Nichi nichi kore ko jitsu – every day is a good day

In chanoyu, the scroll sets the theme for the tea gathering. It is displayed in the tokonoma, or alcove and is probably the most important utensil in the tea room. By convention, the scroll for a tea gathering is a single line of kanji characters and is usually a fragment of a poem, Zen phrase or part of a Zen phrase written by a Zen priest. A common scroll for a tea gathering is “Nichi, nichi, kore kojitsu,” or “Hibi kore ko nichi” Literally translated it means – everyday is a good day.

When this scroll is hung in the tea room alcove, (tokonoma) it reminds us that the day is not good or bad. It is just a day. Our attitude is what changes the day into either good or bad.

It is like the story of the farmer who had a horse and his neighbors said he was very lucky, but one day the horse ran away. And the neighbors remarked how unlucky he was. But the horse came back with two others and they said he was lucky again. Then his son fell off the horse and broke his arm while riding it and they said he was unlucky. But when the daimyo came to draft men for his army, the son wasn’t chosen and they said he was lucky again.

It all depends on your attitude to the day. Every day can be a good day or everyday can be a bad day. What kind of day is today?

Temae

Temae is what we call the procedure for making tea. Literally, temae, is translated as “the point in front.” In other words, do what is front of you – whatever is next in the procedure.

There are many, many ways to make tea – many temae. All of the procedures are quite specific in where to put things and the order in which to do it, how to walk in, where to sit, when and where to turn. The procedures can get quite complicated, with the more advanced procedures taking up to two hours. These procedures must be memorized. No notes are allowed in the tearoom. With all of the temae to be memorized, it can be confusing, but starting at the beginning we build a foundation of body memory. Each successive temae learned builds on the previous one with a few new specific points. Our bodies remember these procedures the more often we do it.

It is said that after doing something 30 times is when our bodies can remember. It is when we overthink what we are doing that we can become confused. I see this in my intermediate students, where the body will naturally begin a movement, the head begins to think, “oh no not that way” and there is a hesitation and then the student will freeze, not knowing whether to trust the mind or the body.

At first, in the tea room, every movement seems awkward, and we have to think very hard about what comes next in the order of making tea. But as the body learns how to move in the tea room, as it learns and memorizes the procedures, we can begin to trust our body and move to a higher level of temae. This higher level is where the mind can concentrate on the guests and what else is going on in the tea room. Sensei would test us by asking us questions while we were making tea. To be able to talk and continue to make tea, we have to trust our bodies to continue with temae while our brain was answering her questions at the same time without getting confused.

Sensei says...

Cultivate the attitude of gratitude.
We are so lucky to be here living this extraordinary life, with all its comforts and luxuries. Compared to many, we have little to complain about, yet I do find myself complaining about my life. Cultivating this feeling of thankfulness helps to put my life in perspective.

There is a point in the ritual of Chanoyu where the tea bowl is lifted in silent thanks – kansha. This is not just to thank the host for making the tea, but also for all the preparation he has done. It is also to thank all those who came before us in our study, and to thank the growers of the tea and all who had a hand to make this moment possible.

Before my mom passed away, she asked me to keep a gratitude diary. Every night before I went to bed, I would write a list of the things that I was thankful for. Some nights I had to think really hard about what it was I was thankful for because I had a bad day at work or car troubles. Somedays at first, I wrote that was just thankful to just go to bed to get this day over with. As I wrote more and more in my gratitude diary, my lists became longer and I was really grateful for my life, my health, my family, my job, and many little things. It began to change my perspective and during the day I would mentally note some little things that I could write in m diary. A glass of ice cold water, a clean corner of my desk, the ability to call my husband and tell him I love him, driving home a new way.

If we look hard enough there are many, many things in our life that we can be grateful for. Why not change perspective by cultivating the attitude of gratitude?

A few thoughts on wabi

The aesthetic of wabi permeates and defines beauty for the Japanese culture. It is the ideal of Chanoyu yet wabi often is difficult to define and usually is reduced to simple and rustic. I would like to explore a little more about the origins of wabi, and its relationship with tea. As the Japanese aesthetic of beauty, wabi is a concept that is difficult to explain and deep in meaning.

It has its origins in the verb wabiru. The original meaning of wabiru is to be disappointed by failing in some enterprise or living a miserable and poverty stricken life. According to the Zen-cha Roku, wabi means lacking things, having things run entirely contrary to our desires, being frustrated in our wishes. It goes on to say that to feel what is lacking is deprivation, or to believe that not being provided for is poverty is NOT wabi but rather the spirit of a pauper. Wabi means to transform material insufficiency so that one discovers in it a world of spiritual freedom. Although the beauty of wabi is not simply a beauty of mere poverty, unpretentiousness or simplicity, there are times when that is what it may seem to be.

Three aspects of wabi:
• Simple, unpretentious beauty
• Imperfect, irregular beauty
• Austere, stark beauty

The simple, unpretentious beauty is certainly one of the most obvious features of the wabi aesthetic, but it should not be confused with empty simplicity, or misshapen features with imperfect or irregular beauty. Wabi is a kind of beauty which stores a nobility, richness of spirit and purity within what may appear to be a rough exterior. There is a restraint that does not call attention to itself, yet attention to the smallest detail has been lavished on what cannot be seen.

An example of imperfect, irregular beauty we can see in the many famous tea utensils that have somehow been damaged and lovingly repaired. There is a well known bamboo flower vase made by Rikyu called Onjōji and it is prized because it is cracked, or the tea bowl named Seppo made by Koetsu that is admired because is has been repaired.

The austere, stark beauty of wabi comes from the tradition of renga poetry, a form of group composition of linked verse and from the Noh theater. The poets called it a cold and withered beauty and Zeami of the Noh called it an austere and serene beauty. This is the beauty of age and experience that can only be attained through a master’s accomplishment. It is a paring away of externals, until only the essence is left.

Two poems often cited by tea masters to explain wabi:

Looking about
neither flowers
nor scarlet leaves
a bayside reed hovel
an the autumn dusk
~Fujiwara no Teika

To those who wait
only for flowers
show them a sprig
of grass under the snow
in a mountain village
~Fujiwara no Ietaka

A short reading list

I’ve had a request for a list of books on tea ceremony and I’d like to name a few in order of increasing difficulty:

Tea Here Now by Donna Fellman and Lhasha Tizer
ISBN: 1930722575 Paperback
Tea Here Now demonstrates how tea and the simple act of preparing a cup of tea can give drinkers a taste of enlightenment. Written for the average person who wishes to infuse accessible, uncomplicated spirituality and mindfulness into his or her tea drinking, the book explores the health benefits, spiritual practices, and lifestyle-enhancing properties associated with the world's major blends, in the process creating a practical guidebook for the "tea lifestyle."

Tea Life, Tea Mind by Soshitsu Sen
ASIN: 0834801426 Paperback
A Japanese tea master discusses his art, and throws in a few anecdotes of his own life and stories about famous tea masters from the past. Overall, this is a wonderful introduction to the spirit behind the tea ceremony, which as just as important as the particulars of the process itself. The author's warmth and sincere goodwill come through nicely in this slim, peaceful volume.

The Book of Tea by Okakuro Kakuzo ISBN: 0804832196 Hardcover
On the surface, this is a book about history - the history of tea, and art, and religion. But this is really a book about so much more - it compares the culture and way of thinking of the East and West, the past and the present. It makes the reader think about and reassess what is important in life, what is really beautiful, what is worth keeping or fighting for. What is dignity. This essay, which wends its way between the discovery of tea, flower arranging, architecture and Taoism along with other enticing subjects, is truly an enlightening and thrilling book, in a quiet and gentle way. Whether you are interested in East Asian culture, Tea, or would just like a compass to help you re-orientate your priorities, you will probably gain something from this ode to the importance and influence of Tea.

Wind in the Pines, Classic Writings of the Way of Tea as a Buddhist Path compiled and edited by Dennis Hirota
ISBN: 0875730736 Hardcover
This may be the definitive text on Chanoyu, comparable in importance to Okakura's Book of Tea. Hirota penetrates the Buddhist essence of Tea and understands its authentic origins. Essential for any serious Tea practitioner. It is not a simple history or manual, but a mature and sophisticated reflection on the true nature of Tea as a Way and a practice. Wind in the Pines is a inspiration and also an invitation to penetrate the relationship of Tea to the other Buddhist arts, including renga and haiku and flower arranging (ikebana) and is the product of the deepest appreciation, insight, knowledge and scholarship