During the koicha, Teishu and Shokyaku

After the first sip of Koicha, Teishu asks

Shokyaku answers

After second Guest's first sip, Shokyaku comments and asksÅF

Teishu should make own sweets and give them an appropriate name but if Shokyaku just follows pattern and asks,

Teishu can answer,

While the other Guests are drinking the koicha, it is good for Shokyaku to compliment and then ask about the flowers, the container (esp. if it's bamboo or gourd, ask if it has a name), and to comment and ask about the dora or whatever was used to call the Guests back. The Teishu continues to face the Guests until everyone is finished drinking.

When the last Guest is finished, with a loud sip, the Teishu turns back to imae.

Then, Shokyaku, to Tsume

Each Guest Haikens the teabowl carefully. The Tsume brings bowl back to Shokyaku who has come forward. Returning the bowl, Shokyaku first compliments (its age, glaze, strength, dignity, etc.) and asks about it:

Up to this point, most utensils will not have gomei. The only exceptions, organic and unique, are bamboo and possibly gourd flower containers. The Japanese kneaded incense, neriko, and the main sweet, omogashi, will have poetic names; but these refer not to the individual piece but to the formula or color combination of the ko or kashi. Once the utensils themselves become unique examples, they are thought to be "worthy" of a name, usually an image from Zen or poetry, thus the term "poetic name." Giving names to things probably began in ancient China, especially for musical instruments. That practice came to Japan and expanded into Chanoyu as early as the time of the Golden Pavilion, mainly with large tea leaf jars. Gomei which were more than owner's names became common from around Sotan's time. Properly speaking, a gomei is something given to a specific piece, and never or rarely changes. (Occasionally pieces will gain a second name from later owners.) The person who names the piece should be a Zen monk, a Teamaster or Oiemoto, and it should be written on the piece's storage box. It becomes the piece's authentification and establishes it as a "presence" in the history of Chanoyu. By its hakogaki, box writing, it also establishes an historical connection to the one who did the writing and connects the past to us. Thus the interest in the name, which contributes considerably to the toriawase, and in the author of that name.

After Teishu receives the bowl back and sets it in front of him- or herself, both Teishu and Guests bow together, sorei. Then after discarding hot water, the Teishu says,

While the Teishu is closing, the Shokyaku may take the opportunity to ask about the fresh water container,

and the lid rest,

These may be saved for usucha, because these utensils should not be changed. Of course there are exceptions, e.g. Kensui-like bo-no-saki aren't used for koicha, habuta mizusashi are only used for usucha, etc...

Once the Teishu has finished the closing procedures, the Shokyaku will request,

After setting the requested utensils out, the Teishu clears the other utensils away and closes the door, leaving the Guests to enjoy the utensils. When the Guests have fully examined them and the utensils have been replaced, the Teishu returns to answer the Shokyaku's various questions and returns with the utensils to the Mizuya. Of course the questions are preceded by praise of the piece, and the answers are received with thanks.

The Senke Jusshoku (Ten Craftsmen for the Sen family) for sewing is Tsuchida Yuhko 土田友湖. Other places that do shifuku are Tokusai, Tatsumura, and many private persons.

The Teishu leaves with the utensils and thanks the Guests again at the door.


CategoryTemae CategoryDialog

chado: Koicha Dialog (last edited 2008-11-07 22:56:14 by JuliaMilton)