Page 372 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

worked into the material. Quoting from
the Sekishü ryü chashaku no hiji, Yoshi-
mura emphasizes that to look at Rikyü's
tea scoop is to look at a person's face.
It is no surprise that tea masters in-
tentionally sought out the most unusual
samples of bamboo to be found. Several
versions of a popular legend surround the
tea master Furuta Oribe (1544-1615) and
his love of a good piece of bamboo. Ac-
cording to one story, Oribe came upon a
remarkable piece of bamboo in the midst
of a battle. He immediately began to carve
a tea scoop and forgot all about the battle
raging about him. So absorbed was he by
his task that he was unaware of the flying
shrapnel and was consequently wounded.
The tea scoop was appropriately given the
name Tamaarare or "hailing bullets."
Prior to Sen no Rikyü, tea masters
had not yet assigned much value to the
chashaku. Tea scoops at that time were not
made by tea people, but commissioned
from common artisans and often dis-
carded after use. The tube container was
not considered an integral part of the tea
scoop until Sen no Rikyü's time. The pro-
tective tube is made from a cut piece of
bamboo from which a tightly fitting cap
has been fashioned. Inside, the tea scoop
may be wrapped with a silk cloth to pre-
vent it from rolling around inside the tube.
Like other tea utensil containers, the tube
container often is a document verifying
the contents within. In the case of an as- 288
signed poetic name, the classical poem 289
from which the allusion originated may be
beautifully inscribed on the front of the
tube container in the distinctive calligra-
phy of the carver. At modern tea gather-
ings, the tube container of the tea scoop
may be displayed separately in a side al- self-explanatory and most need to be 289 Tea scoop
cove to allow tea participants to read the coaxed out. Daimyo participants in tea Kobori Enshü (1579-1647)
inscription. gatherings relied heavily upon not only a bamboo 3
The practice of assigning poetic knowledge of the connoisseurship of uten- length 17.3 (6 A)
names to tea scoops was popular during sils, but also on a firm grounding in literary Edo period
the Edo period. In general, early-Momo- and religious traditions. Eisei Bunko, Tokyo
yama utensils rarely had poetic names, Early tea scoops brought from China
though a name may have been assigned at were made from ivory, metal, and wood. The elegant style of tea practiced by Ko-
a much later date. Kobori Enshü was espe- These prototypical tea scoops were bori Enshü departed dramatically from the
cially famous for selecting poetic names thought to be simple measuring spoons for rustic simplicity of Sen no Rikyü. The re-
from classical waka. This revealed his deep tea. Although other woods such as plum or vival of tea as an aesthetic pastime is pri-
understanding and appreciation of classi- cherry are used, bamboo, a material valued marily due to Enshü. This revival greatly
cal literature. The poetic name of the tea for its flexibility and endurance, is most of- pleased his patrons, the daimyo ruling
scoop or any other utensil is carefully se- ten used. There is a protective and com- class. Enshü's tea aesthetic brought back
lected to ignite a series of linked associa- forting quality about using a bamboo the grandeur of an earlier time, and
tions for its audience. A poetic name can scoop with even the most valuable of tea- whereas Sen no Rikyü had worked at elim-
easily evoke a particular season, scenic bowls or tea containers. The bamboo adds inating useless space in the tearoom,
area, or allusion to a classical text, and may an air of ease as the utensils relate to one Enshü sought to enlarge the tea space and
derive from a variety of sources. Names of another during the tea gathering. There define separate sitting places for daimyo
temples or references to Zen sayings could are three classifications of tea scoops. and their accompanying retainers. Enshü
also be used as possible names. The name Shin, or the most formal tea scoops, are also was an architect and designer of tea
of a tea utensil relies strongly on the pre- made from ivory. Gyô, or semi-formal, gardens. JIK
sumed knowledge and literary accomplish- have the bamboo joint at the very end of
ments of its audience. Very few names are the tip. So, or grass-style tea scoops, have
the bamboo joint located at the halfway
point. JIK

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