The Beauty and Simplicity

Black Raku Tea Bowl
3rd-7th generation of Raku family, Japan

Students will observe the Black Raku Tea Bowl for characteristics of wabi sabi, an aesthetic ideal of beauty. Students will then create a haiku poem about a simple, yet elegant item.

Intended Age Group
Secondary (grades 6-12)
Standards Area
Language Arts
Lesson Length
Two 50 minute lessons

Students will be able to:

  • describe and analyze what they see in the Black Raku Tea Bowl;
  • make observations about a traditional Japanese tea ceremony and the utensils used;
  • identify elements of wabi sabi; and
  • use characteristics of the idea of simple elegance to create a haiku poem.


Day 1

  1. Show students the image of the Black Raku Tea Bowl. Ask students to describe what they see and guess what they think it might be.
  2. Share the information from the About the Art section with students. Go over the “Details information. Discuss with students if their feelings and opinions have changed about the bowl once that they have more information.
  3. Discuss the Japanese tea ceremony and how participants use the time to free their minds from frustration and instead focus on the beauty of the utensils, of nature, and of the goodness all around.
  4. Highlight how raku bowls frequently show marks of handmade creation (e.g., irregular marks and shape) and ask students to comment on the phrase, “almost as though the artist was communicating to you through the clay.”
  5. Point out the simplicity of the bowl and the honored heritage and experience of the artist who created the bowl. Identify the imperfections that are also admired.
  6. Consider the Japanese idea of wabi sabi – the aesthetic ideal and philosophy of artistic expression found in Zen Buddhism that something simple gets more beautiful as it becomes older and worn. This idea can be found throughout Japanese culture.
  7. Discuss in small groups or with the whole class other things that are simple, loved, and appear to some to be more beautiful after they have been used and are less than perfect. Have students take note of things that fit this ideal in the classroom, and to look for examples when they go home.

Day 2

  1. Show students the image of the Black Raku Tea Bowl and have them review what they know about simplicity of design and wabi sabi.
  2. Ask students to share examples from their lives that have the trait of wabi sabi.
  3. Talk about other things (non-material) that fit the idea of wabi sabi.
  4. Show students examples of haikus and describe the creation of a haiku, a simple yet beautiful form of poetry that forces the author to reduce information down to its essence to make a statement. Ask students how the haiku form might relate to the Japanese idea of wabi wabi.
  5. Students should choose one of the objects they identified as an example of wabi sabi as a basis to create their own haiku poem.
  6. Have students share their haikus in small groups or with the class.


  • Note-taking paper for each student
  • Paper to create a haiku
  • Variety of pencils, markers, or other writing implements
  • Access to library or Internet for further research of information about the traditional Japanese tea ceremony
  • About the Art section on Black Raku Tea Bowl
  • Color copies of the tea bowl for students to share, or the ability to project the image onto a wall or screen
  • If you are not familiar with writing haikus, try this source: How to Write a Haiku Poem


CO Standards
  • Visual Arts
    • Observe and Learn to Comprehend
    • Relate and Connect to Transfer
  • Language Arts
    • Oral Expression and Listening
    • Research and Reasoning
    • Writing and Composition
    • Reading for All Purposes
21st Century Skills
  • Collaboration
  • Critical Thinking & Reasoning
  • Information Literacy
  • Invention

Black Raku Tea Bowl


3rd-7th generation of Raku family, Japan


3.625 in x 4.75 in

Gift of Ellen and Jack Ramsay Harris, 1993.12

Photograph © Denver Art Museum 2011. All Rights Reserved.

About the Artist

Until recently, the majority of raku [RAH-koo] ware was made by generations of the Raku family in Japan. This black tea bowl was most likely made by a member of the Raku family sometime during the 1800s, between the 3rd and 7th generations of the family. Raku wares are different from other Japanese ceramics because potters form the pieces by hand rather than on a potter’s wheel. Each bowl the raku potter makes shows signs of his fingers and hands. It’s almost as though the artist was communicating to you through the clay. After he is finished creating the shape of the bowl, the potter applies a glaze to the piece and fires it in a kiln at a low temperature. The potter of this bowl chose a very plain glaze that is all black. There are variations in the texture; some areas of the surface are slightly rough and pitted. The craftsman must have wanted to leave out decoration and make a bowl that was modest rather than showy; quiet rather than loud.

The making of raku ware was initiated by Chôjirô [CHO-jih-row] during Japan’s Momoyama period (1573-1615). Chôjirô was asked by the tea master Sen Rikyû [sen REE-kyoo] to make tea bowls for a tea ceremony. Chôjirô was presented with a seal bearing the Chinese character for “raku.” The term raku derived from the word Jurakudai, the name of a palace built by the leading warrior statesman of the time. “Raku” then became the name of the family that produced the ceramics. This is the only example in history of a family name becoming synonymous with the ceramics they produced. Raku is the most renowned of all tea ceremony ceramics, and the Raku family was highly respected for their skillfully crafted tea bowls and table wares. Now, many potters make raku ware.

What Inspired It

The artist who made this bowl took into consideration how the bowl would be handled and viewed during a tea ceremony. Because the bowl is very plain, perhaps the artist was inspired by the idea of how attractive a bowl can be when it is very subtle. A bowl that is subtle has less obvious qualities that are very hard to notice. However, if a guest examines the bowl very carefully, he can see and feel the details. Maybe this artist wanted to challenge the people who drank from the bowl to pay very careful attention to its simpler qualities. The other thing that certainly inspired this artist was his knowledge of all the potters in the Raku family who had come before him. He was making a bowl in the same tradition as these earlier potters out of respect for their skill and design style.

The tea bowl is the centerpiece of the Japanese tea ceremony. Traditionally, a tea bowl has no handles and is made to be held in both hands. It is the most active of all tea utensils as it gets passed around to all of the guests. Each guest drinks out of the bowl and examines its shape, color, and texture before returning it to the host. Those who make tea bowls aim at making a bowl that will engage the senses of vision and touch, and small and subtle variations are often prized.

The ritual of serving tea involves a number of specific steps for the host and guests. It can last anywhere from twenty minutes to five hours and consists of two distinct stages, represented by the drinking of thick tea (about the consistency of white Elmer’s glue) and thin tea (about the consistency and frothiness of hot chocolate). Both types of tea are prepared by whisking green tea powder with water, but the powder used to make thin tea comes from plants that are younger than those used for thick tea, and more water is used in the preparation of thin tea.

When preparing for the ceremony, the host places a little mountain of powdered green tea inside a tea caddy or container. Once the ceremony begins, he removes the lid of the caddy and scoops a small amount of tea powder into a tea bowl, whisking it with hot water to create a bitter green tea. After the guests have finished their tea and the host has cleaned the utensils, the guests will often examine each item, noticing its color, shape, size, glaze, and texture. The utensils are handled with extreme care and reverence because they are often very valuable. The host chooses which containers to use based on who is attending the ceremony, the level of formality, the season, the time of day, and how each container will complement other utensils used.

Information about the Japanese tea ceremony can be found here.

Another tea bowl in the Denver Art Museum’s collection:

Tea Bowl

Two examples of tea caddies in the Denver Art Museum’s collection:

Ceramic Tea Caddy for Thick Tea

Natsume, Sun and Moon Thin Tea Caddy



Glaze is the shiny, glass-like coating that covers the surface of the bowl. Raku bowls are traditionally covered in a glaze that is made out of pulverized stone from the Kamo River in Japan. After the glaze is applied, the bowl is fired, a process that melts the glaze and turns it into a new substance—glass. When the bowl cools, the glaze hardens, making the bowl waterproof. The bowl is removed from the fire when it is red hot and the sudden temperature change causes the glaze to turn black. Raku tea bowls are almost always covered in monochrome black or red glazes.

Irregular Oval Mark

There is a distinctive mark on what is probably the front of the bowl, which was most likely made when the bowl was removed from the fire with tongs. This small irregularity was greatly admired.

Irregular Shape

The lip of the bowl is uneven and the sides are somewhat bumpy, indicating that the bowl was made by hand. This is another example of how the bowl embodies the Japanese belief that there is beauty in things that are simple and imperfect.

Funding for object education resources provided by a grant from the Morgridge Family Foundation. Additional funding provided by the William Randolph Hearst Endowment for Education Programs, and Xcel Energy Foundation. We thank our colleagues at the University of Denver Morgridge College of Education.

The images on this page are intended for classroom use only and may not be reproduced for other reasons without the permission of the Denver Art Museum. This object may not currently be on display at the museum.