Original link https://www.urasenke.or.jp/archives/textm/headq/soke/ichimon/ichimon01.html.

Translation from https://chatgpt.com/share/672ff962-d220-800f-95dd-ab111e90ad24 using ChatGPT 4o.

NOTE: These are not actually all correct. Some of these are missing words. I need to go back and do this again, one question at a time.

Further edited to update words etc.

Question 1

What is the meaning of the four-way handling of the fukusa?

Answer
Handling the four sides of the fukusa signifies purifying the east, west, south, and north in terms of yin and yang. Within the daisu, the heaven board and earth board represent heaven and earth, and the four pillars become the east, west, south, north, and the four seasons of spring, summer, autumn, and winter. All the yin-yang five elements are included there, with the trigrams of fire, water, wood, and metal all present. Sitting before that and handling the four sides signifies purifying the directions of east, west, south, and north, and purifying the entire year of spring, summer, autumn, and winter.

一問
№1 帛紗の四方捌きの意味をお教え下さい。
一答
帛紗の四方を捌くのは、陰陽でいうところの東西南北を清めるということです。台子の中に、天板、地板で乾坤があり、柱が四本で、東西南北春夏秋冬になります。そこに全部陰陽五行が入っていて火の卦があり、水の卦があり、木の卦があり、金の卦がありすべてがあります。その前に座り四方を捌くのは、東西南北の方位を清め、春夏秋冬一年を清めると思っていただければよいでしょう。

Question 2

Please explain the distinction between using uchizumi and sotozumi.

Answer
Based on the furo daisu, the temae derived from it are mainly sotozumi. Those that are not become uchizumi. In the case of the first eight items of the konarai, all combinations and atsukai are fixed. The latter eight items are more like functional temae. Therefore, in the case of irekodate in a koma, it sometimes becomes sotozumi. As for what to do during tsuzuki-usucha in the ro season, in a hiroma it becomes uchizumi, but when using daisu, naga-ita, etc., it becomes sotozumi, and in a koma it also becomes sotozumi. Depending on the temae, functional temae change according to each situation. All fixed temae, such as those that display the chawan and chaire like the first eight items of the konarai, or temae for entertaining a kinin, are all based on the furo daisu.

一問
№2 内隅、外隅の使い分けをお教え下さい。
一答
風炉台子を基準にそこから派生した点前は主として外隅狙いになります。そうでないものは内隅狙いになります。小習の前八ヶ条の場合は、全ての取り合わせや扱いが定まったものです。後八ヶ条はどちらかというと、はたらきの点前になります。ですから入子点は小間の場合外隅になったりいたします。続き薄茶で炉の場合どうするかというと、広間は内隅狙いになりますし、しかし台子・長板等を使用した時は外隅狙いで小間は外隅狙いという形になってきます。点前によって、はたらきの意味をもつ点前はその場その場によって変わります。小習の前八ヶ条のように、茶碗・茶入を荘る点前、貴人をもてなす点前であるなど、定まっているものは全て風炉台子を基準とされております。

Question 3

In the usucha temae, we start with a greeting at the sadoguchi, but in koicha, the host and main guest exchange bows during the temae. Please explain the reason for this.

Answer
This was standardized by Gengensai. Until then, in koicha as well, greetings were made at the sadouguchi, and furthermore, after withdrawing the hishaku, there was another greeting. However, it was changed to avoid duplication of greetings between the host and guests.

一問
№3 薄茶点前ははじめに茶道口で挨拶をしますが、濃茶は点前の途中で主客が総礼をします。その意味をお教え下さい。
一答
これは玄々斎がそのように統一されました。それまでは濃茶も茶道口で挨拶をし、更に柄杓を引いて挨拶をしていたとのことです。しかし、亭主と客との挨拶の重複をさけることで切り替えられました。

Question 4

When arranging items on the tana, the natsume is placed with one hand, but the futaoki is always handled (atsukai) when placing it. What is the reason for this?

Answer
The basic principle is the handling (atsukai) of the kaigu in the daisu soukazari. Therefore, the handling when taking out the futaoki from the kensui in the kaigu is not omitted even in the tana temae.

一問
№4 棚に荘る時、棗は一手で荘りますが、蓋置は必ず扱って荘るのはどのような理由があるのでしょうか。
一答
台子総荘りの皆具の扱いが基本です。それ故、皆具の建水から蓋置を取り出す時の扱いがそのまま棚点前でも略されることはありません。

Question 5

In the kinin-date, when presenting the utensils for haiken, why is the chashaku placed on top of the shifuku in koicha, but on top of the fukusa in usucha?

Answer
In the kinin-date, the chashaku is used exclusively for the kinin (honored guest). Therefore, it is not placed directly on the tatami. Also, since the hantou, who is a person on the host’s side, is relaying it to the kinin, it is considered a special chashaku and is placed on the shifuku or fukusa.

In the case of kinin-seiji, the same chashaku is used not only for the kinin but also for their attendants. Since the attendant, who is a person on the guest’s side, is relaying the utensils, they do not overly humble themselves. Therefore, they do not place it on the shifuku or fukusa.

一問
№5 貴人点で、道具を拝見に出す時、濃茶では茶杓を仕覆の上、薄茶では帛紗の上に乗せて出すのは何故ですか。
一答
貴人点では、茶杓は貴人のみに使ったものです。それ故、畳に直接置きません。また亭主側の人間である半東が貴人に取り次がせていただくということから、特別の茶杓と考えて仕覆、帛紗に乗せます。貴人清次の場合は、貴人だけではなく、お伴にも同じ茶杓を使いますし、客側の人間であるお伴が道具を取り次ぎますので、へりくだりすぎることはしません。ですから仕覆、帛紗には乗せません。

Question 6

Why do we use the tsurigama in March?

Answer
It’s not that it must be the tsurigama in March.

The tsurigama is where the kettle is hung by chains from the hirugugi (leech hook) in the ceiling, and basically, it is used from around the equinox in March to about mid-April.

Why do we use the tsurigama? That’s because it’s the season when the east wind (kochi) blows. When you hang the tsurigama during that time, even a faint wind hitting the house will make the kettle gently sway.

Both the host and the guests can feel that spring is approaching more and more through that sway. Since it’s an arrangement suitable for the season when you can feel the spring breeze has started to blow, it’s okay to have regional differences regarding the period.

一問
№6 ３月に釣釜をするのは何故ですか。
一答
３月は釣釜でなければならない、という訳ではありません。
釣釜は天井の蛭釘（ひるくぎ）から鎖で釜を釣るものですが、基本的には３月の彼岸から４月の中旬頃までします。
なぜ釣釜をするのでしょうか。それは東風（こち）が吹く時季だからです。その時期に釣釜を掛けておくと、かすかな風が家にあたっただけでも釜がゆっくりと揺れたりいたします。その揺れにしたがって春がどんどん近づいてきているということを亭主も客も感じ合えますね。春風が渡り出したのを実感できる時節に適ったしつらえなので、期間については地域性があってかまいません。

Question 7

What temae can be performed on the tenchaban?

Answer
There are four: shozumi, gozumi, koicha, and usucha. This is because it directly transfers the sou-kazari of the daisu into the ryurei form. From that perspective, one might think that more could be done, but since we do not perform chawan-kazari or kinin-date in the sou-kazari of the daisu, it is limited to these four.

一問
№7 点茶盤でできるお点前の範囲をお教え下さい。
一答
初炭・後炭・濃茶・薄茶の四つです。これは台子の総荘をそのまま立礼の形に写しているためです。そういう意味から言えばもっと他にできるのではないかと思われるかもしれませんが、台子の総荘で茶碗荘や貴人点をしないのと同じことですので、この四つに限られます。

Question 8

In a large-scale tea gathering such as an ooyose no chakai, when the chaire and mizusashi are set up from the beginning, which should we view first: the kama, chaire, or mizusashi?

Answer
Since this is a chakai, unlike a chaji, you should first view the kama. Even if other items are also arranged at the same time, the standard is that only the kama would be there, so please begin your viewing with the kama.

一問
№8 大寄せの茶会などで、最初から茶入、水指が荘ってある場合、釜、茶入、水指いずれから拝見すべきでしょうか。
一答
茶事と違い茶会ですので、まずは釜から拝見します。その時、同時に荘ってある物があったとしても、本来は釜しかない状態が標準な訳ですから、釜から拝見して下さい。

Question 9

In the temae of the satsubako, what is the significance of placing the chaire back-to-back in the box at the beginning?

Answer
This means that both the tea prepared by the host and the tea prepared by the guest are treated equally without distinction. If both chaire are aligned facing the same direction, the one in front becomes primary and the one behind becomes secondary. The chatou-bako is handled by rotating it. By placing the chaire back to back, it was devised so that both can face forward.

一問
№9 茶通箱の点前で、最初、箱に茶入を背中合わせに仕込む意味をお教え下さい。
一答
これは、亭主が用意したお茶も客が用意したお茶も差をつけず同格に扱うという意味です。どちらも向きをそろえたら、前のものが主で、奥のものが従ということになります。茶通箱は回して扱います。茶入を背中合わせにすることでどちらも正面を向けるようにとのことで考えられました。

Question 10

In gozumi, why is the tomoe design drawn in the ash of the tomoe banda?

Answer
The tomoe represents the water trigram. Therefore, by drawing the water trigram on the place where the fire is placed, it brings together yin and yang.

一問
№10 後炭所望で、巴半田の灰に巴に描くのは何故ですか。
一答
巴というのは水の卦です。ですから火が乗るところに水の卦を描く、それによって陰と陽を出会わすということです。

Question 11

In shozumi temae and gozumi temae, the term “手前” is used. Is this distinction from “点前” because tea is not actually prepared?

Answer
Originally, the term written as “手前” is older. Regarding where this word “手前” came from, there is a theory that it originated from “建前” (tatemae).

Starting from “建前,” which comes from the “建” in architecture—meaning to build something in front or to create—it evolved into “手前” based on the idea of accomplishing something with one’s hands in front of oneself. However, within temple practices, there is a term “点茶” (tencha), which refers to preparing tea connected to China. From this, when making tea, the word “点前” began to be used.

一問
№11 初炭手前、後炭手前には「手前」の文字が使われますが、「点前」と区別しているのは、お茶を点てないからでしょうか。
一答
本来は「手前」と書く言葉の方が古いようです。この「手前」という言葉はどこから出てきたかというと「建前（たてまえ）」から出てきたとの説があります。
建築物の「建」、前で何かを建てる、作り上げる、そういう意味で「建前」から始まって、自分の目の前で手で成すというところから「手前」となりました。しかし、寺の作法の中には、中国に絡んだお茶を点ずる「点茶」という言葉があります。ここからお茶を点てる時に「点前」という言葉が使われるようになりました。

Question 12

For the Misono-dana, should the teabowl for the temae be placed on the kobukusa when served? Additionally, in the Misono-dana temae, is the fukusa used to wipe the chashaku placed on the right? And where should the fukusa be placed after opening the kettle lid, on the right or left?

Answer
The original form (honka) of the Misono-dana is used in the Iemoto’s Matashin room. In Matashin, the table placed in front of the guests is not “black lacquered (kaki-awase)” but “true lacquered” (shin-nuri), so the kobukusa is used. Matashin was built to celebrate Tantansai’s 70th birthday, and a true lacquered table is placed there. Therefore, we serve the chawan placed on the kobukusa as is. Please remember that the handling of the kobukusa is limited to Matashin.

Furthermore, the fukusa used to wipe the chashaku is placed on the right, and the fukusa used when opening the lid of the kama is placed on the left.

一問
№12 御園棚の場合、お点前茶碗は古帛紗に乗せてお出ししますか。また、御園棚の点前で、茶杓を拭いた帛紗は右に置きますか。釜の蓋を開けた帛紗は右・左どちらに置きますか。
一答
御園棚の本歌は家元の又新の席で使われています。又新でお客様の前に置かれている机は「黒塗り(掻合せ)」ではなく「真塗り」ですので古帛紗の扱いとなります。又新は淡々斎の古稀のお祝いで建てられた部屋ということで真塗りの机が置かれております。それ故、古帛紗に茶碗を乗せたままお出しします。古帛紗の扱いは又新に限ると覚えて下さい。
それから、茶杓を拭いた帛紗は右に置き、釜の蓋を開けた帛紗は左に置きます。

Question 13

In the kinin-date, when serving sweets arranged on a takatsuki, who brings it out—the teishu (host) or the hantou (assistant host)?

Answer
It is the teishu who brings it out. While the tea is served by the hantou, bringing out the sweets at the beginning is the role of the teishu.

一問
№13 貴人点で、高杯にお菓子を盛る場合、亭主・半東いずれが出すのでしょうか。
一答
これは亭主が持って出します。お茶は半東が取り次ぎますが、最初にお菓子を持って出るのは亭主の役目です。

Question 14

Is the large umbrella used for tea gatherings meant to be set up only outdoors (in gardens or parks)? Is it not permissible to use it indoors?

Answer
Since it’s an umbrella, it is basically used outdoors. However, I think it’s acceptable to incorporate the atmosphere of nodate (outdoor tea ceremony) in indoor settings like hotels. It’s not that umbrellas must only be set up outdoors. Please feel free to use it skillfully indoors to create ambiance.

一問
№14 お茶席用の大きな傘は外（庭や公園など）でのみ立てられるものですか。屋内で使用してはいけないのでしょうか。
一答
傘ですから、基本的には外で使用します。しかし、ホテルなどの屋内に野点の風情を取り入れるような場合にはよいと思います。傘だから外にしか立ててはいけないというものではありません。部屋の中でも雰囲気づくりで上手に使用して下さい。

Question 15

In the furo charcoal temae, why do we cut the ash into a crescent shape during shozumi?

Answer
When performing shozumi in a chaji, cutting the ash pattern into a crescent shape with the tip of the haizashi (ash spoon) signifies “we will no longer use this ash pattern to welcome other guests.” We cut the crescent shape with the feeling of “ichi-go ichi-e” (a once-in-a-lifetime encounter). Therefore, in large-scale tea gatherings where multiple sessions are held, guests are welcomed without cutting the crescent shape.

一問
№15 風炉の炭手前の折、初炭で灰を月形に切るのはなぜですか。
一答
茶事で初炭の時、その灰形に灰匙の先で月形を切ることは「もうこの灰形は他の客を迎えては使いません」ということです。一期一会の気持ちで月形を切る訳ですね。それ故、何席も行う大寄せの茶会では月形を切らずに客を迎えます。

Question 16

In the kinin usucha temae, where does the hantou serve the sweets to the kinin? Also, where do you serve the kinin chawan? Please tell me.

Answer
As I answered earlier, the teishu (host) brings out the sweets and serves them on the ro-datami (hearth mat). The hantou sits on the ro-datami, receives the prepared kinin chawan that has been placed at the designated seat, and serves it at the same spot where the sweets were served.

![[EN)-1](Oiemoto 100 Questions (EN|Oiemoto 100 Questions (EN)-1]]-1.png)

一問
№16 貴人点薄茶で半東が貴人にお菓子をお出しする位置はどこでしょうか。また、貴人茶碗はどこにお出ししますか。お教え下さい。
一答
前にお答えしました様に、亭主がお菓子を持ち出し炉畳にお出しします。半東は、点てられて定座に出された貴人茶碗を炉畳に座って取り次ぎ、お菓子が出された同じ位置にお出しします。

Question 17

When deciding the roles and seating order for kagetsu, we pass around the orisue in the mizuya. In which direction should we pass the orisue? Also, at that time, should we place the sensu next to the knees or in front of the knees?

Answer
Since these are agreements made in the mizuya, one might say there’s no need to decide that precisely, but typically, the orisue is passed to the right, and the sensu is placed to the right of the knees.

一問
№17 花月の役と席順を決める時、水屋で折据を回しますが、折据はどちら回しにしますか。また、その時、扇子を置く位置は膝前ですか、それとも膝横でしょうか。
一答
水屋での約束事ですので、それまで決める必要があるかといえばそれまでになりますが、やはり折据は右回しで、扇子は右膝横に置きます。

Question 18

Regarding the temae of the Washin-dana. Is there any rule for the placement of the large, medium, and small shelves? Also, for the temae, is it acceptable to follow the procedures for the Misono-dana or Shunju-dana?

Answer
There is no rule for the placement, and you may perform the temae as you like. However, as a general guideline, it’s acceptable to practice the procedures of the Misono-dana and similar. The Washin-dana is a tea utensil but also furniture; while being furniture, it also becomes a tea utensil. Because a name was needed, it was called “Washin-dana,” but the original idea came from the hanging scroll by Zen master Sengai, which has ”◯△□” (circle, triangle, square) written on it.

Incidentally, the reason we did not specify chairs is that if we fix the chairs, the height becomes fixed, and once the height is fixed, it determines which shelf is placed in the middle. We devised it so that you can enjoy tea freely in any arrangement you like, without taking away the enjoyment of the user.

一問
№18 和親棚の点前について。大中小の棚の置き方に決まりはありますか。また、点前は御園棚、春秋棚に準ずればよいのでしょうか。
一答
置き方に決まりはありませんし、お点前もお好きなようになさって下さい。但し、一応の目安として御園棚などの作法をなさってみてかまいません。和親棚は茶道具ですけれども家具でもあり、家具でありながら茶道具にもなるものです。名称が必要だということで「和親棚」と名付けましたが、発案のもとは仙厓和尚の「○△□」と書いてあるお軸です。
因みに、椅子を定めなかったのは、椅子を定めると高さが決まり、高さが決まるとどの棚を真ん中に置くかが決まってしまうからです。お使いになる方の楽しみを奪うことなく、お好きな配置で自由自在にお茶を楽しんでいただけるようにと考案しました。

Question 19

I have been invited to a koicha gathering, but if I’m not feeling well, what should I do as a guest? Please tell me.

Answer
It depends on your condition, but if you have symptoms that could be contagious, it’s courteous to refrain from attending the tea gathering or entering the tearoom. If your symptoms are mild, one option is to explain the situation to the host and receive tea in a separate chawan. However, this too should be judged based on your usual relationship and closeness with the host. The important thing is that the special actions of one person should not disrupt the atmosphere of the gathering or make it unpleasant. Regular health management is important.

一問
№19 濃茶の席に招かれましたが、体調が思わしくない場合、客としてどのようにしたらよいでしょうか。お教え下さい。
一答
どのような体調かにもよりますが、感染性のあるような症状でしたら、茶会に行かれること、席に入られることも遠慮されるのがマナーです。軽い症状でしたら、亭主側に事情を述べて別の茶碗でお茶をいただくことも方法です。ただ、それも亭主との平素の関わり合いや親密度によって判断すべきことです。大事なことは、一人の特別な所作によって一座の雰囲気を壊して不愉快なものにしてはならないということです。平素からの健康管理が大切ですね。

Question 20

In a once-in-a-lifetime chaji, for usucha we receive sweets just before drinking the tea, but in koicha, we receive sweets following kaiseki and, after the nakadachi, we have koicha. Why don’t sweets appear during the temae in koicha?

Answer
The main purpose of a once-in-a-lifetime chaji is to offer koicha to the invited guests. Kaiseki is served to alleviate hunger, followed by sweets. During the nakadachi, guests prepare themselves mentally and physically to face the upcoming koicha, using the tsukubai, and enter the room calmly to receive the tea. If sweets were served at this point, the gathering might become noisy and lose focus, so sweets are provided in the earlier seating. In the usucha session, tobacco trays and dry sweets are also offered, transforming it into a friendly atmosphere that includes the meaning of “please relax.” That is the difference between koicha and usucha.

一問
№20 一会の茶事で、薄茶ではお茶を飲む直前にお菓子をいただきますが、濃茶では懐石に続いてお菓子をいただき、中立を経て濃茶を頂戴します。濃茶ではなぜ点前の場面でお菓子が出てこないのでしょうか。
一答
一会の茶事の本意は、お招きしたお客様に濃茶を差し上げることです。空腹を癒すために懐石を、続いてお菓子もいただきます。中立でお客様はこれから濃茶に臨むための心身の準備を整え、蹲踞も使い、心静かに席入りをしてお茶をいただきます。この場面でお菓子が出されますと座がさわがしくなり、締まりのないものになりかねませんので、前席でお菓子が出されます。薄茶の席は、煙草盆や干菓子も出て、「どうぞお寛ぎ下さい」との意味も含め、和気あいあいの場づくりに変化いたします。そこが濃茶と薄茶の違いです。

Question 21

When entering a tea gathering wearing Western clothing, is it customary to change into white socks?

Answer
It is not a requirement. You might think of white socks as a substitute for white tabi (traditional Japanese socks), but the important mindset is to change from the footwear you wore outside—the so-called “traveling” items—into clean ones. The foremost priority is to approach with both body and mind purified and clean, so you don’t necessarily have to insist on white socks; other colors are acceptable as well.

一問
№21 洋装で茶席に入る時、白のソックスに履き替えるのが約束でしょうか。
一答
約束ではありません。白のソックスが白足袋の替わりとお考えなのかもしれませんが、心構えとして、外から履いてきた、云わば道中のものを清潔なものと履き替えることが大切です。心身ともに清浄・清潔にして臨むことが第一ですので、ソックスは必ずしも白色にこだわらず、他色のものでも構いません。

Question 22

What is the purpose of chasen toshi?

Answer
Chasen tooshi means “acclimating the chasen to the hot water used during the ceremony.” For example, when you take a bath, you wouldn’t suddenly jump into the bathtub without checking the water temperature, would you? In the mizuya, you first check if the tips of the chasen are not broken, then lightly rinse it in water to purify it, and set it in the chawan. However, the first time it encounters the hot water during the ceremony is at the temae-za. Therefore, the initial chasen tooshi is to loosen up the chasen as a preparatory exercise by letting it meet the hot water.

Some people vigorously whisk the chasen during chasen tooshi, but that is not good. At first, it’s enough to gently let it adapt to the hot water with light, smooth movements. Then, once again in front of the guests, you check that there are no issues with the tips.

When the chawan returns, you perform the final bow, and at that time, you do chasen tooshi with water. In this case, you whisk to remove the tea residue attached to the tips of the chasen. Please clearly understand the difference in meaning between the initial chasen tooshi and the later chasen tooshi.

一問
№22 茶筅通しの意味をお教え下さい。
一答
茶筅通しは、“その席中のお湯に慣らす”ということです。例えば、皆さんが入浴される場合、お湯の温度も確かめずに突然湯船に入るような方はいらっしゃらないでしょう。茶筅は予め水屋で穂先が折れていないかを確かめ、次に軽く水にくぐらせ清め茶碗に仕組みますが、席中のお湯に出会うのは点前座が初めてです。ですから、最初の茶筅通しはそのお湯に出会わすことによって準備運動として身をほぐしてあげるということです。茶筅通しの際、いきなり茶筅を強く振る方がいますが、それはよくありません。最初は軽くサラサラとお湯に馴染ませればよいのです。そして、今一度、客の前で穂先に粗相がないかを確かめます。
戻ってきた茶碗はおしまいの挨拶をして、その時に水で茶筅通しをします。この時は茶筅の穂先に付いたお茶を落とすようにして振ります。最初の茶筅通しと、後の茶筅通しの意味の違いをしっかりと理解して下さい。

Question 23

In Kinin Seiji Kagetsu, if the Kinin does not receive the “Moon” until the very end, how should we perform the shimai-tsuke?

Answer
Unlike in Kinin Seiji Koicha-tsuki Kagetsu, there may be cases where the Kinin does not receive any tea at all.

Even in that case, during the shimai-tsuke, proceed as if the Kinin had received the “Moon,” and tidy up accordingly. If the Kinin is shimai “Hana,” skip pouring hot water, put water into the chawan, perform chasen tooshi, raise once and whisk twice, and then pour the water into the kensui. If the otsugi is shimai “Hana,” pour hot water into the chawan, pour it into the kensui, then add water, and perform chasen tooshi.

一問
№23 貴人清次花月で最後まで貴人に「月」が当たらなかった場合、仕舞いつけはどの様にしたらよろしいでしょうか。
一答
貴人清次濃茶付花月と違って、貴人がまったくお茶をいただかない場合も出てきますね。
その場合でも仕舞い付けは貴人に「月」が当たったとみなして、片付けます。貴人が仕舞い「花」でしたら、湯を入れるのを略し、水を茶碗に入れて茶筅通し、一度上げの二度打ちして、水を建水にあけます。お次が仕舞い花の場合は、湯を茶碗に入れ、建水にあけて、次に水を入れ、茶筅通しをします。

Question 24

In an indoor setting, is it acceptable to hold a tea gathering with the atmosphere of nodate using the Ryuurei-shiki devised by Gengensai?

Answer
Basically, we do not do that. The Misono-dana, Chishin-dana, Shunju-dana, and Washin-dana—which are simplified versions of Gengensai’s favored Ryuurei Tencha Shikiho—are used as tana for nodate or indoor ryurei, but they are solely for usucha temae. Gengensai’s Ryuurei is a formal style devised as a room setting, and the proper method is to conduct it in a tatami room with a tokonoma where a chaji can also be held. Therefore, incorporating the atmosphere of nodate is not preferable.

一問
№24 室内にて、玄々斎創案の立礼式で野点の風情にして茶会を催してもよいでしょうか。
一答
基本的には致しません。玄々斎好立礼点茶式法を簡略化した御園棚や知新棚、春秋棚、そして和親棚などは、野点や室内の立礼用の棚として用いられていますが、あくまでも薄茶点前のみのものです。玄々斎の立礼は座敷のしつらえとして考案された式正なもので、茶事を催すことも出来る床構えのある畳敷きの席で行うのが定法ですので、野点の風情は好ましくありません。

Question 25

Is it acceptable to perform kazarimono temae with nakaoki?

Answer
Combining nakaoki, which is a motif for nagori (the lingering sentiment of the end of the tea season), with the kazarimono temae would, so to speak, result in overlapping motifs. Therefore, it would be better to perform kazarimono with jozue (fixed hearth position). Since the main theme would become blurred, overlapping motifs should be avoided.

一問
№25 中置で荘り物をしてよろしいでしょうか。
一答
名残りの趣向としての中置と荘り物の点前とを組み合わせますと、いわば趣向が重なり合います。従いまして、荘り物は定据え（じょうずえ）でなさった方がよいでしょう。主題（テーマ）がぼやけてしまいますので、趣向が重なるのは避けるべきです。

Question 26

In the Chatou-bako-tsuki Kagetsu during the ro season, I learned about the “yotsu-dashi” method of presenting the items for haiken. What kind of arrangement is that? Also, is it the same in the furo season?

Answer
This way of presenting the haiken items is called “yotsu-dashi” (four-item display).

In the furo season, unlike in the ro season where we use the yotsu-dashi, we place the natsume, chashaku, ootsubukuro, and chatou-bako side by side.

![[EN)-2](Oiemoto 100 Questions (EN|Oiemoto 100 Questions (EN)-2]]-2.png)

一問
№26 炉の茶通箱付花月の拝見物を出す時、四つ出しと習いましたが、どのような出し方
でしょうか。また、風炉も同様でしょうか。
一答

このような拝見物の出し方を四つ出しといいます。
風炉では炉のように四つ出しにせず、棗、茶杓、大津袋、茶通箱と横並びに出します。

Question 27

In what situations is tsuzuki-usucha performed?

Answer
In a noon chaji (formal tea gathering), tsuzuki-usucha is a “function” performed when the guests request, “Due to such-and-such reason, we would like to have usucha served continuously.” In reality, when you are invited to a once-in-a-lifetime chaji and suddenly request the teishu (host) to “omit the gozumi (later charcoal setting) and have usucha,” considering the teishu’s feelings and resolve in inviting guests, one might question whether this is appropriate. However, you never know what might happen on the day. The understanding between the main guest conveying that intent and the teishu responding to it cannot be fully expressed in writing.

In the case of morning chaji and yobana no chaji (evening tea gatherings), it is a customary practice intended to avoid prolonging tsuzuki-usucha for a long time. Therefore, the teishu himself informs the guests of that intention, omits the gozumi, and proceeds to tsuzuki-usucha.

一問
№27 続き薄茶はどういう場合に行われるのでしょうか。
一答
正午の茶事では、客側から「何々のため、続いて薄茶をいただきたい」との所望があった場合に行われる「働き」です。実際に一会の茶事におよばれして、急にいわば“後炭を略して薄茶をいただきたい”と亭主に申し出る訳ですので、亭主の「客を招く気持ち・覚悟」を思うと如何なものかと思います。しかし、当日何があるか分かりません。その旨を伝える正客と、それに対応する亭主との呼吸は筆に託せません。
朝茶事、夜咄の茶事は続き薄茶が長時間になることを避ける意味での約束事ですから、亭主の方からその旨お断りして後炭を略し、続き薄茶となります。

Question 28

In the habuta temae (leaf-lid temae), is it customary to use the uketou (receiving cylinder) of the suehiro-kago hanaire (flower basket) as the mizusashi? Also, what other leaves besides kaji leaves can be used?

Answer
It began when Gengensai, as a Tanabata motif, used a black lacquered curved cypress uketou sprinkled with kirihaku (cut gold leaf), covering it with a kaji leaf as a lid, and used it as a mizusashi. However, any mizusashi suitable for the hakobi temae is acceptable, and other ceramic mizusashi are also fine.

Although kaji leaves have traditionally been used as sacred leaves for composing Tanabata poems, for temae, you can also use leaves such as satoimo (taro), hasu (lotus), and kiri (paulownia). Leaves that exude bitter sap (nigajiru) or have a strong smell are not suitable.

一問
№28 葉蓋の点前に用いる水指は末広籠花入の受け筒が約束でしょうか。また、梶の葉以外の葉で何が使えるでしょうか。
一答
黒塗りの檜の曲に切箔を散らした受け筒を玄々斎が七夕の趣向として梶の葉を蓋にして水指として用いたのがはじまりです。しかし、運び点前に適した水指ならば他の焼物の水指でも構いません。
梶の葉は古来から神木として七夕の歌を詠むのに使われたと言われていますが、点前として他に里芋、蓮、桐なども用いることができます。苦汁（にがじる）や臭いのある葉は適しません。

Question 29

When welcoming guests with the habuta or araijakin temae, is there anything to be mindful of?

Answer
Both are temae to savor coolness in the summer. In the habuta temae, you place a fresh leaf moistened with water on top of the mizusashi and carry it out. In the araijakin temae, you fill a bataku or a hirajawan about 70% full with water, place a chakin exuding cleanliness inside, and show the cool surface of the water to offer hospitality during the extreme heat. In both, the visual appearance and the sound of water poured into the kensui enhance the feeling of coolness.

At this time, if the tearoom in which you entertain is too spacious, the dew on the leaf, the handling of the leaf, the water in the chawan, and the sound of water being poured into the kensui may not reach the guests, so the carefully planned effect is diminished. Regarding the presentation of coolness, it is essential not only to perform the temae but also to thoroughly consider the guests and the setting of the space.

一問
№29 葉蓋や洗い茶巾の点前で客を迎える時、何か心がけることがありますか。
一答
いずれも夏に涼味を味わう点前です。青々とした葉にしっとりと水を打った葉を水指の上に乗せ、運び出す葉蓋点前。馬盥や平茶碗に水を七分目程張って、清潔感あふれる茶巾を入れて涼しげな水の面を見せることで酷暑のもてなしとする洗い茶巾の点前。双方、見た目と建水にあける水音が一層涼しさを演出します。
この時、もてなす茶室が広すぎますと葉に打った露、葉の扱い、茶碗の中の水、建水にあける水音が客に聞こえませんので、せっかくの趣向が半減してしまいます。涼しさの演出に関しては、ただ点前をするだけではなく、お客様のことと設営する場のことをしっかりと考えることが肝心です。

Question 30

Is it acceptable to request shozumi (initial charcoal setting) with the kirikake-furo? When making the request, does the teishu (host) bring out the sumitori (charcoal basket), place it at the teiza (host’s seat), and sit in the center of the tatami? Or does he place it to the right side closer to the guests than the center of the tatami, and then move to face the furo? Also, although we are not using the haigata (ash container), do we still place the fukusa at the corner where the tatami mats meet?

Answer
In the kirikake-furo, since we do not use the haigata, you might think that you cannot make the request, but you may certainly make the request.

The teishu sits in the center of the tatami and places the sumitori at the teiza. After that, he moves to the front of the furo. After lifting the kama and performing the initial sweeping (hatsubaki), he places the habouki (feather broom) on the sumitori, places the fukusa at the corner where the tatami mats meet, returns to the sadouguchi (tea preparation entrance), and requests, “After your consultation, may I proceed with the charcoal.”

一問
№30 切掛風炉にて初炭所望をしてもよろしいでしょうか。所望する折、亭主は炭斗を持ち出し定座に置いて、坐る位置は畳の中央でしょうか。それとも畳の中央より客付寄り右側で置いてから風炉正面に寄りますか。また灰器を用いていませんが、帛紗はやはり畳敷合せ角に置きますでしょうか。
一答
切掛風炉では灰器を使用しないので、所望が出来ないとお考えなのかと思いますが、所望なさって結構です。
亭主が坐って炭斗を置く位置は畳中央に坐り、炭斗を定座に置いてから風炉正面に寄ります。釜を上げ、初掃きをした後、羽箒を炭斗にのせ、畳敷合せ角に帛紗を置き、茶道口に戻り「お申し合わせの上、お炭を」と所望を致します。

Question 31

I have a question about meisui-date. After purifying the chaire and chashaku, where do we place the fukusa? Is it acceptable to place it behind the kensui? Also, when responding to the guest’s inquiry about the origin of the meisui, should we do so from the imae (host’s seat) or kyakutsuki (facing the guests)?

Answer
After purifying the chaire and chashaku, remove the chasen from the chawan, place the chakin on the left lid of the tsurube, and temporarily place the fukusa on your right knee instead of behind the kensui.

Even though it is the meisui-date, the main purpose is to serve koicha.

You should answer questions about the origin of the meisui from the imae (host’s seat). If you turn toward the guests (kyakutsuki), it would be the same position as when answering guests’ questions about the tea name, the chaire, or the sweets during koicha. To avoid duplication in the temae, you should answer about the origin of the meisui from the imae.

一問
№31 名水点についてお尋ねします。茶入、茶杓を清めた後、帛紗はどこに置きますか。建水の後ろで宜しいでしょうか。また、名水の由来のお尋ねにお答えする場所は、居前、客付のどちらでしょうか。
一答
茶入、茶杓を清めた後、茶筅を茶碗から取り出して茶巾を釣瓶の左の蓋に置き、帛紗は建水の後ろではなく右膝頭に仮置きします。
名水点とはいえ、濃茶を差し上げることが主です。
由来についてお答えする場所は居前です。客付に向くと、濃茶の茶銘、詰、菓子等の客からのお尋ねに答えるのと同じ場所になってしまいます。点前は重複することを避けるため、名水の由来については居前からお答えします。

Question 32

Could you explain the proper etiquette for a guest receiving meisui?

Answer
The main guest places the chawan between themselves and the next guest on the inner edge and makes a bow. While the next guest is receiving the meisui, the main guest takes the opportunity to ask the teishu (host) about its origin. The chawan is not passed at the deai but is returned by the last guest to the spot where it was initially presented. The teishu takes in the chawan, and a mutual bow between the host and guests is performed.

一問
№32 名水をいただく客の所作について、ご教授下さい。
一答
正客が縁内次客との間に茶碗を置き、次礼をします。次客が名水をいただいている頃を見計らって亭主に由来をお尋ねします。茶碗は出会いでなく、出された位置に末客から返します。亭主は茶碗を取り込み、主客総礼となります。

Question 33

It is said that the chashaku originally started with ivory. Why did it change to bamboo?

Answer
This change occurred during the time when the form of chadō (tea ceremony) gradually emerged with Jukō, Jōō, and Rikyū.

They tried to transform everything that had been in the Chinese style into the Japanese style. For example, the temae became one without the daisu, kaigu were no longer used, tenmoku chawan were replaced with domestically made chawan, and hanaire (flower containers) changed from karakane (Chinese bronze) to bamboo ones. Changes occurred while exploring the form of wabi-cha. In that process, ivory chashaku also changed to bamboo ones.

Rather than asking why the chashaku changed from ivory to bamboo, it is that all the utensils changed to the Japanese style in the process of wabi-cha being born.

一問
№33 茶杓は象牙から始まったとのことですが、竹の茶杓を使うようになったのは何故ですか。
一答
これは珠光・紹鴎・利休と茶道というものの姿が徐々に見えだした時代に変わっていきました。
それまで全て中国風だったものを日本風に変えていこうとして、例えば台子を外した点前になり、皆具も使わなくなり、天目茶碗が国焼の茶碗になり、花入も唐銅から竹の物になったりと侘茶の姿を模索する中で変化が生じました。その中で象牙の茶杓も竹のものへと姿を変えていったわけです。
茶杓が何故、象牙から竹に変わったかというよりも、侘茶が生まれてくる過程で全ての道具が日本風に変わっていったということです。

Question 34

I would like to ask about the differences in the handling of the fukusa and makigami between the jikusou in the “Konarai 16 Items” series being serialized from the June issue of “Tankō” and the jikusou-tsuki kagetsu.

In kagetsu, the person with the “moon” sits directly in front of the tokonoma, takes the kakejiku with the right hand, transfers it to the left hand, folds the fukusa into eight folds—now, in both konarai and kagetsu, does the fukusa go into the bosom, or is it placed on the right knee?

Answer
First, the way items are arranged in the tokonoma differs. In konarai, the kakejiku is placed on top of the fukusa with the title side up, and after greetings, at the guest’s request, the host retires to the mizuya, tucks the shiragiku fan at the waist, and proceeds to the front of the tokonoma. In kagetsu, the shiragiku fan is placed to the left of the kakejiku. That’s the difference.

In the jikusou of konarai, the host holds the kakejiku in the left hand, folds the fukusa into eight folds with the right hand and places it into the bosom, places the makigami on the right knee, and after hanging the scroll, tucks the fan at the waist, takes the makigami, and retires to the mizuya.

Now, in kagetsu, the person with the “moon” temporarily places the fukusa on the right knee, places the makigami on top of it, and after hanging the scroll, tucks the fan at the waist, takes the fukusa and makigami, goes around the kagi-tatami, and at the corner where the tatami mats meet at the fumikomi-datami, places the fukusa with the fan and makigami on top of it, faces the guest side, and waits.

一問
№34 『淡交』６月号から連載されております小習十六ヶ条の軸荘と軸荘付花月との帛紗と巻紙の扱いの違いについてお尋ね致します。
花月では「月」が床の正面に坐り、掛物を右手で取り、左手に持ち替え、帛紗を八ッ折にした後、小習、花月とも帛紗は懐中するのでしょうか、それとも右膝頭に置くのでしょうか。
一答
まず、床の上の荘り方が、小習は帛紗の上に外題を上にして掛物を荘り、挨拶の後、客の所望で水屋に下がり白菊扇を腰に差し床前へと進みます。花月の場合、掛物の左横に白菊扇を置いておきます。そこが違いますね。
小習の軸荘りは、左手に掛物を持ち右手で八ッ折にした帛紗を懐中し、巻紙は右膝頭に置き、掛物を掛けた後、扇子を腰に差し、巻紙を持って水屋に下がります。
さて、花月では、「月」は帛紗を右膝頭に仮置し、その上に巻紙を乗せて、掛物を掛けた後、扇子を差し、帛紗と巻紙を持ってかぎ畳を廻り、踏込畳敷合せ角に扇子と巻紙を乗せた帛紗を置き、客付に向き控えています。

Question 35

When using an electric ro or furo, should we also arrange the kougou (incense container) and include it in the kaiki (record of the gathering)?

Answer
The main purpose of arranging the kougou is to express the host’s feeling: “I would perform the charcoal temae and serve you tea, but please allow me to omit it.” Therefore, since there is naturally no charcoal temae when using an electric ro or furo, you might not need the kougou. However, as one of the motifs, I think it’s acceptable to arrange the kougou in the tokonoma.

It’s not a matter of “you must arrange it” or “you should not arrange it”; rather, I think it would be best if the host decides whether to arrange it or not, based on their feelings at that time.

一問
№35 電熱式の炉・風炉を使う場合も、香合を荘り、会記にも記入するのでしょうか。
一答
香合を荘る主旨は「炭手前をしてお茶を差し上げるところですが省略させて頂きます」との亭主の気持ちの表れです。したがって、電熱式のため炭手前は当然ありませんので香合はいらないかもしれませんが、一つの趣向として香合を床に荘ってもいいのではないかと思います。「荘りなさい」とか「荘ってはいけません」ではなく、あくまでその時の亭主の心入れで荘る、荘らないを決めていただいたらと思います。

Question 36

I have been invited to a chabako (tea box) tea gathering featuring the Unohana Temae. How should I perform the haiken (viewing) of the utensils? Please advise.

Answer
Well, first, the basic method for viewing the utensils in the Unohana Temae of the chabako is to use a kobukusa.

You pull out the lid with the natsume and chashaku placed on it, along with the box, and set them outside the edge of the tatami. After making a bow, place the lid directly in front outside the edge. After viewing the entire set, spread the kobukusa to the right of the lid. View the natsume and chashaku and temporarily place them on the kobukusa.

After viewing the lid, return the natsume and chashaku onto the lid, place the kobukusa back into your bosom, look at the utensils on the lid, and pass them to the next guest.

For viewing the box, similarly spread the kobukusa to the right of the box, view the chasen-zutsu (chasen tube) and chakin-zutsu (chakin tube), and temporarily place them on the kobukusa.

After viewing the box, return the chasen-zutsu and chakin-zutsu to the box, pass it to the next guest, and it is returned at the deai (meeting point) between the last guest and the main guest.

At first glance, it may seem complicated, but there is a unique enjoyment that only the chabako can offer.

一問
№36 茶箱の卯之花点前の茶会に招かれました。お道具の拝見はどのようにしたらよろしいでしょうか。お教え願います。
一答
そうですね。まず卯之花点前の道具拝見の基本は古帛紗を用いて致します。
棗、茶杓をのせた蓋と箱を引き、縁外に置いて次礼の後、蓋を縁外正面に置き、全体を拝見の後、古帛紗を蓋の右に広げて置き、棗、茶杓と拝見して、古帛紗に仮置きします。蓋を拝見して、棗、茶杓と蓋の上に戻し古帛紗を懐中し、蓋上の道具を見て次客に送ります。箱の拝見も同じく古帛紗を箱の右に広げ茶筅筒、茶巾筒を拝見し古帛紗に仮置きします。箱を拝見して、茶筅筒、茶巾筒と箱に戻し次客に渡し、末客と正客出合いで返します。一見、複雑のように見えますが、茶箱ならではの楽しみがあります。

Question 37

I have heard there are certain forbidden flowers that should not be brought into the tea room. Could you tell me what types of flowers these are?

Answer
In the notes of the “Nampō Roku,” specific forbidden flowers are listed:

“In a kyōka (humorous poem):

Flowers that should not be arranged in a hanaire:

Chinchiyouke (jinchōge, Daphne odora)
Taizan miyama shikimi (shikimi, Japanese star anise)
Keitō no hana (cockscomb)
Ominaeshi (patrinia)
Zakuro (pomegranate)
Kōhone (spatterdock)
Kinsenka (calendula)
Senreisō

These flowers are disliked.”

However, this is not absolute and may change over time or according to the preferences of tea practitioners. It suggests that we should avoid flowers whose names, sounds, or characters have unpleasant connotations, those that do not evoke the transitions of the four seasons, those with strong fragrances, or those with gaudy colors.

As stated in the “Four Purities of Flowers,” it is important to cut clean green bamboo, fill it with pure water, and with a pure heart, arrange pure flowers.

一問
№37 茶席に入れてはいけない禁花があるとお聞きしましたが、どのような花を指すのでしょうか。
一答
南方録の覚書の内に
　　花生はないけにいけぬ花、狂哥（歌）に、
　　花入に入さる花ハちんちやうけ（沈丁花）
　　太山みやましきミ（樒）にけいとう（鶏頭）の花
　　女郎花さくろ（柘榴）かうほね（香骨）金銭花（金盞花）
　　せんれいそう花をも嫌きらう也けり
と具体的な禁花が挙げられています。しかし、これは絶対的なものではなく、時代により、また茶人の好みによって移り変わっていくものではないでしょうか。花の名前、音の響きや文字、または四季のうつろいを感じさせないもの、強い香りがあるとか、毒々しい色彩のあるものは避けましょうということです。
花の四清同しせいどうにある如く、青竹の清きを切り、清き水を張り、清き心をもって、清き花を入れることが大切です。

Question 38

When performing temae with a tana, why is yugaeshi performed?

Answer
When using a tana, we tend to think, “We perform yugaeshi to help dry the gusset (ai) of the hishaku.” However, please consider that the origin of the tana lies in the daisu. On the jiban (ground board) of the daisu, the furo, kama, mizusashi, shakutate, kensui, futaoki, and in the shakutate, the hibashi and the hishaku inserted through (sashitooshi) are arranged. This is called sou-kazari (complete arrangement), and when returning the hishaku to the shakutate, we perform yugaeshi to shake off the dew. You can think of it as such.

In the case of ordinary tana, whether or not they are arranged following the daisu or naga-ita, we perform yugaeshi. However, in wabi-style hakobi temae where the mizusashi is placed directly on the tatami—such as with shitsuke-dana installed in a koma, or with kan’un-dana, kan’un-taku, enpi-dana, etc., which lack a jiban—even when we place the hishaku on the tana, we do not perform yugaeshi.

一問
№38 棚を用いて点前をした時、なぜ湯返しをするのでしょうか。
一答
棚を用いた場合、「湯返しをして柄杓の合の乾きをよくするのです」と覚えてしまいがちですが、棚の根本は台子にあると考えて下さい。台子地板の中に風炉、釜、水指、杓立、建水、蓋置、そして杓立には火箸、差し通しの柄杓が荘られます。これを総荘といいますが、この杓立に柄杓を戻す時、露を切る意味で湯返しをします。その姿があると思っていただいて結構です。
普通の棚の場合は台子・長板に準じて荘る、荘らないにかかわらず湯返しをします。ただし、小間に仕付けられた仕付棚、あるいは地板のない寒雲棚、寒雲卓、猿臂棚等、畳に直に水指を置く侘びた運びの点前では、棚に柄杓を荘る時でも湯返しはしません。

Question 39

What is the significance of using ivory for the lid of the chaire and placing gold leaf on the underside of the lid?

Answer
In ancient Chinese folklore, there was a saying that “ivory would naturally crack if brought close to poison.” Although it may not actually crack, there is a theory that this is why ivory was used for the lid of the chaire. Moreover, it is documented that gold leaf and silver leaf were applied to the underside of ivory lids because the leaf would discolor if poison came near.

Additionally, ivory lids were very precious items even back then, and even in China, they had to be imported from countries like India and Thailand. For these reasons, precious ivory was used for the lids of chaire, and furthermore, gold or silver leaf was applied.

You might think that chaire with silver leaf applied to the underside of the lid are rare, but among the Chūkō Meibutsu (famous utensils of the mid-era), the Hirosawa-de chaire is such an example. It is said that because Hirosawa Pond is famous for the moon, silver leaf is applied with the meaning of reflecting the moon. The original Hirosawa-de is in the Kitamura Museum in Kyoto.

一問
№39 茶入の蓋に象牙を用いる意味、また蓋裏に金箔を貼る意味をお教え下さい。
一答
昔の中国の言い伝えに「象牙を毒物に近づけると自然に割れる」というのがありました。実際に割れることはないと思いますが、そのために茶入の蓋に象牙を用いたという説があります。実際、象牙の蓋の裏に金箔が貼られるのも、金箔と銀箔の両方とも毒気が近づくと箔が変色することから貼られていると文献にも出ております。加えて、象牙の蓋は当時からとても貴重な品で、中国でもインドやタイなどから輸入しなければ手に入りませんでした。そういうことで茶入の蓋には貴重な象牙を使い、なおかつ金箔・銀箔を貼ったのです。
蓋裏に銀箔が貼られた茶入は珍しいと思われるかもしれませんが、中興名物でいいますと、広沢手の茶入はそのようになっています。これは、広沢の池は月が有名ですから、月を映すという意味から銀箔が貼られていると言われております。広沢手の本歌は京都の北村美術館にあります。

Question 40

In the case of the tetsu-buro (iron furo), why do we use a red maegawara (kawarake)?

Answer
The tetsu-buro is a worn-out furo that, by placing straw ash inside, attains a very wabi (rustic) atmosphere. However, it should not become too wabi and turn into sabi (desolate decay). There is a poem by Fujiwara no Ietaka that Sen no Rikyu entrusted his thoughts to:

“I wish to show to those who only wait for the flowers the spring of the grasses peeking through the snow in the mountain village.”

Also, Fujiwara no Teika’s poem:

“When I look around, there are neither flowers nor autumn leaves—the autumn evening at the fisherman’s hut on the bay.”

This poem describes a situation where there is truly nothing, but Rikyu, in response, expressed, “I wish to show the spring of the grasses peeking through the snow,” meaning that although it’s a cold winter with nothing but falling snow, under the snow, fresh green grass is already sprouting. He tried to sense that vitality and placed it at the root of wabi.

In the case of the tetsu-buro, using a red maegawara (kawarake) is to prevent it from becoming too wabi, so that the wabi does not go too far and create an atmosphere of ruin.

一問
№40 鉄風炉の場合、赤の前土器(かわらけ)を使うのはなぜですか。
一答
鉄風炉というのはやつれた風炉で、中に藁灰を敷いたりしてとても侘びた風情になります。しかし、侘びすぎて寂びてしまってはいけません。藤原家隆の歌に、
　花をのみ待つらん人に山里の雪間の草の春を見せばや
という利休居士が思いを託した歌があります。また、藤原定家の
　見渡せば花も紅葉もなかりけり浦のとまやの秋の夕暮れ
という歌は、本当に何も無い状況ですが、利休居士はそれに対して「雪間の草の春を見せばや」と、雪だけが降る何もない寒い冬だと言っていますが、雪の下にはすでに青草が出てきているという生命力を感じ取ろうとして侘びの根本におかれた訳です。
鉄風炉の場合、赤の前土器を使うのは、侘びすぎないように、侘びが行き過ぎて滅びたような風情にならないようにということです。

Question 41

Why are two types of dry sweets served in an usucha gathering?

Answer
As a visual presentation, combining one uchimono (pressed sweet) and one aruheito (sugar candy) provides variety. Compared to the koicha session, the usucha session is intended to be relaxed, enjoyable, and leisurely, and this sentiment is embodied in the offering. Originally, usucha follows koicha. It becomes difficult if you focus only on usucha itself; the hospitality is about inviting guests to relax after koicha. Even for visual enjoyment, serving a combination of one type each of uchimono and aruheito is a reflection of the host’s thoughtfulness.

一問
№41 薄茶の席で二種類の干菓子を出すのは何故ですか。お教え願います。
一答
景色として一つは打もの、一つは有平糖を合わせて変化を出します。濃茶席に対して薄茶席は気楽に楽しくゆっくりして下さいという思いを込めて懸けられます。濃茶があって薄茶があるというのが本来です。薄茶なら薄茶だけを考えるから難しくなる訳で、濃茶に対してどうぞお楽にお過ごし下さいということでおもてなしをします。目を楽しませる意味でも、打ちものと有平糖を一種類ずつ組み合わせてお出しするのは、亭主の心入れです。

Question 42

Please tell me about the differences between the bamboo futaoki used for the ro and the furo.

Answer
There are various theories regarding this. In writings left by Kōsen Sōsa about stories of Rikyū Kōji, there is an anecdote where Rikyū presented futaoki made from root bamboo to both Sōan and Dōan. Sōan chose the one without a node, and Dōan chose the one with a node.

However, in fact, there is no anecdote that stipulates that a futaoki with a node at the top is designated for the furo, and one with a node in the middle is designated for the ro.

Before the time of the eighth-generation Urasenke master, Itto Kōji, there was no distinction between futaoki for the ro and the furo.

一問
№42 竹蓋置の炉、風炉の違いについてお教え願います。
一答
これには諸説ありまして、利休居士の話を江岑宗左が書き残したものの中に、利休が根竹の蓋置を少庵、道安二人の前に出したところ、少庵は節なしを取り、道安は節ありを取ったという逸話があります。しかし、節が天にあるものを風炉に、中節のものを炉に定めたという逸話は、実はありません。
裏千家八代一燈居士より以前は、炉・風炉での蓋置の区別はありませんでした。

Question 43

Why is shared drinking done in a koicha gathering?

Answer
From past to present, there has been no change in carefully selecting and wholeheartedly preparing tea to realize the spirit of “ichigo ichie” (a once-in-a-lifetime encounter). Gratefully sharing this precious tea among everyone expresses a heart of gratitude, and it is precisely because of mutual trust that it leads to establishing a shared moment (ichiza konryū). At the same time, the charcoal temae performed before preparing the koicha adjusts the intensity of the fire specifically for this single bowl that is about to be made. Both those who place the charcoal and those who handle it should perform the charcoal temae with that thought in mind.

With all these various elements intertwined, we share the bowl because it is the “one bowl we have finally encountered.”

一問
№43 濃茶では、なぜ飲み回しをするのでしょうか。
一答
今も昔も一期一会を建立するために心入れのお茶を吟味しておもてなしをすることには変わりがありません。この貴重なお茶を皆で有り難く分かち合うということが、すなわち感謝の心を表すことになり、相互の信頼関係があってこそ一座建立にもつながる訳です。同時に、濃茶を練る前に行なわれる炭手前も、今から練られるたった一碗に合わせて火の勢いなどが調整されるのです。炭を置かれる方も、炭をつがれる方もその思いをもって炭手前をなさってください。
そのような様々な要素が絡みあって“ようやく出会える一碗だ”ということで飲み回しをするのです。

Question 44

In the chabako tsuki temae, I heard that the implement for holding the chasen is called a “Uguisu.” What is the origin of this name?

Answer
In the “Anzai Zuihitsu,” Volume 18 of the “Zoku Goshūi Wakashū,” there is a poem:

“Not yet satisfied, I am about to pluck the plum blossoms; seeking their fragrance, the uguisu (Japanese bush warbler) sings.”

From that poem, it is said that Empress Tōfukumon’in, consort of Emperor Go-Mizunoo, named the slightly thick and rounded bamboo or metal incense pick used to pierce used incense packets “Uguisu.” It seems it was called “Uguisu” because it stops while seeking the fragrance.

Later, Gengensai bent the “Uguisu” used in kōdō (the Way of Incense) into a U-shape to place the chasen on the mokusue used in the tsuki-temae.

一問
№44 茶箱・月点前で、茶筅を立てる器具を「ウグイス」とお聞きしましたが、その名の由来をお教え下さい。
一答
『安斎随筆』十八巻の続後拾遺和歌集の中に
　　「あかなくに折れるばかりぞ梅の花香をたづねてぞ鶯の鳴く」
という歌があります。その歌から後水尾天皇の中宮・東福門院様が使用済みの香包をさす竹や金属製の中央がやや太く丸みをもった棒状の香串をウグイスと命名されたという説があります。香を求めて止まるということからウグイスとされたようです。
後に玄々斎が月点前に用いる木据に茶筅を置くために香道のウグイスをＵ字形に曲げられました。

Question 45

In the temae of the nagaita futatsuoki, it is said that a bamboo futaoki is preferable. Why is that?

Answer
In the temae of the nagaita futatsuoki, even though there is a nagaita, you perform the temae as a hakobi temae by arranging the kensui, hishaku, and futaoki together and carrying them out. Since it is a hakobi temae, a bamboo futaoki is appropriate. However, a fresh green bamboo futaoki (aotake no futaoki), which is used only once, is not very suitable.

Why is that? The bamboo futaoki began to be used when Rikyū Kōji started incorporating it while transforming the temae from the daisu to the Japanese-style wabi of the koma tea ceremony. However, as mentioned earlier, the fresh green bamboo is used only once, so the oil is removed, making it white. In contrast, by using it over time, it develops a wabi aesthetic. Moreover, previous masters inscribed their kaō (stylized signatures) on the bamboo they personally selected so they could use it as a unique motif. Therefore, in cases like the nagaita futatsuoki, bamboo futaoki with kaō inscribed are preferred.

一問
№45 長板二つ置での点前では、竹の蓋置の方がよいといわれますが、何故ですか。
一答
長板の二つ置の点前は、長板があっても建水に柄杓・蓋置を仕組み運び出しで点前をしますね。運びの点前ですから竹の蓋置でいい訳です。青竹の蓋置というものは一回きりのものですので、あまり相応しくありません。
何故と申しますと、竹蓋置は利休居士が台子から小間のお茶に、点前を日本風の侘びたものに変えていかれた時に使うようになったものです。しかし青竹というのは前述しました様に一回限りのものですから、油抜きして白くしてしまいます。それに対して、使っていくうちに侘びた味も出てくるということで、また自分が選んできた竹でそれを一つの趣向として使えるようにと先匠方が花押を入れたのです。ですから長板の二つ置などは花押の入った竹の蓋置が好ましいということです。

Question 46

When performing a chaji using a tana, is it acceptable to set up the tana from the very beginning?

Answer
It is acceptable to place the tana in the tearoom from the initial seating (shozasu).

Some consideration may be necessary if you feel that having the same setting in both the initial and later seating (gozasu) might be undesirable, but how about setting up the tana only from the later seating?

In that regard, there are items like the mizusashi-dana used in hakobi temae and the kan’un-daku, where in the initial seating there is no mizusashi, and in the later seating the mizusashi is placed, and the chaire is arranged, creating a different “setting” from the initial seating. This is the host’s personal motif and not a prescribed rule.

一問
№46 棚を使って茶事をする場合、最初から棚を置いてよろしいでしょうか。
一答
初座から席中に棚を据えて構いません。
初座も後座も同じ景色ではと思われる場合はいささか配慮が必要ですが、後座から棚を据えるというのは如何なものでしょうか。
その点からいうと、運びの水指棚、寒雲卓などがありますが、初座では水指がなく後座で水指が置かれ、茶入が荘られると初座とは違った「しつらえ」が整えられます。これは亭主の趣向であり、約束事ではありません。

Question 47

I have a question regarding the request for shozumi (initial charcoal setting). In the furo, we request the guests without touching the shitabi (lower charcoal), but in the ro, we move the shitabi and sprinkle shimeshibai (moistened ash) before making the request. Why is that?

Answer

In the furo, the request for charcoal is only for shozumi, and we make the request to the guests before the beautiful haigata (ash pattern) inside the furo is disturbed.

On the other hand, the ro does not have a strict ash pattern like the furo. Therefore, it is considerate to sprinkle moistened ash, cleanse, and arrange the inside of the ro before making the request.

一問
№47 初炭所望についてお尋ねします。風炉では下火をいじらずに客に所望しますが、炉では下火を動かし湿し灰をまいてから所望するのは何故ですか。
一答
風炉の炭所望は初炭のみで、灰形がきれいな風炉中が乱れていない内に客に所望いたします。
一方、炉には風炉のように厳格な灰形はありませんが、炉中に湿し灰をまき、清め、整えてから所望するのが心配りといえましょう。

Question 48

When seated at the imae and taking the hishaku, we perform “kagami-bishaku.” Please tell me the meaning of this.

Answer

We perform kagami-bishaku to align our “mind” and physical “posture” in preparation for making a bowl of tea.

At the Sōke’s main mizuya, there is a “Keiko no Seki Okite” (Rules for Practice) written by Gengensai. In it, he inscribed: “Even when sitting and moving, the most important thing is to prepare the body and consider breathing.” This is a consistent teaching regarding temae, and perhaps kagami-bishaku embodies this very point and moment. Please practice kagami-bishaku thoroughly and cherish it.

一問
№48 居前に座り柄杓を取り「鏡柄杓」をしますが、その意味をお教え下さい。
一答
これから一碗のお茶を点てるべく自分の「心」と身体の「構え」を整えるという意味で鏡柄杓をします。
宗家の大水屋に玄々斎が書かれた「稽古の席掟」が有ります。その中に「着坐運付とも体の備へ並に呼吸の考第一の事」としたためられています。点前に対する一貫した御教示ですが、まさに鏡柄杓こそ、この一点、瞬間ではないでしょうか。どうぞ鏡柄杓、充分にお稽古なさって大切にして下さい。

Question 49

When performing the temae with the Misono-dana, do you take the hishaku with your right hand or your left hand?

Answer

In the temae of the Misono-dana, you take the hishaku with your left hand, which is closer for convenience. You position it, bring the futaoki forward, and open the lid of the kama.

一問
№49 御園棚で点前をする際、柄杓は、右か左かどちらの手で取るのでしょうか。
一答
御園棚の点前では、使い勝手から近い方の左手で柄杓を取り、構えて蓋置を手前に寄せて釜の蓋を開けます。

Question 50

When using a fukube (gourd) as a sumitori (charcoal basket), please tell me how to distinguish between using a new one and an old one.

Answer

It is mainly used during Robiraki (the opening of the hearth). As a rule, we use a fukube that has been cut specifically for that year’s Robiraki. Therefore, a new one is preferable. However, if there is some special sentiment attached to the fukube—for example, in our family, we use one on which Gengensai inscribed a poem for Robiraki—it is meaningful to continue using it because of the significance of the inscription. But if it’s simply because “it’s troublesome to find a new fukube for this year, so let’s just use last year’s,” then I think it doesn’t hold much meaning.

一問
№50 瓢(ふくべ)を炭斗として使用する時、新しいもの、古いものとの使い分けについてお教え下さい。
一答
炉開きに使うのが主です。原則として炉開きに使うのはその年の瓢を切って使います。だから、やはり新しいものがよろしい。しかしその瓢に何か思いが込めてられている場合、例えば私どもの家では玄々斎が歌を書かれたものを炉開きに用いますけれども、それはしたためられたということに対して継続して使うことがいいのであって、ただ単に、「今年用の新しい瓢を探すのが面倒だから去年のものをそのまま使おう」というのでしたらあまり意味がないと思います。

Question 51

We display musubi-yanagi (knotted willow) during the New Year; please tell me its origin and the reason why we only put water in the upper section of the nijūgiri-hanaire (double-cut flower container) without placing any flowers.

Answer

I have heard that arranging the musubi-yanagi in its current form at the Sōke began with Gengensai. When he visited the Imperial Palace and was granted a long willow branch, he wound it once or twice into a circle and brought it back. Its shape formed a ball, which was auspicious and very beautiful, so he started to place it in a bamboo hanaire. The round, knotted shape represents a circle, symbolizing the unending twelve months, and is considered auspicious. Also, we do not put water in the bamboo hanaire because if we do, the willow would sprout buds and wet the tokonoma.

Regarding your question about the nijūgiri-hanaire, the reason we put water in the upper section even if we do not place flowers is that water is something we receive from heaven and is precious. Out of a feeling of gratitude, we put water in the upper section even without placing flowers.

一問
№51 正月に結び柳をしますが、その由来と二重切花入の上の段には花を入れずに水のみを入れる理由をお教え下さい。
一答
宗家で現在のような形の結び柳を入れられたのは玄々斎からと伺っております。御所へ参内の折に下賜された柳が長く、くるりと一巻、二巻されて持ち帰られたところ、その形が玉の姿になって縁起が良く、また非常に良い姿でしたので竹花入に入れられたことから始まったとのことです。丸く結ばれた姿は円を表し、十二ヶ月終わりのないことを意味する目出たいものともいわれています。なお、竹花入に水を入れると、柳が芽吹いて床の間を濡らしてしまうため、水は入れません。

二重切花入のご質問ですが、上の段に花を入れなくても水を入れるのは、水というものは天から頂戴するもらい水で貴いものだからです。感謝する気持ちから上の段には花を入れなくても水を入れます。

Question 52

I would like to ask about the handling of the seam on a wooden mage-mono kensui. After sitting at the temae-za, placing the futaoki from the kensui at the designated spot, and drawing the hishaku, why do we change the direction of the seam? Please explain.

Answer

We remember the handling of the seam on wooden mage-mono as “rounded side forward, seam away.” In the case of a wooden mage-mono kensui, set it up with the seam facing you (the lower seat) and place the futaoki and hishaku inside it. After pulling the hishaku onto the futaoki, in the furo season, move the kensui forward to just in front of your knees; in the ro season, move it up to halfway along the extension line of the ro edge. Hold the seam part of the kensui with your left hand and adjust its position while rotating it so that the inner seam faces the guest side. That is, from the guest’s perspective, the workmanship of the inner seam becomes part of the visual appreciation.

一問
№52 木地曲の建水の綴じ目の扱いについてお尋ね致します。居前に座り、建水から蓋置を定座に置き、柄杓を引いた後、綴じ目の向きを変えるのはなぜでしょうか。お教え下さい。
一答
木地曲物の綴じ目の扱いを丸前、角向うと覚えます。木地曲の建水の場合、綴じ目を手前（下座）にして、中に蓋置、柄杓と仕組みます。蓋置に柄杓を引いた後、風炉では膝頭いっぱいに、炉では炉縁の延長線半がかりにあげて、建水の綴じ目の部分を左手で持って、建水の内側の綴じ目が客付に向くように回しながら位置を正します。すなわち、客側から見て内側に綴じ目の細工が一つの景色になるようにする訳です。

Question 53

In a chaji (tea gathering), how should a person who cannot drink alcohol politely decline? Please tell me.

Answer
Alcohol serves to relax the mood, but sometimes it is said that “it begins with etiquette and ends in disorder.” While accepting the host’s goodwill, those who are not fond of alcohol do not need to force themselves to drink. The host should know which guests like or dislike alcohol when arranging the guest group. Recently, people sometimes bring out ishihai (stone cups), but if overdone, it can turn into a banquet. Remember, the alcohol is part of the kaiseki meal intended for enjoying koicha (thick tea).

一問
№53 お茶事でお酒の飲めない人はどのようにお断りしたらよろしいでしょうか。
一答
お酒は気分を和ますものですが、時として「礼に始まって、乱れて終わる」ともいわれます。亭主の好意は受けつつも、お酒の苦手な方は無理に飲まなくてよいでしょう。亭主は客組の際、どのお客がお酒が好きか苦手か存じているはずです。最近、石盃を持ち出したりしますが、行き過ぎると宴会になりかねません。あくまでも濃茶をいただくための懐石の中のお酒です。

Question 54

I have a question about the chashaku-kazari. When presenting the utensils for haiken, we use a kobukusa. In the case of a hiroma, when the main guest goes to receive the utensils, does he take the shifuku, place the chashaku on it, put the kobukusa into his bosom, and take the chaire? Or does he take the shifuku, place the chaire on top of it, hook his fingers around it, and take the chashaku along with the kobukusa back to his seat? Please teach me.

Answer
In the chashaku-kazari, the teishu (host) presents the chashaku placed on the kobukusa for haiken. In the case of a hiroma, the main guest takes the shifuku of the chaire with his right hand, places it on his left palm, places the chaire on top of it, hooks his fingers around it, and takes the chashaku along with the kobukusa in his right hand back to his seat. There is no difference in the method of haiken between hiroma and koma. Following the haiken of the chaire, the chashaku placed on the kobukusa is viewed and passed to the next guest. At that time, we basically do not remove the chashaku from the kobukusa, and we do not perform haiken of the kobukusa.

一問
№54 茶杓荘についてお尋ねします。お道具を拝見に出す際に、古帛紗を用いますが、広間の場合、正客が引きに出る際には仕覆を取って茶杓を乗せ、古帛紗を懐中し、茶入を取るのでしょうか。それとも、仕覆を取り、その上に茶入を乗せて指をかけて、古帛紗ごと茶杓を取って自席に戻るのでしょうか。お教え願います。
一答
茶杓荘では亭主が茶杓を古帛紗に乗せて拝見に出しますが、広間の場合、正客は右手で茶入の仕覆を取り、左掌に乗せ、その上に茶入を乗せて指をかけ、古帛紗ごと茶杓を右手で持って自席に戻ります。拝見の仕方には広間、小間の違いはありません。茶入拝見に続いて古帛紗に乗せた茶杓を拝見し、次客に送ります。その際、基本的に茶杓を古帛紗から外し、古帛紗を拝見することはありません。

Question 55

In the Tsubo-kazari-tsuki Kagetsu, when the fourth guest draws the “Moon,” is it acceptable to skip the fourth guest, who is tying the cord of the tsubo, when passing the orisue to the kariza (temporary seat), and also skip the fourth guest when passing from the kariza to the third guest? Please advise.

Answer

When the third guest takes the fuda (slip), they stop the orisue at the fifth position inside the tatami edge and, at the call of “Matsu,” raise it to the third position. The fourth guest stops tying the cord and moves to the kariza. When the fuda from the kariza is placed into the orisue, it is passed to the fourth guest and then to the third guest. The orisue is passed via the fourth guest.

一問
№55 壺荘付花月で四客が月に当たった場合、折据は壺の紐を結んでいる四客をとばして仮座へ、また仮座から四客をとばして三客へ送って宜しいでしょうか。お教え願います。
一答
三客は札を取ると折据を縁内五つ目に止め、「松」の声で三つ目にあげます。四客は紐を結んでいる手を止めて仮座へと回します。仮座の札が折据に入れられると四客に渡し、三客へと回します。折据は四客を経由して回ります。

Question 56

In the daisu and nagaita soukazari, during the usucha and koicha temae, we remove the hibashi from the shakutate. Since it’s not a sumi temae and we don’t use the hibashi, why do we remove them?

Answer

Please understand that removing the hibashi from the shakutate of the soukazari during the temae and placing them between the daisu and the kattezuke is done to avoid any “interference” with the handling of the hishaku during the temae. However, in the ryurei tenchaban temae, it is customary not to remove the hibashi from the shakutate because we do not place the hibashi directly on the lacquered surface.

一問
№56 台子、長板総荘りで、薄茶・濃茶の点前の折に杓立から火箸を抜きますが、炭手前でなく、火箸を使用しないのに、なぜ抜くのでしょうか。
一答
総荘りの杓立から点前の折、火箸を抜き台子と勝手付の間に置くのは、点前をする上で柄杓の扱いに「差し支え」がないようにとの配慮からとお考え下さい。ただし、立礼の点茶盤点前では、火箸を塗りの上に直に置かないため、杓立から抜かないというのが約束です。

Question 57

Why is the New Year’s tea at the Iemoto referred to as “Hatsugama-shiki”?

Answer

As I wrote in my essay “As Yesterday Is Today,” the Hatsugama-shiki is held in the tearoom named “Totsutotsusai” at the Sōke.

Being allowed to prepare koicha at the Hatsugama-shiki is an opportunity to once again direct my often restless daily focus back to my own origin. When I face the temae-za in this setting, I think of it not as hospitality but as performing my first “practice as host” of the year before the successive grand masters. I hope that the members of my tea group whom I have invited to this gathering will feel that they are learning the role of “guest.” In other words, this moment is the mutual “beginning of practice” for both of us. That is precisely why we refer to the New Year’s tea at the Iemoto as “Hatsugama-shiki.”

一問
№57 なぜお家元の正月茶を、“初釜式”と称されるのでしょうか。
一答
私のエッセイ『昨日のように今日があり』にも書きましたが、初釜式は宗家の咄々斎と名付けられた茶室で行います。
初釜式で濃茶を練らせていただくことは、浮つきがちになる日頃の視線をもう一度自分の源に向ける機会であります。この場で点前座に向うとき、私はこれをもてなしとしてではなく、歴代宗匠方の前で今年初めての“亭主の稽古”をさせていただいているのだと思っています。そして、その席にお招きした社中の方々には、“お客様役”を学んでいただいているのだと感じていただきたい。つまり、共にこのひとときはお互いの“稽古始め”なのです。それだからこそ、家元での正月茶を“初釜式”と言い慣わしているのです。

Question 58

Is sprinkling dew (tsuyu) on kaiseki utensils and fuchidaka the same during both the ro and furo seasons?

Answer

During the ro season, we do not sprinkle dew on kaiseki trays, tableware, or fuchidaka. Sprinkling dew during the furo season is done to evoke a sense of coolness. However, we sprinkle dew on the vermilion sake cups regardless of the season.

一問
№58 懐石道具、縁高に露(つゆ)を打つのは、炉・風炉の季節とも同じでございますか。
一答
炉の時期、懐石膳食器、そして縁高には露は打ちません。風炉の折、露を打つのは清涼感を醸し出すためです。ただし、朱盃には季節を問わず、露を打ちます。

Question 59

I have heard that in February you open the dairo (large hearth). What kind of thing is the dairo? Please tell me.

Answer

The dairo is something unique to Urasenke, devised by the 11th-generation Gengensai from the irori (sunken hearth) of a country house. It is cut in a reversed orientation into the six-mat adjoining room to Totsutotsusai, and the hearth is opened only during the severe cold period of February.

A normal ro (hearth) is 1 shaku 4 sun (approximately 42.4 cm) square, but the dairo is larger at 1 shaku 8 sun (approximately 54.5 cm) square, hence it was named “dairo” (large hearth).

Facing the hearth, the gotoku (kettle stand) is placed toward the right front corner, and in the opposite left far corner, a yukiwa-gawara (snow-ring tile) shaped like a snow crystal is stood up to partition the ash. The ro frame uses plain wood, and the rodan (hearth base) is finished in a mouse-gray color. It was devised to warm the room with the heat from the charcoal and the steam rising from a large kettle, allowing guests to relax.

一問
№59 二月に大炉を開くとお聞きしましたが、大炉とはどのようなものでしょうか。お尋ねいたします。
一答
大炉とは裏千家独自のもので、十一代玄々斎が田舎家の囲炉裏から創案されました。咄々斎の次の間六畳に逆勝手で切られており、二月の厳寒の時期にのみ炉を開きます。

普通の炉は、一尺四寸（約42.4ｃｍ）四方ですが、大炉は一尺八寸（約54.5ｃｍ）四方と大きいことから、大炉と名付けられました。

炉に向かって右手前寄りに五徳を据え、反対側の左向こう隅に雪の結晶の形をした雪輪瓦を立てて灰仕切りをします。炉縁は木地を用い、炉壇はねずみ色に仕上げます。炭の熱や大振りの釜から立ち昇る湯気で部屋を暖め、お客様に寛いでいただくために考案されました。

Question 60

I have a question about the sumi-temae of the dairo. In the shozumi-temae, we arrange and use the charcoal in the sumitori, but I have heard that in the gozumi-temae, we do not use the sumitori. How do we arrange the charcoal in the gozumi-temae?

Answer

The gozumi-temae of the dairo is particularly elegant. In the shozumi-temae, we heap moistened ash behind the yukiwa-gawara and stand the haisaji in it, using this moistened ash to sprinkle into the hearth. During the nakadachi, while the guests are out, we arrange the charcoal (windō, maru-maruuchi, wari-maruuchi, maru-kandō, wari-kandō, and three edazumi) at this place. Therefore, without using the sumitori, we prepare and use a horoku—which is used during risshun and setsubun in February for warding off evil spirits—arranged with moistened ash, haizashi, kō (incense), hane, kan, hibashi, and the kumikamashiki, and enjoy the wabi atmosphere.

一問
№60 大炉の炭手前についてお尋ねいたします。初炭手前では炭斗に炭を組み用いますが、後炭手前では炭斗を使用しないとお聞きしました。後炭手前ではどのように炭を組むのでしょうか。
一答
大炉の後炭手前は、とりわけ風情のあるものです。初炭手前では雪輪瓦の向こうに湿し灰を盛って灰匙を立てておき、この湿し灰をすくって炉中にまきます。客が中立の間にこの場所に炭（輪胴・丸毬打・割毬打・丸管炭・割管炭・枝炭三本）を荘っておきます。従って、炭斗は使わず、二月の立春・節分の厄払いの際に用いる炮烙に湿し灰、灰匙、香、羽、鐶、火箸、組釜敷を仕組んで用い、侘びた風情を楽しみます。

Question 61

Is it possible to use ceramic haisaji outside of the dairo?

Answer

In the dairo, the haizashi is placed standing in the moistened ash heaped behind the yukiwa-gawara (snow-ring tile) used for the ash partition. Therefore, you can use a ceramic haisaji as a motif. Additionally, when you do not use a gotoku (kettle stand) inside the hearth—such as with a tsurigama (hanging kettle) or sugigama—you can use it as a thematic element. However, this is not a prescribed rule.

一問
№61 陶器の灰匙を大炉以外で用いることができますか。
一答
大炉での灰匙は、大炉の灰仕切りのために用いる雪輪瓦の向こうに盛った湿し灰に立てておくものですので、陶器の灰匙を一つの趣向として用いることができます。また、釣釜や透木釜など、炉中に五徳を用いない時にも趣向として使用できます。ただし、これは約束事ではありません。

Question 62

In the dairo, the yukiwa-gawara has two sides: one with glaze applied and one with unglazed areas. Is there any prescribed way in handling it? Please tell me.

Answer

At the Souke, the yukiwa-gawara is a work by Keinyū, amber-colored with gold leaf in shikishi shapes applied to the carved spiral patterns. Now, regarding your question, in the ro, we face the side with glaze toward the fire, and the side with the unglazed areas is turned toward the side where, during the shozumi-temae, moistened ash is heaped, and during the gozumi, charcoal is arranged.

一問
№62 大炉の雪輪瓦の両面には、釉の掛かっている面と素焼の部分のある面がありますが、扱いに約束はありますか。お教え願います。
一答
宗家の雪輪瓦は慶入の作で、飴色で渦の彫りに色紙形の金箔が施されています。さて、ご質問の件ですが、炉中で火に面する方に釉が掛けられている面を向け、素焼の部分のある面を、初炭手前では湿し灰が盛られ、後炭では炭が組まれる方に向けます。

Question 63

In the dairo (large hearth), we perform the temae in reverse orientation (gyaku-gatte), but should the charcoal in the sumitori (charcoal basket) for shozumi also be arranged in reverse?

Answer

First, when you are facing the hearth directly, consider whether you place the sumitori on your right or left. When you place the sumitori on the right side facing the hearth, you arrange the charcoal in the sumitori in the standard orientation (hongatte). The following settings are of this type: yojohan de-ro hongatte, daime de-ro hongatte, mukougiri gyaku-gatte, sumi-ro hongatte, and the dairo. An example where the charcoal is arranged in reverse orientation is the mukougiri hongatte shozumi-temae.

一問
№63 大炉は逆勝手で点前をしますが、初炭の炭斗の炭も逆に組むのでしょうか。
一答
まず、自分が炉に正対して、炭斗を右に置くか左に置くかを考えてみてください。炉に向かって右側に置く時は炭斗の炭は本勝手に組みます。四畳半出炉本勝手、台目出炉本勝手、向切逆勝手、隅炉本勝手、そして大炉がこの形となります。なお、逆勝手に炭を組む例としては向切本勝手初炭手前などがあります。

Question 64

In the koicha kinin-date, do we use a ventaku as the kashiki (sweets container)? Or is it a takatsuki? Please tell me.

Answer

We use a takatsuki, not a ventaku. A takatsuki is a general term for footed cups, trays, and types of oshiki (wooden trays), so there are many varieties.

Incidentally, the original colors of ventaku are black or vermilion. There are also various preferred styles of ventaku, including those with maki-e (gold or silver lacquer designs), those with shippo-sukashi (cloisonné openwork), and those made of unfinished wood with raised designs.

一問
№64 濃茶貴人点では、菓子器は縁高を用いるのでしょうか。それとも高坏(たかつき)でしょうか。お教え願います。
一答
縁高ではなく高坏を使います。高坏というのは足付きの杯や盤、折敷類の総称ですので多くの種類があります。
因みに、縁高の本来の色は黒または朱です。縁高にも色々な好み物があり、蒔絵のあるもの、七宝透かしのあるもの、木地で置上になっているものもあります。

Question 65

In the temae of tsurigama (hanging kettle), when using a tana and the gotoku no futaoki (tripod futaoki), please teach me how to handle it.

Answer

When arranging it in the kensui, place it with the ring upward, and align the handle of the hishaku along the space between the two prongs. (Figure 1)

When placing it at the designated spot by the ro edge, draw the handle of the hishaku between the prongs. (Figure 2)

When arranging it on the tana, place it on your left palm, flip it from left to right with your right hand so that the ring is downward and the prongs face forward (just like when the gotoku is set inside the furo), and then arrange it with your right hand. (Figure 3)

![[EN)-3](Oiemoto 100 Questions (EN|Oiemoto 100 Questions (EN)-3]]-3.png)

一問
№65 釣釜の点前で棚を用い、五徳の蓋置を使う時の扱いをお教えください。
一答
建水に仕組む時は輪を上にし、二本の爪の間に柄杓の柄が沿うようにします。（図１）
炉辺定座に置き、柄杓の柄は爪と爪との間に引きます。（図２）
棚に荘る時は左掌に乗せ、右手で左から右に打ち返し、輪を下にして爪が正面に向くように（風炉中の五徳を据えた姿と同じように）して（図３）右手で荘ります。

Question 66

I have a question about Kinin Seiji Koicha-tsuki Kagetsu.

After the kinin prepares koicha in the next chawan, the next guest takes one sip to check the taste, the kinin adds one hishaku of water to the kama, and returns to his seat. When the tsume at the kariza finishes drinking the koicha in the next chawan, the kinin requests to view the chawan. Please tell me the positions of the chawan and the fuda at that time.

Answer

After returning to their seats, the kinin and everyone else perform haiken of the next chawan. After that, the orisue is passed around, but when the tsume at the kariza finishes drinking, he places the chawan in front of his knees, in front of the fuda.

When the kinin requests to view the chawan, the tsume bows in acknowledgment, cleans the rim, rotates the chawan counterclockwise to correct the front, places it beyond the fuda, then places the kaefuda to the left, on the shimoza. After that, he brings the chawan forward, moves on his knees, and presents it before the kinin. He does not handle the kaefuda while holding the chawan.

一問
№66 貴人清次濃茶付花月についてお尋ねいたします。
貴人が次茶碗の濃茶を点て、次客の一啜で服加減をきき、釜に水一杓をさして自席に戻り、次茶碗の濃茶を詰がのみきると貴人から茶碗の拝見を請われます。その時の茶碗と札の位置をお教えください。
一答
自席に戻った貴人以下一同は次茶碗を拝見しますね。その後から折据を回すわけですが、仮座の詰は吸い切ると札の手前膝前に茶碗を置きます。貴人から茶碗の拝見を請われると受け礼をし、飲み口を清め、茶碗を反時計回りに回して正面を正し、札の向こう側に置き、次に替札を左、下座に置いてから茶碗を前に出し、にじって貴人の前に持っていきます。茶碗を持ったまま替札を動かすような扱いはいたしません。

Question 67

When there is a kao (stylized signature) or characters cast into the kama (kettle), how should we determine the front of the kama?

Answer

If the characters are cast into the kama, those characters become the front. If the characters are on both the front and back of the kama, we consider the beginning of the writing as the front. For example, if there are “Ryuhosan” and “Daitokuji,” we place “Ryuhosan” in front and “Daitokuji” at the back. If there is only a kao, we place it in front. If there are both characters and a kao, we place the characters in front and the kao at the back. If there is a picture and a kao, we place the picture in front and the kao at the back. Incidentally, if there are characters on the lid, we face the readable side toward ourselves. If the knob of the lid is an animal, we face it toward ourselves.

一問
№67 釜に花押や文字が鋳込まれている時、釜の正面はどのように決めたら宜しいでしょうか。
一答
釜の文字が鋳込みになっているものは、その文字を正面にします。文字が釜の正面、向こうと両方にある場合は、書きはじめを正面とします。例えば、龍宝山と大徳寺とありましたら龍宝山を手前にし大徳寺を向こうにします。花押だけならそれを手前にし、文字と花押であれば文字を手前に花押を向こうにします。絵と花押なら絵を手前に花押を向こうにします。因みに、蓋に文字がある場合は読む位置を自分の方に向けます。蓋の摘みが動物であれば自分の方に向けます。

Question 68

Please tell me about taboo words or topics that should not be discussed during the tea gathering.

Answer

Well, when you become the main guest, you may wonder what is appropriate or inappropriate to talk about.

In the “Yamanoue Sōji Ki,” written by a disciple of Rikyū Kōji, there is a humorous poem:

“Self as Buddha, neighbor’s treasure, son-in-law and father-in-law, wars of the realm, people’s virtues and vices” (Renka poet Botanbana Shōhaku)

Since we attend the tea gathering with the spirit of “ichigo ichie” (a once-in-a-lifetime encounter), we should refrain from engaging in mundane worldly gossip during the gathering.

Gengensai Sōshō also stipulated in the “Keiko no Seki Okite”: “1. One must not engage in idle chatter,” prohibiting worldly gossip.

However, if you think about it too strictly, you may become even more unsure about what is acceptable to talk about.

If you have feelings of gratitude for being invited, conversation will naturally flow.

Please enjoy yourself while keeping in mind not to disrupt the atmosphere of the occasion.

一問
№68 席中での禁句や話してはいけない内容等がありましたらお教えください。
一答
そうですね。正客になると何を話して良いのか悪いのか迷いますね。利休居士の弟子が書き残した『山上宗二記』の中に
「我仏　隣の宝　聟むこ舅しゅうと天下の軍いくさ人の善よし悪あし」（連歌師牡丹花肖柏）
という狂歌があります。一期一会の心で茶会に臨むわけですから、席中で俗世の世間雑談などをするのは遠慮すべきです。
玄々斎宗匠も“稽古之席掟”に、「一、雑談有之間敷事」と定められており、世事(世間)雑談を禁じられています。
しかし、あまり固く考えられますと、ますます何を話して良いのやらとなります。招かれた感謝の気持ちがあれば自然と会話は出来るものです。その場の雰囲気を損なわないことを念頭に楽しまれてください。

Question 69

I have heard that in April we hang the sugigama, and finally welcome the season of the first furo in May. From when in history did the sugigama begin to be used in the tea room? Please tell me.

Answer

The stories surrounding the Hiragumo-gama owned by Oda Nobunaga and Matsunaga Danjō are famous, aren’t they?

Now, it is said that “sugigi” (透木) is a term transformed from “shikigi” (敷木).

In a tea gathering record left by Tsuda Sōgyū, who was invited to a tea gathering by Rikyū Kōji in the 12th year of Eiroku (1569), it says: “Ro one shaku four sun—ubaguchi hiragama placed on the dodan (earthen platform).”

If there is no sugigi (shikigi), the airflow is poor and the fire is hard to build up.

From this, it is hard to imagine that the lugs of the kama were placed directly on the hearth platform, and it is inferred that actually the sugigi were placed between the kama’s lugs and the hearth platform.

According to tea gathering records, the use of the sugikama was already observed during the Eiroku period.

一問
№69 四月は透木釜を懸けて、いよいよ五月初風炉の季節を迎えますとお聞きしますが、透木釜は時代としては何時頃から茶席で懸けられるようになったのでしょうか。お教え願います。
一答
織田信長と松永弾正所持の平蜘蛛ひらぐも釜にまつわる話は有名ですね。
さて、透すき木ぎは敷しき木ぎが転化した用語だともいわれています。永禄十二（1569）年に利休居士の茶会に招かれた津田宗及が残した会記に、「炉一尺四寸　うば口平釜どだん（土壇）ニすへて　」とあります。
透木（敷木）が無いと空気の流れが悪くて火が熾きにくくなります。このことからしても、直接炉壇に釜の羽を懸けたとは考えにくく、実際は透木を釜の羽と炉壇の間に敷いたと推測されます。
茶会記によると、永禄年間には既に透木釜の普及がみられます。

Question 70

I have a question about the sugigi gozumi temae. When returning the sugigi to the rodan (hearth platform), is it after adding water to the kama with the mizutsugi, making the kettle wet, or before that?

Answer

After finishing adding the charcoal, you move to the center of the tatami, take the sugigi with your left hand, handle it with your right hand, place it on your left palm, move to the front of the ro, and place the sugigi on the rodan. Next, you bring the kama from the kattezuke (preparation area) to the temporary placement, take the haiki (ash container) back to the mizuya, and bring out the mizutsugi.

一問
№70 透木後炭手前についてお伺いいたします。透木を炉壇に戻すのは、水次で釜に水を足し、濡れ釜にした後でしょうか、その前でしょうか。
一答
炭をつぎ終わり、畳中央まで廻り、左手で透木を取って右手で扱い、左掌に乗せて炉正面に廻って透木を炉壇に乗せます。次に釜を勝手付から上げた仮置きまで引き寄せ、灰器を水屋に下げて水次を持ち出します。

Question 71

I apologize for such a basic question, but please allow me to ask.

When receiving sweets, we take out the kaishi from our bosom; should we fold it back (uchikaesu) like the paper kama-shiki used during the sumi-temae? Also, should we similarly fold back the chidori-ita?

Answer

Since the bosom is a clean place, please take out the kaishi directly from your bosom, place it on the tatami, and use it to take the sweets. The folding back (uchikaeshi) of the paper kama-shiki has a different meaning, doesn’t it? Also, when you take out the chidori-ita inserted between the kaishi, you use it without folding it back.

一問
№71 誠に初歩的な質問で恐縮ですが、お許し願います。
菓子をいただく際に懐中から懐紙を取り出しますが、炭手前の折の紙釜敷のように打ち返すのでしょうか。また、千鳥板も同様に打ち返すのでしょうか。
一答
懐は清浄なところですので、懐紙は懐からそのままお出しになり、畳の上に置いて菓子をお取りください。紙釜敷の打ち返しとは意味が違いますね。また、千鳥板も懐紙の間に入れて出す時は打ち返さずに使用します。

Question 72

In the furo koicha temae, after placing tea into the chawan, opening the lid of the mizusashi, then adding one ladle of water to the kama, and then pouring hot water into the chawan, why is this? Is it merely a procedural rule in the temae? If there is a meaning behind it, please tell me.

Answer

The leaf tea picked in May of the previous year is “rested” in a cha-tsubo until around October to mature. During the season of opening the ro in November, the fragrance of the tea is strongly maintained, but by May in the furo season, the color and aroma gradually fade. If you pour boiling hot water at that time, the fragrance of the tea will dissipate. Therefore, in the furo season, we add one ladle of water to the kama to soften the condition of the hot water, so as not to spoil the “umami” (delicious taste) of the tea.

一問
№72 風炉濃茶点前の時、茶碗に茶を入れ、水指の蓋を開け、次に水一杓を釜に差してから茶碗に湯を注ぎますが、これはなぜでしょうか。点前の上での決まり事というだけでしょうか。その意味がありましたらお教え願います。
一答
前年5月に摘み取られた葉茶は、10月頃まで茶壷に「寝かせて」熟成させます。11月の開炉の時季には茶の香気が強く保たれていますが、5月の風炉の頃になると色香も次第に薄くなります。そこに沸き立っている湯を入れると茶の香気が抜けてしまいますので、風炉の季節には釜に水を一杓汲み入れて湯相を軟らかくし、茶の「うまみ」を損なわないようにします。

Question 73

I have a question about Kinin Seiji Kagetsu.

When the kinin becomes shimai “Hana” and proceeds to the temae-za to prepare the fourth bowl and places it at the designated spot, after that, does the fourth “Moon” go out to retrieve the chawan and make a bow? Also, is there a bow when returning the chawan?

Additionally, when the guest at the kariza presents the orisue to the kinin at the temae-za, when placing it at the sumikake (…), is there a bow when placing it or when withdrawing?

Answer

You do make a bow to the chawan prepared by the kinin, but you do not make a bow when returning the chawan, nor do you bow to the orisue.

一問
№73 貴人清次花月についてお尋ねいたします。
貴人が仕舞花となり、点前座に進み四服目を点てて定座に出しますが、その後、四の「月」は茶碗を取りに出て一礼をしますか。また、茶碗を返す時に一礼がございますか。
なお、仮座の客が点前座の貴人に折据をすみかけ（・・・・で置く時、引く時に一礼がありますでしょうか。
一答
貴人の点てられた茶碗には一礼をしますが、茶碗を返す時、及び折据に対しては一礼をしません。

Question 74

Please tell me the meaning of placing the tabako-bon (tobacco tray).

Answer

In the case of a chaji (formal tea gathering), the tabako-bon is brought out in the machiai (waiting room), the koshikake (outdoor waiting area), and during usucha (thin tea). In large-scale usucha gatherings, it is placed at the main guest’s position.

It is often written as “煙に草” (smoke and grass), but I write it as “莨” (kusakanmuri ni ryō). The reason I write it this way is because the act of filling a kiseru (pipe) with fragrant herbs and taking a puff serves to change the air in the room and soften the atmosphere of the gathering. The tension from the koicha (thick tea) session eases a bit during usucha, and to further change the atmosphere, the tabako-bon is brought out to say, “Please relax as if you were at home.”

Nowadays, it is placed not to say “Please smoke,” but with the meaning of “Please feel at ease.”

一問
№74 煙草盆の置かれる意味をお教え願います。
一答
お茶事の場合、待合、腰掛け、薄茶の時に出されます。薄茶の大寄せでは正客の位置に置かれます。
よく「煙に草」と書き表されますが、私は箱書きに「くさかんむりに良（莨）」と書きます。なぜそのように書くかというと、香りの良い草を煙管に詰めて一服ふかすという行為は、席中の空気を変える、場の雰囲気を和らげるという意味があります。濃茶での緊張感が薄茶になって少し和らぎ、さらに場の雰囲気を変えるために煙草盆を出して「家にいるようにゆっくりしてください」という訳です。
現在では、「吸ってください」ということではなく、「お気楽にどうぞ」という意味で置かれます。

Question 75

Please tell me about the Otsu-bukuro.

Answer

The Otsu-bukuro is named after Otsu in Shiga Prefecture. It was devised from the bags that Lady So-on, the wife of Rikyu Koji, used to carry rice and grains from Otsu to Kyoto, hence the name, and it has a distinctive construction.

Rikyu Koji worked hard to transform the “tea” that came from China into a Japanese style. Instead of using precious Chinese chaire, he used the uniquely Japanese natsume as the container for koicha. At that time, when he thought about something to put it in instead of a shifuku, he found that this bag (the Otsu-bukuro) was very suitable.

This temae is not intended for those who do not have a chaire with a shifuku. It is a fully established temae in its own right. The same can be said for the tsutsumi-fukusa.

一問
№75 大津袋についてお教え願います。
一答
大津袋というのは滋賀県の大津に因んだものです。利休居士夫人の宗恩様が大津から京へお米や穀物を運んでいた袋から考案されたためこの名があり、仕立て方に特徴があります。
利休居士は中国から渡ってきた「お茶」を日本風に切り替えるのに腐心されました。貴重な唐物の茶入ではなくて、日本特有の棗を濃茶器として使われましたが、その際に仕覆の代わりに何か入れるものをと考えた時、この袋（大津袋）がとても具合がよかったという訳です。
この点前は仕覆の添った茶入を持たない人のためのものではありません。それだけで立派に確立された点前です。包み帛紗も同様といえます。

Question 76

When we say “placing the furo’s shiki-ita in the koma-zue,” what does “koma-zue” refer to? Also, when setting the furo in the koma-zue position, where is the shiki-ita placed? Please tell me.

Answer

“Koma-zue” refers to placing the furo (portable brazier) in the koma (small room) setting. Specifically, after making a bow at the sadouguchi (tea room entrance), you step forward onto the tatami mat and set the furo directly in front of you. This placement is called “koma-zue.”

When setting the furo in the koma-zue position in a one-tatami-mat room, you place the shiki-ita (hearth board) six sun(approximately 18 cm) from the far edge of the tatami, which corresponds to twelve me (tatami divisions). From the katte-zuke (preparation side), leave a space of seven to nine me (tatami divisions).

Incidentally, in the case of a daime-datami (three-quarter tatami mat), you set the shiki-ita four sun (approximately 12 cm) away from the far edge.

![[EN)-4](Oiemoto 100 Questions (EN|Oiemoto 100 Questions (EN)-4]]-4.png)

一問
№76 「風炉の敷板を小間据えに置く時」という時の「小間据え」とは、どのようなものでしょうか。また、小間据えで風炉を据える時の敷板はどの位置になりますか。お教え願います。
一答

茶道口で一礼し、一歩踏み込んだ畳に風炉を据えることを小間据えといいます。畳一畳の時は向こうから六寸、十二目に敷板を置き、勝手付から七～九目空けます。
因みに、台目畳の場合は、向こうから四寸空けて据えます。

Question 77

When using an arame-ita (coarse-grained board), is there a reason for placing the side with the wider grain toward the front?

Answer

Yes, there is a reason. In a tree’s growth rings (wood grain), the rings are closer together near the center of the tree and become wider as they move toward the outer edge. When using the arame-ita, placing the side with the wider grain toward the front represents this natural progression. It showcases the tree’s natural growth pattern, reflecting its true form.

一問
№77 荒目板を用いる場合、目の広い方を手前にするのは何か理由があるのでしょうか。
一答
木の年輪（木目）は中心の方が狭く、外になるほど広くなりますね。荒目板を用いる時に目の広い方を手前にするのは、その自然の姿を現しています。

Question 78

Regarding the Senyu no Shiki during the furo (brazier) season, I have a question.

In Senyu no Shiki, Higashi (the assistant host) makes a request for charcoal (sumi shomō) to the third guest. After that, the main guest requests to view the inside of the furo. Does Higashi also participate in viewing the inside of the furo?

Answer

Yes, since the host’s side also makes a formal request for charcoal (hon-sumi shomō), Higashi also participates in viewing the inside of the furo. However, in the case of Chaza no Shiki, because the host’s request for charcoal is abbreviated (ryaku-sumi shomō), Higashi does not participate in viewing the inside of the furo. Please be careful not to confuse this point.

一問
№78 仙遊之式・風炉について、お伺いいたします。
東から三客に炭所望をいたします。その後、正客が風炉中の拝見を請いますが、東も風炉中の拝見をするのでしょうか。
一答
亭主側でも本炭所望なので、東も風炉中の拝見をいたします。但し、且座之式の場合は略炭所望ですので、東は風炉中の拝見をいたしません。この点を混乱しないようにしてください。

Question 79

Please tell me how to write a kaiki (record of a tea gathering). Specifically, could you provide guidance on key points such as the order of utensils and when to raise or lower characters by one space?

Answer

There are two types of kaiki: the jikaiki, which is written by the teishu (host) himself, and the takaiki, which is written by a guest as a memorandum when invited to a tea gathering.

It seems your question is about how to write a jikaiki. Rather than saying “you must write it this way,” the style of a kaikican vary depending on the host’s personal preferences and feelings.

When displaying it prominently at a large tea gathering (ooyose), you might write the character “床” (tokonoma, alcove) raised by one space and in slightly larger characters, then list the other utensils afterward.

Whether only the character “床” is elevated and the rest are aligned in a single line or indented is up to the host’s discretion, and you may adjust it according to your intentions. For the general order of listing utensils, please refer to tea ceremony magazines and related resources.

一問
№79 会記の書き方についてお教え願います。特に道具の順序、一文字上げる下げる等のポイントをご教授ください。
一答
会記には、亭主自らが記す「自会記」と、客として招かれた際に備忘録として記す「他会記」があります。
ご質問は「自会記」の書き方のようですが、会記は“こう書かなければいけない”というより、亭主の思い入れによって書き方に違いがでてくるものです。
大寄せで大きく貼り出したりする場合は、「床」という字を一文字上げて少し大振りな字で書き、その後に他の道具を並べていきます。
「床」という文字だけが一段上っていてあとは横一線かというと、これは横一線でも下げても亭主の思いで変えていただて結構です。だいたいの道具の順序は、茶道誌等をご覧ください。

Question 80

In Rikyu Koji’s tea poem:

“For koicha, abandon the temae and focus solely on the brewing, and do not let your breath escape.”

How should we interpret this?

Answer

The essence of this poem emphasizes that the primary focus when preparing koicha (thick tea) should be on achieving the perfect taste and consistency of the tea, rather than being overly concerned with the formalities of the temae (tea-making procedure).

“Abandon the temae and focus solely on the brewing”: This does not mean you should ignore the proper procedures or steps of the tea ceremony. Instead, it suggests that once you have thoroughly learned and internalized the basic movements and procedures, you should not let them distract you during the actual preparation. When making koicha, your full attention should be on adjusting the temperature and amount of water to bring out the best flavor of the tea.
“Do not let your breath escape”: This phrase advises maintaining a calm and steady demeanor. It’s a metaphor for controlling your breathing to keep both mind and body composed. By not “letting your breath escape,” you avoid showing signs of haste or nervousness, which could disrupt the atmosphere of the tea ceremony and affect the quality of the tea.

In essence, the poem teaches that the true mastery of tea preparation lies in internalizing the formalities so deeply that they become second nature, allowing you to focus entirely on the quality of the tea and the serene delivery of the experience to your guests. It also underscores the importance of mindfulness and presence, ensuring that every action contributes to the harmony of the ceremony.

一問
№80 利休居士道歌に
　「濃茶には点前をすてて一筋に服の加減と息をもらすな」
とありますが、どのように解釈すれば宜しいでしょうか。
一答
濃茶だけでなく、薄茶も服の加減が第一です。特に濃茶を服加減よく練るには「濃茶たびたび点てて能く知れ」との道歌の教えの通り、湯加減と湯の量が第一となります。
「点前を捨てる」ということは「手順を無視する」ということではありません。
それまでにしっかり基本の所作を身につけておけば、いざ濃茶を練る際に脳裏で手順を追うことなく、ひたすら練ることに集中できる訳です。
また、「息をもらすな」、或いは「息を散らすな」と言い慣わしていますが、自然体の呼吸法とも言うべき考え方で、心身が平常なる様を表した非常に奥深いお教えです。もっと簡単に言えば呼吸をととのえるということですね。

Question 81

We performed the “Mawari-bana no Shiki” of the Shichiji-shiki. Since when has such a ceremony to appreciate flowers been conducted?

Answer

According to the “Imai Sōkyū Chayū Nukigaki,” there was a tea gathering held by Toyotomi Hideyoshi on July 7th, Tenshō 11 (1583), at Osaka Castle where the Mawari-bana was conducted. During this gathering, Hideyoshi arranged a hibiscus, Sen no Rikyū arranged autumn grasses and ominaeshi (patrinia), Tsuda Sōgyū arranged fujihakama, and other guests, including Imai Sōkyū, each arranged flowers.

However, it’s important to note that this “Nukigaki” is believed to be an excerpt made by a tea practitioner in the Edo period from the original text. Therefore, if we consider that the Shichiji-shiki was established and the term “Mawari-bana” came into use after this time, it’s possible that the writer who read the original manuscript interpreted and recorded it as “Mawari-bana.”

In any case, imagining that since the time of Rikyū Kōji, people have been appreciating and enjoying flowers together is quite touching.

一問
№81 七事式の「廻り花之式」をいたしました。このように花をめでる式は、いつ頃からなされているのでしょうか。
一答
『今井宗久茶湯抜書』には、天正十一年七月七日に秀吉の茶会が大坂城内であり、そこで廻り花がなされたことが記載されています。秀吉は芙蓉を、利休居士は花すすきと女郎花を、津田宗及は藤はかまを、今井宗久はじめ連客もそれぞれ花を入れています。
しかし、この抜書は江戸時代の茶人が原本から抜き書きしたものといわれていますので、七事式が確立し「廻り花」という言葉ができた後のものとすれば原本を読んだ筆者が「廻り花」と捉えて表記した可能性があります。
いずれにせよ、利休居士の時代から花をめで、皆で楽しんだその様子を想像すると胸打つものがあります。

Question 82

During the shozumi-temae (initial charcoal setting), I’ve heard that when the incense container (kōgō) is large and doesn’t fit well on the incense container stand (kōgō-dai), we bring out the ash container (haiki) and the incense container together. In such a case, how should we handle this?

Answer

In such a case, you hold the incense container (kōgō) in your left hand and the ash container (haiki) in your right handand bring them out together. Upon reaching the temae-za (preparation area), you temporarily place the haiki in front of your knees. Then, using your right hand, you place the kōgō at its designated spot (teiza). After that, you place the haiki at its designated spot.

It’s not particularly difficult, and this method has been established to make the handling smoother and more practical. By carrying both items out together, you ensure a graceful and efficient temae, even when the kōgō is larger than usual.

一問
№82 初炭手前の折、香合が大きくて香合台に乗りにくい時は灰器と香合を一緒に持ち出すと聞いたことがあります。この場合、どのような扱いをすればよろしいでしょうか。
一答
このような場合、香合を左手に持ち、灰器を右手で持って出ます。そして灰器を膝前に仮置きし、右手で香合を定座に置き灰器を定座にという扱いになります。決して難しいことではありません。これは扱いやすいようにと定まったものです。

Question 83

Are there any specific requirements for the tray used during bon-kogo? For example, please let me know if there are any rules regarding plain wood, black lacquer, or the size.

Answer

When the kogo is a meibutsu (famous piece) or has historical significance, it may be placed on a tray and brought out without being included in the sumitori. This procedure is called bon-kogo and is strictly reserved for the shozumi temae.

There are no specific rules for the tray, but it is necessary to select one that enhances the kogo. It is better to avoid trays that are the same color or shape as the kogo.

一問
№83 盆香合の時の盆に決まりはありますか。例えば、木地や真塗、大きさに決まりがありましたらお教え願います。
一答
香合が名物や由緒のあるものの場合、炭斗に組み入れず盆に乗せて持ち出すことがあります。この扱いを盆香合といい、あくまで初炭手前が約束となります。
盆に決まりはありませんが、香合を引き立てるような盆との取り合わせが必要です。香合と同じ色、あるいは同じ形の盆は避けた方がよいでしょう。

Question 84

I have a question regarding chaire-kazari.

When presenting items for haiken, I was taught to use a kobukusa with the chaire. In a hiroma, when the main guest goes to retrieve the items for inspection, if the chaire is handled with both hands, they cannot carry the chashaku and shifuku back to their seat. In such a case, how should one handle it?

Answer

Since the procedure is based on a 4.5 mat room, carrying items back in a hiroma becomes a “hataraki.” In this case, place the chaire along with the kobukusa on your left palm, hook your left thumb over the shoulder of the chaire to hold it, grip the chashaku with your right hand, take the shifuku from the right side, and hold it alongside the chaire.

一問
№84 茶入荘についてお尋ね致します。
拝見に出す際、茶入には古帛紗を用いると教わりました。広間で正客が拝見物を取りに行く場合、茶入を両手で扱うと茶杓と仕覆を持って自席に戻れなくなりますが、このような場合はどのように扱えばよろしいでしょうか。
一答
四畳半を基準に考えられていますから、広間での持ち帰り方はあくまでも“はたらき”になります。
この場合、茶入を古帛紗ごと左掌にのせ、左手の親指を茶入の肩にかけて持ち、右手で茶杓を握り込み仕覆を右横から取って茶入にそわすようにして持ちます。

Question 85

When arranging utensils, it is natural to value a sense of the season. However, even in the same month, the climate differs depending on the region. Is it acceptable to base our considerations on the seasonal feeling of the region where the tea gathering is held?

Answer

Yes, that is acceptable. It would be fine to incorporate into the tea room the scenery that the host sees, feels in their heart, and considers completely natural. For example, in September, while it is still hot in Honshu, autumn may already be deepening in Hokkaido. Just because it is hot throughout Japan and considered late summer, it doesn’t mean that in Hokkaido you must plan for a heat-relief theme.

When assembling your utensils, please consider the climate of your region.

一問
№85 お道具の取り合わせの時に季節感を重んじるのは当然のことですが、同じ月でも地域によって季候が異なります。茶会を催す地域の季節感をもとに考えてよろしいでしょうか。
一答
そう考えてよいでしょう。釜を懸ける方が目に捉え、心に感じられ、そしてごく当たり前だと思っている風景をそのまま席中に活かしていただいたら結構です。９月を例にとると、本州はまだ暑いが北海道は秋が深まっていたりします。日本国中が暑くて残暑といわれているから北海道でも暑気払いのような趣向をしないといけないかというと、そうとは言い切れません。
お道具組みに際しては、その地域の季候で考えて下さい。

Question 86

Due to the severe summer heat, some of the flowers and plants in my garden have been damaged. Even when arranging a single flower, I found myself thinking, “If only I had that flower, I could have used this one…” and hesitated over various choices.

In such times, with what kind of mindset (feeling) should I arrange flowers?

Answer

Well, Master Rikyu said, “Arrange the flowers as they are in the field,” and it is said that Murata Juko taught, “Learn from the form of the grasses and trees that grow in the wild mountains, and avoid unsightly appearances.”

The joy and emotion when you discover a single flower quietly blooming in the shade of your garden—a flower that did not bloom last year—are indescribable. Encountering flowers is the same as meeting people or utensils. How about approaching it with the spirit of ichie?

一問
№86 夏の暑さが厳しかったせいか、庭の草花の中には傷んでしまったものもあり、一輪の花を入れる際にも「あの花があれば、この花が使えたのに…」とあれこれ迷いました。
このような時、どういう心構え（気持ち）で花を入れたらよろしいでしょうか。
一答
そうですね。利休居士が「花は野の花のように」と仰っておられますが、村田珠光は「野山に生はえたる草木の体ていを学びて　みぐるしきをきらう」と示されたそうです。
去年咲かなかった花が今年は庭先の蔭に一輪ひっそりと咲いた体ていをみつけた時の喜びと感動は言い表せません。花との出会い、これはお人、お道具と同じことです。一会の気持ちで臨まれたら如何でしょうか。

Question 87

I’ve heard that the nakaoki temae is not performed in a koma. Why is that?

Answer

When you actually perform the temae in a koma, you will understand that it’s because the space at the temae-za becomes cramped.

Nakaoki is a temae performed in a hiroma of 4.5 tatami mats or larger, and it concludes with the standard closing procedure.

一問
№87 中置の点前は小間の席ではしないとお聞きしましたが、何故でしょうか。
一答
実際に小間の席で点前をされるとお分かりいただけますが、これは点前座の空間が狭くなるからです。
中置は四畳半以上の広間の席の点前ですが、本仕舞で仕舞いつけます。

Question 88

In the go-gyo-dana, after completing the shimai-tsuke and adding one ladle of water to the kettle, why is yugaeshi not performed?

Answer

If you remember that “it is customary to always perform yugaeshi when placing the hishaku on the tana,” mistakes will occur.

When the mizusashi is used in a temae where it is carried in, or when using a tana without a ji-ita (base board), yugaeshi is not performed regardless of whether you place the hishaku on the tana or not. In the go-gyo-dana as well, the mizusashi is placed on the katte side. This is based on the rule that yugaeshi is not performed when the mizusashi is used in a temae where it is carried in. However, the naga-ita hitotsu-oki is an exception.

一問
№88 五行棚では、仕舞付けが終わり、釜に水一杓を差した後、湯返しをしないのは何故でしょうか。
一答
「棚に柄杓を荘る時には、必ず湯返しをするのが約束」と覚えると間違いが生じます。
水指が運びの点前の場合や、地板が無い棚の時は柄杓を荘る荘らないにかかわらず湯返しはしません。五行棚でも水指は勝手付に置きますね。これは水指が運びの点前の時は湯返しをしないという約束からです。但し、長板一つ置きは例外となります。

Question 89

In the ato-zumi temae, when cleansing the kettle lid with the chakin, why do we lightly hold down the knob of the kettle lid?

Answer

When wiping the kettle lid from front to back with a damp chakin, we lightly press the lid to prevent it from moving. There’s an indescribable elegance in moistening the kettle surface and seeing pure steam rise from it.

一問
№89 後炭手前で釜の蓋を茶巾で清める時、釜の蓋の摘みを軽く押さえるのは、何故でしょうか。
一答
濡れ茶巾で釜の蓋を向こう手前と清める時、釜の蓋が動かないように軽く押さえます。釜肌を濡らし、そこから清らかな湯気が昇るのは何ともいえない風情ですね。

Question 90

I have a question regarding the ro-buchi.

Between plain wood and lacquered ones, which was used earlier historically?

Answer

The ro-buchi corresponds to the wooden frame of the irori that protects the tatami from the fire and heat inside the ro.

In old kaiki, there is no mention of the ro-buchi. This is probably because the kama was the main focus, and the ro-buchi was not an object of appreciation.

Especially before the size of the ro was standardized to 1 shaku 4 sun during the time of Rikyu Koji, it seems that the ro-buchi was perceived as part of the interior woodwork, like pillars and beams.

It is thought that after the ro began to be cut into hiroma as well, elements of lacquered kamachi were incorporated. Items with maki-e designs came later in history.
一問
№90 炉縁についてお尋ねいたします。木地と塗りでは時代的にどちらが先に使用されたのでしょうか。
一答
炉縁は、畳を炉中の火と熱から守る囲炉裏の木枠に相当します。
古い会記には炉縁の記載がありませんね。これは、あくまでも釜が主であり、炉縁は鑑賞の対象ではなかったからと思われます。
特に炉の寸法が利休居士の頃に一尺四寸と定まるまでは、柱や梁と同様、室内の木材の一部としての感覚だったようです。
広間にも炉が切られるようになってから、塗りの框かまちの要素を採り入れられたのだと思われます。蒔絵等のものは時代が下がります。

Question 91

Please teach me about the haiken of the chatsubo.

When the last guest finishes the haiken of the jar and returns it to the main guest, is it a “deai” like with other haiken utensils?

Also, why is the jar handled with the fingertips of both hands during the haiken?

Answer

When the last guest finishes the haiken of the chatsubo, they directly return it to the main guest, with the front seal of the jar facing the main guest. The main guest once again confirms the front seal, corrects it for the host, and without standing up, the host comes to retrieve it and puts it back.

When handling the jar after the net has been removed, the fingertips of both hands are used instead of the palms to prevent heat and moisture from the hands from affecting the tea leaves inside the jar. This reflects the utmost care in handling the tea leaves in the chatsubo.

一問
№91 茶壷の拝見についてお教え願います。
末客が壷の拝見を終えて正客に戻す時は、他の拝見道具と同じように“出会い”でしょうか。
また、壷の拝見の際に両手の指先で扱うのは何故でしょうか。
一答
末客は茶壷の拝見を終えると、壷の正面封印を正客に向けて直接正客に戻します。正客は今一度正面封印をあらため、亭主に正して、自分からは立たずに亭主が取りに来て戻すことになります。
網をはずされた壷を扱う時に掌を用いず両手の指先で扱うのは、壷の中の葉茶に熱や湿気を呼ばないようにするためです。これには茶壷の葉茶に対する扱いの丁重さがよく表れています。

Question 92

When performing bon-kogo using a tana during the ro, where should the sumitori be placed?

Answer

After adding charcoal and performing the ato-haki, return the feather broom to the sumitori, and place the sumitori at the corner of the kinin-datami.

一問
№92 炉で棚を用いて盆香合を行う場合、炭斗はどこに置いたらよろしいでしょうか。
一答
炭をつぎ、後掃きをした後に羽箒を炭斗へ戻し、炭斗を持って貴人畳の角に置きます。

Question 93

In the irekodate, we arrange the chawan inside a plain wood bentwood kensui. Is it not acceptable to use a lacquered kensui?

Answer

Previously (No.52), I answered about the seam of the plain wood bentwood kensui.

In the irekodate, since we arrange the chawan inside the kensui, we use a new plain wood bentwood one that prioritizes cleanliness, and as a rule, we do not use lacquered items.

一問
№93 入子点では木地曲の建水に茶碗を仕組みますが、塗りの建水ではいけませんでしょうか。
一答
以前（№52）に木地曲建水の綴じ目についてお答えしましたね。
入子点では建水の中に茶碗を仕組みますので、清浄を第一とした木地曲の新しいものを使用し、原則として塗物は使用いたしません。

Question 94

Please teach me about the handling of tsutsu-chawan and shibori-chakin.

Answer

The tsutsu-chawan can be considered one of the arrangements the host uses to warmly entertain guests during the cold season.

Regarding the method of purifying the tsutsu-chawan, as stated in Rikyū Koji’s tea poem:

“Tsutsu-chawan fukaki soko yori fuki-agari, kasanete uchi e te o yaranu mono”

(“With the tsutsu-chawan, wipe upward from the deep bottom, so that you do not repeatedly insert your hand inside.“)

If you purify from the rim first as with a regular chawan, your fingertips will touch the inside of the bowl when cleaning the bottom, so it is handled in this way.

For the shibori-chakin, take the chakin by the corner and wring it, and place it inside the tsutsu-chawan so that the end is to your left as you face it, then prepare the chasen and chashaku.

Pour hot water into the chawan, then, after refolding the wrung chakin, perform the chasen-toshi.

It is not always necessary to use the shibori-chakin when using a tsutsu-chawan. It is merely an arrangement.

一問
№94 筒茶碗と絞り茶巾の扱いについてお教え願います。
一答
筒茶碗は、寒い時期、亭主がお客様にあたたかい心尽くしのおもてなしをする際の趣向の一つといえます。
筒茶碗の清め方は、利休居士道歌に
　「筒茶碗深き底よりふき上り　重ねて内へ手をやらぬもの」
とありますように、いつもの茶碗のように縁から先に清めますと底を清める時に指先が茶碗の内部に触れますので、このような扱いになります。
絞り茶巾は、茶巾を隅かけに取って絞り、その端が向って左になるように筒茶碗の中に入れ、茶筅、茶杓と仕込みます。
茶碗に湯を入れ、次に絞った茶巾をたたみ直した後、茶筅通しをします。

筒茶碗の時に必ず絞り茶巾をするとは限りません。あくまでも趣向です。

EVERYTHING AFTER THIS LINE WAS GENERATED USING THE OLD MODEL. NEEDS O1-ing

Question 95

Regarding the chawan display:

When the host finishes preparing the koicha and presents the chawan to the main guest on a kobukusa, should a kobukusa also be used for a raku chawan?
In such cases, should the main guest use the kobukusa provided by the host or place the chawan on their own kobukusa?

Answer

Since using a kobukusa for a chawan with significant history or value demonstrates respect, the kobukusa is used for raku chawan, just as for any other chawan.
For the reason given above, the main guest does not switch to their own kobukusa but receives the tea while keeping the chawan on the kobukusa provided by the host.

一問
№95 茶碗荘についてお伺いいたします。
①亭主は濃茶を練り終わると茶碗を古帛紗にのせて正客にお出ししますが、樂茶碗の場合でも古帛紗は使用しますか。
②またその際、正客は亭主から出された古帛紗をそのまま拝借すべきでしょうか。
それとも自分の古帛紗にのせ替えた方がよいでしょうか。
一答
①名物や由緒のある茶碗に対する扱いとして古帛紗にのせてお出しする訳ですから、樂茶碗でも他の茶碗と同様に古帛紗を使用します。
②①でお答えした理由の通り、のせ替えはいたしません。そのまま古帛紗に茶碗をのせたままお茶をいただきます。

Question 96

I was taught that “chawan display is done for koicha.” Is it unacceptable to do it for usucha?

Answer
The display of utensils is strictly for koicha, so it is not done for usucha. However, a chasen display can be applied for usucha as an adaptation.

一問
№96 “茶碗荘は濃茶で行うもの”と習いましたが、薄茶でしてはいけませんか。お教え願います。
一答
荘り物はあくまでも濃茶のものですので、薄茶ではいたしません。
但し、薄茶の茶筅荘については、応用としてすることができます。

Question 97

We had eight guests for a juu-chawan (shared chawan) ceremony. Three guests shared the first bowl, and five guests shared the second bowl. After the main guest and two other guests drank from the first bowl, the third guest returned the chawan to the main guest, who then allowed all guests to view it in sequence down to the last guest. The fourth guest took the second bowl, drank, and the last guest returned it to the main guest for viewing by all guests in sequence. Who should return the chawan to the host as an “encounter”?

Answer
The guest who took the second bowl (the fourth guest) is not the main guest. For both the first and second bowls, the encounter is between the main guest and the last guest, with the main guest returning the chawan to the host.

一問
№97 重茶碗のお客を八人でいたしました。一碗目を三人、二碗目を五人でいただきました。一碗目を正客から三客でいただいた後、三客は茶碗を正客に戻し、正客から末客まで順次拝見しました。二碗目を取りに出た四客はお茶をいただき、末客は茶碗を正客に戻し、正客から末客まで順次拝見しました。
亭主にお返しする茶碗を出合いで戻すのは、どなたになりますでしょうか。
一答
二碗目を取りに出た客（四客）が正客でないことは言うまでもありません。
亭主にお返しする茶碗の出合いは、一碗目、二碗目とも正客と末客とになり、正客が亭主にお返しします。

Question 98

After completing the honored guest temae and removing the chawan, should there be a bow at the tea room entrance after placing the chawan there?

Answer
In the honored guest temae, there is no bow at the tea room entrance after removing the chawan, whether for usucha or koicha. A bow to the honored guest is only made in the “honored guest seiji” style.

一問
№98 貴人点を終えて貴人茶碗をひき、茶道口で貴人茶碗を置き、貴人に一礼するのでしょうか。お教え願います。
一答
貴人点では、薄茶、濃茶とも茶碗をひいて茶道口で一礼することはありません。
貴人に一礼するのは“貴人清次”の場合です。

Question 99

Regarding the initial charcoal request, in the furo, the host requests the guest without moving the lower fire, but in the ro, the lower fire is adjusted, and damp ash is sprinkled before the request. Why is there a difference between the furo and the ro?

Answer
This is a complex question. In a tea gathering, for the furo, the charcoal setting follows kaiseki, so the condition of the lower fire varies based on the length of the kaiseki. The host leaves it to the guest to rearrange the lower fire to optimize it for koicha and to decide whether to add more charcoal. For the ro, however, the charcoal setting precedes kaiseki, so the lower fire is intact. Therefore, the host prepares the entire ro, including adjusting the lower fire and sprinkling damp ash, before asking the guest to add charcoal.

一問
№99 初炭所望についてお伺いいたします。風炉では下火をさわることなく客に所望しますが、炉では下火を動かし湿し灰をまいてから所望します。なぜ風炉と炉でこのような違いが生じるのでしょうか。
一答
少々難しいご質問ですが、茶事では、風炉の場合は懐石の後に炭手前となりますので、懐石の時間の分、風炉中の下火はその熾り具合が毎回異なります。所望する亭主は、所望された客が下火を如何に濃茶のための火相を整えるべく置き直し、続いて炭をつぐかどうかということまで委ねているのです。
それに比して、炉の場合は懐石の前に炭手前となりますので、下火が崩れているということはありません。従って、亭主は下火も動かし湿し灰もまいて炉中をすべて整えてから所望した客に炭をついでもらうという訳です。

Question 100

Could you explain the handling of the large and medium-sized lids for the kama?

Answer
A large lid generally refers to one with a diameter wider than five sun. When drawing the hishaku, the futaoki is placed as usual, three spaces outside the tatami edge. The futaoki can be moved up to the kan-tsuki (ring holder) to support the kama’s lid, a technique for skilled practitioners. When removing the lid, bring the futaoki inward to around the seventh space on the edge, and place the lid on it. A medium lid is about five sun in diameter. The hishaku is drawn from the third space, but when placing the kama’s lid, adjust it five spaces outside, aligning it with the edge of the ro frame and the tatami.

一問
№100 釜の大蓋・中蓋の扱いについてお教え願います。
一答
大蓋はだいたい直径が五寸より広いものをいいます。
柄杓をひく時は蓋置を常の如く縁外畳目三ッ目に置きます。釻付まで蓋置をすすめて釜の蓋の口に渡しかけて取ることもありますが、これは巧者の扱いといえます。釜の蓋を取る前に蓋置を縁内七ッ目くらいに取り込んで蓋を置きます。
中蓋は五寸くらいの蓋の名称で、柄杓をひくのは三ッ目ですが、釜の蓋を置く時は縁外、炉縁と畳の縁から五ッ目に直して取ります。

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