Japanese Tea Ceremony
A woman wearing a
kimono performs
a tea ceremony outdoors, while seated in seiza position.
The Japanese tea ceremony (茶道, chadō,
or sadō, 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 (抹茶), is ceremonially prepared by a skilled
practitioner and served to a small group of guests in a tranquil setting.
The pronunciation sadō is
preferred by some schools, including Omotesenke
and the Mushanokōjisenke,
while the pronunciation chadō 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.
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History
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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 |
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Drinking of tea was introduced to Japan in the 9th
century in the form of the boiled tea (団茶 dancha)
by the Buddhist monk Eichu (永忠), 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.
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-Chán 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-known—and still revered—historical figure in
tea ceremony, followed his master, Takeno Jōō'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 (和 wa),
respect (敬 kei),
purity (清 sei,),
and tranquility (寂 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 dōgu
(道具, literally tools). A wide range of dōgu 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 (茶巾). 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.
- Fukusa (袱紗). The fukusa is a square silk cloth used
for the ritual cleansing of the tea scoop and the 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 柄杓). 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 茶碗; 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
- Tea caddy (cha-ire 茶入 and natsume 棗; 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 茶杓). 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 茶筅). 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
kuyō, 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
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When tea is made with water drawn from the depths of mind Whose bottom is beyond measure, |
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Two main schools, the Omotesenke (表千家) and Urasenke (裏千家), have
evolved, each with its own prescribed rituals. A third school, Mushanokōjisenke,
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 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 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 点前, while Urasenke prefers 手前.
Chabako demae
Chabako demae (Omotesenke: 茶箱点前; Urasenke: 茶箱手前) 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: 運び点前; Urasenke: 運び手前) is closely
related to ryū-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: お盆手前, "tray
ceremony"; Urasenke: 略盆、略点前 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.
Ryū-rei
In Ryū-rei (立礼, 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
Ryū-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 (和敬清寂, 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
A chabana flower
arrangement in front of a hanging scroll
Chabana (茶花, 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 ryōri (懐石料理, 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.
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 Ryū-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.
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 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 (行 gyō) 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 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.
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