| . |
| . . |
study |
| U R A S E N K E FOUNDATION OF SEATTLE Transmitting the living art of Chado, the Way of Tea, through harmony, respect, purity and tranquility |
Licenses and
Curriculum
Curriculum
SHOKYUU BEGINNER STUDENT CERTIFICATION
1. NYUMON LICENSE enter/gate
A certificate granting the student permission to begin the formal study of Chado
with the Urasenke iemoto (hereditary head master)
Warigeiko divide/practice
The teaching technique whereby certain "kata," forms for executing actions
common to many tea procedures, are practiced out of the context of individual
temae.
Bonryaku Temae tray/abbreviated/procedure for preparing tea before a guest
Devised by the 13th iemoto, Ennosai, this temae, also called Ryakubon,
employs the kata learned in warigeiko to prepare thin tea (usucha). The
"mountain path" (yamamichi) tray is used to hold utensils and prepare tea.
Usucha Hirademae thin tea/basic/tea procedure
The procedure of preparing individual whisked bowls of powdered thin tea using
a cold-water jar (mizusashi), a kettle (kama), a ladle (hishaku), and a lid rest
(futaoki), in addition to the basic utensils. This temae is performed either by
carrying in all the utensils, referred to as a hakobi temae, or by placing some of
the utensils on a shelf, a tana temae.
Koicha Hirademae thick tea/basic/tea procedure
The procedure for preparing a bowl of thick tea, which is shared among the
guests and is the highlight of a full-length tea gathering (chaji). The tea is
prepared by adding less water and kneading rather than whisking it into a
smooth, velvety consistency. It is performed as a hakobi or tana temae.
Shozumi Hirademae first/charcoal/procedure
The procedure of arranging unlit charcoal pieces around pilot pieces (shitabi)
during the first half of a full-length tea gathering (chaji). This procedure is
practiced as a hakobi or tana temae.
Gozumi Hirademae last/charcoal/procedure
The procedure of repairing the fire for the latter half of a chaji. This procedure
is practiced as a hakobi or tana temae.
2. KONARAI LICENSE specific practices
This certificate gives permission to study the sixteen basic furo and ro season
temae standardized in their present form by the 11th iemoto, Gengensai.
Divided into two groups, these temae are essential for developing the ability to
adapt creatively and spontaneously to whatever circumstance may arise
(hataraki). The first eight are Kinindate, Kininkiyotsugu, Chairekazari,
Chawankazari, Chashakukazari, Chasenkazari, Nagao chaire, and Kasanejawan.
Of these, Kinindate and Kininkiyotsugu may be performed as usucha and koicha
temae. The others are exclusively koicha temae. The last eight are
Tsutsumibukusa, Tsubokazari, Sumishomo, Hanashomo, Irekodate, Bonkogo,
Jikukazari, and Otsubukuro. Of these, Tsutsumibukusa and Otsubukuro are koicha
temae, Irekodate is an usucha temae, and the remaining do not involve the
preparation of tea.
Kinindate nobleman/tea procedure
Kininkiyotsugu nobleman/attendant
These temae emphasize the rank of a noble guest and his or her attendant if
present.
Chairekazari tea caddy/display
Chawankazari tea bowl/display
Chashakukazari tea scoop/display
Chasenkazari tea whisk/display
These procedures feature certain utensils used in the preparation of thick tea,
which have emotional or historical significance. The first three kazari feature a
utensil, which will be displayed in the tokonoma at the beginning half of the tea
gathering. Chasenkazari on the other hand draws attention to a utilitarian object
such as the mizusashi, (not the chasen which its name implies) so the object in
question is not placed in the alcove.
Nagao chaire long cord/tea caddy
Otsubukuro Otsu Province/bag
Tsutsumibukusa wrapped/silk cloth
These three thick tea temae feature the use of different types of containers and
their wrappings. Nagao is a procedure using a wide-mouth chaire enclosed in a
shifuku (silk bag), which has a particularly long cord. Otsubukuro is the temae
that employs a silk crepe bag shaped like one once used to carry rice in Otsu
province. This bag is tied around a black-lacquered, medium-sized, jujube-
shaped container (shinnuri/chu/natsume). Like the Otsubukuro temae,
Tsutsumibukusa features the same high quality container. In this procedure the
natsume is wrapped in the host's own fukusa.
Kasanejawan stacked/bowls
Irekodate nested bowl/procedure
Kasanejawan and Irekodate are temae in which allowances are made for the
guests and the host respectively. The student learns Kasanejawan in order to
prepare two bowls of thick tea when there are more than five guests present.
Irekodate is a thin tea procedure in which most of the utensils are displayed on
a tana reducing the number of trips in and out of the room.
Bonkogo tray/incense container
Sumishomo charcoal/to call upon
These two temae relate to the charcoal procedures rather than to the actual
preparation of tea. Bonkogo features the incense container in much the same
way as the kazarimono (featured object temae) highlights other utensils of
historical or emotional significance. The incense container, (kogo), is placed
on a tray to designate its historical importance rather than in the charcoal
basket as is customary. Sumishomo involves a request from the host to a skilled
guest for help in laying the charcoal. To be asked is a great compliment to
one's skill as a tea person. A host will ask a guest more skilled than himself to
arrange the charcoal either for shozumi (in the furo or ro season) or gozumi (in
the ro season).
Hanashomo flowers/to call upon
Like sumishomo, this procedure is practiced for similar reasons. The host will ask
the guest to arrange the flowers in the container because the guest may be
more experienced at chabana (tea flowers) than the host, or may be the donor
of the flower vase or the flowers to be used.
Tsubokazari tealeaf storage jar/display
Jikukazari scroll/display
These two procedures bring attention to utensils that may have historical or
emotional significance to the host. Tsubokazari is a procedure that draws
attention to the traditional production method and consumption of the year's
tea crop. The host has left his tea jar with the grower prior to harvesting tea in
April, and the leaves are allowed to mellow in the sealed container until
November. In autumn, the grower returns the jar that contains a year's supply of
usucha and koicha. The host will hold a gathering in which the paper seal of
the wooden plug will be cut and the new tea ground and served. At the
beginning of this gathering the guests have a chance to admire the jar and the
beautiful netting which protects it. Jikukazari is a procedure that features the
display of an especially rare or famous scroll. The scroll is displayed in the
tokonoma prior to the guests' entrance into the tearoom. In the presence of the
guests the scroll is unrolled and displayed briefly before putting it away again.
This temae draws attention to the careful curatorship of fragile utensils inherent
to the practice of tea.
3. CHABAKO LICENSE box for tea utensils
Unohana deutzia/blossom
Tsuki moon
Yuki snow
Hana flower
Gengensai, the 11th iemoto, created a series of four temae using small utensils
that can be carried in a box. The portable character of the chabako makes
these temae ideal for outdoor tea gatherings. Each of the four temae
corresponds to a season: Unohana (deutzia blossom) is performed in summer,
Tsuki in fall while viewing the moon, Yuki in winter while enjoying the snow,
and Hana in spring during flower viewing season.
Wakeidate harmony and respect/procedure
The two final procedures in the chabako series created by Tantansai, the 14th
iemoto, use different containers than the chabako just described. Wakeidate was
created for the retired iemoto Hounsai when he went to war. At the time it was
called by another name indicating it was a chabako temae for the battlefield.
Today its name has been changed to mean, "making tea with harmony and
respect."
Shikishidate square poem board/procedure
Shikishidate is the final temae in this series and was created to make use of a
letterbox ordered by Ennosai, the 13th iemoto. Shikishi are square poem boards
on which calligraphy is written. All the utensils are placed on square pieces of
board or fabric to recall the proportions of these cards.
TOKUSHU TEMAE special/procedures
These temae do not fall into the Konarai license category but are studied
adjunctly. They may provide a seasonal reference with regard to utensils or may
be a variation of standard temae determined by the orientation of the tearoom
or placement of the hearth.
Ryurei standing/bow
Gengensai, the 11th iemoto, created the Ryurei style of tea making in 1872 with
the Tenchaban tea table for participants seated on stools rather than on tatami
mats. Usucha, koicha, shozumi, and gozumi temae are presented employing
the Tenchaban. Later table designs, including the Misonodana, are used for the
preparation of usucha only.
Tsutsujawan cylindrical/bowl
Araijakin rinse/small linen cloth
These usucha temae illustrate Rikyu's maxim to suggest warmth in winter and
coolness in summer. The tsutsujawan is a tall cylindrical bowl that retains the
heat of the tea and is used in January and February, the two coldest months of
the year. Special handling of the chakin is required because of the narrowness
of the bowl. The araijakin temae is practiced in July and August, the two hottest
months of the year, and features a wide shallow bowl filled with cold water and
an unfolded chakin, along with the chasen and chashaku. The chakin is wrung
out before the guests and the cold water emptied into the wastewater container,
evoking coolness.
Habuta leaf-lid (mizusashi)
Obuta large-lid (mizusashi)
Waributa hinged-lid (mizusashi)
These three tea procedures featuring mizusashi focus attention on coolness and
are considered seasonal temae best performed in July and August. The habuta
temae, created by Gengensai, features a lacquered cylindrical mizusashi
covered with a fresh green leaf. The leaf lid is removed, folded, and discarded
during the temae that makes this procedure appropriate for usucha only. Obuta
and waributa temae feature large wide-mouthed mizusashi with lids that require
special handling. This type of mizusashi is displayed throughout the tea
gathering to suggest coolness through the expanse of the water's surface, and to
eliminate the awkwardness of carrying it back and forth.
Tsurube mizusashi well-bucket/cold water jar
Meisuidate famous water/procedure
These procedures feature the use of a cedar mizusashi in the shape of a square
well bucket. This utensil draws our attention to the preciousness of water, its
source, quality, and the historical associations of preparing tea with water drawn
from famous wells. The tsurube mizusashi may be used in the summer months or
when water is drawn in the early hours of the first day of the solar New Year for
the obukucha (great happiness tea) gathering at Konnichian. When water from a
famous well is drawn for tea the host may decorate the mizusashi with
shimenawa (sacred Shinto rope) for the meisuidate koicha temae.
Tsuzukiusucha continue through/thin tea
This temae features a koicha temae immediately followed by the preparation of
usucha without stopping to repair the charcoal fire (gozumi). This enables the
host or guests at a chaji to adjust to time constraints as may be required.
Nakaoki middle/placement
Tsurigama suspended/kettle
Sukigigama small rectangular wooden blocks/kettle
These three procedures highlight the changeover from the brazier and hearth
seasons through the placement of the summer brazier and the use and handling
of special winter kettles. In October, the brazier is placed in the center of the
utensil mat (nakaoki) to anticipate the coming of winter and the opening of the
sunken hearth. The mizusashi is placed to the left of the brazier so that the host
and guest may share the warmth of the fire. In March, the tsurigama kettle,
smaller than the large winter kettle, is suspended by a chain or pole over the
hearth. Smaller sized charcoal is used to boil the water and warm the room as
the warmer furo season approaches. In April, the sukigigama replaces the
tsurigama. Small, wooden blocks that protect the delicate masonry of the hearth
support it. The fire, now barely visible beneath the wide flanged kettle, functions
to heat the water but not the room. A sukigigama may also be used with a
brazier in the summer months to suggest coolness by blocking the view of the
fire from the guests.
Hachiro Eight placements of the hearth
One feature of tearoom design is the orientation of the guest's seat with respect
to the host. In an orthodox or conventional room (hongatte) the guest is seated
to the host's right. When this is reversed and the guest is seated to the host's left
(gyakugatte), certain temae actions are reversed. All temae in the nyumon,
konarai, and tokushu categories described thus far are hongatte, yojohangiri,
and performed in a room 4.5 mats or larger (hiroma). However, there are three
other placements of the hearth --daimegiri, sumiro, mukogiri -- and they are
usually found in rooms smaller than 4.5 mats (koma).
Yojohangiri 4.5 mat/placement of the 42.2 cm. square hearth
Daimegiri 3/4-length mat/placement of the 42.2 cm. square hearth
Sumiro corner/placement of the 42.2 cm. square hearth
Mukogiri opposite the corner/placement of the 42.2 cm. square hearth
The position of the 4.5 mat hearth is in the corner of the mat adjacent to lower
half of the full-length host's mat and the kinindatami. The daimegiri is set in the
tatami mat adjacent host's mat where the host's mat (temaeza) has been
determined to be a 3/4-length mat. The temaeza may actually be reduced in
size by the dimensions of the daisu table, or may be a full-length mat
(marudatami) in a room that does not have a fumikomi tatami (stepping in mat).
The sumiro hearth is cut in the upper corner of a full-length host's mat next to
the corner of the room. The mukogiri hearth is cut in the upper corner of a full-
length host's mat away from the corner and towards the guest. The four hearth
cuts may be oriented in both hongatte and gyakugatte rooms giving us a total of
eight basic hearth positions (hachiro). When using the daimegiri, sumiro, or
mukogiri, the four standard chaji temae, usucha, koicha, shozumi, gozumi, are
performed with variations in the placement of utensils as required by the
location of the hearth and orientation of the room.
Dairo large/hearth
Standardized in the 19th c. by Gengensai, the 11th iemoto, the 54.5-cm.
square dairo is used in February, the coldest month of the year in Kyoto, to
provide greater warmth for the adjacent Totsutotsusai tearoom, Urasenke's main
teaching room. The four standard chaji temae -- usucha, koicha, shozumi, and
gozumi -- are performed gyakugatte with variations to accommodate the large
size of the hearth.
Gyakugatte reverse/orientation (of the room)
The four chaji temae, usucha, koicha, shozumi, gozumi, may be presented in a
gyakugatte room where the guest is seated to the host's left.
Mukogiri Gyakugatte Uchi Nagashi side opposite the corner/cut/reverse
orientation/(utensils) flowing onto (the host's mat)
Mukogiri Gyakugatte Soto Nagashi side opposite the corner/cut/ reverse
orientation/(utensils) flowing beyond (the host's mat)
Furo Nagashidate furo season/ (utensils) flowing (onto the adjacent mat)
These three usucha temae are performed for intimate guests. The regular furo
season alignment of the host is shifted to the ro season alignment, to create a
feeling of closeness. The two Mukogiri Gyakugatte Nagashidate temae are
much older than the Furo Nagashidate temae that was created by Ennosai, the
13th iemoto.
SHICHIJISHIKI seven/tea ensemble exercises
The group ensemble exercises called shichijishiki are comprised of 'seven
exercises' or 'procedures.' These procedures were created in the 18th c. by the
7th iemoto of Omotesenke, Joshinsai Tennen Sosa (1706-1751), his younger
brother the 8th iemoto of Urasenke, Yugensai Itto Soshitsu (1719-1771), their
Zen master the abbot of Daitokuji, Mugaku Soen (1721-1791), and several of
their closest disciples and intimates. The 'Seven Exercises' are kagetsu, shaza,
mawarizumi, mawaribana, chakabuki, ichi ni san, and kazucha. Within Kagetsu
are fourteen procedures: chabakotsuki kagetsu, hirakagestu, jikutsuki kagetsu,
kininkiyotsugu kagetsu, kininkiyotsugu koichatsuki kagetsu, kotsuki kagetsu,
koichatsuki kagetsu, tsubotsuki kagetsu, musubibukusa kagetsu, nagekomi
kagetsu, mugon nagekomi kagetsu, satsubakotsuki kagestu, sumitsuki kagetsu,
and yojohan kagetsu.
In recent times, it has become the custom at Urasenke for each succeeding
iemoto to create a shiki. Thus today there are actually twenty-two shiki practiced
at Urasenke. The later creations are Hanayose (this, however, is not officially
included as a shichijishiki), Sen'yu (11th iemoto, Gengensai), Setsugeka (11th
iemoto, Gengensai), Homa (12th iemoto, Yumyosai), Sanyu (13th iemoto,
Ennosai), and Showa (14th iemoto, Tantansai).
CHUUKYUU INTERMEDIATE STUDENT CERTIFICATION
SHIKADEN four/verbal transmissions or four denmono
Once the student has completed the Konarai level, he or she normally requests
permission to study Shikaden. This category introduces the first four orally
transmitted temae, Satsubako, Karamono, Daitenmoku, and Bondate, performed
in the ro and furo seasons, standardized in their present form by Gengensai, the
11th iemoto.
1. SATSUBAKO TEMAE and LICENSE tea/box
This temae features serving two varieties of koicha; one which the host has
prepared and placed in chaire, and one which the host has unexpectedly
received and placed in a natsume (wrapped in either an Otsubukuro or fukusa).
Both are stored in an unlacquered paulownia box that gives this temae its
name. The handling of the box, with its reference to principles of ying and
yang, places this temae within the orally transmitted Shikaden category.
2. KARAMONO TEMAE and LICENSE historical Chinese tea jar; produced in
the Southern-Song and Yuan dynasties
3. DAITENMOKU TEMAE and LICENSE stand/tea bowl from Temmoku
Mountain (Tienmu-shan, Zhejiang Province; Jian or Jizhou ware produced in
the Song, Southern-Song, Yuan dynasties
4. BONDATE TEMAE and LICENSE historical Chinese tea jar/on a tray; tea jar
produced in the Southern-Song and Yuan dynasties, presented on a tray of
similar age
These three temae feature the deferential handling and presentation of
karamono (historical Chinese) utensils that were held in high esteem since the
earliest days of chanoyu. All four temae are based on the classical rules
concerning the use of the daisu display stand.
RANGAI additional procedure
1. WAKIN TEMAE and LICENSE Japanese/fabric
Created by Gengensai, the 11th iemoto, this procedure features a piece of cloth
(wakin) that once belonged to Emperor Kokaku (1780-1817). Gengensai made a
cloth bag (shifuku) for a paulownia wood tea container (nakatsuki) and kobukusa
from the material and displayed them together. Tantansai altered the
presentation by substituting an unlacquered nakatsuki container of mulberry
wood. Chabako temae are placed within this category.
JOUKYUU UPPER LEVEL STUDENT AND 4TH-DEGREE INSTRUCTOR
1. GYO-NO-GYO DAISU TEMAE and LICENSE
This license and temae procedure also called "midare," meaning unmatched,
uses the unlacquered daisu table used together with the daitenmoku bowl and
karamono chaire which are placed on a large tray inlaid with a Daoist design of
eight trigrams (hakke bon).
2. DAIEN-NO-SO TEMAE and LICENSE
Ennosai, the 13th iemoto, created the Daien-no-so and Daien-no-shin temae
using a Daien bon tray. Daien-no-so features both a karamono chaire of a
meibutsu category (renowned object) and a Japanese chaire placed on a large
tray (Enso bon), and a daitenmoku bowl. No display stand is used.
3. HIKITSUGI LICENSE
This license grants permission to teach and issue certificates from Nyumon
through Gyo-no-gyo temae.
KOUSHI 3RD-DEGREE INSTRUCTOR
1. SHIN-NO-GYO DAISU TEMAE and LICENSE
This temae embodies the fundamentals of the most advanced stage of
chanoyu. It employs a formal black lacquered daisu, a matching set of bronze
utensils (kaigu), and a karamono chaire and its companion tray, and a
daitenmoku bowl. The bowl and jar, with its companion tray, are of the
omeibutsu category of high-ranking renowned tea objects, identified with the
periods of tea history before the time of Sen Rikyu.
2. DAIEN-NO-SHIN TEMAE and LICENSE
This temae uses a formal daisu, a daitenmoku bowl, a karamono chaire
(omeibutsu category), and a Daien tray.
3. SEIHIKITSUGI LICENSE
This license grants permission to teach and issue certificates through Daien-no-
so, Hikitsugi, and Shin-no-gyo.
SENNIN KOUSHI 2ND-DEGREE INSTRUCTOR
1. CHAMEI artistic name
An artistic name bestowed by the iemoto through one's teacher. Within the
Urasenke tradition, an artistic name is comprised of two Chinese characters. A
character taken from one’s given name follows the prefix “so” meaning mastery.
One must be at least thirty years old to apply for and receive a chamei.
2. MONKYO permission to wear the Urasenke crest
This certificate is applied for along with the chamei granting permission to wear
the Urasenke tsubo-tsubo crest on one's kimono.
JUNKYOJU 1ST-DEGREE INSTRUCTOR
KYOJU EMERITUS INSTRUCTOR
This certificate is presented by the iemoto.
Adapted from "Chanoyu: an Anthropological Approach to Tea," Jennifer
Anderson, 1985, Stanford University, chapter 5; An Introduction to Japanese
Tea Ritual, State University of New York Press, 1991, Temae Appendix p. 227-
237; "The Urasenke Tradition of Tea, Essential Information for Beginning
Students," Urasenke Foundation, International Division, 2000; and Urasenke
Chado Kyoka, volumes 1-16, Tankosha Publishing Company.
1. NYUMON LICENSE enter/gate
A certificate granting the student permission to begin the formal study of Chado
with the Urasenke iemoto (hereditary head master)
Warigeiko divide/practice
The teaching technique whereby certain "kata," forms for executing actions
common to many tea procedures, are practiced out of the context of individual
temae.
Bonryaku Temae tray/abbreviated/procedure for preparing tea before a guest
Devised by the 13th iemoto, Ennosai, this temae, also called Ryakubon,
employs the kata learned in warigeiko to prepare thin tea (usucha). The
"mountain path" (yamamichi) tray is used to hold utensils and prepare tea.
Usucha Hirademae thin tea/basic/tea procedure
The procedure of preparing individual whisked bowls of powdered thin tea using
a cold-water jar (mizusashi), a kettle (kama), a ladle (hishaku), and a lid rest
(futaoki), in addition to the basic utensils. This temae is performed either by
carrying in all the utensils, referred to as a hakobi temae, or by placing some of
the utensils on a shelf, a tana temae.
Koicha Hirademae thick tea/basic/tea procedure
The procedure for preparing a bowl of thick tea, which is shared among the
guests and is the highlight of a full-length tea gathering (chaji). The tea is
prepared by adding less water and kneading rather than whisking it into a
smooth, velvety consistency. It is performed as a hakobi or tana temae.
Shozumi Hirademae first/charcoal/procedure
The procedure of arranging unlit charcoal pieces around pilot pieces (shitabi)
during the first half of a full-length tea gathering (chaji). This procedure is
practiced as a hakobi or tana temae.
Gozumi Hirademae last/charcoal/procedure
The procedure of repairing the fire for the latter half of a chaji. This procedure
is practiced as a hakobi or tana temae.
2. KONARAI LICENSE specific practices
This certificate gives permission to study the sixteen basic furo and ro season
temae standardized in their present form by the 11th iemoto, Gengensai.
Divided into two groups, these temae are essential for developing the ability to
adapt creatively and spontaneously to whatever circumstance may arise
(hataraki). The first eight are Kinindate, Kininkiyotsugu, Chairekazari,
Chawankazari, Chashakukazari, Chasenkazari, Nagao chaire, and Kasanejawan.
Of these, Kinindate and Kininkiyotsugu may be performed as usucha and koicha
temae. The others are exclusively koicha temae. The last eight are
Tsutsumibukusa, Tsubokazari, Sumishomo, Hanashomo, Irekodate, Bonkogo,
Jikukazari, and Otsubukuro. Of these, Tsutsumibukusa and Otsubukuro are koicha
temae, Irekodate is an usucha temae, and the remaining do not involve the
preparation of tea.
Kinindate nobleman/tea procedure
Kininkiyotsugu nobleman/attendant
These temae emphasize the rank of a noble guest and his or her attendant if
present.
Chairekazari tea caddy/display
Chawankazari tea bowl/display
Chashakukazari tea scoop/display
Chasenkazari tea whisk/display
These procedures feature certain utensils used in the preparation of thick tea,
which have emotional or historical significance. The first three kazari feature a
utensil, which will be displayed in the tokonoma at the beginning half of the tea
gathering. Chasenkazari on the other hand draws attention to a utilitarian object
such as the mizusashi, (not the chasen which its name implies) so the object in
question is not placed in the alcove.
Nagao chaire long cord/tea caddy
Otsubukuro Otsu Province/bag
Tsutsumibukusa wrapped/silk cloth
These three thick tea temae feature the use of different types of containers and
their wrappings. Nagao is a procedure using a wide-mouth chaire enclosed in a
shifuku (silk bag), which has a particularly long cord. Otsubukuro is the temae
that employs a silk crepe bag shaped like one once used to carry rice in Otsu
province. This bag is tied around a black-lacquered, medium-sized, jujube-
shaped container (shinnuri/chu/natsume). Like the Otsubukuro temae,
Tsutsumibukusa features the same high quality container. In this procedure the
natsume is wrapped in the host's own fukusa.
Kasanejawan stacked/bowls
Irekodate nested bowl/procedure
Kasanejawan and Irekodate are temae in which allowances are made for the
guests and the host respectively. The student learns Kasanejawan in order to
prepare two bowls of thick tea when there are more than five guests present.
Irekodate is a thin tea procedure in which most of the utensils are displayed on
a tana reducing the number of trips in and out of the room.
Bonkogo tray/incense container
Sumishomo charcoal/to call upon
These two temae relate to the charcoal procedures rather than to the actual
preparation of tea. Bonkogo features the incense container in much the same
way as the kazarimono (featured object temae) highlights other utensils of
historical or emotional significance. The incense container, (kogo), is placed
on a tray to designate its historical importance rather than in the charcoal
basket as is customary. Sumishomo involves a request from the host to a skilled
guest for help in laying the charcoal. To be asked is a great compliment to
one's skill as a tea person. A host will ask a guest more skilled than himself to
arrange the charcoal either for shozumi (in the furo or ro season) or gozumi (in
the ro season).
Hanashomo flowers/to call upon
Like sumishomo, this procedure is practiced for similar reasons. The host will ask
the guest to arrange the flowers in the container because the guest may be
more experienced at chabana (tea flowers) than the host, or may be the donor
of the flower vase or the flowers to be used.
Tsubokazari tealeaf storage jar/display
Jikukazari scroll/display
These two procedures bring attention to utensils that may have historical or
emotional significance to the host. Tsubokazari is a procedure that draws
attention to the traditional production method and consumption of the year's
tea crop. The host has left his tea jar with the grower prior to harvesting tea in
April, and the leaves are allowed to mellow in the sealed container until
November. In autumn, the grower returns the jar that contains a year's supply of
usucha and koicha. The host will hold a gathering in which the paper seal of
the wooden plug will be cut and the new tea ground and served. At the
beginning of this gathering the guests have a chance to admire the jar and the
beautiful netting which protects it. Jikukazari is a procedure that features the
display of an especially rare or famous scroll. The scroll is displayed in the
tokonoma prior to the guests' entrance into the tearoom. In the presence of the
guests the scroll is unrolled and displayed briefly before putting it away again.
This temae draws attention to the careful curatorship of fragile utensils inherent
to the practice of tea.
3. CHABAKO LICENSE box for tea utensils
Unohana deutzia/blossom
Tsuki moon
Yuki snow
Hana flower
Gengensai, the 11th iemoto, created a series of four temae using small utensils
that can be carried in a box. The portable character of the chabako makes
these temae ideal for outdoor tea gatherings. Each of the four temae
corresponds to a season: Unohana (deutzia blossom) is performed in summer,
Tsuki in fall while viewing the moon, Yuki in winter while enjoying the snow,
and Hana in spring during flower viewing season.
Wakeidate harmony and respect/procedure
The two final procedures in the chabako series created by Tantansai, the 14th
iemoto, use different containers than the chabako just described. Wakeidate was
created for the retired iemoto Hounsai when he went to war. At the time it was
called by another name indicating it was a chabako temae for the battlefield.
Today its name has been changed to mean, "making tea with harmony and
respect."
Shikishidate square poem board/procedure
Shikishidate is the final temae in this series and was created to make use of a
letterbox ordered by Ennosai, the 13th iemoto. Shikishi are square poem boards
on which calligraphy is written. All the utensils are placed on square pieces of
board or fabric to recall the proportions of these cards.
TOKUSHU TEMAE special/procedures
These temae do not fall into the Konarai license category but are studied
adjunctly. They may provide a seasonal reference with regard to utensils or may
be a variation of standard temae determined by the orientation of the tearoom
or placement of the hearth.
Ryurei standing/bow
Gengensai, the 11th iemoto, created the Ryurei style of tea making in 1872 with
the Tenchaban tea table for participants seated on stools rather than on tatami
mats. Usucha, koicha, shozumi, and gozumi temae are presented employing
the Tenchaban. Later table designs, including the Misonodana, are used for the
preparation of usucha only.
Tsutsujawan cylindrical/bowl
Araijakin rinse/small linen cloth
These usucha temae illustrate Rikyu's maxim to suggest warmth in winter and
coolness in summer. The tsutsujawan is a tall cylindrical bowl that retains the
heat of the tea and is used in January and February, the two coldest months of
the year. Special handling of the chakin is required because of the narrowness
of the bowl. The araijakin temae is practiced in July and August, the two hottest
months of the year, and features a wide shallow bowl filled with cold water and
an unfolded chakin, along with the chasen and chashaku. The chakin is wrung
out before the guests and the cold water emptied into the wastewater container,
evoking coolness.
Habuta leaf-lid (mizusashi)
Obuta large-lid (mizusashi)
Waributa hinged-lid (mizusashi)
These three tea procedures featuring mizusashi focus attention on coolness and
are considered seasonal temae best performed in July and August. The habuta
temae, created by Gengensai, features a lacquered cylindrical mizusashi
covered with a fresh green leaf. The leaf lid is removed, folded, and discarded
during the temae that makes this procedure appropriate for usucha only. Obuta
and waributa temae feature large wide-mouthed mizusashi with lids that require
special handling. This type of mizusashi is displayed throughout the tea
gathering to suggest coolness through the expanse of the water's surface, and to
eliminate the awkwardness of carrying it back and forth.
Tsurube mizusashi well-bucket/cold water jar
Meisuidate famous water/procedure
These procedures feature the use of a cedar mizusashi in the shape of a square
well bucket. This utensil draws our attention to the preciousness of water, its
source, quality, and the historical associations of preparing tea with water drawn
from famous wells. The tsurube mizusashi may be used in the summer months or
when water is drawn in the early hours of the first day of the solar New Year for
the obukucha (great happiness tea) gathering at Konnichian. When water from a
famous well is drawn for tea the host may decorate the mizusashi with
shimenawa (sacred Shinto rope) for the meisuidate koicha temae.
Tsuzukiusucha continue through/thin tea
This temae features a koicha temae immediately followed by the preparation of
usucha without stopping to repair the charcoal fire (gozumi). This enables the
host or guests at a chaji to adjust to time constraints as may be required.
Nakaoki middle/placement
Tsurigama suspended/kettle
Sukigigama small rectangular wooden blocks/kettle
These three procedures highlight the changeover from the brazier and hearth
seasons through the placement of the summer brazier and the use and handling
of special winter kettles. In October, the brazier is placed in the center of the
utensil mat (nakaoki) to anticipate the coming of winter and the opening of the
sunken hearth. The mizusashi is placed to the left of the brazier so that the host
and guest may share the warmth of the fire. In March, the tsurigama kettle,
smaller than the large winter kettle, is suspended by a chain or pole over the
hearth. Smaller sized charcoal is used to boil the water and warm the room as
the warmer furo season approaches. In April, the sukigigama replaces the
tsurigama. Small, wooden blocks that protect the delicate masonry of the hearth
support it. The fire, now barely visible beneath the wide flanged kettle, functions
to heat the water but not the room. A sukigigama may also be used with a
brazier in the summer months to suggest coolness by blocking the view of the
fire from the guests.
Hachiro Eight placements of the hearth
One feature of tearoom design is the orientation of the guest's seat with respect
to the host. In an orthodox or conventional room (hongatte) the guest is seated
to the host's right. When this is reversed and the guest is seated to the host's left
(gyakugatte), certain temae actions are reversed. All temae in the nyumon,
konarai, and tokushu categories described thus far are hongatte, yojohangiri,
and performed in a room 4.5 mats or larger (hiroma). However, there are three
other placements of the hearth --daimegiri, sumiro, mukogiri -- and they are
usually found in rooms smaller than 4.5 mats (koma).
Yojohangiri 4.5 mat/placement of the 42.2 cm. square hearth
Daimegiri 3/4-length mat/placement of the 42.2 cm. square hearth
Sumiro corner/placement of the 42.2 cm. square hearth
Mukogiri opposite the corner/placement of the 42.2 cm. square hearth
The position of the 4.5 mat hearth is in the corner of the mat adjacent to lower
half of the full-length host's mat and the kinindatami. The daimegiri is set in the
tatami mat adjacent host's mat where the host's mat (temaeza) has been
determined to be a 3/4-length mat. The temaeza may actually be reduced in
size by the dimensions of the daisu table, or may be a full-length mat
(marudatami) in a room that does not have a fumikomi tatami (stepping in mat).
The sumiro hearth is cut in the upper corner of a full-length host's mat next to
the corner of the room. The mukogiri hearth is cut in the upper corner of a full-
length host's mat away from the corner and towards the guest. The four hearth
cuts may be oriented in both hongatte and gyakugatte rooms giving us a total of
eight basic hearth positions (hachiro). When using the daimegiri, sumiro, or
mukogiri, the four standard chaji temae, usucha, koicha, shozumi, gozumi, are
performed with variations in the placement of utensils as required by the
location of the hearth and orientation of the room.
Dairo large/hearth
Standardized in the 19th c. by Gengensai, the 11th iemoto, the 54.5-cm.
square dairo is used in February, the coldest month of the year in Kyoto, to
provide greater warmth for the adjacent Totsutotsusai tearoom, Urasenke's main
teaching room. The four standard chaji temae -- usucha, koicha, shozumi, and
gozumi -- are performed gyakugatte with variations to accommodate the large
size of the hearth.
Gyakugatte reverse/orientation (of the room)
The four chaji temae, usucha, koicha, shozumi, gozumi, may be presented in a
gyakugatte room where the guest is seated to the host's left.
Mukogiri Gyakugatte Uchi Nagashi side opposite the corner/cut/reverse
orientation/(utensils) flowing onto (the host's mat)
Mukogiri Gyakugatte Soto Nagashi side opposite the corner/cut/ reverse
orientation/(utensils) flowing beyond (the host's mat)
Furo Nagashidate furo season/ (utensils) flowing (onto the adjacent mat)
These three usucha temae are performed for intimate guests. The regular furo
season alignment of the host is shifted to the ro season alignment, to create a
feeling of closeness. The two Mukogiri Gyakugatte Nagashidate temae are
much older than the Furo Nagashidate temae that was created by Ennosai, the
13th iemoto.
SHICHIJISHIKI seven/tea ensemble exercises
The group ensemble exercises called shichijishiki are comprised of 'seven
exercises' or 'procedures.' These procedures were created in the 18th c. by the
7th iemoto of Omotesenke, Joshinsai Tennen Sosa (1706-1751), his younger
brother the 8th iemoto of Urasenke, Yugensai Itto Soshitsu (1719-1771), their
Zen master the abbot of Daitokuji, Mugaku Soen (1721-1791), and several of
their closest disciples and intimates. The 'Seven Exercises' are kagetsu, shaza,
mawarizumi, mawaribana, chakabuki, ichi ni san, and kazucha. Within Kagetsu
are fourteen procedures: chabakotsuki kagetsu, hirakagestu, jikutsuki kagetsu,
kininkiyotsugu kagetsu, kininkiyotsugu koichatsuki kagetsu, kotsuki kagetsu,
koichatsuki kagetsu, tsubotsuki kagetsu, musubibukusa kagetsu, nagekomi
kagetsu, mugon nagekomi kagetsu, satsubakotsuki kagestu, sumitsuki kagetsu,
and yojohan kagetsu.
In recent times, it has become the custom at Urasenke for each succeeding
iemoto to create a shiki. Thus today there are actually twenty-two shiki practiced
at Urasenke. The later creations are Hanayose (this, however, is not officially
included as a shichijishiki), Sen'yu (11th iemoto, Gengensai), Setsugeka (11th
iemoto, Gengensai), Homa (12th iemoto, Yumyosai), Sanyu (13th iemoto,
Ennosai), and Showa (14th iemoto, Tantansai).
CHUUKYUU INTERMEDIATE STUDENT CERTIFICATION
SHIKADEN four/verbal transmissions or four denmono
Once the student has completed the Konarai level, he or she normally requests
permission to study Shikaden. This category introduces the first four orally
transmitted temae, Satsubako, Karamono, Daitenmoku, and Bondate, performed
in the ro and furo seasons, standardized in their present form by Gengensai, the
11th iemoto.
1. SATSUBAKO TEMAE and LICENSE tea/box
This temae features serving two varieties of koicha; one which the host has
prepared and placed in chaire, and one which the host has unexpectedly
received and placed in a natsume (wrapped in either an Otsubukuro or fukusa).
Both are stored in an unlacquered paulownia box that gives this temae its
name. The handling of the box, with its reference to principles of ying and
yang, places this temae within the orally transmitted Shikaden category.
2. KARAMONO TEMAE and LICENSE historical Chinese tea jar; produced in
the Southern-Song and Yuan dynasties
3. DAITENMOKU TEMAE and LICENSE stand/tea bowl from Temmoku
Mountain (Tienmu-shan, Zhejiang Province; Jian or Jizhou ware produced in
the Song, Southern-Song, Yuan dynasties
4. BONDATE TEMAE and LICENSE historical Chinese tea jar/on a tray; tea jar
produced in the Southern-Song and Yuan dynasties, presented on a tray of
similar age
These three temae feature the deferential handling and presentation of
karamono (historical Chinese) utensils that were held in high esteem since the
earliest days of chanoyu. All four temae are based on the classical rules
concerning the use of the daisu display stand.
RANGAI additional procedure
1. WAKIN TEMAE and LICENSE Japanese/fabric
Created by Gengensai, the 11th iemoto, this procedure features a piece of cloth
(wakin) that once belonged to Emperor Kokaku (1780-1817). Gengensai made a
cloth bag (shifuku) for a paulownia wood tea container (nakatsuki) and kobukusa
from the material and displayed them together. Tantansai altered the
presentation by substituting an unlacquered nakatsuki container of mulberry
wood. Chabako temae are placed within this category.
JOUKYUU UPPER LEVEL STUDENT AND 4TH-DEGREE INSTRUCTOR
1. GYO-NO-GYO DAISU TEMAE and LICENSE
This license and temae procedure also called "midare," meaning unmatched,
uses the unlacquered daisu table used together with the daitenmoku bowl and
karamono chaire which are placed on a large tray inlaid with a Daoist design of
eight trigrams (hakke bon).
2. DAIEN-NO-SO TEMAE and LICENSE
Ennosai, the 13th iemoto, created the Daien-no-so and Daien-no-shin temae
using a Daien bon tray. Daien-no-so features both a karamono chaire of a
meibutsu category (renowned object) and a Japanese chaire placed on a large
tray (Enso bon), and a daitenmoku bowl. No display stand is used.
3. HIKITSUGI LICENSE
This license grants permission to teach and issue certificates from Nyumon
through Gyo-no-gyo temae.
KOUSHI 3RD-DEGREE INSTRUCTOR
1. SHIN-NO-GYO DAISU TEMAE and LICENSE
This temae embodies the fundamentals of the most advanced stage of
chanoyu. It employs a formal black lacquered daisu, a matching set of bronze
utensils (kaigu), and a karamono chaire and its companion tray, and a
daitenmoku bowl. The bowl and jar, with its companion tray, are of the
omeibutsu category of high-ranking renowned tea objects, identified with the
periods of tea history before the time of Sen Rikyu.
2. DAIEN-NO-SHIN TEMAE and LICENSE
This temae uses a formal daisu, a daitenmoku bowl, a karamono chaire
(omeibutsu category), and a Daien tray.
3. SEIHIKITSUGI LICENSE
This license grants permission to teach and issue certificates through Daien-no-
so, Hikitsugi, and Shin-no-gyo.
SENNIN KOUSHI 2ND-DEGREE INSTRUCTOR
1. CHAMEI artistic name
An artistic name bestowed by the iemoto through one's teacher. Within the
Urasenke tradition, an artistic name is comprised of two Chinese characters. A
character taken from one’s given name follows the prefix “so” meaning mastery.
One must be at least thirty years old to apply for and receive a chamei.
2. MONKYO permission to wear the Urasenke crest
This certificate is applied for along with the chamei granting permission to wear
the Urasenke tsubo-tsubo crest on one's kimono.
JUNKYOJU 1ST-DEGREE INSTRUCTOR
KYOJU EMERITUS INSTRUCTOR
This certificate is presented by the iemoto.
Adapted from "Chanoyu: an Anthropological Approach to Tea," Jennifer
Anderson, 1985, Stanford University, chapter 5; An Introduction to Japanese
Tea Ritual, State University of New York Press, 1991, Temae Appendix p. 227-
237; "The Urasenke Tradition of Tea, Essential Information for Beginning
Students," Urasenke Foundation, International Division, 2000; and Urasenke
Chado Kyoka, volumes 1-16, Tankosha Publishing Company.
| . |
| | Home | Chado | About us | Demonstrations | Events | Membership | Study | Links | Contact us | Bulletin | Calendar | |