Ritual & Renewal: Modern Japanese ceramic tea caddies and incense implements

RITUAL & RENEWAL

MODERN JAPANESE TEA CADDIES AND INCENSE IMPLEMENTS

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Ritual and Renewal: Modern Japanese ceramic tea caddies and incense implements

Exhibition catalog | Online from: November 20 – December 19, 2025

Gallery open by appointment only

18 East 64th Street, Ste. 1F

New York, NY, 10065, USA

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K O R O & K O G O

I N C E N S E I M P L E M E N T S

Kōdō ⾹道, often translated as “The way of fragrance,” is known as one of three classical Japanese arts of refinement for the Japanese tea ceremony (sadō) and the art of flower arrangement (kadō) Codified during the Muromachi period, Kōdō is both an aesthetic pursuit and a meditative discipline Practitioners engage with incense through games such as Kumikō and Genjikō, which encourage comparative appreciation, and through the contemplative practice of Monkō, in which participants are invited to listen to incense rather than merely smell it. This approach reflects a broader Japanese sensibility that emphasizes attention, restraint, and the cultivation of awareness

Kōdō also encompasses a rich world of implements and material culture that span ceramics, metalwork, woodcraft, and other mediums Incense burners known as kōro, often fitted with ceramic or metal lids Ceramic containers for storing incense (Kōgo), are also among the central objects associated with this practice These forms, represented in this catalog, embody the relationship between fragrance and ritual through craft.

The origins of incense culture in Japan trace back to the sixth century with the arrival of Buddhism Agarwood was imported for the production of jinkō (沈⾹), and incense was used in the form of funkō (焚⾹), a method in which aromatics were placed atop burning charcoal The act of burning fragrance was understood as a devotional offering intended to reach the Buddha During the Muromachi period, an influx of rare fragrant woods and aromatics reached Japan as gifts to the imperial court. Their introduction into courtly life facilitated the expansion of incense use beyond religious contexts Incense became interwoven with secular cultural practices and daily environments, giving rise to a sophisticated sensory culture

Ito Tozan I 初代 伊東陶⼭ (1846-1920)

Incense burner with bamboo leaf motifs, with signed wood box, porcelain with gold glaze and metal lid, (h) 12 06 x (w) 8 25 cm

Although fragrance is central to Kōdō, the tradition stresses the importance of “listening to incense ” This practice reflects the animistic nature of Japanese cultural thought, in which materials are understood to possess spirit. Craftspeople working with wood or stone often describe listening to their medium Similar attention is cultivated in Kōdō as the participant refines the mind through careful engagement with scent The act of listening becomes a meditative activity that sharpens perception and clarifies the senses

Central to this experience are the Ten Virtues of Incense, known in Japanese as kōjuttokuto (⾹⼗徳) Attributed to the Northern Song poet Huang Tingjian ⻩ 庭堅 and transmitted to Japan by the monk Ikkyu Sōjun 休 宗純, these virtues articulate the spiritual and physical benefits of incense:

感格⻤神 : Sharpens the senses

清浄⼼⾝ : Purifies the body and the spirit

能払汚穢 : Eliminates pollutants

能覚睡眠 : Awakens the spirit

静中成友 : Heals loneliness

塵裏愉閑 : Calms in turbulent times

多⽽不厭 : Is not unpleasant, even in abundance

募⽽知⾜ : Even in small amounts is sufficient

久蔵不朽 : Does not break down after a very long time

常⽤無障 : A common use is not harmful

These virtues underscore the holistic nature of Kōdō, showing its philosophical, and spiritual qualities L I S T E N I N G T O I N C E N S E

Incense burner with tenmoku glaze, with signed wood box, stoneware with metal lid, (h) 9 5 × (w) 9 cm

H I S T O R I C A L I N C E N S E I M P L E M E N T S

Formally speaking, Incense burners, or kōro, have evolved significantly throughout Japanese history. The ceramic forms we know today have a long lineage of variety Early burners were created for religious settings and often resembled Chinese bronze models with large openings These types of burners, archaic, and large, played with scale as a significant aspect of its object-hood, and were imported into Japan along with monks from China and Korea

As incense appreciation migrated into domestic and courtly environments during the 17 century in Japan, practices like Monkō and Kumikō (two types of incense games designed to experience the sensory pleasures of incense, and enhance awareness of the fragrance offered) gained popularity among the literati class As they grew more popular, accompanying incense implements grew smaller and more intimate These compact burners were designed to suit refined spaces and the personal contemplation that Kōdō requires, thus evolving into the ceramic forms that we associate with Kōdō today th

Black Raku incense burner in "melon" shape

Imitation of Ogata Kenzan 尾形 乾⼭ (1663-1743) Kyoto workshop 19th century, Kyoto, Japan, Earthenware, (h) 9 7 x (w) 9 7 cm Charles Lang Freer (1854-1919), purchased from Kita Toranosuke in Kyoto in 1907 Permanent collections of the Smithsonian Museum, Freer Gallery of Art Collection, National Museum of Asian Art, Smithsonian Image courtesy of the museum

Ninsei-style Incense Burner with Flowers of the Four Seasons, Workshop of Nonomura Ninsei (active c 1646–94) , Edo period (1615–1868), c 17 Century, Japan , stoneware with polychrome overglaze enamels and gold; openwork gilt-bronze cover, (h) 17 1 (w) 8 4 (d) 18 4 cm H O Havemeyer Collection, Bequest of Mrs H O Havemeyer, 1929 Permanent collections of the Metropolitan Museum of Art Image courtesy of the museum th

Incense burner with enamels, with signed wood box, porcelain, (h) 13 × (w) 9 3 cm

Kubo Shunman 窪 俊満 (1757–1820), Screen and Utensils for the Incense Ceremony Surimono, Edo period c 19th century, woodblock print (surimono); ink and color on paper, 20 5 x 18 4 cm O Havemeyer Collection, Bequest of Mrs H O Havemeyer, 1929 Permanent collections of the Metropolitan Museum of Art Image courtesy of the museum

K Ō D Ō A N D T H E T E A C E R E M O N Y

Kōdō developed alongside the tea ceremony during the Muromachi period as both practices were shaped by the broader philosophy of geidō, the way of art Geidō emphasized personal cultivation through disciplined aesthetic training Tea masters often began a tea gathering by burning incense, an act believed to purify the participants and prepare their spirits for the contemplative experience that followed

The intersection of fragrance and tea extends deeply into Japanese aesthetics: Both practices emphasize multisensory awareness, spatial refinement, and an understanding of subtlety of objects’ forms. Incense sets the atmosphere before tea is served, guiding participants toward mindfulness Unlike Western perfumery, Japanese incense focuses on the inherent character and quality of a single natural material

Fragrance games such as kumikō are incorporated into tea ceremony practice to cultivate the guest’s ability to “listen to the fragrance ” These games use specialized containers called kikikōro (聞⾹炉) with high walls designed to hold and present the incense, as exemplified by the two following floating tripod sometsuke kikikōro by Hachiya Sōyu 蜂⾕宗由 By “listening to the fragrance,” practitioners shift their consciousness into a realm shaped by the aromatics being presented This process prepares the mind to enter the environment of the tea room

The Meiji Restoration (c 1868-1889) brought rapid Westernization and a decline in traditional fragrance practices Although incense had long been part of aristocratic life since the Heian period, and was also used by samurai to purify the spirit before battle, these customs were discouraged as Japan adopted Western cultural forms By the late nineteenth century the utilitarian view of Kōdō had diminished significantly

In 1890, traditional arts regained acceptance and Kōdō experienced a revival. By this time, however, the visual language of incense implements had begun to shift Censers and related tools increasingly reflected Western tastes as makers and manufacturers adapted their work for a growing global market During this shift, the functional use of incense implements gradually expanded into that of decorative objets d’art Many ceramicists took this opportunity to explore new formal expressions in incense containers, incorporating more individualistic and expressive elements into their craft The treatment and perceptions of the ceramic incense object changed during these changing cultural economies. This radical shift is exemplified by contemporary ceramic artists such as Wada Morihiro, Nagae Shigekazu, and several others that followed in the footsteps of individualistic artistic expression through the ceramic medium Wada Morihiro 和太 守卑良 (1944-2008), Incense burner, Ryu san mon (Ryu san pattern), stoneware, Gift of an Anonymous Donor, stoneware National Crafts Museum, National Museum of Modern Art, Tokyo Image courtesy of the museum

Nakashima Hiroshi 中島 宏 (1941-2018, Living National Treasure c 2007), Celadon incense burner, with signed wood box, stoneware, (h) 12 3 × (w) 12 cm

C H A I R E & N A T S U M E

T E A C A D D I E S

Tea caddies are central to the practice of the Japanese tea ceremony. Historically introduced from China by travelling monks, these small lidded vessels were originally ceramic containers used to hold and transport tea Their significance expanded during the Momoyama period (1568-1600), a time in which the way of tea was formalized and refined Stoneware of the Momoyama period, Edo period (1603-1868) tenmoku glazes, and the stylistic distinctions cultivated by different tea schools all contributed to a rich lineage of shapes, textures, and surface qualities. Tea caddies also belong to a broader world of tea implements and material culture that includes lacquer, metalwork, and textile accessories, each with a specific role in the tea environment and in the choices made by the tea host. The vessel also affects the tone of the overall tea ceremony in a variety of ways

Much like incense implements, contemporary tea caddies take on a variety of forms, and introduce new energy and expression into the tea space

Fujiwara Yū 藤原 雄 (1932-2001, Living National Treasure c 1996)

Bizen tea caddy, with signed wood box, stoneware, (h) 8 8 × (w) 6 9 cm

Fujiwara Yū 藤原 雄 (1932-2001, Living National Treasure c 1996), Bizen tea caddy, with signed wood box, stoneware, (h) 8 22× (w) 8 9 cm

Fujiwara Yū 藤原 雄 (1932-2001, Living National Treasure c 1996)

MATERIAL CULTURE

Kubo Shunman 窪 俊満 (1757–1820), Set of Utensils for the Tea Ceremony, Edo period c 19th century, woodblock print (surimono); ink and color on paper, 13 8 x 18 4 cm O Havemeyer Collection, Bequest of Mrs H O Havemeyer, 1929 Permanent collections of the Metropolitan Museum of Art Image courtesy of the museum

Tea caddies first entered Japan as ceramics, known as karamon, or Chinese ware Over time, Japanese practitioners adapted these imported models into distinct categories that correspond to different tea preparations A natsume is typically a lacquer container and is used to hold usucha, or thin tea A chaire is a ceramic caddy used for koicha, or thick tea, and is considered the more formal of the two The material distinction reflects the formality and sensory depth of the tea that each vessel contains

Metal tea canisters developed later, particularly during the Meiji period when tinplate from Europe became accessible These lighter and thinner containers expanded tea culture beyond elite circles, allowing common households to store tea in practical and durable vessels Contemporary makers continue to explore the possibilities of metal The Kyoto company Kaikado, for example, encourages owners to allow their canisters to oxidize naturally, inviting them to appreciate the slow tonal changes of the metal as part of the object’s aesthetic life

Ceramic tea caddies (Chaire) occupy their own category In contemporary ceramics, each Chaire offers a moment of contemplation of the ceramicist’s hand and expression, offering tactility and intimacy through craftsmanship

Kosetsu 中林 ⾹雪 Natsume, lacquered container, with signed wood box Lacquered wood, (h) 7 ×

6 8 cm

Ueda Naokata Ⅴ 五代 上⽥直⽅ (1928–2016)

Shigaraki tea caddy with two accompanying Shifuku, with signed wood box, stoneware, (h) 8 5 × (w) 6 8 cm

TEA PRACTICE

The type of tea caddy a host selects depends largely on the tea to be served and the level of respect they wish to offer their guest. Since ceramic chaire are reserved for high grade matcha used in koicha, presenting a chaire signals honor and care Historical figures such as Murata Shukō, the monk who established “wabi-cha,” a style of Japanese tea ceremony that emphasizes simplicity, nature, and spirituality over ostentatious presentation, favored unglazed stonewares such as Bizen and Shigaraki However, Shukō also emphasized that true appreciation of these rustic forms requires an understanding of the beauty of Chinese ware, underscoring the importance of storied, historical lineage embedded in tea utensils contributing to their meaning and experience

Among the most celebrated vessels in tea history are the Three Great Tea Caddies, known as Hatsuhana, Narashina, and Nitta They were prized for their rarity and refinement, and Toyotomi Hideyoshi is recorded as the only shogun to have acquired all three The prestige of the Three Great Tea Caddies reflects the high value placed on tea caddies as objects of cultural inheritance and aesthetic judgment Functionally, the chaire stores matcha until the moment it is measured and prepared This practice led Sen no Rikyū to standardize the use of the bamboo tea scoop (or chashaku). The choice of tea caddy also contributes to the overall harmony of the tea gathering. A host will consider how the form, color, glaze, and material of the caddy interact with other utensils These aesthetic decisions become focal points for the guest, reflecting the tea host’s personal sensibility and capacity for curation

Bizen tea caddy, with signed wood box, stoneware, (h) 8 9 × (w) 7 3 cm

LAYERS OF SIGNIFICANCE: ACCOMPANYING SHIFUKU, HIMO, KIRIBAKO

SHIFUKU – A shifuku is a protective textile pouch crafted specifically for a chaire These pouches are made from meibutsu-gire, or specialty fabrics, often remnants of imported textiles originally used in temple furnishings or garments When preparing for a gathering, the tea practitioner considers not only the value and history of the fabric but also how its colors, patterns, and textures harmonize with the caddy it encloses The pairing of vessel and textile becomes an additional layer of meaning within the ceremony, one that highlights both aesthetic sensitivity and cultural memory.

HIMO & KIRIBAKO – Tea caddies are usually housed in wooden storage boxes, or “kiribako,” secured with woven cords known as “himo ” The most common type is sanada-himo, which has origins in martial culture Legend recounts that samurai carried tea utensils onto the battlefield, using the cords to secure the boxes to their armor Masayuki Sanada 真⽥ 安房守 昌幸 (1547–1611) a famed samurai, is credited with adapting sanada-himo for this purpose on the battlefield Sen no Rikyū later adopted the practice of binding kiribako with these cords

Over time, the color and pattern of a cord became a form of identification Observers could determine the associated tea school or lineage by examining the himo The cord even functioned as a method of authentication, allowing connoisseurs to recognize whether a tea bowl or utensil was genuine Before the widespread use of sanada-himo, tea utensils were stored in lacquered boxes tied with braided silk ribbons, a practice associated with the elite classes The shift to plain wooden boxes tied with sanada-himo made the way of tea more accessible while preserving a sense of formality during the Edo period (1603-1868)

Kubo Shunman 窪 俊満 (1757-1826) Yellow Tea Jar with Cover (Shifuku) and Fragments of Brocade Surimono, Edo period c 19th century, woodblock print (surimono); ink and color on paper, 20 5 x 18 4 cm O Havemeyer Collection, Bequest of Mrs H O Havemeyer, 1929 Permanent collections of the Metropolitan Museum of Art Image courtesy of the museum

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