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Sadō (茶道) The Japanese tea ceremony is a traditional ritual 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. Colloquially it is often called ocha among Japanese.
Sadō or chadō (茶道, "the way of tea") is the study or doctrine of the tea
ceremony ("tea ceremony" is the most common English term, but some
English speakers have adopted the term "the way of tea"). Though the two
words are completely interchangeable, the pronunciation sadō is preferred by
some traditions, including the Omotesenke and the Mushanokōjisenke, while
the pronunciation chadō is preferred by others, including the Urasenke
tradition.
Cha-no-yu (literally "hot water for tea" or "tea flavored soup/hot water")
usually refers to either a single ceremony or ritual or equivalent with
sadō/chadō, while cha-ji refers to a full tea ceremony with kaiseki (a light
meal), usucha (thin tea) and koicha (thick tea), lasting approximately four
hours. A chakai (literally "tea meeting") was originally equal to cha-ji, although
today it means the simplest one, which does not include a kaiseki meal, in
some cases, nor even koicha.
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 expected of guests, the
proper way to take tea and sweets, and general deportment in the tea room.
History
Drinking of tea was introduced to Japan in the 9th century in the form of
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.
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 Chan school which evolved into Zen
in Japan, and 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 Zen Buddhist monasteries. By the
13th century, samurai warriors had begun preparing and drinking matcha in
an effort to adopt 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 belief 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 to the full
development of sadō. The principles he set forward - harmony (和 wa),
respect (敬 kei), purity (精 sei), and tranquility (寂 jaku) - are still central to tea
ceremony today.
Excepting one, the present seven traditions were established in the early Edo
period. Among them, three Senke, specially Omotesenke and Urasenke are
largely well known.
Equipment
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 a hot kettle or pot lid.
Fukusa are sometimes used by guests to protect the tea implements when
while examining them (though usually these fukusa are a special style called
kobukusa or "small fukusa." Some traditions prefer to call it dashibukusa or
"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.
* Tea bowl (chawan 茶碗; main article: chawan). Arguably the most essential
implement; without these, tea could not be served or drunk at all. 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 said to be in use today, but probably
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, so this repairment is often referred 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.
* 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. The cha-ire is usually tall
and thin (but shapes may vary significantly) and has an ivory lid with a gold
leaf underside. Cha-ire are usually ceramic, and are stored in decorative
bags called shifuku. The natsume is named for its resemblance to the
natsume fruit (the jujube). It is short with a flat lid and rounded bottom, and is
usually made of lacquered or untreated wood. Cha-ire and natsume are used
in different ceremonies; normally cha-ire is used for containing koi-cha, and
natsume for usucha.
* Tea scoop (chashaku 茶杓). Tea scoops are carved from a single piece of
bamboo or ivory. Bamboo tea scoop in the most casual style is with 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. Though they are a
necessary part to serve tea, whisks themselves aren't considered as dōgu.
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 tea ceremony. This custom itself doesn't belong to the tea
ceremony though, because of a tight relationship between the tea ceremony
and traditional religions, this kind of delicacy to treat discarded thing is
estimated in general.
In addition to the above, the core set of dōgu include: mizusashi, kama,
futaoki and tools for coal treatment(sumi demae).
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.
The Ceremony
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).
Enlarge
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 tatami) 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, or woven mats of straw, the traditional Japanese floor covering.
The smallest tea room can be a mere 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/or 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; each
guest carries his or her own, often in a decorative wallet. Kaishi is 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 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, and the types of meal and tea served.
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. Colloquially it is often called ocha among Japanese.
Sadō or chadō (茶道, "the way of tea") is the study or doctrine of the tea
ceremony ("tea ceremony" is the most common English term, but some
English speakers have adopted the term "the way of tea"). Though the two
words are completely interchangeable, the pronunciation sadō is preferred by
some traditions, including the Omotesenke and the Mushanokōjisenke, while
the pronunciation chadō is preferred by others, including the Urasenke
tradition.
Cha-no-yu (literally "hot water for tea" or "tea flavored soup/hot water")
usually refers to either a single ceremony or ritual or equivalent with
sadō/chadō, while cha-ji refers to a full tea ceremony with kaiseki (a light
meal), usucha (thin tea) and koicha (thick tea), lasting approximately four
hours. A chakai (literally "tea meeting") was originally equal to cha-ji, although
today it means the simplest one, which does not include a kaiseki meal, in
some cases, nor even koicha.
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 expected of guests, the
proper way to take tea and sweets, and general deportment in the tea room.
History
Drinking of tea was introduced to Japan in the 9th century in the form of
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.
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 Chan school which evolved into Zen
in Japan, and 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 Zen Buddhist monasteries. By the
13th century, samurai warriors had begun preparing and drinking matcha in
an effort to adopt 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 belief 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 to the full
development of sadō. The principles he set forward - harmony (和 wa),
respect (敬 kei), purity (精 sei), and tranquility (寂 jaku) - are still central to tea
ceremony today.
Excepting one, the present seven traditions were established in the early Edo
period. Among them, three Senke, specially Omotesenke and Urasenke are
largely well known.
Equipment
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 a hot kettle or pot lid.
Fukusa are sometimes used by guests to protect the tea implements when
while examining them (though usually these fukusa are a special style called
kobukusa or "small fukusa." Some traditions prefer to call it dashibukusa or
"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.
* Tea bowl (chawan 茶碗; main article: chawan). Arguably the most essential
implement; without these, tea could not be served or drunk at all. 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 said to be in use today, but probably
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, so this repairment is often referred 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.
* 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. The cha-ire is usually tall
and thin (but shapes may vary significantly) and has an ivory lid with a gold
leaf underside. Cha-ire are usually ceramic, and are stored in decorative
bags called shifuku. The natsume is named for its resemblance to the
natsume fruit (the jujube). It is short with a flat lid and rounded bottom, and is
usually made of lacquered or untreated wood. Cha-ire and natsume are used
in different ceremonies; normally cha-ire is used for containing koi-cha, and
natsume for usucha.
* Tea scoop (chashaku 茶杓). Tea scoops are carved from a single piece of
bamboo or ivory. Bamboo tea scoop in the most casual style is with 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. Though they are a
necessary part to serve tea, whisks themselves aren't considered as dōgu.
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 tea ceremony. This custom itself doesn't belong to the tea
ceremony though, because of a tight relationship between the tea ceremony
and traditional religions, this kind of delicacy to treat discarded thing is
estimated in general.
In addition to the above, the core set of dōgu include: mizusashi, kama,
futaoki and tools for coal treatment(sumi demae).
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.
The Ceremony
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).
Enlarge
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 tatami) 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, or woven mats of straw, the traditional Japanese floor covering.
The smallest tea room can be a mere 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/or 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; each
guest carries his or her own, often in a decorative wallet. Kaishi is 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 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, and the types of meal and tea served.