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The symbiotic relationship between politics and tea was at its height. However, it was increasingly at odds with the rustic and simple aesthetics continuously advertised by his tea master, which the regent increasingly saw as a threat to cementing his own power and position, and their once close relationship began to suffer.

One year later the regent ordered his teamaster to commit ritual suicide. The way of tea was never so closely intertwined with politics before or after.

The way of tea continued to spread throughout the country and later developed not only from the court and samurai class, but also towards the townspeople.

It insulates purity and harmony, the mystery of mutual charity, the romanticism of the social order. It is essentially a worship of the Imperfect, as it is a tender attempt to accomplish something possible in this impossible thing we know as life.

Japanese tea ceremonies are typically conducted in specially constructed spaces or rooms designed for the purpose of tea ceremony. While a purpose-built tatami -floored room is considered the ideal venue, any place where the necessary implements for the making and serving of the tea can be set out and where the host can make the tea in the presence of the seated guest s can be used as a venue for tea.

A purpose-built room designed for the wabi style of tea is called a chashitsu , and is ideally 4. A purpose-built chashitsu typically has a low ceiling, a hearth built into the floor, an alcove for hanging scrolls and placing other decorative objects, and separate entrances for host and guests.

It also has an attached preparation area known as a mizuya. Building materials and decorations are deliberately simple and rustic in wabi style tea rooms.

Chashitsu can also refer to free-standing buildings for tea. Known in English as tea houses, such structures may contain several tea rooms of different sizes and styles, dressing and waiting rooms, and other amenities, and be surrounded by a tea garden called a roji.

Seasonality and the changing of the seasons are considered important for enjoyment of tea and tea ceremony. For each season, there are variations in the temae performed and utensils and other equipment used.

Ideally, the configuration of the tatami in a 4. Japanese historical documents about tea that differentiate between usucha and koicha first appear in the Tenmon era — As the terms imply, koicha is a thick blend of matcha and hot water that requires about three times as much tea to the equivalent amount of water than usucha.

Thin tea is served to each guest in an individual bowl, while one bowl of thick tea is shared among several guests.

The most important part of a chaji is the preparation and drinking of koicha , which is followed by usucha. A chakai may involve only the preparation and serving of thin tea and accompanying confections , representing the more relaxed, finishing portion of a chaji.

All the tools for tea are handled with exquisite care, being scrupulously cleaned before and after each use and before storing, with some handled only with gloved hands.

Some items, such as the tea storage jar known as "chigusa" , are so revered, that historically, they were given proper names like people, and were admired and documented by multiple diarists.

Procedures vary from school to school, and with the time of year, time of day, venue, and other considerations.

The noon tea gathering of one host and a maximum of five guests is considered the most formal chaji. The following is a general description of a noon chaji held in the cool weather season at a purpose-built tea house.

The guests arrive a little before the appointed time and enter an interior waiting room, where they store unneeded items such as coats, and put on fresh tabi socks.

Ideally, the waiting room has a tatami floor and an alcove tokonoma , in which is displayed a hanging scroll which may allude to the season, the theme of the chaji , or some other appropriate theme.

The guests are served a cup of the hot water, kombu tea, roasted barley tea, or sakurayu. When all the guests have arrived and finished their preparations, they proceed to the outdoor waiting bench in the roji , where they remain until summoned by the host.

Following a silent bow between host and guests, the guests proceed in order to a tsukubai stone basin where they ritually purify themselves by washing their hands and rinsing their mouths with water, and then continue along the roji to the tea house.

They remove their footwear and enter the tea room through a small "crawling-in" door nijiri-guchi , and proceed to view the items placed in the tokonoma and any tea equipment placed ready in the room, and are then seated seiza -style on the tatami in order of prestige.

When the last guest has taken their place, they close the door with an audible sound to alert the host, who enters the tea room and welcomes each guest, and then answers questions posed by the first guest about the scroll and other items.

The chaji begins in the cool months with the laying of the charcoal fire which is used to heat the water. Having been summoned back to the tea room by the sound of a bell or gong rung in prescribed ways, the guests again purify themselves and examine the items placed in the tea room.

The host then enters, ritually cleanses each utensil — including the tea bowl, whisk, and tea scoop — in the presence of the guests in a precise order and using prescribed motions, and places them in an exact arrangement according to the particular temae procedure being performed.

When the preparation of the utensils is complete, the host prepares thick tea. Bows are exchanged between the host and the guest receiving the tea.

The guest then bows to the second guest, and raises the bowl in a gesture of respect to the host. The guest rotates the bowl to avoid drinking from its front, takes a sip, and compliments the host on the tea.

After taking a few sips, the guest wipes clean the rim of the bowl and passes it to the second guest. The procedure is repeated until all guests have taken tea from the same bowl; each guest then has an opportunity to admire the bowl before it is returned to the host, who then cleanses the equipment and leaves the tea room.

The host then rekindles the fire and adds more charcoal. The host will then proceed with the preparation of an individual bowl of thin tea to be served to each guest.

While in earlier portions of the gathering conversation is limited to a few formal comments exchanged between the first guest and the host, in the usucha portion, after a similar ritual exchange, the guests may engage in casual conversation.

After all the guests have taken tea, the host cleans the utensils in preparation for putting them away. The guest of honour will request that the host allow the guests to examine some of the utensils, and each guest in turn examines each item, including the tea caddy and the tea scoop.

This examination is done to show respect and admiration for the host. The host then collects the utensils, and the guests leave the tea house.

The host bows from the door, and the gathering is over. A tea gathering can last up to four hours, depending on the type of occasion performed, the number of guests, and the types of meal and tea served.

The act of performing these procedures during a chaji is called "doing temae ". There are many styles of temae , depending upon the school, occasion, season, setting, equipment, and countless other possible factors.

The following is a short, general list of common types of temae. Chabako developed as a convenient way to prepare the necessary equipment for making tea outdoors.

The basic equipment contained in the chabako are the tea bowl, tea whisk kept in a special container , tea scoop and tea caddy, and linen wiping cloth in a special container, as well as a container for little candy-like sweets.

Many of the items are smaller than usual, to fit in the box. This gathering takes approximately 35—40 minutes. In other temae , the water jar and perhaps other items, depending upon the style of temae , are placed in the tea room before the guests enter.

The tea bowl, tea whisk, tea scoop, chakin and tea caddy are placed on a tray , and the hot water is prepared in a kettle called a tetsubin , which is heated on a brazier.

This is usually the first temae learned, and is the easiest to perform, requiring neither much specialized equipment nor a lot of time to complete.

It may easily be done sitting at a table, or outdoors, using a thermos pot in place of the tetsubin and portable hearth.

The name refers to the host's practice of performing the first and last bows while standing. The assistant also serves the tea and sweets to the guests.

This procedure originated in the Urasenke school, initially for serving non-Japanese guests who, it was thought, would be more comfortable sitting on chairs.

The Japanese traditional floor mats, tatami , are used in various ways in tea offerings. Sie profitieren zudem von zahlreichen exklusiven Komfortfunktionen wie der Fotoüberweisung.

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Calligraphy , mainly in the form of hanging scrolls , plays a central role in tea. Scrolls, often written by famous calligraphers or Buddhist monks, are hung in the tokonoma scroll alcove of the tea room.

They are selected for their appropriateness for the occasion, including the season and the theme of the particular get-together.

Calligraphic scrolls may feature well-known sayings, particularly those associated with Buddhism, poems , descriptions of famous places, or words or phrases associated with tea.

Hanging scrolls that feature a painting instead of calligraphy, or a combination of both, are also used.

Scrolls are sometimes placed in the waiting room as well. Chabana literally "tea flower" is the simple style of flower arrangement used in tea rooms.

Chabana has its roots in ikebana , an older style of Japanese flower arranging, which itself has roots in Shinto and Buddhism.

He is said to have taught that chabana should give the viewer the same impression that those flowers naturally would give if they were [still] growing outdoors, in nature.

Unnatural or out-of-season materials are never used. Also, props and other devices are not used. Chabana arrangements typically comprise few items, and little or no filler material.

In the summer, when many flowering grasses are in season in Japan, however, it is seasonally appropriate to arrange a number of such flowering grasses in an airy basket-type container.

Unlike ikebana which often uses shallow, wide dishes , tall, narrow hanaire are frequently used in chabana. The containers for the flowers used in tea rooms are typically made from natural materials such as bamboo, as well as metal or ceramic, but rarely glass as ikebana another flower arrangement uses short, glass vases.

Chabana arrangements are so simple that frequently no more than a single blossom is used; this blossom will invariably lean towards or face the guests.

In cha-kaiseki , only fresh seasonal ingredients are used, prepared in ways that aim to enhance their flavour. Great care is taken in selecting ingredients and types of food, and the finished dishes are carefully presented on serving ware that is chosen to enhance the appearance and seasonal theme of the meal.

Dishes are intricately arranged and garnished , often with real edible leaves and flowers that are to help enhance the flavour of the food.

Serving ware and garnishes are as much a part of the kaiseki experience as the food; some might argue that the aesthetic experience of seeing the food is even more important than the physical experience of eating it.

Courses are served in small servings in individual dishes. Each diner has a small lacquered tray to themsekves; very important people may be provided their own low, lacquered table or several small tables.

Because cha-kaiseki generally follows traditional eating habits in Japan, meat dishes are rare. Many of the movements and components of tea ceremonies evolved from the wearing of kimono.

For example, certain movements are designed to keep dangling sleeves out of the way or prevent them from becoming dirty. Other motions allow for the straightening of the kimono and the hakama.

Some aspects of tea ceremony - such as the use of silk fukusa cloths - cannot be performed without wearing a kimono and obi , or a belt substitute, as the cloth is folded and tucked into the obi within the ceremony.

For this reason, most tea ceremonies are conducted in kimono, and though students may practice wearing Western clothes, students of tea ceremony will need to wear kimono at some point.

On formal occasions, the host of the tea ceremony will always wear kimono, and for guests, formal kimono or Western formal wear must be worn.

No matter the style of clothing, the attire worn at a tea gathering is usually subdued and conservative, so as not to be distracting.

For women, the type of kimono worn is usually an iromuji - a solid-colour, unpatterned kimono, worn with a nagoya obi in an appropriate fabric; slub-weave silks, shibori patterns and generally bright-coloured obi are not worn.

Edo-komon kimono may also be worn, as their patterns are small enough as to be unobtrusive. Men may wear kimono only, or for more formal occasions a combination of kimono and hakama a long, divided or undivided skirt worn over the kimono.

Women wear various styles of kimono depending on the season and the event; women generally do not wear hakama for tea occasions, and do not gain the right to wear a jittoku.

Lined kimono are worn by both men and women in the winter months, and unlined ones in the summer. Both men and women wear white tabi divided-toe socks.

In Japan , those who wish to study the way of tea typically join what is known in Japanese as a "circle", which is a generic term for a group that meets regularly to participate in a given activity.

There are also tea clubs at many junior and high schools , colleges and universities. Classes may be held at community centres, dedicated tea schools, or at private homes.

Tea schools often have widely varied groups that all study in the same school but at different times. For example, there may be a women's group, a group for older or younger students, and so on.

Students normally pay a monthly fee which covers tuition and the use of the school's or teacher's bowls and other equipment, the tea itself, and the sweets that students serve and eat at every class.

Students must be equipped with their own fukusa , fan, kaishi paper, and kobukusa , as well as their own wallet in which to place these items.

Though western clothing is very common today, if the teacher is in the higher rank of tradition, especially an iemoto , wearing kimono is still considered essential, especially for women.

In some cases, advanced students may be given permission to wear the school's mark in place of the usual family crests on formal montsuki kimono. This permission usually accompanies the granting of a chamei , or "tea name", to the student.

New students typically begin by observing more advanced students as they practice. New students may be taught mostly by more advanced students; the most advanced students are taught exclusively by the teacher.

The first things new students learn are how to correctly open and close sliding doors , how to walk on tatami , how to enter and exit the tea room, how to bow and to whom and when to do so, how to wash, store and care for the various equipment, how to fold the fukusa , how to ritually clean tea equipment, and how to wash and fold chakin.

As they master these essential steps, students are also taught how to behave as a guest at tea ceremonies: the correct words to say, how to handle bowls, how to drink tea and eat sweets, how to use paper and sweet-picks, and myriad other details.

As they master the basics, students will be instructed on how to prepare the powdered tea for use, how to fill the tea caddy, and finally, how to measure the tea and water and whisk it to the proper consistency.

Once these basic steps have been mastered, students begin to practice the simplest temae , typically beginning with O-bon temae see above.

Only when the first offering has been mastered will students move on. Study is through observation and hands on practice; students do not often take notes, and many teachers discourage the practice of note-taking.

As they master each offering, some schools and teachers present students with certificates at a formal ceremony. According to the school, this certificate may warrant that the student has mastered a given temae , or may give the student permission to begin studying a given temae.

Acquiring such certificates is often very costly; the student typically must not only pay for the preparation of the certificate itself and for participating in the gathering during which it is bestowed, but is also expected to thank the teacher by presenting him or her with a gift of money.

The cost of acquiring certificates increases as the student's level increases. Typically, each class ends with the whole group being given brief instruction by the main teacher, usually concerning the contents of the tokonoma the scroll alcove, which typically features a hanging scroll usually with calligraphy , a flower arrangement, and occasionally other objects as well and the sweets that have been served that day.

Related topics include incense and kimono, or comments on seasonal variations in equipment or offerings. Generally it involves the high-grade gyokuro class of sencha.

From Wikipedia, the free encyclopedia. Traditional Japanese ceremony. Main article: History of tea in Japan.

Main article: Chashitsu. Main article: Japanese tea utensils. This section does not cite any sources. Please help improve this section by adding citations to reliable sources.

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