Special Versus Ordinary

Lesson Plan


Children will first compare their everyday drinking containers to containers they use on special occasions. They will then learn about the importance of the tea ceremony in Japan and the special containers used for these ceremonies.

Intended Age Group

Early childhood (ages 3-5)

Length of Lesson

One 40 minute lesson

Standards Area

Social Studies


Students will be able to:

  • describe how the Japanese tea ceremony is similar to and different from special occasions in their own lives;
  • describe the difference between special and everyday containers used for drinking;
  • differentiate between Japan and their home state on a map; and
  • use their imaginations.


  1. Preparation: Read the About the Art sheet on the Black Raku Tea Bowl and the object resource page on Yabe Makoto's Tea Bowl. Gather drink containers/cups children use during lunch or snack for a week. Let the children know you are collecting them for something they’re going to be learning; this will help build excitement. Bring other samples of everyday containers as well to have a more complete collection.
  2. Warm up: Place the examples of everyday drink containers you’ve gathered in front of the class. Allow the children to hold and explore them carefully and ask them to come up with as many words as possible to describe the containers (i.e., hard, smooth, colorful, plastic, pliable, etc.). Write a list of all the words the children come up with.
  3. Ask the children to imagine that they are from another planet and have never seen these containers before. What do they think are some different ways in which these containers might be used? How can they tell? Write down these ideas.
  4. Show children some drink containers that are used for special occasions (e.g., porcelain tea cups or crystal glasses). Ask them to talk about when these containers might be used and what makes them special. Why are these containers used only on special occasions and not every day? Ask children to come up with another list of words that describes these special containers.
  5. Show children the pictures of the tea bowls. Have them generate as many words as possible to describe them. Write down these words. Have children tell you how these containers are similar to or different from the everyday containers you gathered over the past week. How are they similar to or different from the containers used for special occasions? You can refer to the lists of descriptive words to help guide the discussion.
  6. Show children where Japan is located on a world map or via Google Maps. Trace a route from where you and the children live to Japan. Tell them that in Japan, children often have drink containers/cups similar to our everyday containers, but they also have special bowls that they use when they are invited to very special tea ceremonies. While at these tea ceremonies, everyone is very quiet and pays a lot of attention to the tea they drink and the tea bowl that holds it.
  7. Show children the tea bowls again and ask them how they can tell the containers might be special. What are some special features they see? How are they the same as the students' everyday containers/cups? How are they different? How are they similar to or different from the students' special drink containers?


  • Assortment of everyday drink containers (e.g., juice boxes, paper cups, glasses, coffee mugs, plastic cups)
  • Special drink containers or pictures of them (e.g., porcelain tea cups, beer steins, crystal stemware)
  • Access to Google Maps or a map on which you can trace a route from students' home state to Japan
  • About the Art section on the Black Raku Tea Bowl (included with the lesson) and the object resource page for Yabe Makoto's Tea Bowl
  • (One color copy of the Black Raku Tea Bowl and Yabe Makoto's Tea Bowl for every four children, or the ability to project the images onto a wall or screen


CO Standards

  • Social Studies
    • History
      • Recognize change and sequence over time
    • Geography
      • Develop spatial understanding, perspectives and connections to the world
  • Visual Arts
    • Observe and Learn to Comprehend
    • Relate and Connect to Transfer
  • Language Arts
    • Oral Expression and Listening

21st Century Skills

  • Collaboration
  • Critical Thinking & Reasoning
  • Information Literacy
  • Self-Direction

About the Art

Black Raku Tea Bowl

Black Raku Tea Bowl


3rd-7th generation of Raku family, Japan

Who Made It?

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
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
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 lesson plans 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.