The architectural space called chashitsu and

**The architectural space called chashitsu and garden called ROJI(露地)



*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.

2. The constituents of the ROJI

Enteranceway and middle gate: The ROJ entrance way and 'middle gate'(中門,chumon) built midway in it are very simple in style, and there are many forms.

Machiai(waiting place): This is where the guests wait for each other, and generally is a simple roofed-over bench, but in some rare instances has a room attached, for changing clothing and so forth.

Setchin(雪隠,privy). In olden times the privy in the ROJI was for actual use, but now it is only a formal element of the ROJI. There is a privy for actual use near the chashitsu.

Stepping stones(飛石): These are stones set along the path in the garden, on which the guests walk. The stones and way they are arranged take many forms.

Foliage and moss(樹木・苔): The plants are low in height, and are of varieties that do not put on flowers. Moss, which deepens the greenness, also is an important element.

Toro(灯籠,stone lantern): These are devices for lighting the ROJI, and make use of candlelight. There maybe several of these in the ROJI. They are lit for nighttime chakai.

Tsubukubai(蹲,蹲踞,low stone water-basin): At the tsukubai, guests rinse their hands and mouth. A toro stands nearby, for lighting nighttime Chakai.

* The Distinctive Features and Function of the Chashitsu and ROji

Sitting in a chashitsu, one comes to feel calm and serene, and this owes to various ingenious devices designed into the chashitsu and ROJI. Hereunder is a description of the considerations and devices that are integral elements of them.

The appreciation of chanoyu implements

*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.

When doing HAIKEN of chanoyu articles, we look at the piece's form, balance, aura,and so forth, which are the aspects which recommended it for being selected. How to look at chadogu with an artistic eye will be explained in a later chapter.

* The tea room and garden, and the aesthetics of the tea implements

Formal chanoyu requires a special space called a chashitsu and a garden callde a ROJI. Both the chashitsu and ROJI incorporate numerous ingenious innovations within a limited physical space. Photographs depicting their appearance are presented later. In addition, special implements are required for the tea preparation procedures(TEMAE) of chanoyu. These implements are chosen according to criteria of the wabisuki aesthetic sensibility, which has evolved throughout the history of chanoyu and is rich in variety. A summary of the wabisuki aesthetic will presented later.

the content of a kaiseki meal

*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

@ The rice, soup, and sashimi served at the beginning. The chopsticks,made of cedar, are called RIKYU-BASHI(利休箸)

@ Preserved foods, they are serve as tidbits to go with SAKE.

** The use of many kinds and style of implements

*implements necessary for chanoyu

Many implements are necessary in order to make tea and serve it to a guest according to the temae procedures of chanoyu, and those implements are made of various materials and come from different places. Firstly, here is a list of the main types and materials of these implements.

1. Items to decorate the alcove

Hangings(掛軸) - hanging scrolls featuring paintings or calligraphy

Flower containers(花入) - ceramics, metal,wood,bamboo,basketry

Incense containers(香合) - ceramics, lacquerware,etc

2. Temae implements

Furo(風炉,brazier for the charcoal fire over which to set the kettle) - Metal,earthenware

Kettle(釜) - Metal(iron)

Hearth frame(炉縁,frame around the RO fire pit) - Wood or bamboo, lacquer ware

Portable shelving(棚,shelving on which some of the implements are displayed) - Wood or bamboo

Water container(水指) -Metal, ceramic, wood,glass

Container for tea powder for KOICHA(茶入,CHAIRE) - Ceramic

Container for tea powder for usuha(棗,NATSUME) - Lacquer ware

Tea bowl(茶碗,bowl in which the tea is made and from which it is drunk) - Ceramic, glass, etc.

Tea scoop(茶杓) - bamboo, wood,ivory

Tea whisk(茶筅) - bamboo

Water ladle(柄杓,to scoop the hot or cold water) - bamboo

Lid rest(蓋置,for resting the kettle lid on) - Metal, ceramic,wood, bamboo

Rinse(建水)-water receptacle - Metal, ceramic,wood,bamboo

Charcoal implements(炭道具,articles for the charcoal-laying temae)- Metal, ceramic,wood,bamboo,basketry,feathers

Smoking set(煙草盆), including Japanese smoking pipe(kiseru),lighter container, and ash receptacle-Metal, ceramic,wood,bamboo,lacquer ware

Container for confections(菓子器) - Ceramics,lacquer ware,wood,bamboo

When preparing to hold a formal chanoyu gathering, it is also necessary to have the implements that are required for the cuisine and for the ROJI(露地,garden path).

As we can see, the chadogu are wide-ranging. They are selected according to the reason and the purpose of the gathering, and also so that they balance harmoniously. This coordination of the implements is called 'dogugumi'(道具組み), and it is among the things that the host of a chakai gives greatest thought to.

* The places where chanoyu implements come from

In that the method of drinking matcha entered Japan from song-dynasty China, the implements used for it, such as the tea bowls from which to drink it, at first were of Chinese origin. Japan in those days took the advanced nation of China as its model, and Japanese people esteemed the products imported from that country, referring to them as KARAMONO(TANG items). The MUROMACHI shogun family eagerly bought many KARAMONO,hung such imported paintings and displayed Chinese vases and incense burners and such on the shelves and so forth. Chanoyu implements from China also were considered the best.

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.

Such implements have been carefully passed on to this day in chanoyu, and currently there are eight example of karamono ceramics( five of which are tea bowls) and one koraimono tea bowl that are registered as national treasures in Japan.

Entering the 17th century, pottery began to be produced in many parts of Japan, including wares for chanoyu. the main potteries include, among others, KAratsu(唐津焼) ware of Saga prefecture in Kyushu, Hagi(萩焼) ware of YAMAGUCHI prefecture, BIZEN(備前焼) ware of OKAYAMA prefecture, Kyoto ware of Kyoto, ShiGARAKI(信楽焼) ware of SHIGA prefecture, SETO(瀬戸焼) ware of AICHI prefecture, and MINO(美濃焼) ware of Gifu prefecture. Also, the RAKU(楽家) family of kyoto produced RAKu tea bowls especially for chanoyu use, and this continues to the present day.

As indicated above, chanoyu implements are not limited to ceramics, but include many items made of lacquer ware, metal, bamboo, and so on. The production of chadogu without a doubt propelled the development of a great range of Japanese crafts.

A formal chaonoyu gathering includes a meal

**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.

1. Banquet (array of foods) cuisine（大響料理）

This style of cuisine originated as a meal offered to the gods in the native SHINTO religion, and became the formal meal style of the aristocrats from around the 8th or 9th century.

2.Full-course dinner(本膳料理)

Around the 14th century, this style of meal was developed as the formal cuisine of the ruling warrior class. It consisted of seven, five, and three varieties of dishes served on three individual footed food trays.

3.TOKI(斎)

This is the name for the meal served at Buddhist ceremonies. There were minute rules for how to eat the TOKI when this form of Buddhist meal was introduced to Japan in the 12th century, although the content of the rules was not set, and it changed according to the circumstances. Chanoyu mainly adopted the TOKI meal style.

4. NANBAN cuisine(南蛮料理)

This is generally thought of as the European cuisine introduced by missionaries in the 16th century. However, it is not purely Portuguese cuisine but many be considered a conglomeration of food styles from the places through which the missionaries traveled, including India, Southeast Asia, and China.

The KAISEKI RYOURI served at traditional Japanese restaurants today in very similar to the cuisine of chanoyu, but is not identical, and this is because it caters to the wishes of clients. Nonetheless, the traditional of Japanese cuisine, the model form of which is chanoyu cuisine, has been preserved.

Recently, there is the buzzword 'slow food'(as opposed to 'fast food'), and the fundamental idea behind this kind of food is similar to the idea underlying traditional Japanese cuisine, as represented by chanoyu cuisine. Traditional Japanese cuisine is being reevaluated as a leading style of cuisine in tune with the times today.

the characteristics of temae

*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).

the progression of a formal chaji

**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.

Before drinking the tea, a confection is always eaten. This is because the bitterness of the tea following the sweetness of the confection enhances the tastiness of the tea. the confection, that is served before the koicha at a chaji is called omogashi(main confection), and those served before the usucha are called higashi(dry confections). The higashi, just as the word suggests, are dry confections such as sugary candy or rice crackers, which are light in flavor. However, at mass gatherings it is common for OMOGASHI to be served even though the tea is usucha.

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.

Doing temae and having a chanoyu gathering

**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.

with the rise of the IEMOTO systems, the temae, or in other words the KATA(model forms)passed on from the IEMOTO to disciples, came to be the element that provided the keynote of the system itself. Owing to the establishment of the IEMOTO system in chanoyu, the temae not only became systematic but also complex, Basically,however, any temae progresses as follows, with additional movements added depending on the type of temae that it is.

1. the host carries that implements, which have been readied in the preparation room(mizuya 水屋),into the tea room, where he then inspects them and puts them in proper condition for making a delicious bowl of tea.

2. the host mixes the powdered tea and hot water together in the tea bowl.

3. the host puts the tea bowl, containing the tea drink, out for the guests.

4. the guests receive it, drink the tea,and then return the bowl.

5. the host rinses the returned tea bowl and prepares it for making the next bowl of tea.

6. Once assured that no further tea is necessary, the host cleans up the items, putting them in their original condition, and carries them out of the tea room.

**the kinds of temae and forms of chanoyu gatherings

1.KOICHA(濃茶)and USUCHA(薄茶)

when we say 'a bowl of tea'(お茶一服,Ocha ippuku) today, we usually mean usucha(thin tea), wherein each individual serving is made in an individual bowl. On the other hand, KOICHA(thick tea) is made by putting a good amount of tea in a relatively large bowl,blending the tea with hot water, and having a number of guests share in drinking this.

The temae for koicha and usucha differ slightly. At a chaonoyu gathering, the formal system is to have koicha first, and afterward make usucha. Nowadays, the abbreviated style of chanoyu gathering in which only usucha is served has become common. Normally, a chanoyu gathering in which only koicha is served does not happen.

2.Furo(風炉) and Ro(炉)

In chanoyu nowadays, the device used for boiling the water is either a portable brazier, called FURO, or a fire pit built into the floor, called RO, depending on the season. The RO is similar to the kind of fire pit called IRORI(囲炉裏) seen in folk houses of old, and is used in the winter period (November through April). The FURO is a characoal brazier placed on the TATAMI. In May, the RO is covered and the FURO is put out. Due to their differences, the TEMAE changes somewhat, but we many consider the TEMAE as being essentially the same in purpose.

The levels of TEMAE give the impression that there are many varieties, but actually they all follow the basic steps outline in the section above,and the differences are a matter of the use of certain specific implements for the particular temae.

3.Formal and Abbreviated chanoyu gatherings

A formal chanoyu gathering is called chaji(茶事,tea function), and consists in koicha and usucha and also the charcoal-laying temae(炭手前,sumidemae) and cuisine. the charcoal-laying temae is a formalized method of arranging the charcoal in the FURO or RO and comprise a defined KATA. There are rules of etiquette for the cuisine, but the procedures and movements for this are not of the same nature as the temae.

An abbreviated chanoyu gathering may be int he form of a mass gathering or outdoor get-together, where koicha, the charcoal-laying temae, and the cuisine are eliminated and only sweets and usuhca are served. The number of guests at a formal gathering is limited to four or five at most, and the time that it takes is nearly four hours in the case of a most conventional function. However, today's common 'mass gathering" is over in about thirty minutes on the average. Dozens of guests re invited in at once, and this is repeated from five to about ten times during the day.

There also are the abbreviated styles of temae called RYUREI(立礼), which employs tables and chairs, and bonryaku-demae(盆略手前,simple tray temae), which was created for beginners. Such abbreviated forms of temae nonetheless basically follow the previously described pattern.

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.