Japanese Tea Ceremony

Japanese tea ceremony
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http://www.shibuiswords.com/japantea.htm
A woman wearing a kimono performs a tea ceremony outdoors, while seated in seiza position.
The Japanese tea ceremony (

, chad, or sad, or chanoyu - "the way of tea") is a traditional ritual
based on Taoism (Daoism) and influenced by Zen Buddhism in which powdered green tea, or matcha (
), is ceremonially prepared by a skilled practitioner and served to a small group of guests in a tranquil
setting.
The pronunciation sad is preferred by some schools, including Omotesenke and the Mushanokjisenke,
while the pronunciation chad is preferred by others, including Urasenke.
Cha-no-yu (literally "hot water for tea") usually refers to either a single ceremony or ritual, while cha-ji or
chakai (literally "tea meeting") refers to a full tea ceremony with kaiseki (a light meal), usucha (thin tea)
and koicha (thick tea), lasting approximately four hours.
Read about the History of Chanoyu
Since a tea practitioner must be familiar with the production and types of tea, with kimono, calligraphy,
flower arranging, ceramics, incense and a wide range of other disciplines and traditional arts in addition to
his or her school's tea practices, the study of the tea ceremony takes many years and often lasts a lifetime.
Even to participate as a guest in a formal tea ceremony requires knowledge of the prescribed gestures and
phrases, the proper way to take tea and sweets, and general deportment in the tea room.
History
The tea ceremony requires years of training and practice . . . yet the whole of this art, as to
its detail, signifies no more than the making and serving of a cup of tea. The supremely
important matter is that the act be performed in the most perfect, most polite, most graceful,
most charming manner possible.
Lafcadio Hearn
Drinking of tea was introduced to Japan in the 9th century in the form of the boiled tea (
dancha) by
the Buddhist monk Eichu (
), who had returned to Japan from China, where it had already been known,
according to legend, for more than a thousand years. Tea soon became widely popular in Japan, and began
to be cultivated locally.
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The custom of drinking tea, first for medicinal, and then for purely pleasurable reasons, was already
widespread throughout China. In the early 9th century, Chinese author Lu Yu wrote the Ch'a Ching (the
Classic of Tea), a treatise on tea focusing on its cultivation and preparation. Lu Yu's life had been heavily
influenced by Buddhism, particularly the Zen-Chn school. (This form of buddhism is known as Chan in
China and Zen in Japan). His ideas would have a strong influence in the development of the Japanese tea
ceremony.
In the 12th century, a new form of tea, matcha, was introduced by Eisai, another Japanese monk returning
from China. This powdered green tea, which sprouts from the same plant as black tea but is unfermented
and ground, was first used in religious rituals in Buddhist monasteries. By the 13th century, samurai warriors
had begun preparing and drinking matcha as they adopted Zen Buddhism, and the foundations of the tea
ceremony were laid.
Tea ceremony developed as a "transformative practice," and began to evolve its own aesthetic, in particular
that of wabi. Wabi, meaning quiet or sober refinement, or subdued taste, "is characterized by humility,
restraint, simplicity, naturalism, profundity, imperfection, and asymmetry [emphasizing] simple, unadorned
objects and architectural space, and [celebrating] the mellow beauty that time and care impart to materials"
("Introduction: Chanoyu, the Art of Tea" in Urasenke Seattle Homepage). Ikkyu, who revitalized Zen in the
15th century, had a profound influence on the tea ceremony.
By the 16th century, tea drinking had spread to all levels of society in Japan. Sen no Rikyu, perhaps the most
well-knownand still reveredhistorical figure in tea ceremony, followed his master, Takeno J's,
concept of ichi-go ichi-e, a philosophy that each meeting should be treasured, for it can never be
reproduced. His teachings perfected many newly developed forms in Japanese architecture and gardens, fine
and applied arts, and the full development of tea ceremony. The principles he set forward - harmony (
wa), respect ( kei), purity ( sei,), and tranquility ( jaku) - are still central to tea ceremony today.
Equipment
Main article: List of Japanese tea ceremony utensils
A set of implements for the Japanese tea ceremony. From bottom left: chashaku (tea scoop), sensu (fan),
whisk shaper, chasen (bamboo whisk) and fukusa (purple silk cloth)
Tea equipment is called dgu (

, literally tools). A wide range of dgu is necessary for even the most
basic tea ceremony. A full list of all available tea implements and supplies and their various styles and
variations could fill a several-hundred-page book, and thousands of such volumes exist. The following is a
brief list of the essential components:
Chakin (
). The "chakin" is a rectangular, white, linen or hemp cloth used to ritually cleanse the
tea bowl. Different styles of chakin are used for thick and thin tea.
). The fukusa is a square silk cloth used for the ritual cleansing of the tea scoop and the
Fukusa (
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tea caddy, and to handle hot kettle or pot lids. Fukusa are sometimes used by guests to protect the tea
implements whilst examining them. These fukusa are a special style called kobukusa ("old fukusa") or
dashibukusa ("fukusa for serving"). They are thicker, brocaded and patterned, and often more brightly
coloured than regular fukusa. Kobukusa are kept in the kaishi wallet or in the breast of the kimono.
When not in use, the fukusa is tucked into the obi, or belt of the kimono. Fukusa are most often
monochromatic and unpatterned, but variations exist. There are different colours for men (usually
purple) and women (orange, red), for people of different ages or skill levels, for different ceremonies
and for different schools. Some schools, including the Urasenke, prefer to introduce variants with
brocades or patterns, while some prefer to use simpler ones. The size and way of making fukusa was
purportedly established by the Rikyu's second wife, who was also an expert of this way.
Ladle (hishaku
). This is a long bamboo ladle with a nodule in the approximate center of the
handle. It is used to transfer water to and from the iron pot and the fresh water container in certain
ceremonies. Different styles are used for different ceremonies and in different seasons. A larger
version is used for the ritual purification undergone by guests before entering the tea room.
Tana. Tana, literally "shelves," is a general word that refers to all types of wooden or bamboo
furniture used in tea preparation; each type of tana has its own name. Tana vary considerably in size,
style, features and materials. They are placed in front of the host in the tea room, and various tea
implements are placed on, or stored in, them. They are used in a variety of ways during different tea
ceremonies.
Two modern "thin tea" bowls
Tea bowl (chawan

; main article: chawan). Tea bowls are available in a wide range of sizes and
styles, and different styles are used for thick and thin tea (see Tea ceremony, below). Shallow bowls,
which allow the tea to cool rapidly, are used in summer; deep bowls are used in winter. Bowls are
frequently named by their creators or owners, or by a tea master. Bowls over four hundred years old
are in use today, but only on unusually special occasions. The best bowls are thrown by hand, and
some bowls are extremely valuable. Irregularities and imperfections are prized: they are often featured
prominently as the "front" of the bowl.
Broken tea bowls are painstakingly repaired using a mixture of lacquer and other natural ingredients.
Powdered gold is added to disguise the dark colour of the lacquer, and is known as kintsugi or "joint
with gold," and additional designs are sometimes created with the mixture. Bowls repaired in this
fashion are used mainly in November, when tea practitioners begin using the ro, or hearth, again, as
an expression and celebration of the concept of wabi, or humble simplicity.
A typical lacquerware natsume
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Tea caddy (cha-ire

and natsume ; main article: chaki). Tea caddies come in two basic styles,
the natsume and the cha-ire, though there is variation in shape, size and colour within the styles.
Cha-ire, which are used for koicha, are usually tall and thin (but shapes may vary significantly) and
have ivory lids with a gold leaf undersides. Cha-ire are usually ceramic, and are stored in decorative
bags called shifuku. Natsume are used for usucha, and are named for their resemblance to the natsume
fruit (the jujube). They are short with a flat lid and rounded bottom, and are usually made of lacquered
or untreated wood.
Tea scoop (chashaku

). Tea scoops are carved from a single piece of bamboo or ivory.
Sometimes, they are made of the tree of Japanese apricot, pine, or cherry blossom. Bamboo tea
scoops in the most casual style have a nodule in the approximate center. They are used to scoop tea
from the tea caddy into the tea bowl. Larger scoops are used to transfer tea into the tea caddy in the
mizuya (preparation area), but these are not seen by guests. Different styles and colours are used in
various tea traditions.
Whisk (chasen
). Tea whisks are carved from a single piece of bamboo. There are thick and thin
whisks for thick and thin tea.
Old and damaged whisks are not simply discarded. Once a year around May, they are taken to local
temples and ritually burned in a simple ceremony called chasen kuy, which reflects the reverence
with which objects are treated in the tea ceremony.
All the tools for tea ceremony are handled with exquisite care. They are scrupulously cleaned before and
after each use and before storing. Some components are handled only with gloved hands.
Tea ceremony
When tea is made with water drawn from the depths of mind
Whose bottom is beyond measure,
We really have what is called cha-no-yu.
Toyotomi Hideyoshi
Two main schools, the Omotesenke (

) and Urasenke (
), have evolved, each with its own
prescribed rituals. A third school, Mushanokjisenke, is largely unknown outside Japan. These three main
schools are collectively known as the Sansenke. There are various lesser-known schools as well. Currently,
the Urasenke School is the most active and has the largest following, particularly outside Japan. Within each
school there are sub-schools and branches, and in each school there are seasonal and temporal variations in
the method of preparing and enjoying the tea, and in the types and forms of utensils and tea used.
A host rests a bamboo ladle on an iron pot (inside the hearth).

All the schools, and most of the variations, however, have facets in common: at its most basic, the tea
ceremony involves the preparation and serving of tea to a guest or guests. The following description applies
to both Omotesenke and Urasenke, though there may be slight differences depending on the school and type
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of ceremony.
The host, male or female, wears a kimono, while guests may wear kimono or subdued formal wear. Tea
ceremonies may take place outside (in which case some kind of seating will usually be provided for guests,
whether benches or chairs, or even woven straw tatami mats) or inside, either in a tea room or a tea house,
but tea ceremonies can be performed nearly anywhere. Generally speaking, the longer and more formal the
ceremony, and the more important the guests, the more likely the ceremony will be performed indoors, on
tatami.
Both tea houses and tea rooms are usually small, a typical floor size being 4 1/2 tatami, the traditional
Japanese floor covering. The smallest tea room can be as little as one-and-a-half mats, and the size of the
largest is determined only by the limits of its owner's resources. Building materials and decorations are
deliberately simple and rustic.
If the tea is to be served in a separate tea house rather than a tea room, the guests will wait in a garden
shelter until summoned by the host. They ritually purify themselves by washing their hands and rinsing their
mouths with water from a small stone basin, and proceed through a simple garden along a roji, or "dewy
path," to the tea house. Guests remove their shoes and enter the tea house through a small door, and proceed
to the tokonoma scroll alcove, where they admire the scroll and other decorations placed therein and are
then seated seiza-style on the tatami in order of prestige.
Guests may be served a light, simple meal called a "kaiseki" or "chakaiseki," followed by sake, Japanese rice
wine. They will then return to the waiting shelter until summoned again by the host.
If no meal is served, the host will proceed directly to the serving of a small sweet or sweets. Sweets are
eaten from special paper called kaishi, which each guest carries, often in a decorative wallet tucked into the
breast of the kimono.
Each utensil - including the tea bowl, whisk, and tea scoop - is then ritually cleaned in the presence of the
guests in a precise order and using prescribed motions. The utensils are placed in an exact arrangement
according to the ritual being performed. When the ritual cleaning and preparation of the utensils is complete,
the host will place a measured amount of green tea powder in the bowl and add the appropriate amount of
hot water, then whisk the tea using set movements.
Conversation is kept to a minimum throughout. Guests relax and enjoy the atmosphere created by the
sounds of the water and fire, the smell of the incense and tea, and the beauty and simplicity of the tea house
and its seasonally appropriate decorations.
The bowl is then served to the guest of honour, either by the host or an assistant. Bows are exchanged
between the host and guest of honour. The guest then bows to the second guest, and raises the bowl in a
gesture of respect to the host. The guest rotates the bowl to avoid drinking from its front, takes a sip,
murmurs the prescribed phrase, and then takes two or three more sips before wiping the rim, rotating the
bowl to its original position, and passing it to the next guest with a bow. The procedure is repeated until all
guests have taken tea from the same bowl, and the bowl is returned to the host. In some ceremonies, each
guest will drink from an individual bowl, but the order of serving and drinking is the same.
If thick tea (koicha) has been served, the host will then prepare thin tea, or usucha, which is served in the
same manner. In some ceremonies, however, only one or the other type is served.
After all the guests have taken tea, the host cleans the utensils in preparation for putting them away. The
guest of honour will request that the host allow the guests to examine some of the utensils, and each guest in
turn examines and admires each item, including the water scoop, the tea caddy, the tea scoop, the tea whisk,
and, most importantly, the tea bowl. The items are treated with extreme care and reverence as they may be
priceless, irreplaceable, handmade antiques, and guests often use a special brocaded cloth to handle them.
The host then collects the utensils, and the guests leave the tea house. The host bows from the door, and the
ceremony is over. A tea ceremony can last between one hour and four to five hours, depending on the type
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of ceremony performed, the number of guests, and the types of meal and tea served.
Types of ceremony
The ceremonies described below are performed in both the Omotesenke and Urasenke styles. Note that for
the word temae (roughly, "ceremony" or "procedure"), Omotesenke prefers the Chinese characters
,
while Urasenke prefers
.
Chabako demae
Chabako demae (Omotesenke:

; Urasenke:
) is so called because the equipment is
removed from and then replaced into a special box (chabako, literally tea box).This ceremony is approx
35-40 minutes
Hakobi demae
Hakobi demae (Omotesenke:

; Urasenke:
) is closely related to ry-rei (see below), but is
performed in seiza position. The name comes from the fact that the essential equipment - bowl, natsume,
waste water container, fresh water container, scoops, and so on - are carried into and out of the tea room.
O-bon temae
In O-bon Temae (Omotesenke:

, "tray ceremony"; Urasenke:
ryaku-bon or
ryaku-demae -- ryaku: "abbreviated"), the host places a tea bowl, whisk, tea scoop, chakin and natsume on
a special tray; these items are covered by the fukusa. Thin tea is prepared on the tray while kneeling seiza
style on the floor. This is usually the first ceremony learned, and is the simplest to perform, requiring neither
much specialized equipment nor a lot of time to complete.
Ry-rei
In Ry-rei (
, literally standing bow) the tea is prepared at a special table. The guests are seated either at
the same table (one guest) or at a separate table. The name refers to the practice of performing the first and
last bows standing at the entrance to the tea room. In Ry-rei there is usually an assistant who sits behind the
host and moves the host's stool out of the way as needed for standing or sitting. The assistant also serves the
tea and sweets to the guests.
Tea ceremony and calligraphy

Calligraphy, mainly in the form of hanging scrolls, plays a central role in the tea ceremony. In Japan the
formal name for this process of brush strokes is zenga. Scrolls, often written by famous calligraphers or
Buddhist monks or painted by well-known artists, are hung in the tokonoma (scroll alcove) of the tea room.
They are selected for their appropriateness for the season, time of day, or theme of the particular ceremony.
Calligraphic scrolls may feature well-known sayings, particularly those associated with Buddhism, poems,
descriptions of famous places, or words or phrases associated with tea ceremony. A typical example might
have the characters wa kei sei jaku (
, harmony, respect, purity and tranquility). Some contain only
a single character; in summer, kaze ("wind") would be appropriate. Painted scrolls may contain seasonally
appropriate images, or images appropriate to the theme of the particular ceremony. Rabbits, for example,
might be chosen for a nighttime ceremony because of their association with the moon. Scrolls are sometimes
placed in the waiting room as well.
Tea ceremony and flower arranging
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A chabana flower arrangement in front of a hanging scroll
Chabana (
, literally "tea flowers") is the simple style of flower arranging used in tea ceremony.
Chabana has its roots in ikebana, another traditional style of Japanese flower arranging, which itself has
roots in Shinto and Buddhism.
Chabana evolved from a less formal style of ikebana, which was used by early tea masters. The chabana
style is now the standard style of arrangement for tea ceremony. Chabana is said, depending upon the
source, to have been either developed or championed by Sen no Rikyu.
At its most basic, a chabana arrangement is a simple arrangement of seasonal flowers placed in a container.
Chabana arrangements typically comprise few items, and little or no "filler" material. Unlike ikebana (which
often uses shallow, wide dishes), tall, narrow vases are frequently used in chabana. Vases are made from
natural materials such as bamboo, as well as metal or ceramic, but rarely glass.
Chabana arrangements are so simple that frequently no more than a single blossom is used; this blossom will
invariably lean towards or face the guests.
Kaiseki
One course of a multi course Kaiseki meal, showing a careful arrangement of the foods
Kaiseki ryri (
, literally "breast-stone cuisine") is the name for the type of food served during tea
ceremonies. The name comes from the practice of Zen monks of placing warmed stones in the breast of the
robes to stave off hunger during periods of fasting.
Kaiseki cuisine was once strictly vegetarian, but nowadays fish and occasionally meat will feature.
In kaiseki, only fresh seasonal ingredients are used, prepared in ways that aim to enhance their flavour.
Exquisite care is taken in selecting ingredients and types of food, and finished dishes are carefully presented
on serving ware that is chosen to enhance the appearance and seasonal theme of the meal. Dishes are
beautifully arranged and garnished, often with real leaves and flowers, as well as edible garnishes designed
to resemble natural plants and animals. The serving ware and garnishes are as much a part of the kaiseki
experience as the food; some might argue that the aesthetic experience of seeing the food is more important
than the physical experience of eating it, though of course both aspects are important.
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Courses are served in small servings in individual dishes, and the meal is eaten while sitting in seiza. Each
diner has a small lacquered tray to her- or himself; very important people may be provided their own low,
lacquered table or several small tables.
Kaiseki for tea ceremony is sometimes referred to as chakaiseki (cha: "tea") meaning "tea kaiseki."
Chakaiseki usually includes one or two soups and three different vegetable dishes along with pickles and
boiled rice. Sashimi or other fish dishes may occasionally be served, but meat dishes are more rare.
Kaiseki is accompanied by sake.
Tea ceremony and kimono
A woman holding a natsume performs the Ry-rei ceremony. Visible from far left to right are the red fresh
water container (its lid is on the tana), the tea whisk, the tea bowl, the iron pot and the ladle (resting on the
pot).
While a kimono used to be mandatory for all participants in a Japanese tea ceremony, this is no longer the
case. Still, it is traditional, and on formal occasions most guests will wear a kimono. Since the study of
kimono is an essential part of learning tea ceremony, most practitioners will own at least one kimono which
they will wear when hosting or participating in a tea ceremony. The kimono used to be mandatory dress for
students of tea ceremony, and while this practice continues many teachers do not insist upon it; it is not
uncommon for students to wear western clothes for practice. This is primarily born of necessity: since most
people cannot afford to own more than one or two kimono it is important that they be kept in good
condition. Still, most students will practice in kimono at least some of the time. This is essential to learn the
prescribed motions properly.
Many of the movements and components of tea ceremony evolved from the wearing of a kimono. For
example, certain movements are designed with long kimono sleeves in mind; certain motions are intended to
move sleeves out of the way or to prevent them from becoming dirtied in the process of making, serving or
partaking of tea. Other motions are designed to allow for the straightening of the kimono and hakama.
Fukusa (silk cloths) are designed to be folded and tucked into the obi (sash); when no obi is worn, a regular
belt must be substituted or the motions cannot be performed properly.
Kaishi (paper) and kobukusa are tucked into the breast of the kimono; fans are tucked into the obi. When
Western clothes are worn, the wearer must find other places to keep these objects. The sleeves of the
kimono function as pockets, and used kaishi are folded and placed into them.
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For tea ceremony, men may wear a combination of kimono and hakama (a long divided or undivided skirt
worn over the kimono), but some men wear only kimono. Wearing hakama is not essential for men, but it
makes the outfit more formal. Women wear various styles of kimono depending on the season and the event;
women generally do not wear hakama for tea ceremony. Lined kimono are worn by both men and women in
the winter months, and unlined ones in the summer. For formal occasions men wear montsuki kimono (plain,
single colour kimono with three to five family crests on the sleeves and back), often with striped hakama.
Both men and women wear white tabi (divided- toe socks).
While men's kimono tend to be plain and largely unpatterned, some women's kimono have patterns on only
one side; the wearer must determine which side will be facing the guests and dress accordingly.
Tea ceremony and seiza

Seiza is integral to the Japanese tea ceremony. When not seated at tables, both the host and guests sit in
seiza style, and seiza is the basic position from which everything begins and ends in a tea ceremony. The
host sits seiza to open and close the tea room doors; seiza is the basic position for arranging and cleaning the
utensils and preparation of the tea. Even when the host must change positions during parts of the ceremony,
these position changes are made in seiza position, and the host returns to sitting seiza when the repositioning
is complete. Guests maintain a seiza position during the entire ceremony.
All the bows (there are three basic variations, differing mainly in depth of bow and position of the hands)
performed during tea ceremony originate in the seiza position.
Tea ceremony and tatami
Typical winter tearoom layout in a 4 1/2 mat tearoom, showing position of tatami, tokonoma, mizuya,
hearth, guests and host. Click to enlarge
Tatami is an integral part of tea ceremony. The main areas of tea rooms and tea houses have tatami floors,
and the scroll alcove in tea rooms often has a tatami floor as well.
Tatami are used in various ways in tea ceremony. Their placement, for example, determines how a person
walks through the tea room. When walking on tatami it is customary to shuffle. This forces one to slow
down, to maintain erect posture and to walk quietly, and helps one to maintain balance as the combination
of tabi and tatami makes for a slippery surface; it is also a function of wearing kimono, which restricts stride
length. One must avoid walking on the joins between mats; participants step over such joins when walking in
the tea room.
The placement of tatami in tea rooms differs slightly from the normal placement in regular rooms, and may
also vary by season (where it is possible to rearrange the mats). In a 4 1/2 mat room, the mats are placed in a
circular pattern around a centre mat. Purpose-built tea rooms have a sunken hearth in the floor which is used
in winter. A special tatami is used which has a cut-out section providing access to the hearth. In summer, the
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hearth is covered either with a small square of extra tatami, or, more commonly, the hearth tatami is
replaced with a full mat, totally hiding the hearth.
It is customary to avoid stepping on this centre mat whenever possible, as well as to avoid placing the hands
palm-down on it, as it functions as a kind of table: tea utensils are placed on it for viewing, and prepared
bowls of tea are placed on it for serving to the guests. To avoid stepping on it people may walk around it on
the other mats, or shuffle on the hands and knees.
Interior view of a large tea room in summer, with tatami, and tokonoma with flower arrangement and scroll
Except when walking, when moving about on the tatami one places one's closed fists on the mats and uses
them to pull oneself forward or push backwards while maintaining a seiza position.
There are dozens of real and imaginary lines that crisscross any tearoom. These are used to determine the
exact placement of utensils and myriad other details; when performed by skilled practitioners, the placement
of utensils will vary infinitesimally from ceremony to ceremony. The lines in tatami mats ( gy) are used
as one guide for placement, and the joins serve as a demarcation indicating where people should sit.
Tatami provide a more comfortable surface for sitting seiza-style. At certain times of year (primarily during
the new year's festivities) the portions of the tatami where guests sit are covered with a red felt cloth.
Studying tea ceremony
A 16th century black Raku ware style chawan, used for thick tea (Tokyo National Museum)
In Japan, those who wish to study tea ceremony typically join what is known in Japanese as a "circle,"
which is a generic term for a group that meets regularly to participate in a given activity. There are also tea
clubs at many junior high and high schools, colleges and universities.
Most tea circles are run by a local chapter of an established tea school. Classes may be held at community
centres, dedicated tea schools, or at private homes. Tea schools often have widely varied groups that all
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study in the same school but at different times. For example, there may be a women's group, a group for
older or younger students, and so on.
Students normally pay a monthly fee which covers tuition and the use of the school's (or teacher's) bowls
and other equipment, the tea itself, and the sweets that students serve and eat at every class. Students must
provide their own fukusa, fan, paper, and kobukusa, as well as their own wallet in which to place these
items. Traditionally students also provided their own kimono and related accessories, though western
clothing is very common today. On the other hand, if the teacher is in the higher rank of tradition, especially
an iemoto, wearing kimono is still considered essential, especially for women. In some cases, advanced
students may be given permission to wear the school's mark in place of the usual family crests on formal
montsuki kimono.
New students typically begin by observing more advanced students as they practice. New students are
normally taught mostly by more advanced students; the most advanced students are taught exclusively by
the teacher. The first things new students learn are how to correctly open and close sliding doors, how to
walk on tatami, how to enter and exit the tea room, how to bow and to whom and when to do so, how to
wash, store and care for the various equipment, how to fold the fukusa, how to ritually clean tea equipment,
and how to wash and fold chakin. As they master these essential steps, students are also taught how to
behave as a guest at tea ceremonies: the correct words to say, how to handle bowls, how to drink tea and eat
sweets, how to use paper and sweet-picks, and myriad other details.
As they master the basics, students will be instructed on how to prepare the powdered tea for use, how to fill
the tea caddy, and finally, how to measure the tea and water and whisk it to the proper consistency. Once
these basic steps have been mastered, students begin to practice the simplest ceremonies, typically beginning
with O-bon temae (see above). Only when the first ceremony has been mastered will students move on.
Study is through observation and hands on practice; students do not often take notes, and some schools
discourage the practice of note-taking.
As they master each ceremony, some schools and teachers present students with certificates at a formal
ceremony. According to the school, this certificate may warrant that the student has mastered a given
ceremony, or may give the student permission to study a given ceremony. Acquiring such certificates is often
very costly; the student typically must not only pay for the preparation of the certificate itself and for
participating in the ceremony during which it is bestowed, but is also expected to thank the teacher by
presenting him or her with a gift of money. The cost of acquiring certificates increases as the student's level
increases.
Typically, each class ends with the whole group being given brief instruction by the main teacher, usually
concerning the contents of the tokonoma (the scroll alcove, which typically features a hanging scroll (usually
with calligraphy), a flower arrangement, and occasionally other objects as well) and the sweets that have
been served that day. Related topics include incense and kimono, or comments on seasonal variations in
equipment or ceremony.
Read a thesis on Tea For All Nations. The tea ceremony scroll - Wa Kei Sei Jaku.
Return to Chanoyu - Email to Shibui Swords
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Japanese Tea Ceremony

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Japanese tea ceremony

The Japanese tea ceremony (