Tea (11 page)

The tea master of this time, Sen Rikyu, embraced the idea of wabi and based his tea gatherings on this philosophy. It was his genius that finally molded the serving of the tea into a ceremony so steeped in ritual and so important symbolically that it is still being practiced today in essentially the same way. Rikyu had unparalleled influence on tea and the development of the tea ceremony.

SEN RIKYU AND THE SEVEN RULES OF TEA

Sen Rikyu was by far the most famous of all Japanese tea masters. He was born in
1522
in Sakai and became a pupil of Takeno Joo. Even more than his master, however, Rikyu believed in the spiritual aspects of tea and was a strict adherent of the practice of wabi.

Like his predecessor Shuko, Rikyu preferred utensils and bowls made in Japan to those from China or Korea. His own preference was for dark, somber gray and black ceramics and rough raku bowls (described in Chapter
6
). Under his influence, the ceramics industry in Japan changed and grew dramatically. In all things associated with the tea ceremony, Rikyu strove for artistic simplicity. Rather than place elaborate vases and pieces of art in the tearoom, Rikyu chose to use simple artifacts found in almost any home and to arrange them artistically.

Rikyu's seven rules of tea, written in the sixteenth century, explain his attitude toward tea. These rules are: “Make a delicious bowl of tea. Lay out the wood charcoal to heat the water. Arrange the flowers as they are in the fields. In summer, evoke coolness; in winter, warmth. Anticipate the time for everything. Be prepared for rain. Show the greatest attention to each of your guests.”

Rikyu showed true genius in regard to the tea ceremony and believed strongly in the spiritual depth that it could reflect. He proposed that the practice of tea, in accordance with Zen principles, should be an egalitarian approach in which class, rank, and religion held no importance. He designed his tea huts so that everyone who entered had to stoop, symbolizing that all people are equal, in spite of rank and class. His teahouses were also designed to heighten an awareness of nature, and even the tea huts in the city gave the appearance of being in a remote, rural locale.

The tea ceremony was an integral part of all Japanese life during the sixteenth century, for tea drinking had spread to commoners as well, by this time. Tea sellers on the streets of Kyoto sold a bowl of low-grade tea for a sen— the coin of least value of the time.

Rikyu served Hideyoshi for many years and became a trusted and intimate companion, who was asked to take charge of the day-to-day working of Hideyoshi's household. He was often asked to perform the tea ceremony and enjoyed a great reputation both at court and among commoners.

But in spite of his affinity for simplicity within the tea-room, Rikyu had an arrogant nature that often irritated Hideyoshi. Even though the men initially enjoyed a close relationship, tensions built over the years until finally Rikyu was ordered by Hideyoshi to commit ritual suicide. There are many stories explaining the possible reasons for this harsh command. Some accounts say that Hideyoshi demanded that Rikyu's daughter be given to a warlord as a concubine, and Rikyu refused. Another story says that Hideyoshi was jealous of Rikyu because he had such a large and devoted following. Whatever the reason, in
1591
, at the age of seventy, Rikyu performed one last tea ceremony, then committed
seppuku
.

The tea ceremony that had developed in Japan by the end of the sixteenth century was the result of the passions and teachings of many men, from Eisai, who brought the first seeds from China and established a new way of preparing and serving tea, to Rikyu, who taught that the tea ceremony offered a place and time to leave worldly concerns behind and to enter for a short time into the realm of the spiritual. The tea masters left a rich legacy in the form of the tea ceremony, a deeply spiritual and symbolic ritual that is still practiced today.

“Tea with us became more than an idealization of the
form of drinking; it is a religion of the art of life.”

—Kakuzo Okakura

I
N
J
APAN, THE TEA CEREMONY
is called
cha-no-yu
, which translates literally as “water for tea.” This, in a nutshell, is what the tea ceremony is all about. In spite of the rich symbolism, the attention to detail, and the ritualistic acts, the essence of the tea ceremony remains nothing more than adding water to tea leaves and then serving it to guests. The magic is in the manner in which that is done.

Various tea masters through the centuries emphasized different aspects of the ceremony. Shuko, for example, taught that the most important element of the tea ceremony was the right attitude. Purity of mind, he said, is more important even than cleanliness. He went on to say that treating all guests with equality, self-control, and consideration was more important than honoring distinguished guests.

Takeno Joo, who followed in his master's footsteps, suggested that a tea master must essentially practice what he preaches. Thus, one's ability to perform the tea ceremony with purity of mind was enhanced if he could perform all acts of life from this viewpoint, treating all with whom he came in contact with reverence and honor.

Up until the time of Rikyu's ritual suicide, knowledge of the rules and etiquette of the tea ceremony was passed on from a tea master to his students. Rikyu's grandson, Sen Sotan (
1578
–
1658
), formalized his grandfather's teachings to be used in a school dedicated to
chado
(“the way of tea”), also known as
sado
. Cha-no-yu refers to a single ceremony, but chado is the study of the doctrine of the tea ceremony.

Sen Sotan divided his property into three parts, and at his death, each of his three sons inherited a piece of land. Each developed a different tea school: Urasenke, Omotesenke, and Mushanokoji. Today, Mushanokoji and Omotesenke are relatively unknown outside Japan. Both use the word sado to describe their study of tea. Urasenke is the school best known outside Japan, and they use the term chado.

TEA, SPIRIT, AND SYMBOLISM

Of course, the tea ceremony is much more than simply the preparation and serving of a cup of tea. In
The Book of Tea
, Kakuzo Okakura wrote, “Tea with us became more than an idealization of the form of drinking; it is a religion of the art of life.”

There is a deep and important association between Zen and the tea ceremony that developed over several hundred years. “Zen and tea are one and the same” is a saying that has been repeated countless times, with good reason. From the very beginning, it was the Zen Buddhist priests who took an interest in tea, for they believed that drinking it would help keep them awake and alert for the long periods of meditation that their religion required.

As the tea ceremony developed, particularly during the sixteenth century, many Zenlike ideas were embraced within this ritual. The elements of simplicity and purity, important in Zen Buddhism, also greatly influenced the development of the cha-no-yu. The practice of Zen and the tea ceremony shared many of the same qualities, each creating a sense of peace and well-being and a diminishing of the ego, bringing one closer to an awareness of the divine. Daisetz T. Suzuki (
1870
–
1966
), author of many books on Buddhism and Zen, said, “If you understand one thing completely, you understand all things,” and it is this idea, perhaps, that underlies the importance of the tea ceremony.

There are, however, important differences between Zen and the tea ceremony. Zen is a path to enlightenment. The tea ceremony is an opportunity for individuals to share a spiritual experience, though not a religious one. In tea, there is no god or divinity.

One of the greatest gifts that cha-no-yu offers is an environment, separate from the everyday pace and place, where the participants can commune with their host and other guests, but also begin to look at ordinary items with fresh eyes, finding beauty in the mundane.

The tea ceremony also provides an opportunity to practice being in accord with nature and to feel a harmony with the seasons. A love of nature, the ancients believed, is the basis for awakening an appreciation of beauty and, therefore, of art. The classic tearoom or hut was built to blend in with its surroundings. The walls of the hut were made of logs with the bark still attached, or were sometimes simply plastered with mud. The house was situated to display to best advantage the changing of the seasons and of the sunlight and shadow during the day. Each ceremony performed there was in accord with the season of the year. Flowers used in the arrangements were those that grew or bloomed naturally during that time. The food offered was also seasonal.

No matter when or where the ceremony takes place, however, it is built on the concept of
ichigo ichie
(“one time, one meeting”), a phrase that means that every encounter is unique and never repeats in a lifetime. One lives this particular moment, and then it is gone. The emphasis is on being aware of each moment, in a ritualized way.

PREPARING FOR THE CEREMONY

The etiquette of the tea ceremony is full of ritual and symbolism. Though it may seem meaningless to the uninitiated, to those who have studied the art of tea, each movement holds a special significance. Each ceremony is imbued with the principles set forth by Rikyu: harmony, respect, purity, and tranquility.

There are three basic elements to the ceremony, each one of which holds equal importance. These include:

1
. The arrangement of the utensils, host, guests, food and drink, and each item in the teahouse. Every element should be placed so that the tea master can reach it with easy, smooth movements.

2
. The purification and cleanliness of each item used in the ceremony. Each item used, including the tea caddy, scoop, bowls, whisk, and the rest, is ceremoniously wiped clean, symbolizing the spiritual cleansing of the heart and mind.

3
. The calmness of mind of each of the participants, including host and guests.

THE CEREMONY

Traditionally, the host (teishu) wore a kimono, but today sometimes formal Western-style clothing is worn. The guests, too, wear formal clothing of quiet or somber colors. The host greets the guests, bows, and leads them through the low door of the teahouse. Guests are seated first, then the host sits.

The meal is served first, and varies according to the season and the type of ceremony being performed. After the guests have eaten, the host may invite them to retire to the garden while he (or she) prepares the tea. Once all is ready, the host summons the guests by means of a gong (during the day) or a bell (in the evening).

All the utensils used for the ceremony are precisely laid out. The host first uses the
fukusa
(silk cloth) to purify the tea caddy and the scoop. This cloth is thought to represent the spirit of the host, and it is handled with great concentration and reverence. The host then ladles a bit of hot
water into the tea bowl, rinses the whisk in this, then pours out the water and wipes the utensils dry with a white cloth called the
chakin
.

The host then scoops the tea into the tea bowl, ladles hot water into the bowl, and whisks it. The bowl is offered first to the principal guest, who holds it and turns it around to admire it before tasting the tea. After tasting it, he or she wipes the rim of the bowl and passes it on to the next guest, and so on.

After all the guests have taken tea, the remainder of the tea is discarded, and the bowl is rinsed and dried, as are the scoop and the whisk. The tea master should not only collect and use the utensils, but also have an appreciation of them. To use them without knowing their value is not considered to be in the true spirit of cha-no-yu.

After the ceremony, the various utensils should be offered to the guests for their inspection. According to etiquette, guests should ask about each of them. If no one asks questions about them, the host takes it as a sign that the utensils are simply not interesting enough to stimulate conversation and discussion. It is thus the responsibility of the guests to show interest in each item, so as not to offend the host.