Tea Culture of Japan by Sadako Ohki

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“Just as the basara aesthetic appeared when power shifted from the nobility (kuge) to the military class (buke), so too kabuki culture appeared when townsmen of the merchant class (chonin) expanded their influence and overtook their military rulers in matters of art and culture owing to their greater economic power.”

nijiriguchi = “stooping entrance to the teahouse”

“Bamboo vessels dry out with age and often split. In such cases, owners might fit or inlay metal onto them to maintain their function and add to their visual appeal. Such repairs would be lovingly recorded on the lid of the box used to store the vases or as separate colophons on paper. Records of care and ownership for each implement thus become part of its historical identity and enhance its value among tea connoisseurs.”

“Three levels of formalization are often used in classifying Japanese art: shin, gyou, sou–the most formal, less formal, and the most liberal, respectively.”

wabi: “rouses our positive empathy toward the imperfect and irregular”, “seeks to set us free from hierarchical order by having us lower our heads without exception in order to enter the tea room through a small entrance”, “offers compressed and sparse spaces that heighten the appreciation for the full and rich experience of tea”

Chanoyu practice has met the challenge of contemporary life by inventing a new tea service known as Ryureishiki, or standing style. As the name implies, tea is made and served above the floor level. The most makes the tea and the guests drink it while seated in chairs. This chanoyu innovation by Sen Soshitsu (Gengensai) first appeared during the Meiji era in 1872.”

“In the eighteenth century, ten families would be systematized as the Ten Craft Houses (jisshoku) that worked under the patronage and direction of the three Sen iemoto.”

some quotes I found informative from Tea Culture of Japan by Sadako Ohki
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