ukiyo-e prints, 139, 141, 142, 142

(pan-Asia scholars), 169

Toen, 160

Töyögakusha

Tofukuji, 15

Toyokuni (district of Kyushu), 1 7 5 - 1 7 6

Togai. See Fujisawa Hakuen (Togai)

Toyotomi Hideyoshi, 24, 32

Toganoo, 1 4 , 7 2

trade: with China, 13, 2 4 - 2 6 , 41; Chinese tea

underglaze blue wares (sometsuke), kosometsuke,

41, 129, 153; sencha wares, 192,

utensils imported to Japan, 17, 26, 4 3 , 83;

plate 14; shonzui-sty\e,

Tojin Yashiki, 3 2 - 3 4

imported luxury goods, 4 3 ; with Korea, 25;

teacups, 82, 82, 123

Manual;

Kinkodo Kame-

suke), 142

82, 82, 125,

129, 1 3 2 - 1 3 3 , 135, 192; braziers, 143, 143;

Togyu Baisa, 6 2 - 6 3 , 161 Toki shinan (Pottery

87-90;

9 1 , 9 2 , 106, 124, 144, 171

Totoya Hokkei, 139, 141

16

Ueda Akinari: books, 22, 87, 88, 90, 91, 94, 189; in bunjincha

Zhu Yen)

36

See competitions, tea hyakugo

niwa tsukuriden

ing Artificial

T o n g j u n , 10

(Lu Tong) bunken

Tsukiyama

173, 174; promotion of sencha,

Gift of Freshly Picked Tea." See "Tea Song"

1-2

Tsukamoto Yasushi, 178, 181

Chinese paintings owned by, 52; paintings,

"Thanks to the Imperial Censor Meng for His

139, plates

25,49

Tokujun. See Yamamoto Tokujun (Kahei)

Tetsuso chafu (Tessai's Tea Records;

107; woodblock-printed albums, 114,

Tsuga Teisho, 8 4 - 8 5 , 8 7 - 8 8

Tokugawa Yoshinao, 27, 31

tetsubin

1 1 9 - 1 2 1 , 120; participation in bun-

shogakai, jincha,

industries, 165; support of Ming loyalists, Tokugawa Tsunayoshi, 4 9

Tessai. See Tomioka Tessai Tessai's Tea Records.

25,

28, 42; promotion of Confucianism, 24, 25,

(whipped tea technique), 11, 14, 16

tencha

Tsubaki Chinzan: carving by, 163; drawing of

Tokugawa shogunate: bureaucracy (bakufuj,

green tea)

Things (Zhang wu zhi;

Wen Zhenheng), 18

Tokugawa Mitsukuni, 28

153, 154

(Jian ware tea bowls), 14

temmoku

Treatise on Superfluous

opening of treaty ports, 33; restrictions on, 24, 25, 26, 4 1 ; smuggling, 24, 25, 26; tea exported

Unofficial

History

4 1 , 127, 132, 143, 192;

of Japan

(Nihon gaishi;

Rai

San'yò), 101

Tokoname ware, 192, 193, 194

from China to Europe, 17; tea imports, 13, 26;

Uno Meika (Shishin), 69, 82

Tokugawa Iemitsu, 4 0

through Nagasaki, 25, 26, 32

Uragami Shunkin, 101, 113, 115, 159, 161, 176

Tokugawa Ienari, 152 Tokugawa Ietsuna, 49

Treatise on Flower Arranging mura Chikuden), 176

(Binkaron;

Tano-

Urasenke school, 169 ùroncha.

See oolong tea

uta-e (poem-pictures), 110

173, 1 9 2 - 1 9 3 ; saucers, 195; similarity to

windows: glass, 1 0 2 - 1 0 3 , 103, 118, 163

utensils for sencha,

chanoyu

Women Practicing Literati Arts in a

chanoyu,

17; appropriated from

93, 95; arrangements in sencha-

utensils, 142; standardization of, 79,

90, 93, 97, 114, 153, 168; tea bowls, 11, 14;

serving environments (seki), 1 7 1 - 1 7 2 , 7 72;

tea scoops, 196, 197; used by Baiitsu, 111;

assemblages of (kazari),

Yixing stoneware, 8 1 - 8 2 , 106, 111, 123, 179.

114, 187; of Baisao,

73, 78, 7 9 - 8 1 , 80, 81, 82, 87, 90, 96, 184; for bancha,

See also braziers; ewers; teacups; teapots

107, 114, 1 2 3 - 1 2 4 ,

139, 153, 159; bunjin influence on Japanese, 1 2 3 - 1 2 4 , 125, 159; Chinese imported to 178; of Chinese literati, 17, 21, 3 3 - 3 4 , 35, 35;

gego; (Miyako

rinsen meisho zue), 76, 77, 111, 112

wulongcha.

See oolong tea

Wuzazu (Five Miscellaneous

vulgarity (C: su; J: zoku), 1 8 - 1 9 , 68, 84

(wulongcha) Records;

Xia

Zhaozhi), 20 Wu Zhen, 176

wabi aesthetic: in chanoyu,

199; in contemporary sencha ceremonies, 5;

Wakajima Jinja, 133

decorated by literati painters, 124, 133, 135;

Wakan chashi (Documents

gyokuro,

shiroku;

Wu Cong, 20

Gardens of Kyoto

of Chinese residents of Nagasaki, 3 3 - 3 4 , 81;

fresh water containers, 14, 129; for

shôsho;

Tachi Ryuwan, ed.), 1 1 4 - 1 1 5 , 2 2 7

Baisao), 7 2 - 7 3 , 79, 83, 226

collectors of, 128, 178; contemporary, 1 9 1 -

effect on flavor of tea, 2; flower vases, 195;

Book on Boiled Tea (Hôcha

Sô Senshun), 95, 226 Written Record of Poems on Tea (Eicha

Verses of the Old Tea Peddler (Baisaô Views of Celebrated

Japan, 17, 26, 41, 43, 83, 95, 106, 123, 150,

Woodblock

World War II, 189, 199

139; books on, 90, 172, 173,

209n. 32; for bunjincha,

Garden

(Noguchi Shôhin), 170, plate 10

Japan;

19, 60, 164 Xian Yinshan, 106 on Tea in China

and

Mitani Sôchin), 78, 225

Xiaozhuang

qingji (A Pure Record from a Small

Window; Wu Cong), 20

waka poetry, 110, 111, 144, 209n. 5

Xia Shufang, 2 1 , 7 8

1 3 9 , 1 4 2 , 1 7 8 ; illustrated books on, 79, 80, 82,

wakô (pirates), 24, 42

Xia Zhaozhi, 2 0

95, 114, 1 7 6 - 1 7 8 , plate 1; illustrated in Ukiyo-

Wanfusi temple, 48, 4 9 , 53

Xinyue, 2 9

e prints, 139, 141; illustrations, 35, 35, 90, 91,

Wang Xizhi, 50, 163

Xu chajing (Sequel to the Classic of Tea; Lu

94, 94, 96, 1 0 6 - 1 0 7 , 115, 123, 160; increased

Wang Yangming, 66

demand for, 1 8 , 7 9 , 138, 139, 142; of Ingen,

Watanabe Kazan, 107, 119, 1 7 0 - 1 7 1

56, 57; Japanese, 83, 93, 106, 144, 159, 1 6 5 -

Watanabe Shuseki, 33

166, 192; Japanese copies of Chinese, 18, 41,

Watanabe Shiisen, 3 3 - 3 4 , 34

62, 93, 94, 97, 106, 124, 125, 133, 153, 193;

Way of sencha. See senchado

Kagetsuan school rules for, 1 8 6 - 1 8 7 ; kettles,

The Way of Sencha (Senchadô;

92, 139, 1 9 5 - 1 9 6 , plate 16; leaf tea containers, 195; made by Mokubei, 127, 128, 129,

plates

3-6; metal ware, 1 9 5 - 1 9 6 ; Ogawa Kashin's view of, 1 5 8 - 1 5 9 , 160; poetry inscribed on, 143, 144, plate 7; porcelain, 4 1 , 62; produced by Kyoto potters, 91, 94, 106, 124, 1 4 2 - 1 4 4 ,

Dingcan), 12 ya. See elegance Yabunouchi chanoyu tea school, 78 (Way of sencha) Nakajima

Yôsuke), 189

Yabunouchi Chikushin, 78 Yamada Jôzan I, 193 Yamamoto Baiitsu, 2, 1 0 7 - 1 1 3 , 189; drawings,

wenren. See literati, Chinese (wenren)

109,111;

Wen Zhengming, 18

151; participation in shogakai,

Wen Zhenheng, 18

108, 117; shogakai

Western culture: influence in Japan, 184 whipped tea (tencha),

11, 14, 16

paintings, 1 0 8 - 1 1 0 , ) Î 0, 151 - 1 5 2 , 116; poetry,

in tribute to, 116; study,

108, 109; tea gatherings, 1 1 0 - 1 1 3 , 1 1 5 Yamamoto Chikuun, 189

INDEX

Yamamotosan teashop, 138 The Yamamoto

Yokkaichi, 1 9 4 - 1 9 5

Tea Plantation

in Uji (Katsushika

Oi), 140

Yokohama, 25, 33 Yömeigaku

Confucian academy, 6 6 - 6 7

Yamamoto Tokujun (Kahei), 1 3 8 - 1 3 9 , 1 6 0 - 1 6 1

Yosa Buson, 88

Yamanaka Kichiròbei (Shunkòdò), 173, 1 7 6 - 1 7 7

Yösen. See Ye Zhuan

Yamato-ya (Ukiyo-e publisher), 35, 35

Yösen meiko kei. See Yangxian minghu xi (An

Yanagisawa Kien, 50, 83, 198 Yangxian mingku xi (An Account of the

Teapots

of Yangxian; Zhou Gaoqi), 173 Yaozentei (pavilion of eight hundred perfections; Edo), 1 2 1 - 1 2 3 Yasuhei. See Kata Ryumon (Yasuhei or Ryumondò) Yasui Bokuzan, 1 5 0 - 1 5 1 , 150 Yatsuhashi Baisa, 62, 63, 160, 161

Zen Notes on Objects in the World. See Zenrin shdkisen Zenrin shdkisen

(Zen Notes on Objects in the

World; Mujaku Dochu), 5 2 - 5 3 Zhang wu zhi (Treatise on Superfluous

Account of the Teapots of Yangxian; Zhou

Zhao Zhou, 5 3 - 5 4 , 71

Gaoqi)

Zheng Jenggong, 42

Yotsugashira

(four hosts) ritual, 15

Zhou Gaoqi, 173

Yuefeng Daozhang, 67

Zhou li (Manual of Zhou Dynasty Rituals),

Yueshan, 52

Zhu Liting. See Zhu Yen

Yukawa Gen'yö, 1 8 8 - 1 8 9

Zhu Shunshui, 2 8 - 2 9 , 8 5 - 8 7

Yusei. See Yu Zheng

Zhu Xi, 66

Yüseiken (house with a voice; Manpukuji), 188,

Zhu Yen, 127

190 Yüsetsu. See Mori Yüsetsu

zoku. See vulgarity

Ye Zhuan, 22, 78

Yüsetsu Banko kiln, 194

zokujincha

Yi Fuj iu, 176

Yushima Seidö, 2 7 - 2 8 , 29

Zoku kinsei kijin den (Second Series of

Yinyuan. See Ingen (Yinyuan)

Yu Zheng, 21

(vulgar person's tea), 115, 156

phies of Eccentrics

Biogra-

of Recent Times; Ban

Kokei), 74

Yiran. See Itsunen (Yiran) Yixing stoneware, 8 1 - 8 2 , 106, 111, 179;

Zen Buddhism: appreciation of Chinese art, 16,

Zoku Naniwa kyoyuroku

attempts to emulate, 130, 131, 193, 194; con-

50; köan, 5 3 - 5 4 ; poetry of monks, 16; tea

fusion with Nanhan-style

drinking, 13, 14, 16, 5 2 - 5 3 . See also Öbaku

Zuishi kiln, 165

monks

Zunsheng

ceramics, 1 2 9 - 1 3 0 ;

teapots, 17, 56, 57, 123, 173, 1 7 7 - 1 7 8 , 179 (Precepts on Health Care; Kaibara

Ekken), 76, 225

10

zither (qin), 29, 60, 83

Yatsuhashi Muryòshòji, 160

Yójókun

Things;

Wen Zhenheng), 18

Zen Nihon Senchadö Renmeikai (National Japanese Sencha Association), 1 9 0 - 1 9 1 , 199

(Continuing

of Old Friends of Osaka),

bajian (Eight Discourses

Living; Gao Lian), 18, 20

Records

148 on the Art of

A b o u t the Author PATRICIA

J.

GRAHAM

is assistant to the director of the Center for East Asian Studies at the University of Kansas, where she teaches courses on Japanese art and culture and on museum studies. She also is an independent consultant for museum and private collections of Asian art.