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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 ...
Taxidermy of a Japanese raccoon dog, wearing waraji on its feet: This tanuki is displayed in a Buddhist temple in Japan, in the area of the folktale "Bunbuku Chagama".. The earliest appearance of the bake-danuki in literature, in the chapter about Empress Suiko in the Nihon Shoki, written during the Nara period, is the passages "in two months of spring, there are tanuki in the country of Mutsu ...
Wabi-sabi has roots in ancient Chinese Taoism and Zen Buddhism. It started to shape Japanese culture when the Zen priest Murata Jukō (村田珠光, 1423–1502) modified the tea ceremony . [ 15 ] He introduced simple, rough, wooden and clay instruments to replace the gold, jade, and porcelain of the Chinese style tea service that was popular ...
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 According to historical documents he was the son of one Ameya, who is said to have emigrated to Japan from Korea (or possibly Ming China, as asserted on the RAKU WARE website (link below) of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
Yaoguai (Chinese: 妖怪; pinyin: yāoguài) represent a broad and diverse class of ambiguous creatures in Chinese folklore and mythology defined by the possession of supernatural powers [1] [2] and by having attributes that partake of the quality of the weird, the strange or the unnatural.
Chinese mythology holds that the Jade Emperor was charged with running of the three realms: heaven, hell, and the realm of the living. The Jade Emperor adjudicated and meted out rewards and remedies to saints, the living, and the deceased according to a merit system loosely called the Jade Principles Golden Script (玉律金篇, Yù lǜ jīn piān
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.
Before its adaptation to the Japanese dream-caretaker myth creature, an early 17th-century Japanese manuscript, the Sankai Ibutsu (山海異物), describes the baku as a shy, Chinese mythical chimera with the trunk and tusks of an elephant, the ears of a rhinoceros, the tail of a cow, the body of a bear and the paws of a tiger, which protected ...