1. Bodart 1977, pp. 49, 50; Slusser 2003, p. 41.

2. Slusser 2003, pp. 39, 44; Willmann, URL: https://www.metmuseum.org/toah/hd/jtea/hd_jtea.htm

3. Slusser 2003, pp. 49, 50.

4. Bodart 1977, p. 69; Pitelka 2005, p. 15.

5. Clement Greenberg, “Avant Garde and Kitsch,” sharecom.ca website which has an archive of Clement Greenberg publications, originally published 1939, http://www.sharecom.ca/greenberg/kitsch.html

6. Clement Greenberg, “Avant Garde and Kitsch,” sharecom.ca website which has an archive of Clement Greenberg publications, originally published 1939, http://www.sharecom.ca/greenberg/kitsch.html

7. Slusser 2003, p. 47.

8. Koshiro 1989, p. 195.

9. Slusser 2003, p. 50; Pitelka 2005, p. 24.

10. For this, see a record kept of Rikyu’s practice called ‘Namporoku’; Hirota 1995, pp. 215-245; Yongqun, 2020, p. 76.

11. Koshiro 1989, p. 216.

12. Willmann, URL: https://www.metmuseum.org/toah/hd/jtea/hd_jtea.htm

13. ‘Namporoku’ states that the light reflected from snow was too jarring for the tea ceremony’s participants; Masao also points out that the perception of space was also changed by rounding the corners of the room; The dividing black outlines of the tatami halved the floor space, articulating the division between guest and host; Hirota 1995, p. 225; Masao 1995, pp. 23, 24, 27, 32.

14. Slusser 2003, pp. 51, 52.

15. Nakamura 1995, pp. 48, 50.

16. Nakamura 1995, p. 55.

17. Nakamura 1995, pp. 55.

18. Cort 2000, p. 161.

19. Both Cort and Pitelka stress that native wares were not purely local - they were largely influences by contemporaneous Asian styles; Cort 2000, pp. 162, 163; Pitelka 2005, pp. 13,15.

20. Nakamura 1995, p. 49.

21. Pitelka 2005, p. 24.

22. Pitelka 2005, p. 7, 53.

23. Pitelka 2005, pp. 26, 27.

24. I say ‘whoever’, as Hideyoshi’s tile maker Chojiro is attributed to these two bowls, however it seems to be more legendary tale than fact as to how they came about; Pitelka 2005, pp. 16-17.

25. The Metropolitan Museum of Art, ‘Clog-Shaped Tea Bowl (Chawan) with Plum Blossoms and Geometric Patterns’. URL: https://www.metmuseum.org/art/collection/search/49282?searchField=All&sortBy=Relevance&ft=clog&offset=0&rpp=20&pos=17

26. Cort 2000, p. 173.

27. Cort 2000, p. 173.

28. Tokyo National Museum, ‘Water jug with single-layered mouth, signed Shiba no Iori’. URL: https://emuseum.nich.go.jp/detail?content_base_id=100526&content_part_id=001&content_pict_id=003&langId=en&webView=

29. Hirota 1995, p. 232.

30. Pitelka 2005, p. 53.

31. Hirota 1995, p. 232.

32. Yongqun, 2020, p. 77.

33. Keane 2008, pp. 345, 346.

34. Takuro Kuwata “Flavour of Nature” Youtube video. URL: https://www.youtube.com/watch?v=unAil5qNnac

35. Takuro Kuwata “Flavour of Nature” Youtube video. URL: https://www.youtube.com/watch?v=unAil5qNnac

36. Keane 2008, pp. 353, 355.

Bodart 1977: Beatrice M. Bodart, ‘The Role of Sen Rikyu’, Monumenta Nipponica, 32, no 1, 1977, pp. 49-74.

Cort 2000: Louise Allison Cort, ‘Shopping for Pots in Momoyama Japan’ in The Arts of Japan: an International Symposium, New York: The Metropolitan Museum of Art, 2000, pp. 160-181.

Greenberg, Clement. “Avant Garde and Kitsch.” Sharecom.ca website which has an archive of Clement Greenberg publications. Originally published 1939. http://www.sharecom.ca/greenberg/kitsch.html

Hirota 1995: Dennis Hirota, complied by, ‘Records of the Words of Rikyu’ in Wind in the Pines: Classic Writings of the Way of Tea as a Buddhist Path, Fremont, California: Asian Humanities Press, 1995, pp. 215-245.

Kean 2008: Jondi Keane, ‘Constructing the Conditions of and Environments for Interdisciplinary Research on Perception and Action’, Ecological Psychology, no. 20, 2008, pp. 343-360.

Koshiro 1989: Haga Koshiro, ‘The Wabi Aesthetic through the Ages’, in Tea in Japan: Essays on the History of Chanoyu, Honolulu: The University of Hawaii Press, 1989, pp. 161-194.

Masao 1995: Hayakawa Masao, ‘The microcosmic Space Created by Sen Rikyu’, Chanoyu Quarterly: Tea and the Arts of Japan, no. 80, 1995, pp. 21-37.

The Metropolitan Museum of Art, ‘Clog-Shaped Tea Bowl (Chawan) with Plum Blossoms and Geometric Patterns’. URL: https://www.metmuseum.org/art/collection/search/49282?searchField=All&sortBy=Relevance&ft=clog&offset=0&rpp=20&pos=17

Nakamura 1995: Toshinori Nakamura, ‘Reconstructing the Taian Tearoom’, Chanoyu Quarterly: Tea and the Arts of Japan, no. 801, 1995, pp. 29-57.

Pitelka 2005: Morgan Pitelka, ’Introduction’ in Handmade Culture, Honolulu: University of Hawai’i Press, 2005, pp. 1-12.

Pitelka 2005: Morgan Pitelka, ’The Global and the Local in the Origins of the Raku Technique’ in Handmade Culture, Honolulu: University of Hawai’i Press, 2005, pp. 13-40.

Pitelka 2005: Morgan Pitelka, ’Anomie and Innovation in Kyoto: Ceramic Professionals, Amateurs, and Consumers’ in Handmade Culture, Honolulu: University of Hawai’i Press, 2005, pp. 41-67.

Slusser 2005: Dale Slusser, ’The Transformation of Tea Practice in Sixteenth-Century Japan’ in Japanese Tea Culture: Art, History, and Practice, London: Routledge, 2005, pp. 39-60.

Takuro Kuwata “Flavour of Nature” Youtube video. URL: https://www.youtube.com/watch?v=unAil5qNnac

Tokyo National Museum, ‘Water jug with single-layered mouth, signed Shiba no Iori’. URL: https://emuseum.nich.go.jp/detail?content_base_id=100526&content_part_id=001&content_pict_id=003&langId=en&webView=

Willmann: Anna Willmann’s essay The Japanese Tea Ceremony on The Metropolitan Museum of Art’s website, URL: https://www.metmuseum.org/toah/hd/jtea/hd_jtea.htm

Yongqun 2020: Chen Yongqun, ‘The Forgotten One: Furnace Transmutation’, Ceramics: Art and Perception, no. 117, 2020, pp. 74-77.

Sen no Rikyu, Tohaku Hasegawa (1529-1611), calligraphy by Shunoku Soen.

Portrait of Oba Nobunaga, Kano Motohide, 1583

Golden Tea Room replica, 2.8 x 5.73 m floor plan, materials include gold leaf, silk, felt. Original dates to 1586, MOA Museum, Atami, Shizuoka, Japan.

Portrait of Toyotomi Hideyoshi, Kano Mitsunobu, c. 1601, Kodai-ji temple, Kyoto, Japan.

Oguro, attributed to Chojiro, late 16th century, 8.5 x 11.5 cm, lead-glazed tea bowl, low-temperature, private collection.

Muichimotsu, attributed to Chojiro, late 16th century, 8.6 x 11.2 cm, translucent glaze on red clay body, Egawa Museum, Nishinomiya, Japan.

Clog-Shaped Tea Bowl (Chawan) with Plum Blossoms and Geometric Patterns, Momoyama period (1573-1615), 7.6 x 14.3 x 5.7 cm, stoneware with iron-black glaze (Mino ware), The Metropolitan Museum of Art, New York.

Tea Jar, 1500, Muromachi period (1392-1573), 9.2 x 6.4 cm, Ko Seto ware, The Metropolitan Museum of Art, New York.

Black Seto (Seto-guro) Tea Bowl, named Iron Mallet (Tettsui), Momoyama period (1573-1615), 9.3 x 12 cm, stoneware with black glaze (Mino ware), The Metropolitan Museum of Art, New York.

Pail-Shaped Freshwater Jar (Onioke mizusashi), ca. 16th century, 23 cm, stoneware with natural ash glaze (Shigaraki ware), The Metropolitan Museum of Art, New York.

Tenmoku Tea Bowl with Hare’s-Fur Glaze, 12th century, 7.6 x 12.7 cm, stoneware with copper-oxide glaze (Jian ware), The Metropolitan Museum of Art, New Work.

Water ladle, 20th century, 7.3 x 40.3 x 6 cm, bamboo, The National Gallery of Victoria, Australia.

Whisk, 20th century, 11.6 x 4.5 x 4.9 cm, bamboo, cotton thread, The National Gallery of Victoria, Australia.

Time must be cherished, it waits for no one, Jakushitsu Genko, early 14th century, 187.3 x 40.2 cm (overall with knobs), ink on paper, The Metropolitan Museum of Art, New York.

Reversible Destiny Lofts, by Madeline Gins and Shusaku Arakawa. Photo by Yuki Kuroda, 2005, digital image: https://www.flickr.com/photos/1217micrograms/65039047/ and https://archeyes.com/reversible-destiny-lofts-madeline-gins-and-shusaku-arakawa/

Untitled, Takuro Kuwata, year, dimensions, and location unknown.

Tea bowl, Takuro Kuwata, 2011, 14.5 x 19 cm, yellow greens-slipped platinum kairagi and porcelain, The Art Institute of Chicago.

Untitled, Takuro Kuwata, year, dimensions, and location unknown.

Bowl, Takuro Kuwata, 2014, 12 x 16.5 x 14.5 cm, porcelain, location unknown.

All illustrations done by myself. 

Website made for the subject 'Virtual Worlds in Japanese Art', November 2021.

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