*Terms Concerning the chanoyu Ideology
Saturday, March 27, 2010
Terms Concerning the chanoyu Ideology
*Terms Concerning the chanoyu Ideology
Friday, March 26, 2010
the nature of the implements
For the connoisseurship of chadogu, the wabisuki concept is to be kept in mind. wabisuki implements possess or should possess the seven qualities described hereunder. They may be regarded as the qualities that determine their aura, as mentioned in the section above.
1. Asymmetry. Instead of being perfectly round or square, the article has a dent, is warped, or is somehow otherwise asymmetrical. Distaste for such qualities as perfect, prim, punctilious.
2. Simplicity. Being plain and simple. Distaste for such qualities as precision, complexity, clever fine work.
3. Tall and withered. A presence like a leafless tree standing in the snow; not totally withered, but evoking the sense that when spring arrives it will sprout buds. Distaste for such qualities as rich, flowery, young.
4. Naturalness. Innocence and non-worldliness; freedom from device This is not the same as being like nature in the wild, but means distaste for artificiality, artifice, and affectation.
5. Subtlety and Profundity(yugen,幽玄). Modesty, lingering effect, nebulosity, suggestiveness. Distaste for overt expression
6. Non-vulgarity. Freedom from worldly fetters. distaste for worldly glory, riches, human entanglements.
7. serenity. Quietude, composure, solitude. Distaste for busyness, bustle, turmoil, and the like.
Besides the matters of form, balance, and aura, the above qualities are important standards in selecting chadogu. We may also say that implements that have these qualities can be regarded as good wabisuki implements. However, not all chanoyu implements necessarily possess all seven of these qualities equally. sometimes, some of the qualities are strong, while the others are weak.
Also,even though these qualities were the basis for connoisseurship, because there was a broadened interpretation of them after the 17th century, art works and crafts that do not necessarily fit into these descriptions came to be taken up as chadogu. Therefore, chanoyu art became complex and, in a way, hard to understand. Nonetheless, the standards of chanoyu art lie in the work's form, balance, and aura, and the above-listed qualities characterize them.
Thursday, March 25, 2010
chanoyu objects of art are uniquely japanese and
* the particular characteristics of chanoyu implements
A long process was involved for the ideology underlying chanoyu to become refined, but finally the concept of wabisuki was reached, and chanoyu based on wabisuki was judged to be the epitome. Consequently, we may say that the beauty of chanoyu consists in the concretization of the wabisuki concept. let us then inquire into just what the beauty of wabisuki is.
Looking at the chadogu that have come down to present times, the following characteristics may be pointed out:
1. Variety: they are basically chosen according to the wabisuki concept
the interpretation of wabisuki, and how it has been evaluated, has differed quite a bit depending upon the era and the person, and so it is impossible to theorize about it in a single breath, although it inevitably is based on the wabisuki concept. Concretely, there is a mixture of implements centering on Chinese karamono that were used to decorate kaisho(会所) gathering places, wabi implements based on the wabisuki concept, konominono(好み物,favored items) and handmade(手造り) items which mainly arose due to the establishment of the IEMOTO sysytem, and new chadog centering on European products selected by morden sukisha.
2. Practicality. They are usable for chanoyu.
Of importance are its form(nari,なり), balance(koro,ころ), and aura(yosu,ようす), and if the article does not qualify in these respects, it is not taken up. The item itself has to be of proper weight and balance, and it must not destroy the harmony among the other chadogu.
3. symbolism. Within the simple shapes and colors, there is a spiritual quality
Elaborate decoration, colors painted into the piece, overly prim shapes, and so forth are avoided, while simplicity and calmness and quietness are valued. Effort is placed on giving meaning to the qualities in and existence of those features.
2. Balance(koro) This has to do with its size and distribution. The KANJI used to write the term koro is that for 'ratio,比' . The idea may also be referred to as koroai, or 'suitable match'. Firstly, about the size, if it is a tea bowl then it needs to fit neatly in a person's cupped hands. Also, it is not good if it is surprisingly heavy when one picks it up, or if it is too light. The matter of ratio, for instance in the case of a container for tea powder for thick tea(chaire), would mean that the mouth needs to be size that allows the tea scoop to be inserted easily, while if the mouth is strangely large, the container will not be acceptable. It is also important that the diameter of the mouth, that of the body, as well as that of the bottom must be of a comfortable ratio.
Almost all the famous chadogu from the past fit within a certain parameter insofar as this ratio is involved. Also, it is not just the one item that is considered; its balance and harmony with the other implements is important. Care must be taken so that just one item is not outstandingly large or small. Harmony is important for chadogu.
3. Aura(yosu) The kanji for yosu is 様子, which stands for 'state', among other meaning. Each work possesses its own aura. Works that subtly present an aura that is in keeping with the beauty of chanoyu, as described next, are recognized, while those that present a fussy aura, gaudy aura, or an aura of being too prim are avoid.
Wednesday, March 24, 2010
wabisuki and wabi-sabi
It is not an overstatement to say that chanoyu at the end of the16th century was nearly dominated by wabisuki. However, with the death of the man who we may consider to have been its main leader, SEN no RIKYU, this began to change. As described previously in the post about the chanoyu history, entering the 17th century many unique tea masters appeared on the scene, each innovating and promoting his own style of chanoyu, and so we could say that this was an era of development for wabisuki. however, entering the 18th century it appears that wabisuki had changed in its very quality.
Specifically, in documents about chanoyu written around this time, at first we can find some usage of the term wabisuki, but gradually the usage becomes divided into wabi and suki. To explain more clearly, at first wabi is used to imply something very close to the original meaning of wabisuki, but soon it comes to imply something quite different from the wabisuki described in last post above; something inferring chanoyu that does not have any splendid implements. The word suki comes to simply mean chanoyu, and so the combination sukisha(数寄者) means chanoyu person and sukiya(数寄屋) means chashitsu in those documents.
Wabisuki initially was understood as a certain ideal form of chanoyu. However, because of its strict content or the difficult process required to reach the realm that was its goal, people lost interest in it. The consequence of this is revealed in the change of vocabulary we find in the chanoyu documents. Although around the beginning of the 17th century the word wabi was used with the same meaning as wabisuki, in time the term wabi person/people(wabibito), though it might have shown a measure of respect, actually came to ring of the sense that they were looked upon as heathenish beings.
Nowadays it is so common to use the terms wabi-sabi when speaking about chanoyu, almost as if these are set epithets for it, but as can be realized from the explanations given thus far, the root of the chanoyu ideal lies in wabisuki, and even though wabi is a close term, it actually only indicates one facet of chanoyu. The term sabi(rust,sense of patina) actually was never used much in chanoyu. Even if it were used, it would not be used like the words wabisuki or wabi, to talk about the ideology of chanoyu itself or matters related to it. Sabi, rather, it a term used most often to explain about the beauty in wabisuki- wabi-style chanoyu. moreover, it may be said that wabi was a term holding important meaning in literature,such as haiku(俳句)
Tuesday, March 23, 2010
From poetic Pursuit to zen
3.Wabisuki
Chasuki evolved into chanoyu once its three facts of chashitsu, temae, and chadogu were developed. Together with this, however, another idea that boosted the development of chasuki was the awakening of the notion of wabisuki. This , again, may be divided into four concepts:
(1) The same concept as the devotion demanded in utasuki (執心)
(2) to engage in zen training (禅)
(3) to study waka and understand its essence (和歌)
(4) to be able to select implements qualified for wabisuiki (目聞)
Concerning the second point, ZEN, in utasuki the Buddhist path did not necessarily mean ZEN; however, in wabisuki it was clearly identified that this path must be that of Zen. One reason behind this was that RIKYU and the others of this era who presumably contributed to the development of the wabisuki idea inevitably studied Zen. More to the point, however, is that chanoyu devotees considered that the Buddhist path necessary for wabisuki was Zen. Supposedly, this was because they considered that Zen(not implying the school of Buddhism called ZEN) put its finger on how humans should be, and indicated a concrete method, ZAZEN(座禅,seated meditation), for reaching that way of being. Hence, the chanoyu that those individuals developed was not simply a way of making and drinking tea called chanoyu(in modern terms, chanoyu as an art or as a performance). What they aimed for was to reach the ZEN realm by having those who practiced it practice seated meditation. This is the wellspring of the later description of chanoyu as 'Tea and Zen, the same flavor'(chazen ichimi,茶禅一味) or 'Tea is at once ZEN'(cha soku zen,茶即禅).
Monday, March 22, 2010
chanoyu is a matter of wabisuki
*From poetic pursuit to zen-flavored wabi pursuit
There was a long course of events leading to the establishment of chanoyu, and since its establishment chanoyu has changed in many ways. With its establishment, however, certain ideas were formed that supported its practice. Hereunder is an explanation of how the ideas developed, and what they were.
from the historical perspective, before the establishment in chanoyu of the idea of wabisuki(詫数寄,chanoyu rooted in the aestheticism of wabi), the idea of suiki(数寄,aestheticism) was recognized in the realm of Japanese poetry(waka), and supposedly it was through this influence that the idea of chasuki(茶数寄,chanoyu aestheticism) evolved. Furthermore, Zen ideas were adopted into chanoyu, and with these developments the wabisuki idea was established.
1. Utasuki(歌数寄)
From the HEIAN period into the KAMAKURA(9th-13th century),people involved in composing WAKA(和歌,traditional Japanese poetic form consisting of 31 syllables) experimented with many ideas. The great master of the WAKA poetic form, FUJIWARA no SADAIE(藤原定家,a.k.a FUJIWARA no TEIKA; 1162-1241), consolidated these into a theory. Entering the MUROMACHI period, however,the poetry composition style called RENGA(collaborative verse-linking) became popular. Rather than individual poets composing a poem each and vying against each other for superiority, the poems were separated into two sections- an opening verse and closing verse - and numerous poets would participate in composing verse- and numerous poets would participate in composing linked poems. Through this development, the WAKA theory of SADAIE was carried forward by the masters of RENGA. The conclusion reached by those RENGA masters as to what thy could describe as their concept of UTASUKU(poetic aestheticism) was fourfold:
(1) Poetry composition as a lifelong pursuit (執心)
(2) belief in Buddhism, and pursuit of the Buddhist teachings (仏道)
(3) leaving the world of mundane affairs and living in seclusion in a quiet place in the mountains (遁世)
(4) learning from excellent poems of the past. people referred to those who devoted themselves to RENGA as UTASUKi, and the RENGA get-togethers also came to be called UTASUKI. (秀歌)
2. Chasuki(茶数寄)
Besides the world of poetry, in the 14th century TOCHA(闘茶) 'tea competitions' were the rage, but by the 15th century they went out of fashion and, instead, tea get-togethers called chasuki became popular, as described in a previous pages.At these chasuki, there was not the gambling and drinking of the TOCHA parties; rather, it seems that tea drinking acted as an occasion wherein the participants aimed to reach a deeper, spiritual realm. It was probably for this purpose that procedure for making the tea(teame) were created, and the implements which were to be used for this developed. A number of documents reveal that it was important to select articles appropriate for chasuki out of the domestic articles that might be found anywhere, as opposed to using expensive imports from China. According to documents written in the16th century, the following four points were considered important for chasuki:
(1) To engage in one's tea practice as one's lifework (覚悟)
(2) originality in one's tea practice, and people's recognition of one's accomplishments (作分と手柄)
(3) to reach the 'Chill'(hie) and 'lean'(yase) state proposed in renga (冷え痩せ)
(4) select implements appropriate for chanoyu (道具の選択)
Although not included among the above-mentioned four points, the Buddhist path also was of course considered important. this element, the Buddhist path, is accommodated in point4 above, the notion of 'chill and learn', and is essential to that state.
Sunday, March 21, 2010
The Distinctive features and function of the ROJI
1. It is small. Most ROJI are quite small, being about 200-300m^2 (60-90 tsubo)at most, and there are rarely any exceeding 1000m^2. At temples and such where there is a chashitsu in one corner of a large garden, the portion there will be fenced off and made into the ROJI for the chashitsu.
2. Low shrubbery and nonflowering trees are planted. Trees that are too tall shut out the sunlight and therefore are not preferred. Flowers are displayed inside the chashitsu, and in order for those to be given the highlight, flowing plants are avoided in the ROJI. Also, in humid regions such as KYOTO, many varieties of moss grow on the ground, which makes for a beautiful scene.
Saturday, March 20, 2010
the Distinctive Features and function of the chashitsu
1. the chashitsu is an exclusive space for chanoyu. Before the establishment of chanoyu, a common room was used not only for tea parties but also verse-linking parties and incense parties. However, with the establishment of chanoyu, an exclusive room for it was constructed.
2. chashitsu have a place to do temae, a display place, and a place to engage in appreciation. The place for doing temae is referred to as the temaeza. The host sits at this spot and performs the temae. A temae is performed while sitting, and so a space of 1 m^2 is required. The place where the temae is performed is near the host's entrance way, and the layout of the chashitsu decides its location.
The display place mainly is the TOKUNOMA. Usually the items displayed here are a hanging scroll(KAKEMONO; KAKEJIKU), flower container(HANAIRE), and incense burner(香炉,KORO) or incense container(香合,KOGO). In days of old, it was not uncommon for the caddy containing powered tea(茶入れ,chaire) or jar containing leaf tea (茶壷,chatsubo) to be displayed, but there are only displayed here at certain special times nowadays.
The chashitsu generally is a place for appreciating things. Sitting at their seats, the guests appreciate the TOKONOMA display., the host's temae, and the implements used. They sometimes move in front of the TOKONOMA or in front of the RO for a closer view.
The place for the appreciation of objects depends upon the size of the chashitsu; the larger the place for appreciation, and relative to this, the more guests that can be seated in the room. One TATAMI can seat from two to three people. However, even if the chashitsu is large, the guests only sit on the TATAMI around the perimeter, without sitting on the TATAMI in the middle of the room. 3. While the chashitsu serves the functions just described(2 above), and it also pursues the ideal of being as small as possible, various devices are employed so that it does not seem small or cramped.
The smallest chashitsu is only somewhat less than two TATAMI in floor space(about 3m^2). Even so, by having many windows, variation in the ceiling treatment, and so forth, it has a surprisingly comfortable feeling.
A chashitsu that is YOJOHAN, or 4.5 TATAMI in floor space, is considered the most fundamental size. If it is larger, it is categorized as HIROMA(広間,spacious room).
Friday, March 19, 2010
The architectural space called chashitsu and
*The constituent elements of the chashitsu and ROJI
Chanoyu in formal style requires the exclusive space of a chashitsu(tea room). Attendant to this chashitsu is a garden called ORJI. The architectural form called chashitsu may roughly be categorized as a kind of traditional Japanese building, but it has various characteristics that set it apart from the usual form of traditional Japanese building.
Firstly, on initial look form the outside it appears humble. In truth, however, extremely fine considerations are involved, and it definitely is not a humble building. Let us examine its overall construction by first taking a look at the constituent elements of the chashitsu and ROJI. 1. The constituents of the chashitsu
The roof: Making use of wood and thatch, it evokes a rustic atmosphere.
The ceiling: To alleviate any sense of constriction within the room, the ceiling is not built as one flat surface but may change level, type of material, and so on. Sometimes a part of the underside of the roof is revealed, and in such cases the wood used is carefully selected so that it presents a beautiful appearance.
The walls, windows,and pillars: The walls are earthen, giving a soft effect. The windows are not only designed to let sunlight into the room, but also work to produce a sense of expansiveness in the small chashitsu. As for the pillars, the room is basically constructed so that they are not visible,and even when they are visible they are inconspicuous. However, in certain circumstances a pillar that is not perfectly straight may be raised in a spot near the room and thereby making the small chashitsu seem more expansive.
The entrance ways: The doorway for the guests is separate from that for the host. The doorway called NIJIRIGUCHI(躙口,crawl through doorway) that is for the guests is so small that one must bend down in order to pass through. A reason given for this design is that it forces anyone who enters through it to bow, no matter how illustrious that person may be. For the host, sometimes there are two doorways. In such cases, one is for use when doing the tea making, and the other is for use when bringing in the meal items. The doorways effectively add an impression of roominess to the small space.
The floor and RO(hearth built into the door): Tatami cover the floor, and a RO(炉) is built into one section. The Ro is a place where ash and charcoal fire are laid, and in olden times there were ones about 60 cm. square. now, however, the size is set at about 40cm. square. A wooden frame called ROGUCHI(炉縁) is inserted around the Ro, and often it has a urushi(漆, Japanese lacquer) finish. It effectively gives the chasitsu accent.
The tokonoma: This is a display place, and extends out from a part of the chashitsu. Normally it is about 120cm. From side to side and 60cm, from front to back. The location in the room depends upon the layout of the chashitsu.
The mizuya(preparation room): This is a room for conducting the preparations for the chanoyu and temporarily housing the chadogu that are to be used. A chashitsu generally has such a room built onto it. No matter the size of the chashitsu, the standard size of the mizuya is bout 5m^2. Once the host has completed the preparations, he waits here for the guests to enter the chashitus, and once they have all assembled, he enters and begins the temae. When the chakai ends, the host sees the guests off and then cleans things up here in the mizuya. As water is needed to wash the chadogu, usually there is a water faucet in the mizuya. If there is no running water, a vat for water is set in the room. Also, there are shelves for temporarily housing the chadogu. The chadogu most of the time are stored in a storehouse(蔵、kura) or similar storage place.
Thursday, March 18, 2010
The appreciation of chanoyu implements
Chadogu, or chanoyu implements, of course are implements for the making of tea, but in chanoyu the act of appreciating them is also important. Let us each imagine, for example, that we have come to a tea gathering as a guest. The first thing each of us does is to sit in front of the alcove and appreciate the items displayed there: the hanging scroll and/or flowers, and the incense container if one should be on display there. This gesture is called HAIKEN(拝見), which literally means 'to respectfully have a good look'. Next we each move to the place where the TEMAE place(点前座TEMAEZA), and do HAIKEN of the items there.
Once the host enters and the TEMAE begins, after drinking the tea we do HAIKEN of the tea bowl that has been used to make our tea. Furthermore, after the tea drinking by all of us has finished, we do HAIKEN of the tea scoop, caddy for powdered thin tea, and so on that were used to make the tea, and our spokesperson asks the host who made the tea scoop and what name the tea scoop has, and also who made the tea caddy and the name of the manufacturer of the powdered tea contained in it.
Wednesday, March 17, 2010
the content of a kaiseki meal
1. boiled rice
2. soup with one or two ingredients
3. sashimi, or raw seafood
4. combined dish of vegetables mixed with flavorings
5. simmered vegetables and seafood
6. broiled vegetables, seafood or poultry
7. seafood and vegetables pickled in salt or dried *The characteristics of kaiseki cuisine
1. fish, shellfish, and poultry are used, but beef and pork are not
2. the main and side ingredients are mostly items that evince the season.
3. the way the flavorings and seasonings are used brings out the natural flavors of the ingredients
4. For the same reason as point 3 above, the flavoring is relatively light.
5. There are few pan-fried and deep-fried food; rather, broiled and simmered foods predominate
6. The way the foods are dished is attractive, giving though to the arrangement of the foods and the dish itself.
7. There are numerous foods, but none in great amount
8. SAKE(rice wine) is served, and those who like it may drink so far as they do not get drunk
As chanoyu developed, however, the sense of values changed dramatically. It became necessary for the chadogu to meet the ideals of wabisuki(侘数寄), and consequently domestic items(called wamono), thsubtly colored ceramics made on the Korean peninsula(koraimono), and miscellaneous items from southeast Asia(nanbanmono) were looked upon with new value.
Tuesday, March 16, 2010
A formal chaonoyu gathering includes a meal
* chanoyu cuisine, which has influenced Japanese cuisine
The food courses served at restaurants that specialize in traditional Japanese cuisine today were historically inspired by the cuisine of chanoyu. Besides such restaurant food, Japanese home cooking in general has also been inspired to some degree by the cuisine of chanoyu. The reason for this is that the basis of Japanese cuisine as we know it today was established after the 18th century, and chanoyu cuisine developed before this.
Today, the cuisine of chanoyu is referred to as kaiseki ryouri, but this is a relatively modern term for it which became popular from the last 18th century. Before then, it apparently was usually called FURUMAI(振舞,entertainment) or SHITATE(仕立,b fixing).
KAISEKI RYOURI developed under the influences of the cuisine listed hereunder, among which the most powerful influenced the restaurant cuisine of the EDO period, on the other hand it was also influenced by that cuisine.
Monday, March 15, 2010
the characteristics of temae
1. Flow and pause
the temae is not performed from beginning to end at a monotonous pace. Some points are performed quickly, there are momentary pauses, and so forth to give it modulation.
2. Symbolic nature
There are processes in the temae that are not utilitarian; for example the tines of the tea whisk actually have been checked in the preparation room beforehand, but they are checked once again in view of the guests in the chasentoshi(茶筅通し) process. Sanitation is held high in chanoyu, and such gestures contain a symbolic expression of this.
3. Physical grace
In that the temae is a form of performance art, an important concern is to achieve gracefulness in the series of movements and one's posture is carrying them out.
4. Inseparability of performer and audience
Chanoyu sometimes is described as ' a script-less performace'. It is not, however, a stage art. Rather, the performer(host) and audience(guests) sit on the same platform(chashitsu), and together create the chakai. There is not pre-defined script. The host and guests converse and act according to the circumstances.
5. Successfully building the performance
Through the agency of the temae, the host and guests together eat and drink and share in conversation, and thus create a special, shared atmosphere within the space of the tea room. This is the meaning of 'successfully building the performance'(ichiza konryu,一座建立). To realize this requires serious training on the part of both the host and guests.
6. A singular moment, a singular meeting
Within the grand expanse of time and space, the meeting of all elements realized by host and guests here and now is never repeatable, even if sometime in the future, at the same time of day in the year, the same people were to have a tea gathering at the same place. This 'unrepeatable quality of the moment' is the meaning of 'a singular moment, a singular meeting' (ichigo ichie 一期一会).
Sunday, March 14, 2010
the progression of a formal chaji
the standard progression of a formal chanoyu gathering. or chaji, nowadays is as follows:
1. Charcoal-laying temae(first charcoal;SHOZUMI 初炭), the procedure for building the charcoal fire.
2. cuisine
3.confection(main confection; OMOGASHI 主菓子)
4. Intermission(NAKADACHI 中立)
5. koicha(濃茶)
6. Charcoal-laying temae(latter charcoal;GOZUMI 後炭), to repair the charcoal fire
7.confections(dry confections; HIGASHI 干菓子) and usucha(薄茶)
Among these, only the cuisine is not a temae matter, and the reason probably is because the foods are not prepared before the guests' eyes. Rather, the host carries the foods into the room, having already prepared them and dished them out in the back preparation room. If, as with the SHIJO(四条) school of knife handling, the knife use and so forth were conducted before the guests' eyes, that could also be established as a temae. However, in chanoyu such a temae concerning the meal, where the foods would be prepared in view of the guests, was never incorporated, due in part to such factions as the place, facilities,and time considerations.
Chaji normally are held in the daytime. However, in mid-summer they may take place during the cool hours around daybreak, and in the winter, they may take place after dark. At a nightime chaji, candles and such lighting equipment are employed, and this makes for the enjoyment of an impressive atomosphere like days of old.
Saturday, March 13, 2010
Doing temae and having a chanoyu gathering
*what is TEMAE?
A temae is a series of procedures followed to make a bowl of matcha, serve it to a guest, and then to put the things away. It may be said that one reason chanoyu is recognized as a form of art it that the extremely ordinary and instinctual act of taking food and drink was put into order as series of movements turned it into a KATA or 'model form'. Without the temae, chanoyu is but a mere act of taking food and drink.
The temae is comprised of a smooth, continuous process of many procedures, which include among other things the preparations, the inspection of the articles, the tea making, the cleaning of the articles, and the putting away of the articles. It is created as a performance art, having variation in the dynamics and pace of the movements.
Rather than the type of temae, the key factor nowadays if the difference in the general scheme of the chanoyu gathering-whether it is a chaji or a mass gathering.