A Method For Tea

Overview # 339 with:

Ng Yang Ce from Singapore
Christine Brückner from France
Ben Gufford from USA
Kyong Hee Kim from Australia
Kristín Sigfríður Garðarsdóttir from Iceland
Rob van Rens from USA

If you want to see more ceramics for the Japanese tea ceremony, please check out: facebook.com/Yakimono.ww/photos.

If you make this kind of ceramics and you want to show it on this page, please contact me. Kind regards, Hans Pillen.

This is an interesting concept. It will nondoubt elicit disapproval from more conservative tra people, but I believe there is real value in making out art more accessible to a younger generation and giving them an avenue of entry, even one that previous generations of chajin couldn't have conceived.

https://soranews24.com/2022/02/04/cyber-chakai-aims-to-make-japans-tea-ceremony-traditions-more-accessible-with-modern-technology/

Cyber Chakai aims to make Japan’s tea ceremony traditions more accessible with modern technology Unobtrusive guidance helps tea ceremony guests understand centuries-old etiquette.

The Deep Stillness of a Raku Tea Bowl Black Raku chawan, or tea bowls, are currently gaining global attention. The founder of the Raku family of potters created this implement at the request of Sen no Rikyū, who elevated the Japanese tea ceremony to entirely new levels of refinement. What is the allure of these tea bowls that crosses n...

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A Method For Tea focusses on chanoyu, the "Way of Tea" or the the tea ceremony as it is practiced in Japan and by practitioners trained in Japanese schools.

Particularly, as a potter, I am interested in the utensils and the physical context of tea items; how they are used and how they are made. I produce a range of ceramic, wooden, and bamboo items for use by tea practioners, and I provide my own impressions and experience regarding their making and their use.

I also consider the contect of my study of tea as it related to my own life; I discuss my informal tea procedure at home and consider how it compares to the formal setting of the tankokai; contemplate the progress of my own education in the tea ceremony and how that informs my work; and answer questions as best I can regarding tea practices and objects.

I make no claims to special expertise; my knowledge of chanoyu is that of a student, and I am constantly developing a better understanding of an appreciation for the discipline.

I also have a graduate degree in ceramics, with an emphasis in clay and glaze chemistry; I have 20 years of studio experience, includeing nearly 15 years as a full-time professional potter. I'm conversant in a wide range of ceramic techniques and methods, but as I've explored the philosphy and aesthetic of the tea room, I found what I have always sought in the simple intentionality and quiet purpose of teawares - subtle, gestural, functional, and with a disregard for perfection and a reverence for the natural beauty found in material and process that informs my work today.

I experiment constantly with local clays, wild clays from the region, and other minerals and materials close at hand, to mantain a sense of integrity of authenticity. Much of my work is fired in wood-burning kilns, using fuel cast off from local sawmills or downed by storms.

The best teawares have a sense of place, a kind of terrior. My own work tries to touch on that.