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Why did tea and incense ceremonies increase the use of lacquerware in Muromachi Japan?

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Qianlong imperial throne — lacquerwork Imperial Chinese throne of the Qianlong emperor (reigned 1735–96), red lacquer carved in dragons and floral scrolls, Qing dynasty; in the Victoria and Albert Museum, London.

In the Muromachi period (1338–1573), the tea and incense ceremonies significantly increased the demand for and application of lacquerware due to the specific requirements of these rituals.1

The incense ceremony in particular necessitated the creation of a wide range of new, exquisitely wrought small utensils, which spurred innovation in lacquer application. Simultaneously, the tea ceremony evolved into a ritualized practice that emphasized aesthetic connoisseurship and the careful choreography of implements such as tea cups, water jars, and kettles.12

Under the patronage of the shogun Ashikaga Yoshimasa, these ceremonies fostered an aesthetic that valued both rustic simplicity and refined elegance. This led to the use of high-quality black lacquer, often with little or no ornament, to reflect the ostentatious simplicity favored by the Zen sect of Buddhism. Ultimately, the tea ceremony’s focus on the creative juxtaposition of objects encouraged the production of works specifically designed for use within these ritual settings.12