A KEYAKI WOOD TEA CHEST, CHA DANSU, MEIJI PERIOD

拍品描述

A KEYAKI WOOD TEA CHEST, CHA DANSU, MEIJI PERIOD This lot is from a single owner collection and is therefore offered without reserve The Jorgen Ruben Gallery Ledger, entry from 2005: “No. 379, PF 1988, Japanese Tana [shelve table] Keyaki wood 19th c.” Gallery price: EUR 2,400 or approx. EUR 4,000 adjusted for inflation at the time of writing. Japan, 1868-1912. Of rectangular form, supported on a tiered base rising to two sliding doors and open shelves arranged asymmetrically. The doors are decorated with subtly painted motifs of pine branches and cranes, flanked by blossom-shaped metal fittings. Important Note: For essential information on the Jorgen Ruben Gallery Ledger and provenance documentation please visit here: www.zacke.at/rubencollection_ledger Dimensions: Size 41 x 81 x 83 cm The cha‑dansu occupies a special place in the material culture of Japan, emerging alongside the evolution of the tea ceremony (chanoyu) and the aesthetic ideals that came to define Japanese taste from the Momoyama period onward. Unlike purely utilitarian storage cabinetry, the cha‑dansu was conceived within the richly symbolic world of the tea ritual, a world where every object, from the bowl (chawan) to the brazier (furo), was created with refined purpose and contemplative form. By the late 16th and early 17th centuries, the tea ceremony (chanoyu) had crystallized into a structured cultural practice under the influence of luminaries such as Sen no Rikyu. Central to chanoyu was not only the preparation and presentation of tea but also the careful selection, display, and safekeeping of the implements associated with the ritual. The demand for specialized storage furniture grew accordingly. The cha‑dansu developed as a cabinet designed to house the essential tea wares – tea caddies (chaire), water jars (mizusashi), tea scoops (chashaku), ladles (hishaku), and silk cloths. The cha‑dansu was typically constructed from durable and attractive timbers such as keyaki (Japanese zelkova), walnut, cedar or paulownia. The characteristic form includes horizontal shelving of varying depth for the display of vessels during preparation, and enclosed compartments or sliding doors below for storage when not in use. The interplay of open and closed spaces allowed for both presentation and concealment, echoing the tea ceremony’s aesthetic of yugen – the beauty of subtle suggestion rather than ostentation.

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