Shozumi-Demae
  • This was explained in the furo volume already, but the sumi-demae in both ro and furo season, as  procedure for boiling water, has both the shozumi-demae and gozumi-demae. It was devised as an efficient procedure without being pointless in order to quickly start the fire and make a heat source to match an adequate kettle. Because Urasenke’s sumi-demae is said to be from Sotan’s simple charcoal and is comparatively simple, we hope once can use it as something often done by oneself in everyday life.
  • Photographs A through F show the process for stacking charcoal in the sumitori in the mizuya. The names of the sumi are the same as in furo season, but the dimensions differ. Douzumi is 15 cm, gitcho is 7.5 cm, wari-gitcho is the samae as gitcho, rindou is 5 cm, kudazumi is 15 cm, wari-kudazumi is 15 cm, tenzumi is 7.5 cm, and edazumi is 18 cm.
  • Charcoal utensils are explained in the gosumi chapter.
  • Place the sumitori by the door post, open the fusuma (Img1), and give a communal bow.
  • Hold the sumitori with both hands (Img2), carry it in,  turn to sit at the lower end of the tatami to the right of the ro, and place the sumitori to align with the kettle lugs (Img3).
  • Next, holding the haiki in the right hand, sit at the sadouguchi. (At this time, the kettle trivet should be in the kimono, with folded side in.) Place the haiki in front of the kenss and close the fusuma (Img4).
  • Holding the haiki with the right hand, advance to face the ro, then turn and sit facing diagonally the end of the tatami mat (Img5). Adjusting one’s grip with the left hand, place it on the corner of the tatami mat so that the handle of the haisaji is pointing straight forward (Img6).
  • Turn to face the ro and take the habouki with the right hand (Img7). Place it between the ro and sumitori a little closer to the rim of the ro (Img8). Take the kan with the right hand (Img9), and place them near to the left of the center of the sumitori. Take the hibashi from the top with the right hand, and place them between the sumitori and the habouki (Img10). Then, take the kogo with the right hand (Img11), receive it with the left hand (Img12), and arrange it to the right of the kan with the right hand (Img13). Close the kettle’s lid with the right hand. (At this time, if a lady, if using a lid of the same metal, or if the handle is made of nanryou, close it with the fukusa (Img14), and immediately return the fukusa to the waist.) Take the kan with the right hand, seperate them with both hands, and twist the right and left onto the kettle at the same time (Img15). Take out the kamashiki so that the thumb is facing outside (Img16). Change grips to your left hand (Img17), and place it conveniently and horizontally near the left knee cap (Img18).
  • Advance a knee’s pace forward, and raise up the kettle (Img19). Turn the body diagonally a little to the left, and pull the kettle slightly to the right of the center of the tatami (Img20). Take off the kan, layer them so the mouth faces towards you and set them to the left of the kettle with the left hand.
  • Now, the kettle and kan are dividing the center of the tatami in half (Img21).
  • Return to face the ro, take the habouki with the right hand, and do shobaki (Img22).
  • Place the habouki conveniently to the right of the kougo.
  • When the host begins to dust the rim of the ro, the guests, from the first guest, give a slight bow, advance closer to the ro, and veiw inside the ro (Img23).
  • Take the hibashi from above with the right hand. Change the grip by stabbing the tips by the right knee cap, and fix the shitabi. (Move the nearer charcaol to the far side of the other two.) (Img24)
  • Stabbing the hibashi’s tips near the right knee cap, adjust your grip, and return them into the sumitori. Put the sumitori aside to the diagonal right with both hands (Img25). Then turn diagonally towards the bottom of the tatami. Take the haiki with the right hand and adjust your grip with the left hand (Img26). Holding it with the right hand, turn to face the ro. Steadying it with the left hand, place it to the right of the ro rim, overlapping the ro rim a little. Still steadying it with the left hand,  take the haisaji, and scoop up ash from the right, and sprinkle it (Img27).
  • 。The ash should be sprinkled first from from the far mountain to the left mountain, then from the left mountain to the closest moutain. Once again, from the far mountain to the right mountain, and then once, while having a scoop of ash on the haisaji, change one’s grip to the bottom of the handle (Img28). Twisting the arm around, sprinkle the ash from the right mountain to the closest mountain (Img29).
  • Return the spoon to the haiki for the last spoonful, change the grip, then scooping the ash up, scatter it from left to right in the nearest space of the gotoku.
  • When finished scattering the ash, gather the ash to the left side of the haiki. The haisaji like that, turn it upside down to cover the ash. Hold the haiki with the right hand, and turn diagonally towards the bottom of the tatami. Adjust your grip with the left hand (Img30) and return it to it’s place. Return to face the ro, take the habouki and do nakabaki.
初炭手前
風炉論も述べたが、炭手前は、湯をわかす順序を一つの形式としたもので、風炉と同様、炉にも初炭手前、後炭手前があります。手順よく、無駄もなく、しかも火がはやくおこり、火気が充分釜にあたるように工夫されています。裏千家の炭手前は宗旦の無造作炭といって、比較的簡単であるから、よく自分のものとして、日常生活にも応用してほしいのです。
AからFまでの写真は水屋で炭斗に炭を組入れる順序を示したものです。
炭の名称は風炉と同じであるが、寸法は違います。胴炭は約十五センチ、毬打(ぎっちょ)は約七・五センチ、割毬打は毬打と同じ、輪胴は約六センチ、管炭は約十五センチ、割管炭は十五センチ、点炭約七・五センチ、枝炭約十八センチを用います。
炭道具については後炭の章で述べます。
炭斗を、建付けに置き、襖を開け(写真①)、総礼をします。
炭斗を両手で持ち(写真②)、運び出し、炉の右、下座に向かって坐り、釜のかん付きの並びに置きます(写真③)。
つぎに、灰器を右手に持ち(このとき、釜敷のわさを奥にして、懐中する)、茶道口に坐り、灰器を膝前に置き、襖を閉めます(写真④)。
灰器を右手で持ち、炉正面に進み、下座のほうななめに向かって坐り(写真⑤)、左手であしらい、右手で畳の敷合わせ隅に、灰匙の柄が上座にまっすぐになるように置きます(写真⑥)。
炉正面に回り右手で羽箒を取り(写真⑦)、炉と炭斗の中間、少し炉縁寄りに置き(写真⑧)、右手でかんを取り(写真⑨)、炭斗の中心左寄りに置き、火箸を右手で上から取り、炭斗と羽箒の間に置きます(写真⑩)。つぎに、香合を右手で取り(写真⑪)、左手であしらい(写真⑫)、右手でかんの右のほうに置合わせます(写真⑬)。釜の蓋を右手で閉め(このとき、婦人または共蓋か摘みが南鐐の場合、帛紗で閉め(写真⑭)、すぐ腰に着ける)、右手でかんを取り、両手で割って、左右いっしょに釜にかけ(写真⑮)、釜敷を親指が外になるようにして、取り出し(写真⑯)、左手で持ち替え(写真⑰)、手なりに左膝頭の横に置きます(写真⑱)。
一膝を進み、釜をあげ(写真⑲)、体を少し左のほうななめに向き、釜を畳中心の右寄りまで引寄せ(写真⑳)、釻をはずし、合わせ目を手前にし、重ね合わせ、左手で釜の左に置きます。
このとき、釜と釻が畳の中心を割るようになります(写真21)。
炉正面に向き直り、右手で羽箒を取り、初掃をします(写真22)。
羽箒を香合の右のほう手なりに置きます。
客は、亭主が炉縁を掃き始めると、正客から次礼して、炉辺に進み、炉中を拝見します(写真23)。
右手で火箸を上から取り、右膝で突いて持ち直し、下火を直します(手前の一つを二つの向こう側へ置き替える)(写真24)。
火箸を右膝頭で突き、持ち直し、炭斗の中へ戻し、炭斗を両手で、右ななめ向こうに寄せ(写真25)、つぎに下座ななめに回り、右手で灰器を取り、左手であしらい(写真26)右手で炉正面に持ち回り、左手を添え、炉縁の右、少し炉縁にかけて置き、左手を添えたまま、灰匙を取り、灰を右側からすくってまきます(写真27)。
まき灰は、まず向こうの山から左の山へかけてまき、つぎに、ひだりのほうの山から、手前の山にかけてまき、ふたたび、向こうの山から右の山へかけてまき、つぎに、いったん灰をすくいそのままで、下から持ち替え(写真28)、逆手にして、右のほうの山から、手前の山へかけてまきます(写真29)。
最後の一匙は灰器に戻して、持ち替え、さらにすくい、手前の五徳の間を左から右へかけてまきます。
まき終わると、灰を左のほう半分に寄せ、灰匙をそのまま、下向けにして、灰にふせて置きます。右手で灰器を持ち、下座ななめまで回り、左手であしらい(写真30)、元のところへ置き、炉正面に戻り、羽箒を取り、中掃きをします。
Advertisements