chanoyu objects of art are uniquely japanese and

**chanoyu objects of art are uniquely japanese and are valued in a special way

* the particular characteristics of chanoyu implements
A long process was involved for the ideology underlying chanoyu to become refined, but finally the concept of wabisuki was reached, and chanoyu based on wabisuki was judged to be the epitome. Consequently, we may say that the beauty of chanoyu consists in the concretization of the wabisuki concept. let us then inquire into just what the beauty of wabisuki is.
Looking at the chadogu that have come down to present times, the following characteristics may be pointed out:
1. Variety: they are basically chosen according to the wabisuki concept

the interpretation of wabisuki, and how it has been evaluated, has differed quite a bit depending upon the era and the person, and so it is impossible to theorize about it in a single breath, although it inevitably is based on the wabisuki concept. Concretely, there is a mixture of implements centering on Chinese karamono that were used to decorate kaisho(会所) gathering places, wabi implements based on the wabisuki concept, konominono(好み物,favored items) and handmade(手造り) items which mainly arose due to the establishment of the IEMOTO sysytem, and new chadog centering on European products selected by morden sukisha.
2. Practicality. They are usable for chanoyu.

Of importance are its form(nari,なり), balance(koro,ころ), and aura(yosu,ようす), and if the article does not qualify in these respects, it is not taken up. The item itself has to be of proper weight and balance, and it must not destroy the harmony among the other chadogu.

3. symbolism. Within the simple shapes and colors, there is a spiritual quality

Elaborate decoration, colors painted into the piece, overly prim shapes, and so forth are avoided, while simplicity and calmness and quietness are valued. Effort is placed on giving meaning to the qualities in and existence of those features.

* The standards of selection

At the root of wabisuki, there is the ZEN ideology and the spirit of waka, as previously explained. In thinking about the concrete standards applied when selecting chadogu, it becomes clear that the following three keywords have been important.

1. Form(nari). this means the shape itself and overall silhouette. the kanji used to write the term nari is that for 'shape,形'. this , therefore, concerns the outer appearance of the implement. Every implement has its own particular purpose, and of first importance is that the shape suits that the shape suits that purpose. For example, if it is a vessel for water, it must be shaped so that it is stable and will not tip over. Furthermore, it needs to match the nature of wabisuki beauty, as will be described next. For instance, we may say that it should not be elaborately shaped, but have a clean, simple form.

2. Balance(koro) This has to do with its size and distribution. The KANJI used to write the term koro is that for 'ratio,比' . The idea may also be referred to as koroai, or 'suitable match'. Firstly, about the size, if it is a tea bowl then it needs to fit neatly in a person's cupped hands. Also, it is not good if it is surprisingly heavy when one picks it up, or if it is too light. The matter of ratio, for instance in the case of a container for tea powder for thick tea(chaire), would mean that the mouth needs to be size that allows the tea scoop to be inserted easily, while if the mouth is strangely large, the container will not be acceptable. It is also important that the diameter of the mouth, that of the body, as well as that of the bottom must be of a comfortable ratio.
Almost all the famous chadogu from the past fit within a certain parameter insofar as this ratio is involved. Also, it is not just the one item that is considered; its balance and harmony with the other implements is important. Care must be taken so that just one item is not outstandingly large or small. Harmony is important for chadogu.

3. Aura(yosu) The kanji for yosu is 様子, which stands for 'state', among other meaning. Each work possesses its own aura. Works that subtly present an aura that is in keeping with the beauty of chanoyu, as described next, are recognized, while those that present a fussy aura, gaudy aura, or an aura of being too prim are avoid.