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Curriculum (Temae study) and Licenses
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 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 bagshaped 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 waste-
water 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 conferred by the iemoto.
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 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 bagshaped 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 waste-
water 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 conferred by the iemoto.
Adapted from "Chanoyu:
an Anthropological
Approach to Tea,"
Jennifer Anderson, 1985,
Stanford University; "An
Introduction to Japanese
Tea Ritual," State
University of New York
Press, 1991; "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
an Anthropological
Approach to Tea,"
Jennifer Anderson, 1985,
Stanford University; "An
Introduction to Japanese
Tea Ritual," State
University of New York
Press, 1991; "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
TEA
Ceremony
TEA Art
TEA Culture
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