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Raku ware (楽焼, raku-yaki) is a type of Japanese pottery traditionally used in Japanese tea ceremonies, most often in the form of chawan tea bowls. It is traditionally characterised by being hand-shaped rather than thrown, fairly porous vessels, which result from low firing temperatures, lead glazes and the removal of pieces from the kiln ...
A saying in the tea ceremony schools for the preferred types of chawan relates: "Raku first, Hagi second, Karatsu third." [9] Another chawan type that became slightly popular during the Edo period from abroad was the Annan ware from Vietnam , which were originally used there as rice bowls. Annan ware is blue and white, with a high foot.
Tea bowl, known as Suchiro, studio of Chōjirō. Tanaka Chōjirō (長次郎) (1516-?1592) is distinguished as the first generation in the Raku family line of potters. . According to historical documents he was the son of one Ameya, who is said to have emigrated to Japan from Korea (or possibly Ming China, as asserted on the RAKU WARE website (link below) of the still active line of potters h
The Centre for Language Education and Cooperation (Chinese: 中外语言交流合作中心) is an organization under the Ministry of Education of the People's Republic of China tasked with "providing Chinese language and cultural teaching resources and services worldwide". [1]
The Chinese Culture University Mandarin Learning Center (CCU MLC; Chinese: 中國文化大學華語中心) is a sub-division of Chinese Culture University, the largest institute of continuing education in Taiwan.
Oribe ware (also known as 織部焼 Oribe-yaki) is a style of Japanese pottery that first appeared in the sixteenth century. It is a type of Japanese stoneware recognized by its freely-applied glaze as well as its dramatic visual departure from the more somber, monochrome shapes and vessels common in Raku ware of the time. [ 1 ]
The stated purpose of Confucius Institutes (CIs) is to promote and teach Chinese culture and language around the world. [18]: 138 The director of the CI program, Xu Lin, stated that CIs were started to cater to the sudden uptick in interest of the Chinese language around the world. They also provide Chinese language teaching staff from mainland ...
At the core of Rikyū's aesthetic was the tea room smaller than 4.5 tatami mats. Rikyū sought to mold chanoyu into a spiritual path. His radical simplification of the tea-room interior, his reduction of space to the bare minimum needed for "a sitting", was the most practical way of focusing tea practice on the communion of host and guests.