Quantcast
Channel: Cerimonia do Chá
Viewing all 129 articles
Browse latest View live

Cerimonia do Cha no Festival do Japao 2012

$
0
0
A Cerimonia do Cha estará no Festival do Japao dias 15 e 16 de julho de 2012 no Espaco Imigrantes e pela 1a vez será oferecido além do Chá, o Kaiseki, refeicao budista, somente por  vendas antecipadas a R$ 30.

Venda de ingressos antecipados para entrada no festival do Japão R$8 e no local R$10 por telefone 11-5571-3117


Oryoki = Tigela do tamanho do Estômago

$
0
0
A tigela que os monges budistas comem tem o tamaho do estômago. A relaçao entre tigela e estômago trasnmite a idéia de equilíbrio, de se alimentar com qualidade e na quantidade que o corpo precisa. Os monges budistas seguem uma sequencia ritualizada de procedimentos, com atenção a cada detalhe. Cada um deles leva consigo seu conjunto de utensílios, embrulhado em uma trouxinha de pano. São feitas preces e reverências antes, durante e ao término da refeição. Depois da comida é servido um chá quente para "lavar" as tigelas. O chá é colocado na tigela e depois bebe-se o chá. O intuito é não disperdiçar nem um só grão de alimento.Todos os gestos são realizados com as duas mãos e atenção plena.

A tradicao Urasenke de Cerimonia do Cha

$
0
0
Muitos povos desenvolveram o hábito de consumir chá, mas poucos contribuíram tanto para o desenvolvimento de aspectos culturais como no Japão. Foi no Japão que preparar e beber o matcha, a folha do chá verde em pó diluído em água quente, tornou-se a base de uma discplina espiritual e estética que impactou a civilização japonesa.

Essa forma de preparar o chá foi levada ao Japão no século XII por monges Zen ao regressarem de viagens de estudos da China. Nos templos, matcha era utilizado como um estimulante suave para a mente durante a meditação, tinha valor medicinal e uso cerimonial simbólico. Naquele tempo, a classe nobre e os governantes o apreciavam com a função de dar sentido à exibição de objetos de arte chinesa.

A partir desses dois usos é que se originou a ideia dos encontros de chá como meio de elevação espiritual e apreciação estética. Isso fez com que fossem criadas salas especiais para esses encontros. O surgimento desse conceito estético único, de inspiração Zen, foi importante para o desenvolvimento da apreciação da sutil e austera beleza que podem ser descobertas em coisas aparentemente simples e despretensiosas.

No século XVI, Sen Rikyu (1522-1591), um homem com grande criatividade e liderança no cenário político e cultural do seu tempo, sintetizou a essência dessas idéias em sua austera "cabana" no estilo do chá. Sua sensibilidade artística e ideais embasados no Zen transformaram efetivamente o ato de preparar, servir e beber o chá numa disciplina completa, estabelecendo os fundamentos do Chado, o Caminho do Chá.

Os ideais do Chado de Sen Rikyu estão expressos nestas palavras: wa, kei, sei e jaku.Wa significa harmonia, que deve existir nas relações humanas, entre o homem e a natureza, na seleção dos utensílios do chá, na maneira como são utilizados e em todas as outras facetas do Chado. Kei significa respeito, que é dado para todas as coisas e que provém de sentimentos sinceros de gratidão pela existência delas. Sei significa pureza e implica em limpeza espiritual e material. finalmente, jaku significa tranquilidade, um estado espiritual de paz.

Com base nisso, as pessoas que estudam a disciplina do Cerimonia do Cha aprendem a cuidar de cada aspecto envolvido: da ambientação, da seleção dos objetos empregados na cerimonia, da prática da etiqueta, da comida e até da água utilizada. Através do treinamento e do estudo, manifestam o desejo de refinarem e cultivarem a si mesmos enquanto seres humanos.

Após a morte de Sen Rikyu, seus ensinamentos foram transmitidos aos seus descendentes e discípulos. À época de seus tataranetos, três diferentes escolas - a escola Omotesenke, a escola Urasenke e a escola Mushakoji-senke - foram fundadas e continuam em atividade até hoje. Entre elas, todavia, a mais ativa e de maior número de seguidores, é a Urasenke. Num tranquilo e velho bairro de Kyoto, capital cultural do japão a escola Urasenke da família Sen existe já há três séculos e meio. As mais antigas salas de chá foram originalmente construídas pela terceira geração da família, Sen Sotan, neto do Rikyu. Esse complexo de salas de chá e jardins foi tombado com Patrimônio Cultural Importante pelo governo japonês em razão de sua relevância cultural na história e na arte japonesas. É onde o espiríto de Sen Rikyu permanece, é a casa da Urasenke e o coração do Chado para milhões de pessoas que estudam e praticam como ensinado pela Urasenke ao redor do mundo.

"O que, precisamente, são as mais importantes coisas que precisam ser entendidas numa cerimônia de chá?" Esta pergunta foi feita a Sen Rikyu por um discípulo.

Sua resposta: "Prepare uma deliciosa tigela de chá; disponha o carvão de modo a aquecer a água; arranje as flores tal como elas estão no campo; no verão surgira frescor, no inverno calor; prepare tudo com antecedência; prepare-se para uma eventual chuva; e dê àqueles com quem se encontrar toda consideração."

O discípulo, um tanto desapontado com essa resposta, onde não encontrou nada de importância tão grande que pudesse supor ser um segredo da prática do chá, disse: "Isso tudo eu já sabia..."
Rikyu respondeu: "Então, se você pode conduzir uma cerimônia do chá sem desviar-se de nenhuma das regras que eu acabei de expor, eu me tornarei seu discípulo."
 
Passados quatro séculos desde a época do Rikyu, seus descendentes continuaram levando esse legado para as novas gerações. Cada herdeiro também acrescentou algo, sucessivamente de tal maneira que a Cerimonia do Cha permanece viva e com sentido nos tempos atuais, oferecendo um eficiente caminho para enriquecimento cultural e autodesenvolvimento, e uma fórmula atemporal para compartilhar um bonito momento graças ao chá.

Sotanki 2012 Cerimonia do Chá

$
0
0
Sotanki 2012 - Cerimônia do Chá - Gratuita

Sotanki é a Cerimônia para comemorar o falecimento do Sotan, neto de Sen Rikkyu.


Dia 25 de novembro de 2012 (Domingo) das 11h as 16h houve apresentação da Cerimônia de Chá com Almoço na Liberdade, R$ 90, Vagas Limitadas. Maiores informações e convites 5571-3117.
O valor inclui almoço (Kaiseki), chá forte e chá fraco.

Dia 01 de dezembro de 2012 (Sábado) das 11h às 15h haverá apresentação gratuita da Cerimônia de Chá na Casa de Cultura Japonesa na Universidade de São Paulo. Esta é mais simples e gratuita.

Biblioteca Fundacao Japao

$
0
0
Localizada no predio aos fundos da Casa das Rosas, a biblioteca reúne mais de 20 mil itens sobre historia, literatura, artes e cultura do Japao. Alem do material publicado em japones, há diversos livros em ingles e em portugues. Outros materiais disponiveis para emprestimo sao revistas importadas, CdDs e DVDs de musica pop oriental.

A fundacao Japao fica na Av.Paulista, 37, 2o. andar Tel 3141-0110 3a a 6a das 10h30 as 19h30 e Sabados das 10h30 as 18h30 www.fjsp.org.br

Hatsugama 2013

$
0
0
Hatsugama é o ato de acender o braseiro para o Preparo do Chá pela Primeira Vez no ano. Venha compartilhar este momento unico.

Presenca de 300 personalidades da Colonia Japonesa.

Data 13 de Janeiro de 2013
Horario 11h30
Local Grand Hyatt Sao Paulo

Programa:
11h30 Chaseki
12h00 Coquetel
12h45 Abertura
13h00 Almoco
14h30 Apresentacao de Video seguida de Quarteto de Cordas ao Vivo
15h Encerramento, Café e Entrega de Presentes

Convites e Confirmacoes por email iumi@hotmail.com




2014 60 anos Centro Chado Urasenke no Brasil

$
0
0
Em agosto de 2014 serao comemorados 60 anos de Divulgacao da Cerimonia do Cha na America Latina e Central.

Virao delegacoes de diversos paises, entre eles: Japao, Estados Unidos, Argentina, Mexico e Peru.

Sera lancado um livro em comemoracao a data com o titulo Flor: a flor na cultura Japonesa.

Estima-se q comparecerao 300 pessoas aos 3 dias de eventos.

Imigracao Japonesa nome do Navio e a data de chegada ao Brasil

$
0
0
 Para saber o nome do navio e a data de chegada de algum imigrante japones voce pode digitar o link:

 http://www.kddi.com.br/ashiato/web2/imigrantes.asp

Este link foi disponibilizado pelo Museu Historico da Imigracao Japonesa.

O Museu Histórico da Imigração Japonesa no Brasil, da Sociedade Brasileira de Cultura Japonesa e de Assistência Social, é o maior museu sobre a imigração japonesa.

Possui um acervo de mais de 97.000 itens pertencentes aos imigrantes japoneses, tais como documentos diversos, fotos, jornais, microfilmes, livros, revistas, filmes, vídeos, discos LP, quadros de pinturas, utensílios domésticos e de trabalho, alem dos kimonos, que registram a história desses imigrantes aqui no Brasil.

O Museu está localizado no bairro da Liberdade, dentro do prédio da Sociedade Brasileira de Cultura Japonesa e de Assistência Social, à Rua São Joaquim, 381, ocupando o 7°, 8° e o 9° andares.

O site do museu é http://www.museubunkyo.org.br/

Cerimonia do Cha ou Chado ou Caminho do Cha

$
0
0

De acordo com Sen Rikkyu (1522-1591):

  O Cha nao é nada mais que isto:
  Primeiro voce aquece a agua, e entao voce prepara o cha.
  Entao voce o bebe corretamente.
  Isto é tudo o que voce precisa saber.

A Cerimonia do Cha nao tem apenas o objetivo de mitigar a sede; é a síntese do mundo cotidiano da cultura japonesa, uma disciplina q ajuda a aprimorar o caráter, a treinar a mente através de atividades criativas  e, assim, a elevar a espiritualidade .

Na Cerimonia do Cha, o anfitriao comeca a tracar o plano da reuniao de cha para receber os convidados. Escolhe o arranjo de flores, o kakemono (poema ou frase), dispoe o carvao para aquecer a agua e, na sala de cha, atraves de uma sequencia de movimentos (temae) perfeitamente aprimorados por um longo periodo de tempo, prepara a tigela de cha q acolhe os convidados q, por sua vez agradecem pela consideracao dispensada.

Na interacao entre os convidados e o anfitriao, atraves do chado, aprendemos a importancia do relacionamento humano, incorporando os Quatro Principios: Wa, Kei, Sei, Jaku ou seja:

- Wa - Harmonia - Manter boas relacoes entre as pessoas

- Kei - Respeito - Respeito mutuo entre as pessoas com modestia e discricao consigo mesmo.

- Sei - Pureza - tornar o coracao puro, eliminando as impurezas mentais.

- Jaku - Tranquilidade - serenidade impertubavel presente em qualquer circunstancia.

Provavelmente as pessoas disponham de pouco tempo para aprender a Cerimonia do cha. Entretanto, atraves de seu estudo é possivel ter um insight daquilo que foi perdido em meio à vida apressada do dia-a-dia, q é o sentimento de aceitacao, a consideracao para com as pessoas ao nosso redor, a sensibilidade à mudanca das estacoes do ano, a meditacao. Os meus sinceros votos para q, por meio do aprendizado ou mesmo da participacao em uma Cerimonia do Cha, todos possam encontrar esses principios em seu coracao.

Fonte: Livro Chado - Introducao ao Caminho do Cha

Cerimonia do Cha - As Sete Regras de Rikkyu

$
0
0

"O que, precisamente, são as mais importantes coisas que precisam ser entendidas numa cerimônia de chá?" Esta pergunta foi feita a Sen Rikyu por um discípulo.

Sua resposta: "Prepare uma deliciosa tigela de chá; disponha o carvão de modo a aquecer a água; arranje as flores tal como elas estão no campo; no verão surgira frescor, no inverno calor; prepare tudo com antecedência; prepare-se para uma eventual chuva; e dê àqueles com quem se encontrar toda consideração."

O discípulo, um tanto desapontado com essa resposta, onde não encontrou nada de importância tão grande que pudesse supor ser um segredo da prática do chá, disse: "Isso tudo eu já sabia..."
Rikyu respondeu: "Então, se você pode conduzir uma cerimônia do chá sem desviar-se de nenhuma das regras que eu acabei de expor, eu me tornarei seu discípulo."

Entender as Sete Regras de Rikkyu é fundamental para realizarmos uma cerimonia do cha:

"Prepare uma deliciosa tigela de chá" = Chawa fukuno yoki yohi tate

"Disponha o carvão de modo a aquecer a água" = Sumiwa yuno waku yoni oki

"Arranje as flores tal como elas estão no campo"= Hanawa noni aruyoni

"No verão surgira frescor, no inverno calor" = Natsuwa suzushiku, fuyuwa atatakani

"Faça tudo com antecedência" = Kokugenwa hayameni

"Prepare-se para uma eventual chuva" = Furazutomo ameno yoi

"Dê àqueles com quem se encontrar toda consideração."  Aikyakuni kokoro seyo


Saiba mais:

Livro: Vivência e Sabedoria do Chá, Autor Sen Soshitsu XV, T.A.Queiroz, Editor, Ltda.

Aniversario de 90 anos do Daisosho

$
0
0
Dear Urasenke Members,

We hope that this message finds you in the best of health and spirits and enjoying the spring. Here in Kyoto, the sakura trees appear covered with a faint pink mist; they will probably be in full bloom by the end of the week. No doubt you have fond memories of the large Somei Yoshino blooming across the street from the Kabutomon, and of having hanami dango and sakura mochi for okeiko.

We are writing to ask you all to help Daisosho celebrate his 90th birthday, which is coming up on April 19th. Daisosho continues his mission to spread tea around the world and has just returned from a whirlwind trip to Abu Dhabi, Singapore, Beijing, Tienjin, and Shanghai.

The ninetieth birthday is called “Sotsuju” 卆寿 in Japanese, because the simplified kanji for “sotsu” can be separated into the kanji for “nine” and “ten.” “Ju” is “kotobuki,” meaning felicitations and long life.

To celebrate this remarkable milestone, it has been suggested that people prepare an A4 page collage with birthday greetings and photos, making the greetings very visual. This is partly to eliminate the need to translate the messages as has been done in the past. Also, Daisosho must read a mountain of documents every day, so seeing your smiling faces and tea activities will be especially meaningful.

To help him remember all of his many students, please lay out both "before photo" of you in Midorikai and "after photo" of you today. Please also attach photos of your present tea activities. If you like, a short handwritten or typed message can be included. These are only suggestions, please be creative and have fun!

Finally, please include your name, country, study period and present address somewhere on the greeting in order to eliminate the need to search files for this information. Email your greetings as an attachment to daisosho@gmail.com by April 12th. This account is monitored by Kokusaibu staff, who will print them out and the album of greetings will be brought to Daisosho on April 18th.

See below for submission guidelines. If you have questions or problems please contact Bruce Hamana at kokusai@urasenke.or.jp

Please share this message with your classmates and encourage them to participate. Because of the time constraint and the shortage of staff, no reminders will be sent. This is the only request you will receive. (It is later than you think; koin ya no gotoshi “light and shadow (day and night) are like an arrow.” )

Thanks to everyone for submitting your greetings to Daisosho on this wonderful occasion!

Sincerely,

Midorikai Alumni Association


*****************
Submission Guidelines:
*****************

Please prepare a document on an A4 size format. (PDF or Word document recommended.)

If you are using Microsoft Word, or other word processing program, there should be a size A4 selection under Page Setup > Paper Size. If this is not in your word processing program you can set the A4 size manually (210mm X 297mm or 8.3inches X 11.7inches).

If you do not have a program to convert your file to a PDF document you can upload it to http://www.zamzar.com/ . This is a free service and a link to the converted PDF file will be emailed back to you within minutes of submitting it.

Include your name, country, study period and present address somewhere on the greeting in order to eliminate the need to search files for this information.

Email your greetings as an attachment to daisosho@gmail.com no later than April 12 2013.

Please address questions or problems you may have to Bruce Hamana at kokusai@urasenke.or.jp

Curso Cerimonia do Cha na USP

$
0
0



Objetivo: 
Divulgação da cultura japonesa, através do conhecimento da Cerimônia do Chá, uma das artes tradicionais que sintetizam a vivência estética do povo japonês.DADOS DO CURSO
Natureza do curso: 
Difusão
Público Alvo: 
Público em geral.
Programa: 
1. O que é Chanoyu – Cerimônia do Chá. O que é Chado – Caminho do Chá. Objetos indispensáveis para as aulas. / Postura de se sentar e de se levantar. Formas de se cumprimentar. Maneira de se servir do chá e do doce.
2. Fukusa – pano de seda para purificação / Confecção do fukusa. Revisão da aula anterior. Fukusa sabaki – Maneira de purificar com o fukusa.
3. Usucha-ki - pote para chá fraco / Revisão da aula anterior. Formas de purificar os potes para o chá fraco.
4. Chasaku – colher de bambu para o chá / Revisão da aula anterior. Formas de purificar a colher de bambu.
5. Chawan – tigela. Chakin – pano de linho. Chasen – batedor de bambu / Revisão da aula anterior. Maneira de dobrar o chakin e limpar o chawan.
6. Kensui – recipiente para despejar água usada e o futaoki – porta-tampa / Revisão geral.
7. Mizuya – local de preparo do chá / Ryakubon Temae – Cerimônia do Chá simplificada com o uso da bandeja.
8. Temae – seqüência de movimentos da Cerimônia / Ryakubon Temae
9. Os doces e seus recipientes / Ryakubon Temae
10. Sobre o chá / Ryakubon Temae
11. Kakemono – rolo de caligrafia ou pintura / Ryakubon Temae
12. Arranjo Floral e seus recipientes / Ryakubon Temae
13. Chashitsu – Recinto do chá. Roji – a passagem do jardim / Ryakubon Temae
14. Hishaku – concha de bambu / Ryakubon Temae. Maneira de usar o hishaku
15. Mizusashi – vasilhame para água fria / Ryakubon Temae. Ushucha Temae – Cerimônia do chá fraco
16. Kama – caldeira de ferro / Ryakubon Temae. Usucha Temae
17. Furo – fogareiro. Haigata – Formas de cinzas. Sumi – carvão e seus utensílios / Ryakubon Temae. Usucha Temae
18. Daisu – estante e Tana – prateleira. O yin, o yang e os cinco elementos / Chitosebon – Cerimônia do Chá com o uso da bandeja Chitose. Usucha Temae
19. Chaji – Cerimônia do Chá completa. Chakai – reuniões do chá. Os utensílios para o kaiseki – refeição japonesa / Chitosebon. Usucha Temae
20. Shichijishiki – as sete cerimônias do chá. Nodate – Cerimônia do Chá ao ar livre / Chitosebon. Usucha Temae
21. Koicha Temae – Cerimônia do chá forte. Chaire – pote para chá forte. Shifuku – invólucro para o pote de chá forte / Usucha Temae. Koicha Temae – Cerimônia do chá forte
22. Os 4 princípios e as 7 normas. Ro – fogareiro embutido a nível do chão / Usucha Temae. Koicha Temae
23. História do Chado: nascimento do costume de tomar Chá. A transmissão do Chá. A formação de normas de etiqueta do Chá. Desenvolvimento do Chá ao estilo shoin. O ambiente da natureza nos centros urbanos / Ro Temae – Cerimônia do Chá no Ro.
24. História do Chado: a essência do Chá ao estilo wabi / Ro Temae
25. História do Chado: o Chanoyu do início do Período Edo. As escolas de Chá de Kyoto –Kamiryu Shimoryu. A expansão do Chanoyu / Ro Temae
26. Análise do livro O livro do Chá: a tigela da humanidade. As escolas de Chá. Taoismo e Zen / Ro Temae
27. A análise do livro O livro do Chá: o recinto do Chá. A apreciação da arte. Flores. Os mestres do Chá / Ro Temae
28. Análise da crônica do Chá Nanporoku. Oboegaki. Kai, Tana, Shoin. Sumibiki. Metsugo / Ro Temae
29. Anedotas de chajin – mestres do Chá. Murata Juko. Takeno Joo. Sen no Rikyu / Furo Temae – Cerimônia do Chá no Furo
Carga horária: 
58h
Vagas: 
• máximo: 30 alunos
• mínimo: 5 alunos pagantes
Certificado/Critério de Aprovação: 
Para fazer jus ao certificado de extensão o aluno precisa ter o mínimo de 85% de presença.
Coordenação: 
Profa. Dra. Shirlei Lica Ichisato Hashimoto, da FFLCH/USP.
Vice-Coordenação: 
Profa. Dra. Neide Hissae Nagae, da FFLCH/USP.
Ministrante(s): 
Keita Hayashi, Madoka Hayashi e Bertha Hoshi Nakao.
Promoção: 
Centro de Estudos Japoneses do Departamento de Letras Orientais, da FFLCH/USP.

Bibliografia

HAYASHI, Sokei e HAYASHI, Soen (compilação e adaptação). Cha no Yu – Arte e Filosofia – publicado em português pela Aliança Cultural Brasil-Japão – São Paulo,1995.
IGUCHI, Kaisen (supervisão). Genshoku Chado Daijiten (Enciclopédia Ilustrada de Chado) – Editora Tankôsha – Kyoto, 1975.
KANEKO, Mitsuko e outros (org.). Matcha no Hon (Livro do Chá Verde em Pó) - Editora Sekai Bunkasha – Tokyo, 1992.
KUWATA, Tadachika. Cha no Kokoro – Chado Meigenshû (O espírito do Chá – Antologia de Chado) – Editora Tokyodô – Tokyo, 1957.
OKAKURA, Tenshin. Cha no Hon - The Book of Tea – Editora Kôdansha – Tokyo, 1971.
SEN, Soshitsu (supervisão). Genshoku Odôgu no Atsukai (Livro Ilustrado sobre o Uso dos Utensílios) - Editora Tankôsha – Kyoto, 1972.
SEN, Soshitsu (supervisão). Urasenke Chado Kyôka – Kyôyôhen – 16 volumes (Livros
Didáticos de Urasenke Chado) – Editora Tankôsha – Kyoto, 1979.
TANAKA, Sen-ô. Nanpô Roku Kenkyû (Estudos sobre Registros de Nanpô) - Editora Chado no Kenkyûsha – Tokyo, 1978.
UMEHARA, Takeshi e outros. Geijutsu Shinchô (Revista de Artes) – Editora Shinchô – Tokyo, agosto de 1991.
PERÍODO(S), HORÁRIO(S) E LOCAL DO CURSO/EVENTO
Período de Realização: 
10.03 a 08.12.2012
Horário: 
Sábado, das 10:00 às 12:00.
Local: 
Casa da Cultura Japonesa – Av. Professor Lineu Prestes, 159 – 1º andar – Cidade Universitária – São Paulo/SP.
INVESTIMENTO
Valor: 
Curso gratuito.
Material:
• Será cobrado por aula o valor de R$ 30,00, referente ao material utilizado no curso (chá importado, carvão, flores, colheres de bambu, doces que serão servidos com o chá).
• O valor deverá ser pago em classe.
MATRÍCULA
Período de Matrícula (enquanto houver vaga): 
27.02 a 02.03.2012
Detalhes: 
Matrícula On-line ou Presencial:
  • Matrícula ON-LINE, das 9:00 às 16:30
  • Matrícula Presencial (Veja ao lado Procedimentos Matrícula Presencial )
Desistência:
O aluno desistente deverá comparecer à Secretaria ou ligar no telefone 3091-4645, no prazo de 2 dias antes do início do curso. Assim, caso haja Lista de Espera, poderemos preencher as vagas.
INFORMAÇÕES SUJEITAS A MODIFICAÇÕES. CONSULTE SEMPRE AS ATUALIZAÇÕES DO SITE.

Licencas e Otemaes da Cerimonia do Cha

$
0
0

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.

1. 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.

2. 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.

3. 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 rather than whisking it into a smooth, velvety consistency. It is performed as a hakobi or tana temae.

4. 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.

5. 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.

1 Kinindate nobleman/tea procedure

2 Kininkiyotsugu nobleman/attendant

These temae emphasize the rank of a noble guest and his or her attendant if present.

3 Chairekazari tea caddy/display

4 Chawankazari tea bowl/display

5 Chashakukazari tea scoop/display

6 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.

7 Nagao chaire long cord/tea caddy

8 Otsubukuro Otsu Province/bag

9 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.

10 Kasanejawan stacked/bowls

11 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.

12 Bonkogo tray/incense container

13 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).

14 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.

15 Tsubokazari tealeaf storage jar/display

16 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 (summer)
Tsuki moon (fall)
Yuki snow (winter)
Hana flower (spring)

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 special 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 first of these procedures, ryureidana. The host and guests who seated on stools. A variety of tea making tables has been designed. The most formal is the ryureidana, created by Gengensai in 1872, which can be used to perform the four chaji temae, usucha, koicha, shozumi, and gozumi. Other tables, including the misonodana, may only be used for the preparation of usucha.

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 presented by the Iemoto.

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.

Urasenke Foundation Seattle Branch
URASENKE LICENSES AND CURRICULUM  Transmitting the living art of Chado, the Way of Tea, to affirm our shared humanity through harmony, respect, purity and tranquility.

Exposicao Beleza do Japao 17, 18 e 19 de maio de 2013

$
0
0
Exposicao Beleza do Japao 17, 18 e 19 de maio de 2013



Dias 17 , 18 e 19 de maio de 2013 o Centro de Chado Urasenke comemorará os 105 anos da Imigracao Japonesa com uma exposicao sobre a Beleza do Japao no Bunkyo com entrada Franca:

- Ikebana (mais de 100 arranjos de 13 escolas. Haverá Demonstração e Oficinas
- Cerimonia do Cha (demonstracao da Cerimonia do Cha)
- Musica Classica Japonesa (Show de Musica Clássica Japonesa)
- Arte Craft e Pintura (Exposição de Arte Craft e Pintura)

17 de maio as 19h será a abertura e Lancamento do Livro Hana – A Flor na Natureza e nos Campos do Japao

18 e 19 de maio de 2013 Exposicao das 10h as 19h

Local Sociedade Brasileira de Cultura Japonesa 
Rua Sao Joaquim, 381 Liberdade

Um livro dedicado à flor na cultura do Japão

Atenção, abrir em uma nova janela.
aberturaUm recorte da tradição japonesa expressa por meio das flores – esta foi a proposta do Centro de Chado Urassenke do Brasil ao editar o livro: Hana – Flor – A flor na natureza e cultura do Japão. Seu lançamento será no próximo dia 17 de maio, na abertura da exposição Nihon no Bi – Beleza do Japão, no Hall de Entrada do Bunkyo.

Participe da Cerimonia do Cha no Festival do Japao 2013

$
0
0
A Cerimonia do Cha estará no Festival do Japao dias 20 e 21 de julho de 2013 no Espaco Imigrantes e http://www.festivaldojapao.com/





Participe da Cerimonia do Chá. Experimente o doce, tome o chá e aprecie a cerimonia como convidado. Ingressos para Cerimônia por R$ 10.

Venda de ingressos antecipados para entrada no Festival do Japão R$8 através da http://www.akitaclinic.com.br/ e no local R$10. Evite filas e compre seu ingresso por telefone 11-5571-3117

Porque praticar a Cerimonia do Cha - Kyoto Journal

$
0
0

Tea Ceremony as the Mythological Journey of the Hero

FROM KJ 1, BY DANIEL R. KANE
“Why do you study Tea?” This is a question I ask myself as often as I am asked. The usual answers perhaps are enough: “It is an aesthetic exercise; a Zen discipline; a unique means of social interaction.” Yet, I have wondered if there might be some other attraction to Tea; something not so apparent; something which, in particular, captivates the imagination of the non-Japanese participant. What I present here are a few personal observations and speculations concerning a possible connection between Mythology and Tea Ceremony.

FUNCTION OF MYTH
  Mythology preserves and transmits essential cultural truths by creating a realm which speaks to our present situ­ation through timeless images and symbols. Gods, goddesses, heroes, heroines, giants, spirits, and demons act out the entire panoply of our inter­nal and external existence. Through their actions we can learn lessons vital to our personal and cultural well-being. Its symbolic written, visual, and spoken language enables a myth to penetrate to the deepest levels of our psyche. For this reason all faiths have a central myth from which its rituals and doc­trines are formed.
Even historically-based faiths, such as Judaism, Christianity, Buddhism, etc., evolved their own mythologies in order to crystallize and proselytize their beliefs. According to Mircea Eliade:
“We are at last beginning to know and understand the value of the myth, as it has been elaborated in “primitive” and archaic societies where the myth happens to be the very foundation of social life and culture. In such societies the myth is thought to express absolute truth, because it narrates a sacred history; that is, a trans-human revelation which took place at the dawn of the Great Time, in the holy time of the beginnings. Being real and sacred, the myth becomes exemplary, and consequently repeatable, for it serves as a model, and by the same token as a justification, for all human actions. In other words, a myth is a true history of what came to pass at the begin­ning of Time, and one which provides the pattern for human behavior. In imitating the exemplary acts of a god or of a mythic hero, or simply by recounting their adventures, the man of an archaic society detaches himself from profane time and magically re-enters the Great Time, the sacred time.”
Although in modern society myth is no longer at the center of life, we still have rituals which are central to our communal and personal growth. Ritual is a natural outgrowth of myth. Even if the symbols are not comprehended, they are usually apprehended. So long as a ritual has the power to move one on a subliminal level, it retains its importance within the life of the community.
Even though the outward forms of myth reflect the culture from which it developed, the content of all myths fol­lows patterns which cut across cultural barriers. The farther away from specific religious doctrines the myth and its con­nected rituals become, the more it trans­cends its cultural base and speaks univer­sally.

ZEN AND TEA


The Way of Tea has undergone many transformations since its origins j~ 7th Century Chinese Buddhist temples. Eventually Tea died out in China, but continued to flourish in Japan through the efforts of Zen ‘Buddhist priests. As Tea moved out from the confines of the temple into the circles of the aristocracy it became not only a spiritual expression, but a social event as well. The social aspects of Tea became so prevalent that its Zen foundation was almost completely obfuscated.
Today the social aspects of Tea are uppermost in the minds of most Japanese practitioners, who generally are women for whom doing Tea is a social grace acquired in preparation for marriage. However, the spiritual aspects of Tea, as exemplified in Zen, are not completely forgotten even if they are not widely applied.
Since Zen looks beyond the symbol to the thing, the stereotypes that most of us have constructed concerning color, sex, and age, as well as the dogmas of ethnic-bound cultures, are seen to be man-made, not part of the nature of things. Each person is structured, or “coded”, to live best in his particular transaction with the Great Tao; he has his private Tao. As each of us opens himself to the operation of his secret code, he progressively functions more harmoni­ously…. The same inner coding or wisdom that heals a cut or mends a broken bone can heal the psychic wounds that each of us suffers.
The word Zen is the Japanese form of the Chinese word Ch’an, which is the Chinese form of the Indian Dhyana, meaning a particular kind of meditation. When monks brought Ch’an to Japan in the twelfth century, it developed even more rapidly and influenced the culture even more profoundly than it had in China … It shaped not only the relig­ion of the people but also the orientation of the creative workers in sculpture, painting, architecture, landscape gar­dening, house furnishing, the theater – even bushido, the code of the warrior, and the “arts” of swordsmanship and archery.

SYMBOLS AND THE COLLECTIVE UNCONSCIOUS


The genuine creative act relies upon the intuitive connection between outer phenomena and an inner perception of the significance of such phenomena in order to give expression to further interpretation of the meaning of the phenomena. All art is symbolic. The painting of a tree is not a tree, but a symbol in coloured pigments representing what we call a tree. This holds true whether the representation is “realis­tic” or “abstract”. The artwork is an expression of the artist’s inner response to the idea of a tree. It is not even necessary for the artist to actually see a tree.
Symbols in any form rise from the unconscious. Profound symbols rise from deep regions and consequently resonate in the deepest levels of the psyche of those who experience them. As Jung has postulated:
“In addition to our immediate consciousness, which is of a thoroughly personal nature and which we believe to be the only empirical psyche (even if we tack on the personal unconscious as an appen­dix), there exists a second psychic system of a collective, universal, and impersonal nature which is identical in all individu­als. This collective unconscious does not develop individually but is inherited. It consists of pre-existent forms, the archetypes, which can only become conscious secondarily and which give definite form to certain psychic contents.”
I feel that the ritualized movements, pre­scribed order of procedures, codified manners, patterned speech, physical set­ting, utensils, and symbolic nature of Tea place the participant in proximity to mythic archetypes and in so doing, the guest relives the ancient and sacred jour­ney of the hero.

THE PRACTICE OF TEA


There are two main forms of expres­sion for the practice of Tea. One is the chakai (tea gathering) where many people are served sweets and a bowl of thin tea (powdered green tea leaves mixed with water and whipped until foam floats on the surface — called usucha). The atmosphere is often rushed since there are many people to serve.
The other form of expression is the chaji (tea event) consisting of a meal, two charcoal ceremonies, two types of sweets, thick tea (a large amount of tea mixed with water to the consistency of heavy cream-called koicha), and usucha. It is given for a few people in a small tea house set in a garden. The chakai may take only twenty minutes; the chaji takes four hours with emphasis on allowing the underlying meaning of the event to make itself evident to the guests. It is the chaji held at noon dur­ing winter season (the time when a porta­ble brazier is used) to which all paral­lels to myth shall be made.

THE MYTHOLOGICAL JOURNEY


The mythological hero, setting forth from his common day hut or castle, proceeds to the threshold of adventure…. Beyond the threshold, then, the hero journeys through a world of unfamiliar yet strangely intimate forces some of which give magical aid (helpers)…. When he arrives at the nadir of the mythological round, he undergoes a sup­reme ordeal and gains his reward… intrinsically it is an expansion of con­sciousness and therewith of being (il­lumination, transfiguration, freedom). The final work is that of the return…. At the return threshold the transcendental powers must remain behind; the hero re­emerges from the kingdom of dread (re­turn, resurrection). The boon that he brings restores the world (elixir).
The hero receives a challenge, often from the gods, to perform a specific task. Usually the task involves going to an unknown land and bringing back either a sacred or magic object or a message from an oracle. This often involves participation in secret rites and initiation rituals. The guest receives an invitation from the host, the Omnipotent Creator of the chaji. The host selects the time, setting, theme, utensils, menu, sweets, tea, and all the other components necessary to do a chaji. The invitation is a formal summons to gather for a specific reason.

MYTHIC TIME/TEA TIME


Tea has its own time, like mythic time. It is a time set aside from time, from the everyday perception of events set in chronological sequence. During the chaji there is a sense of suspended time—timelessness.
Ironically, despite the ‘timeless’ feeling the guests sense, the chaji is carefully regimented. When to prepare food, when to build the fire, when to serve the tea, all depend on a timing as precise as ballet.
A Tea ceremony is a seated dance, an orchestrated ritual, as deliberate, paced, and formal as the elevation of the host in a Catholic Mass.
If all is ready for the guests to enter when they arrive, the walk outside will have been sprinkled with water. The gate will be open and will also have been sprinkled. The guests arrive and enter the main gate and go to a waiting room. The last guest closes and locks the gate. The outside world is shut away. It is now time to prepare to encounter the mystery.

PREPARATION FOR THE JOURNEY


The guests are served some hot water from the kettle. The water is often from a shrine or temple and is, therefore, sacred water. It is the water which will be used for cooking and for making the tea. But that is later; now it is to refresh them after their travel.
They are told to go outside to a waiting area when they have finished. After a few moments of quietly con­templating the garden, they hear the splash of water as the host pours fresh water into a stone basin near the tea house. Soon the host is seen approach­ing. Starting with the main guest they move forward in a diagonal line. They make a deep, formal, silent bow to the host. The host returns to the tea house; the guests sit again. All is ready; the guests may enter the tea house.



THE FLIGHT THROUGH THE FOREST


The first guest proceeds slowly through the garden. The other guests remain seated. A tea garden usually has no flowering plants. Its emphasis is on the color green with its variety of hues and its symbolic relationship to life and growth. The tea garden does not give the viewer a spacious expanse of shrubs, trees, flowers, grass and stones. Rather, it is an echo of the primordial forest of trees, shrubs, and moss.
Thus, let a person take a delight in the natural harmony of heaven and earth; let him transplant mountains, rivers, trees and rocks to his own fireside and experi­ence the five elements (within his own self). Let him draw from the source of heaven and earth and savor in his mouth the taste of the wind. Is it not mighty? Ple­asure in the spirit of the harmony of heaven and earth—that is the Way of chanoyu (Tea Ceremony).
The guest is lifted above the green which is on all sides on stepping stones cal­led tobiishi (flying stones).
A great many symbols and significations to do with the spiritual life and, above all, with the power of intelligence, are connected with the images of “flight” and “wings”. The “flight” signifies intelli­gence, the understanding of secret things and metaphysical truths. If we con­sider the “flight” and all the related sym­bolisms as a whole, their significance is at once apparent: they all express a break with the universe of everyday experience; and a dual purposiveness is evident in this rupture: both transcendence and, at the same time freedom are to be obtained through the “flight”. The roots of freedom are to be sought in the depths of the psyche, and not in conditions brought about by certain historical moments. The breaking of the plane effected by the “flight” signifies an act of transcen­dence, the longing to go beyond and “above” the human condition, to trans­mute it by an excess of “spiritualization” to see the human body behaving like a “spirit”.
The tea garden is named roji (dewy path) and the host takes great care to see that the entire garden is wet whenever the guests walk through it. The ideal is to have the moisture just beginning to dry in places. For not only is it the Great Forest Primeval, it is the Dawn of Existence as the Day of Creation is approaching. Okakura referred to the 17th-century Tea Master Enshu’s feeling for the roji as follows:
He wished to create the attitude of a newly awakened soul still lingering amid shadowy dreams of the past, yet bathing in the sweet unconsciousness of a mellow spiritual light, and yearning for the freedom that lay in the expanse beyond.
The hero leaves his country and travels through uncharted lands. The forest represents the severing of ties with those things which are familiar and recognizable. The forest is dark, foreboding, encompassing, but above all, visually separates us from the comfortable landmarks of our native surroundings. The forest is essentially a manifestation of the Earth Mother. By yielding to Her we are refreshed and nurtured. Although mysterious, some­times frightening, She has abundant life – lush, fertile and primitive.
In the original sense of the word ‘garden path’, roji, ro was interpreted as ‘to manifest’, and ji as ‘heart’. Thus its meaning was to reveal ones ‘inner nature’. ‘Garden path’ signified eradicating the eternal suffering of the world along with its root causes, and manifesting the Buddha-nature of eternal truth and real­ity.

PURIFICATION


The first guest comes to a gate and opens it to enter the Inner Roji. For the first time, perhaps, the edge of the tea house can be glimpsed. Near it is a stone basin (tsukubai) filled with water with a wooden ladle across the top of it. The guest crouches before the tsukubai and scoops out a ladle full of water. The guest rinses the left hand, then the right hand, then pours water into the cupped left hand, sips it, and rinses the mouth, emptying the water into the area in front of the basin. The ladle is held upright so that the rest of the water flows out down the handle. The ladle is put back. The dust of the world has been washed away; the body and the soul have been made pure. This ritual is the same as that done before entering a Shinto Shrine so that the visitor stands before the god in a cleansed, i.e., purified state. And the Brahmin washes in the Ganges; and Christ was baptized in the Jordan; and Catholics are blessed with Holy Water.

THE THRESHOLD OF EMPTINESS


The guest goes to the tea house, at which time the second guest starts through the garden. The small square door (nijiriguchi— humbling entrance, approximately 68cms) to the tea room has been left slightly open. The guest steps upon a large stone (yakuseki) in front of the door, crouches, and opens the nijiriguchi. This is not a humble entrance, such as a rustic old farmhouse door. This is, indeed, a ‘humbling’ entrance. To enter the Inner Sanctum, the hero must get rid of all vestiges of pride, for it is hubris which usually causes the hero’s downfall. The guest’s sandals are left outside and the guest crawls into the tea room.
One of the names for the tea room is sukiya, place of emptiness, from “suku”: to be empty. Zen master Ikkyu, under whom many tea masters studied Zen, had this to say concerning emptiness:
All things inevitably become empty, and this emptying process signifies a return to the source of original being.
The concept of emptiness is central to Zen Buddhism and also plays an important role in mystical Taoism. The Ten Oxherding Pictures with Commentary and Verses solidified in the 12th century to become a major Zen parable showing the path to enhightenment. The Eighth Picture depicts enlightenment as an empty circle. The following verse accom­panies it:
Whip, rope, Ox and man alike belong to Emptiness.
So vast and infinite the azure sky that no concept of any sort can reach it.
Over a blazing fire a snowflake cannot survive.
When this state of mind is realized comes at last comprehension
of the spirit of the ancient Patriarchs.

And from a Taoist Mystical treatise entitled The Book of Consciousness and Life, the eighth and final step of meditation is:
Empty Infinity
Without beginning, without end, without past, without future.
A halo of light surrounds the world of the law.
We forget one another, quiet and pure, altogether powerful and empty.
The emptiness is irradiated by the light of the heart and of heaven.
The water of the sea is smooth and mirrors the moon in its surface
The clouds disappear in blue space; the mountains shine clear.
Consciousness reverts to contemplation; the moondisk rests alone.

The picture which accompanies the above verse is an empty circle.

A TEMPLE OF NUMBERS


The ideal tea room is 4.5 tatami mats (approximately 3 square meters: see Figure 2). This dimension is significant because it divides the room into 9 equal parts of .5 tatami each (see figure 3) Nine is considered in many cultures to be a number symbolizing completion. Its divisions contain all the other num­bers:1&8, 2&7, 3&6, 4&5; and if the numbers 1 through 9 are added together they equal 45 and these digits add up to 9. Also, any single digit mul­tiplied by nine yields a product which adds upto9: 2×9=18=9; 3×9=27=9 etc. But beyond these numerological connections, the tea room can be consi­dered a temple. Seventeenth Century Tea Master Sen Sotan said:
It was on the basis of (the) interpreta­tion (of the garden path meaning ‘to manifest the heart’) that the tea-room was given the name roji, in that it is the temple in which the Buddha-nature is manifested within us.
Joseph Campbell comments thus on the function of myth and temples:
“For a culture still nurtured in mythology the landscape, as well as every phase of human existence, is made alive with symbolical suggestion. The hills and groves have their supernatural protectors and are associated with popularly known episodes in the local history of the creation of the world. Here and there, furthermore, are special shrines, wherever a hero has been born, has wrought, or has passed back into the void, the place is marked and sanctified. A temple is erected there to signify and inspire the miracle of perfect centeredness; for this is the place of the break­through into abundance. Someone at this point discovered eternity. The site can serve, therefore, as a support for fruitful meditation. Such temples are designed, as a rule, to simulate the four directions of the world horizon, the shrine or altar at the center being symbolical of the Inexhaustible Point. The one who enters the temple compound and proceeds to the sanctuary is imitating the deed of the original hero. His aim is to re4earse the universal pattern as a means of evoking within himself the recollection of the life-centering, life-renewing form.”

SACRED MANDALAS


It was the custom in ancient India, as elsewhere, to construct temples based upon a mandala, a design often used for meditation.
The Mandala’s basic motif is the premon­ition of a center of personality, a kind of central point within the psyche, to which everything is related, by which every­thing is arranged, and which is itself a source of energy… This center is not felt or thought of as the ego, but if one may so express it, as the self. Although the center is represented by an innermost point, it is surrounded by a periphery containing everything that belongs to the self – i.e. paired opposites that make up the total personality. This totality comprises first of all, the personal uncon­scious, and finally an indefinitely large segment of the collective unconscious whose archetypes are common to all mankind.
The design of the Hindu temple is based upon a square. Usually quadrangular forms symbolize conscious realisation of inner wholeness; the wholeness itself is most often rep­resented in circular forms.
Quarternity is reflected in the four seasons, the four directions of the wind, the four Gospels, the four sons of Horns, the Four Noble Truths of Buddha, the Four Virtues of Tea (Har­mony, Respect, Purity, Tranquility) etc.
Great importance is attached to the establishment of the (Hindu) temple’s ground plan because it functions as a sacred diagram (mandala) of the essen­tial structure of the universe. The man­dala is a concentric figuration, usually a square divided into a number of smaller squares by an intersecting grid of lines. This arrangement of central squares with others that surround it is taken to be a microscopic image of the universe with its concentrically organized Structure. By constructing this diagram to regulate the form of the temple, a symbolic connec­tion is created, binding together the world of the gods — the universe, and its miniature reconstruction through the work of man. Brahma occupies the central nine squares and is surrounded by various planetary divinities, including the Sun and Moon. The mandala is thus able to incorporate the courses of the heavenly bodies which are related to all recurring time sequences. It may also contain an image of the cosmic man. This cosmic figure is identified with the processes of the creation of the universe and its underlying structure. Profound signifi­cance is attached to the centre of the temple mandala, as it is here that the worshipper may experience transforma­tion as he comes into direct Contact with the cosmic order. The plan of the temple is strictly oriented to the cardi­nal directions.

THE LO SHU AND THE HALL OF LIGHT


The nine-fold square is the config­uration used for constructing the Chinese pattern known as the Lo Shu, the Writing from the River Lo. The Lo Shu is a magic square with the numbers 1 through 9 arranged in such a way that each column or row of three figures and each diagonal add up to the same number. At the center is the number 5 representing the five elements (fire, water, wood, metal and earth). The Lo Shu was used 1300 years ago by Empress Wu as the floor plan for a large temple she built and dedicated to heaven, called Ming T’ang or Hall of Light.
Except for room 5, each odd-numbered room had a single dais and each even-numbered room a double dais, making twelve in all, one for each month of the year. The Chinese year varied in length and citizens found it hard to keep their diaries in order. At the beginning of each month, an official, mounted the appropriate dais and read out the Procla­mation of Space and Time so that everyone could be clear about the date. What gave the proclamation its special authority was the arrangement of the rooms.
The Lo Shu was in existence long before Empress Wu utilized it for the Ming T’ang. It was connected to early Taoist thinking which had a strong influence upon Chinese Buddhism.
Buddhism is said to have officially reached China during the first century A.D., and after some three hundred years of adjusting it to suit their established teachings of Confucianism and Taoism, the Chinese embraced it as their own. (it was the admittance of Taoist beliefs into Chinese Buddhism that laid the foundations for the school of Ch’an Buddhism, the parent of Japanese Zen.).

THE I CHING AND TEA

  The I Ching (Book of Changes) is the major treatise for both Confucianism and Taoism. Its origins are lost in antiquity, but a version edited and annotated by Confucius has come down to our time. The underlying theme of the I Ching is change.
He who has perceived the meaning of change fixes his attention no longer on transitory individual things but on the immutable, eternal law at work in all change. This law is the tao (and) was represented by the circle divided into the light and the dark, yang and yin.
In the I Ching eight three-lined configurations consisting of varying combinations of broken (yin) and
unbroken (yang) lines form the basis of a system of images which carry deep philosophical meaning. These trigrams are paired to form 64 hexagrams representing a complete life cycle.
The connection between the eight trigrams of the I Ching and Tea can be seen in the use of the hakke bon in a procedure known as gyo no gyo daisu. This procedure came from China and from it the more simple procedures most people use today were derived. The hakke bon is a black lacquered round tray inlaid with a circular pattern of the eight trigrams grouped in what is called the Inner World Arrangement. This tray supports the chawan (tea bowl) and chaire (tea container) and rests upon the ten ita (heaven board) of the daisu (stand). The trigram K’an, the Abysmal, is in the north and represents winter; in the east is C/zen, the Arousing, spring; in the south, Li, the Clinging, summer; and in the west, Tui, the Joyous, autumn. These trigrams also represent midnight, morning, noon and evening, respectively, beginning with K’an and moving clockwise. The trigrams at the ordinal points represent the transitions from season to season and hour to hour. (It may be of interest to note that the trigram which rules the southeast, where the guests enter, is called Sun, the Gentle; its attribute: penetrating.) When read in sequence from Chen in the spring all eight trigrams comprise the cycle of a day, a year and a lifetime.
The Inner World Arrangement was combined with the Lo Shu from ancient days. By superimposing the Inner Worid/Lo Shu arrangement upon the nine fold square of the 4.5 mat tea room we create a mandala representing the cyclic passage of time.
The altar of the Hindu temple is at the center. The center room of the Ming T’ang, the temple built by Empress Wu, is empty. There is no trigram at the center of the tea room. The number from the Lo Shu for the center of the tea room is 5, which represents the unification of all things or, in other words, the Buddhist Void from which all things emerge and into which all things dissolve. The Void is the Great Emptiness reflected in the Eighth Oxherding Picture of Zen and the eighth stage of meditation from the Taoist ‘Book of Consciousness and Life’. During a chaji the bowl of tea is placed upon the center square for the guests to receive. Thus the center becomes the dynamic emptiness of the Buddhist Void, the Inexhaustible Point, the World Navel, the Place of Everlasting Spiritual Nourishment.

THE TEA ROOM, BUDDHA’S HEART, AND THE COURSE OF THE SUN


By tracing a line down the center of the tatami from temaeza (the place where the tea is made in the northwest) through the center square, down the guests’ tatami and repeating the process starting in front of the tokonoma (alcove), we arrive at the figure of the swastika, which is a mandala in itself, based on a four-fold square.
The swastika was the monogram of Vishnu and Siva in India, the battle-axe of Thor in Scandinavian inscription and a favourite symbol with the Peruvians. It is said to be the first of the 65 auspicious signs on the footprint of Buddha. It is described as “the accumulation of lucky signs possessing ten thousand efficacies (and) is also regarded as the symbol or seal of Buddha’s heart. The Swastika represents the “fire’s cradle” i.e., the pith of the wood, from which in oldest times in the point of intersection of the two arms the fire was produced by whirling round an inserted stick. On the other hand, according to the view most wide spread at the present day, it simply symbolizes the twirling movement when making fire, and on this, too, rests its application as a symbol of the sun’s course.
Thus the tea room becomes the nine-fold square mandala of the Cosmic Man containing the Swastika of Buddha’s Heart, which can also represent the circular course of the sun and in so doing, the passage of time as reflected in the day/year/life cycle of the Inner World Arrangement of the eight trigrams of the I Ching and the magic square of the Lo Shu. According to Aniela Jaffe:
“Every building, sacred or secular, that has a mandala ground plan is the projection of an image from within the human unconscious into the outer world. The city, the fortress, and the temple become symbols of psychic wholeness, and in this way exercise a specific influence on the human being who enters or lives in the place. (It need hardly be emphasized that even in architecture the projection of the psychic content was a purely unconscious process. ‘Such things cannot be thought up,’ Dr. Jung has written, ‘but must grow again from the forgotten depths if they are to express the deepest insights of consciousness and the loftiest intuitions of the spirit, thus amalgamating the uniqueness of present-day consciousness with the age-old past of humanity.’”

WORDS FROM THE SAGE


The guest goes to the tokonoma in the dimly lighted room. The tokonoma is placed in the north and is related to temple architecture. (In Chinese Ch’an monasteries the tokonoma was a special shrine before which monks burned incense, drank ceremonial tea, and contemplated religious artwork.) In the tokonoma is a scroll upon which is written a saying, usually philosophical and often from a Zen temple. It is frequently short – perhaps a single word – and somewhat cryptic.
And the hero, tired after the rigors of traveling through unknown lands, pauses a moment to rest and is greeted by an old sage who utters a few words of wisdom.

THE FURO MANDALA


The guest now goes to the furo (portable brazier) and kama (kettle). The round, three legged furo is placed on a square, black lacquered board (isa). Inside the furo, along with ash and burning charcoal, is a gotoku, a three legged metal stand supporting the kama. Although some furo do not use gotoku, the most commonly used ones do. The furo has two legs in back and one in front; the gotoku has two legs in front and one in back. Excluding the highly variable shapes of the kama, a schematic representation of the furo and gotoku reveals another mandala as seen from above. By drawing a line bet­ween the points of the furo and gotoku legs, respectively, we form two interse­cting triangles going in opposite direc­tions inside the round furo.
The standard style furo is made of clay (earth) and thus the arrangement of wooden ita, clay furo, burning charcoal, iron kama and boiling water represent the five elements.

FOOD FOR BODY AND SOUL


The last guest enters, closes, and locks the nijiriguchi. After the guests have each looked at the scroll, furo, and kama, the host enters and formally greets each guest, then explains the various items the guests have seen in the waiting room and the tea room. As far back as the Heian Period (794-1185 A.D.) evil influences were thought to flow from the northeast. (When Kyoto was founded a temple was built on Mt. Hiei in the northeast to protect the city.) The host’s entrance is in the southwest. The host absorbs the evil influences from the northeast and pro­tects the guests who sit in the east facing the Western Paradise of Buddha.
A multi-coursed kaiseki meal is served. Kaiseki means ‘bosom stone’ and comes from the old custom of Buddhist monks of placing warm stones inside their robes against the stomach to ease the pangs of hunger. Although today the meal has become very elabo­rate, originally it was meant to be a light meal sufficient to appease hunger, but not a feast. An older name for kaiseki is yakuseki. The word yaku means medicine. In many Buddhist temples only one or two meals were allowed. Since this is usually not enough, another meal was served which was for ‘medicinal’ purposes. Although it was a regular meal, by referring to it as ‘medicine’ it did not violate the rule of the temple.
The large stone in front of the nijiriguchi is also called yakuseki.
Even though this yaku means service, the sound of the word connects it with yaku meaning medicine. (It is common in Japan to use an object because its name is symbolically related to some­thing else. Example: there is a small cit­rus fruit called dai’ai. Daidai also is the word for generation after generation. So the fruit is used to symbolize longevity in New Year’s decorations.) If the underlying meaning for both the stone and the meal is connected with medicine, then the feeling is that these things promote healing.
Kaiseki has elements of both Buddhism and Shinto. For example, the size of the oshiki (serving tray) is taken from the old-style lacquered paper placemats used by monks. The paper was stored by folding it in such a way that the creases made a nine-fold square. Each guest receives a tray on which is served rice, soup, and fish. The rice and soup are served in covered bowls patterned after the bowls used in temples. The bowls and lids nest in each other when stored and are called yotsuwan (four bowls). For Tea there is also fish, not found in temple cooking, which is vegetarian. The fish is in a ceramic dish. Therefore, there are five bowls on the tray. The number five may be connected with the five elements and could represent “a hermaphroditic union of nature”. Psychologically, five “corresponds to the unified personality which gives equal consideration to all four functions”. (Jung’s four functions: thinking, feeling, sensation and intuition.)

RITES OF INITIATION


Kaiseki is more than a means for fortifying the body; it is a spiritual initiation as well. Initiation into a secret society or as a prelude to the acceptance of secret or sacred knowledge often requires the initiate to eat or drink a sacred substance and be in an altered state of consciousness. Sometimes this ‘other-state’ is induced through drugs, meditation, fasting, dancing, or chanting. But the most common means is through alcohol, particularly wine. The Greco-Roman rites to Dionysus, parts of which were later echoed in Roman Catholic rituals, included the drinking of wine which lowered consciousness and made the initiate more receptive to receiving the mysteries. In the Mesopotamian Epic of Gilgamesh, the wild man, Enkidu, is tamed by being given bread to eat and wine to drink, for these are products of civilization. And the eating of bread and drinking of wine became the sacrament for Christians.
The offering of something from the sea, something from the land, and sake (rice wine) comprises the sacred offering in Shintoism. The most ritualized segment of kaiseki comes when something from the sea and something from the land are served on an unfinished square cedar tray measuring 8 hassun, approximately 24 cm. on each side. The tray is fashioned after the top portion of the elevated tray (sanbon) used in Shinto Shrines to make offerings to the gods. In a complicated procedure these foods are served with several helpings of sake. Sake is sacred to the gods and it is also felt in Japan that intoxication brings one closer to the divine. The saucer-like cup it is served in is also the same shape as that used in Shinto Shrines. The color is red — the color of cinnabar, which Chinese Taoist alchemists thought imparted immortality. One cup is passed from host to guest to host to guest, etc. This is called chidori sakazuke (the bird cup) because it passes like a bird between people. The bird is an ancient symbol for the soul in many cultures.
Kaiseki, particularly hassun, as a rite of initiation thus prepares the guest to receive the earth secrets embodied in the making and drinking of the tea.
The touch of Earth is always reinvigorating to the son of Earth, even when he seeks a supra-physical Knowledge. It may even be said that the supra-physical can only be really mastered in its fullness when we keep our feet firmly on the physical. And it is certainly the fact that the wider we extend and the surer we make our knowledge of the physical world, the wider and surer becomes our foundation for high knowledge.

BUILDING THE SACRED FIRE


Next, the fire is prepared in a ritualized fashion. During this, the furb is wiped three times with three bird feathers tied together, a further connection with the sacred flight begun when the guests crossed the garden by the use of ‘flying’ stones and drank from the ‘bird’ cup.
One of the pieces of charcoal placed into the brazier at this time is called tenzumi (heaven charcoal). The ruling I Ching trigram for this area of the room is also called Heaven. The fire may then be considered to be the sacred fire of creation sent from heaven.
Sandalwood incense is placed into the brazier. This is the incense associated with Buddha and used in Buddhist temples and at funerals to convey a sense of purification and transcendence.
In a stack of square black lacquered boxes special sweets are served to the guests. The sweets are to be eaten with a stick cut from a bush called kuramoji (spice bush), the bark still remaining. These are in sharp contrast to the carefully shaped cedar chopsticks used to eat the meal itself. Even the freshly cut green bamboo serving chopsticks are far more refined than these crudely cut utensils. Yet their rusticity brings the guest closer to the earth in a direct, unpretentious way and serves as a prelude to the drinking of the tea which will shortly follow.

A TIME FOR PAUSE


After eating the sweets, the guests go back to the outside waiting area to rest their legs. During this time the host removes the scroll and places a container of flowers in the tokonoma. Flowers for Tea are placed in a container, not arranged. They should look as they did while growing in the field. The charcoal under the kama has ignited and is burning well. The water in the kama begins to simmer and gives off a gentle sound called matsukaze (wind in the pines). The host places a jar of cold water (mizusashiji) next to the furo and in front of it a ceramic container (cha-ire) of powdered green tea (koicha) in a silk bag (shijifuku).
The cha-ire was originally a medicine jar in China where tea had long been recognized as a medicine.
A deep sounding gong is struck in a particular pattern. The deep sound of the gong is considered yin. A chaji during the day (yang) uses this signaling device. At night (yin), a high-pitched bell (yang) is used. When the guests hear the gong they take a crouching position in a diagonal line similar to the way they stood to bow to the host at the beginning of the chaji.

THE MYSTERY BEGINS


The guests return to the tea house as before. When the nijiriguchi has been closed and locked and all the guests are in place after looking at the flowers, mizusashi, cha-ire, furo, and kama, the host slowly removes bamboo blinds from the outside of the windows of the tea house. As they are removed, the tea room, which had been rather dark during kaiseki becomes a little brighter. The dark, introverted yin atmosphere of the meal gives way to the light, extroverted yang atmosphere of the tea.
Now the host enters with the chawan (bowl), sits facing the kama and places the chawan against the wall. Inside the chawan a chasen (tea whisk) rests upon a chakin (white linen cloth used to wipe the chawan). Across the chawan is a chashaku (tea scoop) made of bamboo, wood, or ivory. The chashaku is patterned after the old Chinese medicine scoop. The chaire is moved to the right and the chawan is placed to the left in front of the mizusashi. The chawan is an open receptacle (yin), while the chaire is a closed receptacle (yang). These positions are opposite the yang and yin positions of the kama and mizusashi. The kama is hot (yang); the mizusashi is cold (yin).
The drinking of koicha is the central focus of the chaji. The guests have been prepared physically, mentally, and spiritually. Since one bowl is prepared for all of the guests to share, the drinking is an act of communion. The tea not only stimulates, but is thought to bring healing as well.
Psychic healing is often in the form of the unification of disparate emotions. Mythological resolutions act as unifications of opposing elements. The making of tea is a means of balancing the opposites of yin and yang, heaven and earth, the forces of male and female, light and dark, the outgoing and ingoing.
The host leaves and returns with a rinse water container (kensui). In this is a bamboo lid rest (futaoki); the inverted cup of the water ladle (hishaku) rests on the edge of the kensui, its handle extending across the kensui. As an open receptacle, the kensui is yin, as is the cup of the hishaku in its upright position. But when the hishaku is inverted it becomes yang as it rests across the kensui.
The host sits in the center of the mat facing the preparation area. Although this area is ruled by the I Ching trigram for Heaven (yang), the number ascribed to it from the Lo Shu is 2, which represents Earth (yin). The left side of the body is yin, the right side is yang. As the host sits, the yang side faces the yin mizusashi and the yin side faces the yang kama.
After the host holds the hishaku in front of the heart for a moment of reflection in a position called ‘mirror ladle’ (kagami bishaku), the futaoki is placed near the ita on which the furo rests. The hishaku is placed on the futaoki with an audible gesture. Guests and host bow. The host is ready to make tea.
The ceiling of the tea house is in three levels: highest where the guests enter, middle where the guests sit, lowest where the tea is made. The name for ceiling in Japanese is lenjo, from characters meaning heaven and water well. Thus, the Well of Heaven is closest to the host when the host is making tea. The host then becomes the intermediary between heaven and earth; in other words, the host assumes the role of priest.

THE BALANCE OF OPPOSITES


The chawan and chaire are placed in front of the host where they now rest on a line separating yin and yang. The cha-ire is taken out of its bag and purified with a square silk cloth (fukusa) which represents the spirit of the host. The customary fukusa for a man is purple, for a woman, red. Purple, in Japan, is considered a yin color; red a yang color. Hence, the physical yang qualities of a man are offset by the yin of the fukusa and vice versa.
When the chaire is placed in froth of the mizusashi again it is put on the left and the chasen is put on the right. The chasen is always used with water and may be considered yin. These positions correspond to the yang and yin placements of the hot and cold water. After the chashaku and chawan are purified, the powdered dry tea (yang) is emptied into the chawan and mixed with water (yin) to become undifferentiated yin and yang or the Buddhist Void, the Primal Source of all things.

THE MOMENT OF MYSTERY


The traditional chawan used for koicha is a Raku-style bowl. This is a hand-crafted bowl made from a slab of clay drawn up on four sides and carved into its final form. They are irregular and jet black in color. The life-giving green of creation rests within the black­ness of the Night of Chaos, the preamble to birth. The chawan is passed among the guests who each take three swal­lows. And so the Primal Substance enters them and they are energized by its presence.
What the hero seeks through his inter­course with (the gods and goddesses) is therefore not finally themselves, but their tea, the power of their sustaining substance. This miraculous energy­ substance and this alone is the Imperisha­ble; the names and forms of the deities who everywhere embody, dispense, and represent it come and go. This is the miraculous energy of the thunderbolts of Zeus, Yahwey, the Supreme Buddha, the fertility of the rain of Viracocha, the virtue announced by the bell rung in the Mass at the consecration and the light of the ultimate illumination of the saint and sage.
The tea is bitter (yang) but soon afterwards a sweet taste (yin) floods the mouth.
The guests look at the bowl more closely, then return it to the host. After another bow, the utensils are cleansed and returned to their original places. The guests ask to see the chaire, chashaku, and shifuku – often objects of great beauty and always of some significance to host and guests. The host takes the other tea equipment (except furo and kama) from the room while the guests leisurely look at the utensils. Later the host returns and explains what the objects are, then leaves with them.

THE RETURN


After the trials of the journey, ritual cleansing, initiation, death and rebirth, the hero at last fulfills the quest for an encounter with the Mystery. It is now time to prepare for the return.
If necessary, the host builds up the fire again, then serves a tray of sweets, different from those served before koicha. Using a different tea container and chawan, the host makes a bowl of thin tea (usucha) for each of the guests. The atmosphere of this part of the chaji is lighter, more conversational, but not frivolous. This tea is refresh­ment before departure.
After the utensils used for this tea are examined, the host and guests exchange final greetings. The guests leave and gather near the tsukubai, from which the ladle has been removed. They turn toward the nijiriguchi where the host is sitting and bow silently. The guests turn to leave and the host closes the nijiriguchi and locks it. The last guest locks the middle gate. The guests go directly to the waiting room. After a final bow, they depart one by one in the order of their seating in the tea room. When the last guest has left, the host closes and locks the main gate, the guests do not look back.

CONCLUSION


The symbolic life in some form is a prerequisite for psychic health. Without it the ego is alienated from its supra-per­sonal source and falls victim to a kind of cosmic anxiety.
And there is cause for anxiety. The great accomplishments of modern technology have left us poised between the promise of a new world and complete destruction. The two marvels of elec­tronics, the computer and the televi­sion, which presented the possibility of providing the least expensive means of education and cultural uplift to the largest number of people, have instead rendered millions intellectual zombies. We have been severed from the ‘ground of being’ by a brightly colored, dazzling display of electronic wizardry.
The weapons of war have become more powerful and more sophisticated. The great frontier of space, fraught with exciting potential, can just as easily become the last refuge for survivors, if any, of a planet bent on global suicide.
Today the problem is nothing if not to render the modern world spiritually significant. Nor can the great world religions, as at present understood, meet the requirement. For they have become associated with the causes of the factions, as instruments of propaganda and self congratulations. The universal triumph of the secular state has thrown all religi­ous organizations into such a definitely secondary, and finally ineffectual, position that religious pantomime is hardly more today than a sanctimonious exercise.
Our split selves can be healed, but it will not be society which will initiate the process. The healing must come from within each of us, not from without. By tending to our wounded psyches indi­vidually, society as a whole will be mended also.
Each of the Japanese Ways strives to penetrate the nature of the eternal, to experience All-Oneness. But this only succeeds when the seeker on the Way gives up the self and experiences selfless­ness, muga, and emptiness, ku. It is a silence so deep as to be audible, a sound which: suddenly permits the listener to experience All-Oneness, once he has attained full maturity. And such: a silence also reigns over the Tea Way, which in the last analysis represents the Way to the Self.
The Way of Tea is but one portion of the richly textured tapestry of life reflected in the myths of the world.
Mythology has been interpreted by the modern intellect as a primitive, fumbling effort to explain the world of nature (Frazer); as a production of poetical fantasy from prehistoric times, misun­derstood by succeeding ages (Muller); as a repository of allegorical instruction, to shape the individual to his group (Durkheim); as a group dream, symptomatic of archetypal urges within the depths of the human psyche (Jung); as the traditional vehicle of man’s profoundest metaphysical insights (Coomaraswamy); and as God’s Revela­tion to His children (the Church). Mythology is all of these. The various judgments are determined by the view­points of the judges. For when scrutinized in terms not of what it is but of how it functions, of how it has served mankind in the past, of how it may serve today, mythology shows itself to be as amenable as life itself to the obsessions and requirements of the individual, the race, the age.
Mythology, like any art, is the out­ward projection of an inner reality. We are the gods, goddesses, heroes, heroines, giants, spirits, and demons of our own personal myths. The journey is inward. Yet we need the ‘outward projections’ to lead the way to our own ‘inner realities’. The chaji and the tea house are just such projections.
All the sanctuaries, palaces and royal cities, and by extension, all the houses are situated, symbolically, at the “Centre of the World”, it follows that a rupture of planes is possible; that is, it may be possi­ble to transcend space (by elevation into heaven) and at the same moment to transcend Time (by re-entering the primordial instant before the World had yet come into existence). By many ways and starting from different points of view, religious man has always been trying to regenerate or renew himself by periodi­cally re-entering into “the perfection of the beginning”; that is, by rediscovering the primal source of Life as it was when Life, like the Whole of Creation, was still sacred because it was still new from the hands of the Creator.
The tea house sits at the “Centre of the World” and becomes the World Navel. Like the hero, we travel through the Forest Primeval and crawl into the darkness of the Great Womb to be nourished. We must let our pride and our attachment to the outer world of things die as part of our initiation before we can partake of the mysterious, energizing, unifying Primal Substance of Creation. We pass from the darkness into the light and are reborn.
The hero’s adventure is the quest for wholeness and is a symbol for our own adventure if we so choose to recog­nize it. Life without such adventure’ disintegrates into a drudgery barely imaginable. When we read the symbols, relive the myths, re-create the crea­tion, we are challenged, refreshed, expanded and inspired. We have encountered the mystery and power of the Epic of Ourselves, glimpsed briefly here in the Epic of Tea.

Cerimonia do Cha Completa

$
0
0
A palavra Kaiseki é composta por 2 ideogramas Kai = Pedra e Seki = Quente. Quando os monges estavam meditando não havia tempo para preparar comida, então eles pegavam uma pedra da fogueira e colocavam sob a roupa no estômago para aquecê-lo.

O Kaiseki vem do nome dado a uma pedra aquecida que os monges Zen usavam para aliviar o estômago das dores causadas pela fome ou pelo frio. Desde então passou a significar uma pequena refeição, suficiente apenas para satisfazer a fome. 

Depois de compartilhar a refeição os convidados são servidos de um doce e do chá forte. Após isso serve-se o chá fraco.

O Otemae, preparo do chá, consiste de 3 partes:
- Purificacao dos utensílios
- Preparo do chá
- Limpeza dos utensílios.
Deve ser realizado em silêncio, ou só falando amenidades. A mensagem é enviada pelos utensílios, kakemono, flores.

Hatsugama 2014

Valentine´s Day 14 de fevereiro

Ichigo, ichie - um momento, um encontro

$
0
0
Valorize cada Encontro pois ele nao se repetirá.

Treasure every moment, for it will never recur.


Video sobre Cerimonia do Cha de Chanoyu Arabia


http://vimeo.com/22957738
Viewing all 129 articles
Browse latest View live