Sublime

Teishin,

Rikyu took the baton of artlessness from his predecessor, Ikkyu, when he introduced Korean craft pottery into his tea ceremony. The Korean potters, who might have made a hundred similar pots in a day, were probably totally devoid of any thought of artistic aspirations as they worked, and it was just this lack of intellect that proved so attractive

In medieval Japan, under the patronage of the Zen monasteries and the Kamakura shogunate, the prevailing preference for simplicity and modesty were slowly introduced into the styles of the ceramics produced.

A million miles from the “love hotels” and the uncontrolled urban sprawl, tucked away in the back streets of Kyoto, one can find the Tawaraya Hotel, an oasis for the seeker of the quintessential expression of Japanese hospitality. One could be forgiven for not even noticing the low-level building, as there is little on the outside to suggest the

In the tearoom there is a sober veneration for unadorned rusticity, for the greatness to be found in the most restrained expression of the humble and simple.

Little has been done in Europe with ash glazes, but in Japan the ash glaze has been a predominant feature of pottery since its use was first discovered in the Nara period. The desire for a nonuniform surface that can catch, in the glaze of each pot, the irregularities of nature hails back to the Japanese love of things that are imperfect and

Basho wrote his haiku in the simplest type of Japanese speech, naturally avoiding literary and “highbrow” language, so creating a style which made it possible for ordinary people to be poets. Bankei, his contemporary, did just the same thing for Zen,