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