It is interesting to see how Japan developed its own tea culture from its Chinese origin. From John Blofeld's The Chinese Art of Tea, it is clear that the Chinese Ch'a-shu is very different from the Japanese tea ceremony. Both cultures embraced mindfulness, as one needed to be focused and present when drinking tea. However, as shown in the YouTube video, "mindfulness" was concretized into specific rules. "Tea ceremony is about the delicate art of sharing your mind without saying a single word." Just as Takeshi Watanabe wrote in Breaking Down Boundaries: A History of Chanoyu, the Japanese's establishment of concrete systems and rules, such as the Mushanokōji Senke tea schools and the establishment of the Iemoto system, might hinder the creativeness and dynamics of the tea culture, but at the same time, a specific boundary also makes the study of it more delicate. The Japanese tea culture nurtured other related businesses, such as the confectionery makers shown in the video.

Since my mother also collects Chinese tea wares, it is interesting to see how people value different things when making tea bowls. When we visited the tea bowl makers in Jingdezhen, they had a huge studio with many "defective products" stacked on the side. The value is shown by letting the customers see how hard it is to make the perfect tea bowl. The tea bowl maker stressed how the hand-drawn dragons had particular tones of color, which was very rare in nature, and how the bowl is so thin that most of the bowl might crack and be placed in the defective pile on the side. However, when the head of the 350-year-old Ohi Ware explained the thought process behind making the seemingly crude tea bowl, it was clear that both cultures had developed a long way after the introduction of tea, even though the look of it might be very different.

From Benn's Tea In China, Chapter 3, Buddhism and Tea during the Tang Dynasty, Buddhist monks used tea as a substitute for the prevalent alcohol problem in Tang Dynasty China. In Chajiu lun, Mr. Tea and Mr. Alchohol debated who was superior. Tea was seen as "the chief herb, the master of plants," or "a luxury comestible." Since alcohol was popular because of its social value, tea promoters tried to replace alcohol's social value by making tea valuable, something that one could potentially show off. It also worked well with the gradual decline in carefreeness in the Late Tang Dynasty after An Lushan rebellion of 755.

The video reenacts how tea was drunk in the Tang dynasty. It is curious to see how the lady treated the small piece of tea brick so delicately and used a lot of utensils to make the seemingly simple tea soup. It might be necessary, but if one wanted a quicker tea ceremony, it was evidently possible. The ceremonial atmosphere added value to the tea, even though one could not know how much the tea cost. The social status of drinking tea was crucial in the maintenance of the tea culture, and perhaps it is also why the Japanese travelers decided to import the culture into traditional Japanese society, as they now hold the key to high culture.

In Benn’s chapter 6 on the Song Dynasty, the difference in tea culture in the Tang and Song Dynasties is drastic, both due to time development, aesthetic taste, and social atmosphere. Song Dynasty’s tea culture is elite-oriented, with very specific ways of picking/ choosing tea that could show the drinkers’ prestige (with names such as “golden coin,” “inch of gold”). I believe this tradition continues in China’s history, as famous tea was still seen as a valuable gift for many occasions. There were still many small tea sellers who only sold tea leaves from specific tea trees that were known to produce good flavor. If I remember correctly, one liang (gram) of those exquisite tea leaves costs hundreds if not thousands of dollars.

To be honest, the video seemed quite deliberate, with soothing background music and beautiful traditional clothing. The tea whisk looked a little bit different from the Japanese one, but it had the same function. In contrast to the Japanese tea ceremony, the gestures of both the guest and the host seemed a little bit stiff and unnatural. The tools used did not share the same precision of function as is usually seen in Japanese tea manuals. Since powered tea was not a continued tradition in China, the video was more like a scene being portrayed instead of a living culture, which gave a strange atmosphere to the video.

Slusser pointed out in his reading that tea was treated “as a ritualized system of disciplined behavior in which the actions and beliefs of practitioners could be manipulated.” The concept of ritual art is clearly illustrated in the rather short but precise YouTube video. Blind Matcha Tasting Match, or Tocha, is a play that involves guessing the tea. Everything is documented and well-organized— the number of tea kinds, the aesthetic of cards and answer sheets, and even the ways of tasting the tea. Tocha is “a play;” it is still very disciplined. In contrast to the wabi aesthetic, tocha still had a fun undertone that was not found in other formal tea ceremonies. It still had social elements, connecting people through interactions. It reflected how tea culture fractured into different social groups and styles. 

It is interesting for me to see how different the Korean ceramics in "Icheon Master Hand" YouTube video were from the Korean wabicha tea bowls described in the article, Korean Tea Bowls (Korai Chawan) and Japanese Wabicha: A Story of Acculturation In Premodern Northeast Asia. The ceramics in the YouTube video were complex with sophisticated patterns; even though they were handmade, the shapes were perfect-- a deliberate decision made by the artists. Many patterns reflected Chinese influence, such as the lotus, but its color (pink-red, white, and green, for example) seemed to reflect the aesthetics of Korean culture. Just as Nam-lim Hur pointed out in his report, the popularity of Korean wares might be precisely due to the mixture of cultures in Korean wares. Korai mono "had a warmth unknown to the works of China and a delicacy of texture and craftsmanship not found in Japan." Was the wabi aesthetic uniquely cultivated in Japanese society? Why was it so different from other Eastern Asian societies that shared a similar culture such as modesty? Why would wabicha utensils be so expensive and treasured when they were relatively accessible to the merchants? Why was monopoly possible when there were so many merchants connecting the Eastern Asian countries?

According to the video published by the Korean Cultural Centre Canada, Korean tea is small in quantity and is usually consumed within the country. In contrast to the bush-like Chinese tea trees, the Korean tea trees seemed to be larger. Woojeon, similar to many famous teas in China and Japan, was bought as precious gifts for elders and revered people, as a way of social interaction. The Korean tea bricks were hung up on the wall or from the ceiling, which is quite unique and interesting. Tea was also used as medicine. Just as how Cho-ui published a Chronicle of the Spirit of Tea and was accepted socially by the literati, tea seemed like a common language that was recognized by all literati in China, Korea, and Japan. In comparison to Japanese tea culture, Korean tea culture seemed to be more similar to Chinese tea culture; its tea utensils were familiar, with loose-leaf tea as a major brewing methods. It was also interesting to see how the video reflected the stereotype of women being the keepers of tradition. Even though tea culture was usually practiced by men in traditional society, a Korean woman wearing traditional clothes introduced the practice of tea.

According to a YouTube video published by Omotesenke Kitayama Kaikan, utensils used in chanoyu tea ceremonies were often more highly valued when they were originally created for purposes other than tea preparation. For instance, Rikyu repurposed fishermen's baskets, known as Katsura baskets, to serve as flower containers. The soft and flexible texture of these baskets allowed them to be attached to walls, complementing the elegance of the delicate flowers they held.

This idea parallels modern art, where the intention behind utilizing a material is often valued more than the final product itself. This approach not only fosters creativity but also serves as a reminder of the wabi aesthetics. Hosts in a tea ceremony are encouraged to engage with these aesthetics, discovering beauty in everyday items and reimagining their uses. As Van Gogh famously wrote, “Art is to console those who are broken by life.” Even a broken tea bowl can be transformed into a new piece through the art of Kintsugi.

In a sense, "finding" a utensil rather than making one can be seen as a form of consolation, highlighting that there is no predetermined path for any object or person. Even within a structured social context, one can find freedom and beauty by shifting their perspective.

This balance between creativity (which involves uncertainty) and certainty is reflected not only in the lecture "Delighting in Uncertainty" delivered by Jingzhe Chen but also in Sadler's book, "Cha-no-yu." The book notes that while there are strict rules for the arrangement of utensils, such as "from left to right: the Furo, the ladle stand with ladle and charcoal tongs, the slop bowl with lid-stand inside it, and the mizu-sashi or water vessel," there is also significant creativity and artistic intention that draws from Chinese and Korean aesthetics.

Nioteas TV. “Japanese Tea Ceremony Explained - Matcha Tea Ceremony Utensils, Procedure and More!” YouTube, April 9, 2022. https://www.youtube.com/watch?v=xD7qUfSOGOE.

"Let’s Ask Shogo" is one of my favorite YouTube Shorts channels. In one of the YouTube Shorts, Shogo explains why the tea ceremony takes a long time, drawing from his personal studies and experiences. He starts by clarifying that the tea ceremony is not only about matcha but encompasses the entire experience, from examining the tea room to enjoying Kaiseki meals. It's fascinating to see how Shogo highlights the existence of different types of tea ceremonies. Some ceremonies have adapted to modern needs, resulting in shorter versions that cater to tourists' curiosity. Japanese tea culture appears to follow a similar trend.

Another YouTube video titled "Japanese Tea Ceremony Explained" provides a more detailed look at the utensils used in the ceremony and their functions. This video serves as a great introduction, bringing the descriptions found in books to life.

It’s interesting to compare chanoyu tea ceremonies with sencha ceremonies. Chanoyu, which was introduced earlier, was primarily reserved for social elites. The literature surrounding chanoyu consisted of manuscripts that were kept secret to maintain their privileged status. As noted in Sadler’s book, there are twenty-four principal chanoyu schools that uphold a strict tradition, each with varying emphasis and details. The book also outlines a typical program, detailing the order of Kaiseki dishes, intervals, and usu-cha.

In contrast, sencha, which was introduced later, became more accessible thanks to printed books. As the tea ceremony turned into a symbol of Japanese culture, it shifted into an experience with more flexible options. Although the purpose of attending the tea ceremony has evolved over time, it remains a social event that emphasizes spirituality.

In Chapter 6 of Graham’s work, titled "The Assimilation of Sencha into Japanese Society," a parallel can be drawn to the introduction of Chanoyu in Japan. Once Chanoyu had fully integrated into Japanese culture, it was regarded as commonplace; as a result, social elites sought novel ways to distinguish their tastes from those of the common people. Merchants capitalized on this desire by promoting Sencha as the preferred method of tea consumption among the Chinese literati, thus establishing a new framework that offered them both prosperity and authority over emerging customs, practices, and techniques. Sencha's relative lack of emphasis on the elaborate etiquette associated with Chanoyu, combined with its affordability, made it more accessible to the general public. This accessibility facilitated a quicker transition of “elite taste to commoners’ taste” compared to the slower evolution seen with Chanoyu. The underlying theme involved adapting an imported concept—a modified Chinese tea culture—to better suit Japanese society. For instance, Aoki Mokubei (青木木米) depicted this concept in his painting, "Brewing Tea in the Shade of Trees" (緑陰煎茗図), which showcases an "idyllic mountain landscape" inspired by traditional Chinese mountain paintings. Sencha ushered in a new wave of transformation in the aesthetics of utensils, art, tea culture, and overall taste. Following in the footsteps of Chanoyu, Sencha also embraced an Iemoto system, leading to the creation of schools and the establishment of formal rules once it gained acceptance among social elites and authorities.

As a former architecture student, I find it delightful to see Frank Lloyd Wright appear in the course as he is one of the most famous architects in modern architecture. His architectural style is renowned for its organic shape and materials (such as wood and stone) that harmonized with nature and minimized interior walls, and glass. He was also famous for creating furniture in a very simple and efficient style, which is also inspired by his study of Zen ideas. The architecture breathed as light shine into the living space, which is what he took away from his reading of “The Book of Tea”— “the reality of the building does not consist in the roof and walls but in the space within to be lived.” I still remember feeling the volcanic stones that were used as the front wall of Frank Lloyd Wright’s building and was amazed at how a local source of material could be transformed and blended in the building with its surrounding nature. It was as if the building emerged out of the environment, non-intrusive yet also functioning and modern. 

In Kakuzo Okakura’s essay, “The Book of Tea,” he stressed the idea of simplicity, harmony with nature, and aesthetic appreciation in “teaism,” or “chadō” in Japanese culture. It was a way of introducing oneself to a greater aspect of Japanese art and life. With its intentional audience as people influenced by Orientalism, he was eager to differentiate Japanese tea culture from merely “drinking tea.” It is clear that his book is very influential in reshaping many Westerners’ views on Japanese culture, or Eastern culture in general, including famous architects such as Frank Lloyd Wright, who created his style of architecture precisely on the inspirations he took from the book.