Urasenke, the largest school of Japanese tea ceremony, encompasses about 70 percent of practitioners in Japan and a significant majority of practitioners abroad. The practice of chadō offers individuals the opportunity to engage in meaningful and fulfilling work, particularly when compared to traditional career paths. The serene and harmonious atmosphere of the tea ceremony setting, along with its emphasis on etiquette and controlled movement, resonates with many. Participation in chadō extends beyond the tea ceremony, it contributes to the preservation and adaptation of this cultural practice (Lynne and Mori 1991, 92-94).

 

The aesthetic of the tea ceremony—the self-realization of wabi (impoverished beauty) and sabi (subdued beauty of the old)—is driven by the Japanese preference for contrast, where the juxtaposition of opulence with imperfection enhances the beauty of both. For instance, a flaw in an object can be more appealing when set against a backdrop of regularity. The value of irregularity in tea utensils, like chipped bowls or aged pottery, is heightened when placed within an environment that possesses precise shapes or patterns.

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The emergence of this aesthetic is closely tied to Japanese cultural and historical aspects, including the appreciation for the natural aging process and the influence of influential figures like tea masters. This celebration of imperfection and insufficiency continues to be a quintessential part of Japanese artistic expression, contributing to the rich diversity of tastes and arts within the Japanese tradition (Saito 1997, 378-79).