Dec 31, 2013
One of my guests had not done tea for about 20 years and the other one had kept in practice even though there were few tea people to share tea where he lived.
I started preparations earlier in the week cleaning my house top to bottom. I cleaned, swept and vacuumed. I dusted, wiped and washed. This morning in the quiet, I zokined the tatami and put the fresh kettle on. As it heated, I prepared my utensils: Unrolled the scroll and hung it carefully. I sifted the tea and rinsed and dried the teabowl, mizusashi, and kensui. I soaked the new chakin and opened a new chasen. I arranged the utensils just outside the tea room.
Then I went to make the sweets: White kinton with green interior. Gomei - yukima no kusa
I cleaned the toilet, put out the tsukubai, picked and arranged the flowers. Then I filled the natsume, arranged the sweets and went to put on my kimono. As I dressed, I thought how lucky I was to be able to host two experienced tea people who were hungry for the experience!
I went to check the kettle and it was beginning to sing. My student came to assist, and he once more zokined the tea room,. put on his kimono and went out to wait for the guests. He greeted them outside and assisted them inside to take off their shoes and hang up their outer garments.
Surprise, one guest wore his kimono! Up in the tea room, the incense was lit and wafted down to greet the guests. They entered the tea room and we made them comfortable. What a joy to make tea for these guests who appreciated everything and noticed the smallest details. The conversation was easy and natural, the tea was made and drank. They even had two bowls of tea each.
After everyone got feeling back in their feet we sat just outside the tea room and visited, but like very good guests, they didn't stay long because they knew we had things to do.
My student and I had a bowl of tea and then cleaned up, closed the tea room and said goodbye. It was a very satisfying and fulfilling experience. This is why we study the way of tea.
Dec 30, 2013
Since the kumihimo workshop in November, I have become obsessed with braid and braiding. Using the kumiloom disk I started and braided several key chains. Then my good friend Barbara loaned me her Marudai and I began my first project on in. She also gave me enough silk to complete a flat braid obijime and I finished it.
Santa Claus was good to me and brought me my own marudai and accessories and I began my second obijime project that I finished yesterday.
It is fun and repetitive, but not mindless, as I still have a couple of mistakes in each of the projects from not paying attention, gettting lost or getting the order wrong (sound familiar to doing temae?).
Anyway, for my next project I am going to make cords for a chabako shifuku set. I already know how to make shifuku, but cannot get the cords for them.
Dec 18, 2013
In these dark days, it is always good to have a few books to curl up with to take us away. Here are two more books that I have added to my bookshelf:
I heard a lecture by Professor Shirane at the Portland Japanese Garden this fall. Here is the publisher's description:
Elegant representations of nature and the four seasons populate a wide range of Japanese genres and media—from poetry and screen painting to tea ceremonies, flower arrangements, and annual observances. In Japan and the Culture of the Four Seasons, Haruo Shirane shows how, when, and why this practice developed and explicates the richly encoded social, religious, and political meanings of this imagery.
Refuting the belief that this tradition reflects Japan’s agrarian origins and supposedly mild climate, Shirane traces the establishment of seasonal topics to the poetry composed by the urban nobility in the eighth century. After becoming highly codified and influencing visual arts in the tenth and eleventh centuries, the seasonal topics and their cultural associations evolved and spread to other genres, eventually settling in the popular culture of the early modern period. Contrasted with the elegant images of nature derived from court poetry was the agrarian view of nature based on rural life. The two landscapes began to intersect in the medieval period, creating a complex, layered web of competing associations. Shirane discusses a wide array of representations of nature and the four seasons in many genres, originating in both the urban and rural perspective: textual (poetry, chronicles, tales), cultivated (gardens, flower arrangement), material (kimonos, screens), performative (noh, festivals), and gastronomic (tea ceremony, food rituals). He reveals how this kind of “secondary nature,” which flourished in Japan's urban architecture and gardens, fostered and idealized a sense of harmony with the natural world just at the moment it was disappearing.
Illuminating the deeper meaning behind Japanese aesthetics and artifacts, Shirane clarifies the use of natural images and seasonal topics and the changes in their cultural associations and function across history, genre, and community over more than a millennium. In this fascinating book, the four seasons are revealed to be as much a cultural construction as a reflection of the physical world.
Elements of Japanese Design, by Boye Lafayette De Mente. ISBN:9780804837491
Elements of Japanese Design introduces 80 key concepts in Japanese design in a readable and accessible short-entry format. Including a brief explanation and examples of every aspect of Japanese design-from Wah (Harmony) to Kaizen (Continuous Improvement), from Mushin (the Empty Mind) to Mujo (Incompleteness).
My review: This is an excellent little book that talks about hard to explain aesthetic concepts. They all apply to the study of Chado. What is particularly nice is that each chapter (concept) begins with the kanji, the romanji, and phonetic pronunciation, and then a short description to help you remember the concept. The further description helps to put these concepts into a western context to help us better understand it. Easy to read and understand English language helps to bridge the gap in those unexplainable concepts like wabi, sabi, and shibui.
Dec 16, 2013
"Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us.' We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small doesn't serve the world. There's nothing enlightened about shrinking so that other people won't feel insecure around you. We are all meant to shine, as children do. We were born to make manifest the glory of God that is within us. It's not just in some of us; it's in everyone. And as we let our own light shine, we subconsciously give other people permission to do the same. As we're liberated from our own fear, our presence automatically liberates others."In tribute to Nelson Mandela, I was going to post this quote, but I found out that these famous words, which have often been attributed to him, he never actually said them in a speech, nor wrote them. This oft-reproduced reflection about "our deepest fear" originated with the 1992 work A Return to Love: Reflections on the Principles of a Course in Miracles, the best-selling first book by author Marianne Williamson.
And even if Nelson Mandela did not write these words, they are powerful and empowering. So shine your light on the world!
Dec 10, 2013
I am not a student of Zen, but I am a student of tea, so anything in English that helps me understand the relationship of Zen to tea captures my interest. One of the overt examples of Zen in the tea room is the scroll displayed in the tokonoma. It is often a Zen saying. Although it may seem on the surface to be a simple statement "nichi, nichi kore kojitsu" everyday is a good day, or everyday is a day to be liked, it can have deeper and more profound meanings.
ISBN: 978-1-61180-026-5 paperback.
Here is the publisher's description: Traditionally in China and Japan, drinking a cup of tea was an opportunity for contemplation, meditation, and an elevation of mind and spirit. Here, renowned translator William Scott Wilson distills what is singular and precious about this traditional tea culture, and he explores the fascinating connection between Zen and tea drinking. He unpacks the most common phrases from Zen and Chinese philosophy—usually found in Asia printed on hanging scrolls in tea rooms, restaurant alcoves, family rooms, and martial arts dojos—that have traditionally served as points of contemplation to encourage the appropriate atmosphere for drinking tea or silent meditation.
Part history, part philosophy, part inspirational guide, The One Taste of Truth will connect you to the distinctive pleasure of sipping tea and allowing it to transport your mind and thoughts. This beautifully written book will appeal to tea lovers and anyone interested in tea culture, Chinese philosophy, and Zen.
What I especially appreciate about this book is that is shows the phrase in calligraphy so we may begin to learn to recognize it. The book also shows the romanji, so we know how to pronounce it, and the English translation. The explanation that follows for each phrase is easy to follow, and contains more gems for those of us looking for gomei from these phrases. Historical and cultural context are also covered. An overall good addition to your Chado library.
Dec 2, 2013
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