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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中じまい・Nakajima’i

 運び出し・At the Beginning

風炉の季節になり、お稽古は基本の運び薄茶点前となりました。そこで一番気になったのが「中じまい」です。「中じまい」は広間の薄茶運びの場合のみ行われます。おしまいにする際茶器と茶碗が水指の前ではなく、道具畳の中央となります。これは、最初に運び出したときとの変化を楽しむためだそうです。

It is a furo season.  It is a “back to basics” time, and our practice started with hakobi usucha otema’e (carry into the tea room everything except the furo and the kama).  The item that stood out the most: “Nakajima’i.”  “Nakajima’i” is done only when the otema’e is hakobi usucha done in a “large room” (hiroma) (four-and-a-half mats or larger).  During the steps of closing the otema’e, the chaki and the chawan are placed – not in front of the mizusashi butin the middle of the do’ugu datami (the tatami where the otema’e is conducted).  This it to enjoy a variation from the way the utensils were initially brought in – and placed in front of the mizusashi.

中じまい・Nakajima’i

先日見たある本にH宗匠先生のお考えがこのように記述されていました。

“H” so’usho’u sensei described his theory in a book I read the other day in the following way:

点前の仕舞いは、原則として道具を持ち出した最初の形に戻すのが建て前であります。

It is the basic rule that closing of otema’e is to put back the utensils where they are at the beginning.

しかし、実際の茶の湯のとき、両器を水指の前でなく、畳の中央で仕舞うのが一つの風情として考えられたのが中仕舞いであると考えられます。ここに茶の湯の自由さというものがあります。

However, during the actual practice of chanoyu, it felt pleasing to close the otema’e in the middle of the tatami, rather than placing the chaki and the chawan [back] in front of the mizusashi.  That is thought to be the origin of “nakajima’i.”  This shows that chanoyu has freedom [to grow/change – rather than something rigid and stale].

確かに変化がないとマンネリになりますね。これも昔の人の知恵なのでしょう。

It is true….  Without variations, we will be stuck in a rut.  This is probably wisdom of our ancestors to break the monotony.

【参考】 風炉の点前[表千家流](世界文化社 2010年刷)

Originally posted June 13, 2014


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丸卓・Marujoku

桐木地の丸卓は利休好みなのだそうです。二本の柱が天板と地板の内側にあり、地板の裏には低い三つの足があります。利休が酒樽を使って棚にしたのが始まり、という一説もあるそうです。

Marujoku with unfinished paulownia wood is reportedly Rikyu’s favorite.  It has two columns between the top and bottom shelves, and the bottom has three feet.  There is a theory (among others) that Rikyu made his first marujoku with a sake barrel.

丸卓の底板三つ足ですが、炉・風炉と季節で向きが変わるとのことです。炉の季節は1つ足が手前になりますが、風炉の季節は風炉の1つ足が手前に来るので、変化をつける為丸卓は足2つを手前にするそうです。

Speaking of marujoku‘s three feet at the bottom, the direction changes depending on the season: ro and furo.  In the ro season, the single foot is facing the front, but in the furo season, the two feet come to the front to avoid doing the same thing with the furo, which has the single leg facing the front.

木地の丸卓の場合は柄杓の合を伏せて飾ります。

If marujoku is made of unfinished wood, hishaku is displayed with the cup facing down.

濃茶初飾り・Ko’icha Initial Mode

薄茶初飾り・Usucha Initial Mode

二飾り・Mode Two

総飾り・Full Display Mode

Originally posted April 29, 2015


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旅箪笥・Tabidansu

旅箪笥は炉の季節、特に三月・四月に使われます。秀吉の北条氏小田原征伐の際利休が使ったのがその始まりだそうです。桐木地は利休形ですが、その他に塗り物では惺斎好み、碌々斎好みなどがあります。

Tabidansu is used during the ro season – especially in April.  It is said that Rikyu first used it during Hideyoshi’s campaign against the Ho’ujo’u clan in Odawara.  Unfinished paulownia wood is the Rikyu style.  There are lacquered models that are preferred by Sei-sa’i or Rokuroku-sa’i.

下の棚板を抜いて畳に置く「芝点」の他に、上の棚板に重ねたり、棚板は動かさず水指を手前に三分の一位引いたりする点前もあります。飾り方も様々です。

There is a tema’e called “shibadate” (as you would outdoors on the ground), in which the lower shelf is pulled out and placed on the tatami.  The lower shelf can also be placed on top of the upper shelf.  Or it can stay put, in which case the mizusashi is pulled forward by about one third of its diameter.  There are a variety of ways to decorate the tabidansu as well.

【濃茶】 けんどん蓋はあらかじめ開けておき、水指を手前に引いてあります。

Ko’icha】 The lid of tabidansu is left open, and the mizusashi is  pulled forward.

【薄茶初飾り】 薄茶器と水指だけです。

Usucha Shokazari (Mode 1)】 Only usuchaki and mizusashi are displayed.

【二飾り】 上の棚板の切り込みに柄杓が掛けられ、蓋置きは柄杓の柄の下です。薄茶器は下の棚板中央です。

Nikazari (Mode 2)】 The hishaku is hanging from the cutout in the upper shelf, and the futa’oki is below the hishaku‘s handle.  The usuchaki is placed in the middle of the lower shelf.

【総飾り】 二重棚同様茶器と茶碗を右手でひとつずつ棚に置きつけます。

So’ukazari  (Full Mode)】 When the usuchaki and chawan are placed on the lower shelf, they are placed one at a time and with the right hand – just like niju’udana.

【割飾り】 手順は総飾りと同じですが、薄茶器が上の棚板、茶碗が下の棚板に置かれます。

Warikazari (Split Mode)】 The steps are the same as so’ukazari, but the usuchaki is placed on the top shelf, and the chawan on the lower shelf.

【茶碗・Chawan】 赤膚焼大塩昭山作・Askahada ware by Sho’uzan O’unishi

【水指・Mizusashi】 トーマス荒川(荒川陶器)・Thomas Arakawa (Arakawa Pottery)

Originally posted April 2, 2014