茶の湯 in サンフランシスコ ・ Japanese Tea Ceremony を San Franciscoで

表千家四方社中の茶の湯ブログ Japanese Tea Ceremony Blog for Shikata Shachu – Omotesenke


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初炭(風炉)・Shozumi (Furo)

 

最近初炭のお稽古を何度かしています。

We have recently practiced shozumi (initial preparation of charcoal) a few times.

土風炉ではなく朝鮮風炉ですと灰を扱うこともなく、炉の炭点前より簡略です。ただ棚ありと棚なしの場合や、棚の飾り方、茶事の時間などによりバリエーションがあります。

It was a lot simpler than sumidemae for ro when using karagane cho’usenburo (a bronze furo with a matching kama) – and not doburo (furo made of clay) – and it was not necessary to handle hai (ashes).  That said, there are a few variations depending on whether tana is used, how tana is decorated, and the time for chaji (tea event).

朝茶(夏の朝早く行われる茶事)の場合初炭でも水次薬缶を持ち出します。そこで不思議に思ったのが、初炭で釜に水を足す理由です。後炭なら湯が減っているでしょうからわかるのですが、釜の準備をしているはずなのに何故初炭で水を足す場合があるのでしょうか。

Asacha (morning tea) is a tea event that is held early on a summer morning.  For asacha, the host adds water to kama with mizutsugiyakan (water pitcher) during shozumi.  I wondered why.  For gozumi (charcoal preparation after ko’icha), water was used for ko’icha and it seems natural to add water.  But why is it necessary to add water for shozumi?  Wasn’t kama adequately prepared beforehand?

正午の茶事では炉、風炉とも濃茶の後、後炭となりますが、朝茶(風炉)の場合、初炭で水注ぎ薬缶を持ち出し、釜に水を足す音で、お客様に涼しさを感じて頂きます。 炉、風炉でも、亭主が炭の具合を知っており、火 相、湯相の加減で後炭を省き、続いて薄茶を立て(続きお薄)る事もあります。特に朝茶では涼しい間に茶事を終わらせる為、続いて薄茶を立てます。

For sho’ugo-no-chaji (a tea event that starts at noon) done during both the ro and furo seasons, ko’icha is followed by gozumi.  For asacha (furo), however, the host pours water into kama with a pitcher during shozumi in front of guests to create a sense of coolness with the sound of water.  Tsuzuki’usucha (ko’icha immediately followed by usucha without gozumi), may be conducted at the host’s discretion as the host knows the state of the charcoal and hot water.  For asacha, especially, tsuzuki’usucha is often favored to conclude the tea gathering while the temperature is still relatively cool.

 


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二重棚・Niju’udana

二重棚は地板が取り外せるものもあり、大変お稽古に重宝します。地板がない場合は水指(主に土物)を点前最初に運び出し、終わりには下げます。地板がある場合は水指(主に磁器)を置き付けておき、水次で水を足します。溜塗は吸好斎、杉木地糸巻は碌々斎とそれぞれのお好みだそうですが、お稽古で使ったのは青漆爪紅糸巻です。

Niju’udana sometimes comes with an option to remove the bottom board, which adds to the utility and flexibility of niju’udana for tea practice.  If there is no bottom board, mizusashi (especially “tsuchimono” or pottery) is carried in at the beginning of otema’e, and carried out at the end.  If there is a bottom board, mizusashi (especially porcelain) is already in place, and mizutsugi is used to add water.  Tame nuri lacquer finish is Kyu’uko’u-sa’i’s (10th Grand Master) favorite, unfinished cedar with a “spool” design (itomaki) is Rokuroku-sa’i’s (11th Grand Master) favorite.  The niju’udana we used for practice is finished with green lacquer (seishitsu) with red highlights (tsumagure) and with a “spool” design.

【濃茶】 中棚中央に薄茶器、水指は棚下(もしくは地板)中央、そして棚前に茶入を置きます。

Ko’icha Usuchaki is placed in the middle of the middle board.  Mizusashi is in the middle of the shelf bottom (or the bottom board, if used).  Cha’ire is in front of the shelf.

【薄茶初飾り】 薄茶器(と地板があれば水指)だけです。

Usucha Shokazari (Mode 1) Only usuchaki (and mizusashi if the bottom board is used) are displayed.

【二飾り】 柄杓と蓋置が天板に置かれます。柄杓は斜めです。薄茶器は中板の中心です。

Nikazari (Mode 2)】 Hishaku and futa’oki are on the top board.  Hishaku is placed at an angle.

【三飾り】 柄杓と蓋置の天板への置き方が二飾りと少し違います。柄杓が縦に飾られます。

Sankazari (Mode 3)】  Hishaku and futa’oki are on the top board in a way slightly different from nikazari (Mode 2).  Hishaku is displayed in a straight line.

【総飾り】 柄杓と蓋置が天板の上、薄茶器と茶碗が中板の上となります。薄茶器と茶碗を天板に置くときは両手で同時にしますが、二重棚のように中板に置くときは薄茶器、茶碗の順に右手でひとつずつ置きます。

So’ukazari  (Full Mode) Hishaku and futa’oki are placed on the top board.  Usuchaki and chawan are on the middle board.  When usuchaki and chawan are placed on the top board, they are placed at the same time with both hands.  Not sowith niju’udanaUsuchaki and chawan are placed on the middle shelf one at a time and with the right hand only.

【割飾り】 柄杓と蓋置と共に薄茶器が天板の上の置かれます。茶碗のみが中板の上となります。

Warikazari  (Split Mode) Hishaku and futa’oki are on the top board together with usuchakiChawan only is on the middle board.


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碁笥(ごけ)底・Gokezoko

黄瀬戸茶碗
Kiseto chawan

碁笥(ごけ)とは碁石を入れる容器ですが、お茶碗で高台がなくのっべりとした底のことを碁笥底(ごけぞこ)というそうです。この黄瀬戸茶碗は碁笥底です。また油揚げに似た色で、手触りも油揚げの様ざらっとしたしたものを「油揚げ手」と呼ぶそうです。草文様が線彫りされており、胆礬(タンパン)(硫酸銅釉)で緑色に着色されています。茶碗の身が薄くタンパンが裏に染み出して「抜けタンパン」と呼ばれるものもあるそうです。

Goke is a container for “go” stones.  Due to the similarity in shape, the bottom of chawan that is rather smooth and without koda’i is referred to as “gokezoko” (the bottom of goke).  Photographed here is kiseto (yellow Seto) chawan with gokezoko.  A surface that resembles abura’age(deepfried bean curd skin) in color and texture (slightly rough) is called “abura’agete” (abura’age style).  A grass pattern is carved into the surface, and “tanban” (chalcanthite)(copper sulfate glaze) is used for the green accent.  When chawan is thin and “tanban” bleeds through to the back/inside, it is called “nuketanban” (through tanban).

碁笥・Goke