Ripples of Change in Tea Culture

• Post Date: 5/27/2025
• Author: Maddox De La Cruz, registration student assistant
• Reading Time: 16 minute read

• Collections tag
• In-Depth tag

The story of Japanese tea culture is deeply intertwined with many aspects of Japanese society, including politics, economics, class, and gender. Likewise, the utensils used in tea ceremonies also play an integral part in Japanese history. The origins of tea culture in Japan trace back to the Heian Era (794–1185), when diplomats and Buddhist monks introduced tea from China. From the Kamakura period (1185–1333) to the Muromachi period (1336–1573), Japan’s upper and noble class adopted tea culture as a leisure activity, gradually transforming it into the formal ceremony known today as chanoyu. With this transformation, tea schools emerged to develop and teach tea philosophy and rituals, each preserving their unique interpretations in secret manuscripts.

Changes in Tea Accessibility

Participation in tea schools, during the Kamakura and Muromachi periods, was restricted to the upper class as they were the only ones who could afford to engage with chanoyu. During the Edo Period (1603–1868), however, economic growth empowered the merchant class to participate as well. With newfound wealth, merchants shifted their focus from basic needs to education and leisure, leading them to chanoyu. As interest in tea surged, the demand for books on tea ceremony practices grew, shattering the centuries-long monopoly that nobles and tea schools had held over the tradition. This democratization of knowledge fueled a cultural golden age, bringing in widespread societal changes, including shifts in gender norms, artistic expression, and literacy rates.

Japan's cultural transformation had a profound impact on the tea industry and its practices, shaping innovations and beliefs that influenced every aspect of tea culture. The socioeconomic shifts that affected the tea industry are reflected in the items from Spurlock’s collection, offering valuable insight into their historical context.

The Chawan

The first artifact in the Spurlock Museum's collection that highlights this connection between tea and the broader changes in Japan is the chawan (tea bowl). The story of chawan originates in China and Korea, where Japan initially imported these bowls from for their craftsmanship and due to a lack of kilns capable of producing them. These two styles are known as Seto for the Chinese type and Karatsu for the Korean. As Japanese kilns improved, tea masters began crafting their own bowls, leading to the creation of the Raku style by the tea master Sen no Rikyū. This style emphasized hand-molding to embody the aesthetic of wabi, or the beauty of imperfection. By the 16th century, the Raku became the predominant style of tea bowl.

The chawan in Spurlock’s collection bears the artist’s signature, “Waraku” on its base, linking it to a school named Raku Studio Waraku. Research into the studio’s works suggests that this tea bowl was crafted in the Raku tradition. Further analysis indicates that it may be an Aka Raku, named for their reddish color, or a seasonal type of bowl, distinguished by the floral patterns adorning the sides. If seasonal, the floral motifs and reddish color suggest it was intended to be used during the spring and summer. Through centuries of innovation, merging technology and philosophy, the chawan evolved significantly—from its early Seto roots to the refined Raku tea bowl, such as the one presented here.

The Chashaku

Another artifact in Spurlock’s collection that reflects the transformation of tea culture is the chashaku (tea scoop). Originally imported from China, the earliest chashaku were known as shin style, and were crafted from ivory or gold to display status amongst the upper class. Over time, however, tea practitioners sought a simpler design, favoring the bamboo scoops of the gyo style, a design introduced by the artist Jo-o. His design featured a distinctive node near the curved tip, a subtle bend embodying the wabi philosophy of imperfection. The final iteration of the chashaku came with Sen no Rikyū’s su style, which moved the node to the center for better handling and introduced a poem on the case identifying the carver.

The chashaku set in Spurlock’s collection is particularly notable because it contains a pair of scoops, each representing a different style. One follows the su style, identifiable by the centrally placed node, while the other reflects the shin style with its straight design. According to Dr. Gian-Piero Persiani, Assistant Professor in the East Asian Languages Culture Department at Illinois, a message written on the case reads “Miyanoshita,” which he believes refers to a place in the Hakone region near Mount Fuji, possibly indicating its place of origin. Beyond these observations, little is known about this chashaku set. However, through the juxtaposition of these two styles, it serves as a tangible representation of the centuries-long evolution of tea culture.

A Shift to Mass Production

The kama (teakettle) and furo (brazier) set in Spurlock’s collection also reflects the evolving history of tea culture. Our research has found little information on the furo’s history, but for the kama, the first versions were the Ashiya and Temmyo style, which are named after the region they are from. These regions became a hub for crafting these kettles but production capabilities could not keep up with demand from other regions. To speed up production, the Kyoto style, named after the city of origin, became favored because the proximity to consumers allowed tea masters to work with craftsmen on specific designs. During the Edo period (1603–1868), the overwhelming demands of the merchant class favored a mass-produced, less personalized version of the kettle. In the Meiji Period (1869–1912), this newer mass-produced version would evolve with the introduction of foreign iron, which led to an even faster-produced kettle called Yozuku.

According to donor records, the kama and furo in Spurlock’s collection were made during the Taishō period (1912–1926), suggesting they are likely in the Y&omacrzuku style. Diana Liao from the University of Illinois’ Japan House has observed that this set was intentionally paired. However, beyond its estimated era of production, further details about its maker and origins remain unknown due to the absence of defining features. Despite these uncertainties, the kama and furo serve as a testament to the long history of transformation within Japanese tea culture, illustrating the shift from artisanal craftsmanship to mass production over time.

The Nastume

The tea caddy, called a natsume, in Spurlock’s Collection, like many other tea utensils, originated in China, where it was originally used as a ceramic medicine container. The Japanese admired its design and imported it until the sixteenth century, when potters started making their own versions, known as Seto style. During the Momoyama period (1573–1615), a wood variation of the natsume gained popularity, eventually becoming the definitive version in the Edo Period (1603–1868).

The natsume in Spurlock’s collection, as noted by the donor, is made of kiri wood. The carver’s signature at the base reads “Ouchi Sosui,” identifying him as an artist from the So School in the 20th century. While little is known about the artist or the school, he appears to have been a renowned netsuke carver. Netsuke are small figures, often wood or ivory. Compared to other natsume, this tea caddy is distinctive for its log-like design, with only the top and bottom polished, leaving the sides in their natural state. In contrast, most natsume are fully polished and adorned with decorative motifs. Through its unique craftsmanship, this piece not only reflects the evolution of Japanese tea culture but also the individual artistic vision of its maker.

Conclusion

The tea utensils in Spurlock’s collections reflect a fundamental concept of tea culture philosophy: the appreciation of impermanence, encapsulated in the phrase “ichi-go, ichi-e,” which translates to “one time, one meeting.” This expression emphasizes the importance of cherishing each gathering, as no two moments can ever be exactly the same. Though shaped by broader cultural trends that transformed tea practices in Japan, each utensil remains distinct, embodying its own unique characteristics within a shared tradition. Ultimately, these pieces serve as tangible connections within the vast web of culture, illustrating how history, artistry, and philosophy intertwine in the ever-evolving story of tea.