裏千家茶道教科


The Rikyu Shiribukura Chaire

The Rikyu Shiribukura Chaire

About the Chabako
In the Nanbouroku, when Rikyuu Kouji held the outdoor chakai at Daizen-ji Temple, he used an shiribukura chaire placed within a chabako, and it is thought that this was the beginning of the chabako. Rikyuu type boxes are made from plain pawlownia. There are various sizes, but Sotan-favoured boxes are done in crimson lacquered ikkanbari. At that time, chabako were also called cha-bentou. Since it is no more than a portable set of tea utensils for making a cup of tea once your destination is reached, it can be used in a sitting room, a garden, or in the wilderness.

In the Spring of Kaei 7, Gengensai the 11th Urasenke head created the Snow, Moon, and Flower procedures on the event of his trip to Ise, which was the start of the modern chabako temae. Tantansai the 14th Urasenke head added the Wakei and Shikishi procedures.

Gengensai, who hoped for procedures that expressed the seasons, after thinking of the Snow, Moon, and Flower temae, created a temae for summer. On an early summer’s evening at Housensai, He noticed the white duetzia blooming the front garden. Thus the summer temae was named the deutzia (unohana) temae. This deutzia temae should also be called the hirademae of the chabako. Since the treatment of the utensils is simple, those who are beginning to learn the chabako should first accustom themselves to it.

With the Wakei temae, Tantansai tried to avoid complicated utensils and simplify the temae, so that anyone can easily enjoy doing this temae. The shikishi temae used an imperial basket(gosho-kago) that was favoured by Enosai the 13th. This temae uses several kobukusa together with a chakin box, which when arranged looks just like stationary (shikishi) scattered across the floor. So this temae was called the shikishi temae.

Translator’s Notes:
*Snow, Moon, Flower (Setsugekka or Yuki-Tsuki-Hana): These natural phenomena are often grouped together, signifying the Winter, Autumn, and Spring respectively.

*Shiribukura: A Chinese chaire which has rounded shoulders and whose body swells (bukura) out towards the bottom (shiri). The one owned by Rikyuu is 2 sun (6 cm) high. The body is 2 sun and 1 bu (6.4cm) to 2 sun 2 bu (6.7cm) in diameter. The mouth is 9 bu (2.7cm) in diameter. The bottom is 9 bu in diameter. The lid is 1 bu (0.3cm) high, the shoulder’s width is 1 bu 5 rin (0.5cm). And it weighs 19 monme (71.3g).

茶箱について
南方録によれば、利休居士が大善寺山で野がけの茶会を催されたとき、尻ぶくらの茶入を茶箱に仕込まれて用いられたことが出ており、おそらくこれが茶箱のはじまりではないかと思われます。
利休形のものは桐木地でできており、大きさはさまざままで宗旦好みは朱塗り一閑張りとされています。
当時、茶弁当などといった呼び方もされているところから、旅先でお茶を一服のめるように点前道具一式を仕組んだ携帯用のものにすぎなかったようで、座敷、庭、野山に用いています。
現在の点前作法は裏千家十一世玄々斎が、嘉永七年の春、伊勢路を旅した折、雪、月、花の点前を創案されたのがはじめで、十四世淡々斎が和敬点前、色紙点前を加えられています。
四季を通じた点前を望まれた玄々斎は、雪月花の点前と、夏に寄せての点前も創案されました。初夏の夕べに抛筌斎でくつろがれているとき前庭に咲く真白な卯の花を見て思いつかれ、夏季の点前を卯の花点前と称されたといわれています。
この卯の花点前は、茶箱の平点前ともいうべきもので、器物の扱いがわかりやすくされており、茶箱を習い始めると誰もがまず習得する点前です。
和敬点前は淡々斎が点前の繁雑を避けて道具も簡略にされ、いつでもどこでも点前ができ誰でもが親しみ楽しめるように創案された点前です。
色紙点前は十三世圓能斎の好まれた御所籠を用いて、淡々斎が創案された点前です。
この点前には古帛紗と茶巾箱を置合わせた道具の配置が、ちょうど色紙を散らしたように見えるところから、色紙点前と名付けられました。

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  • Return the habouki to it’s place (Img31).  Pull the sumitori back to it’s original position. Take the hibashi with the right hand and hold them for the moment in the left hand. With the right hand, take the douzumi (Img32) and place it in the space left and right of the gotoku. Clean your finger tips, and with your right hand take the hibashi from your left hand. Stab the ground near your left knee cap to adjust your grip, and then lay in the maru gitcho, wari gitcho, maru gitcho in that order (Img33). Then, lay in both sticks of the kudazumi and warikuda at the same time (Img34). Then lay in the edazumi in one movement so that it rest on the kudazumi (Img35). Then lay in the tenzumi (Img36).
  • At this time, in order from the last guest, the guests give a bow and return to their seats.
  • Return the hibashi to the sumitori, take the habouki, and do the gobaki (the same as shobaki)(Img37).
  • Place the habouki on the left shoulder of the sumitori, take the kohgo with the right hand, and place it on the left palm (Img38). Place the lid where the kan rings where originally placed (Img39). Take the hibashi with the right hand, stab them at you right knee (Img40) to fix your grip, and burn the the incense (Img41).
  • Stab the hibashi near your right knee cap to change your grip and return them to the sumitori (Img42). Close the lid of the kogo (Img43).
  • At this time, if the shokyaku requests a veiwing of the kogo, accept it with the kogo still set on the left palm (Img44). Correct the face of the kogo, and set it out nearby the far right corner of the ro frame (Img45).
  • Then, turn your body to face left diagonally. Take the kan rings horizontally with the left hand (Img46), separate them with both hands, and twist them onto the kettle. Pull it back to it’s original raised position (Img47) and turn back to face the ro. Put the kettle on (Img48). Leaving the kan rings leaning on the kettle, take the kamashiki with the left hand and strike it over the sumitori with the fingers of the left hand (Img49). Put the kamashiki in your pocket with the right hand.
  • Then, correct the inclination of the kettle, and take off the kan (Img50). Holding the kan with the four fingers of the right hand inside and under the mouth of the kan, place it resting against the near side in the sumitori. (Img51). Move back a knee’s space, take the habouki and dust the lid in the character “ア”(Img 52). Return the habouki to it’s place (Img53), and crack the lid of the kettle towards you. (If a lady, or if using a tomobuta or a lid of nanryou, crack the lid using the fukuza)(Img54).
  • Turn diagonally towards the bottom of the tatami, take the haiki with the right hand (Img55), adjust your grip with the left hand, and stand holding it with the right hand (Img56). Sit at the host’s entrance, place the haiki before your knees, open the fusuma door, pick up the haiki (Img57), and exit into the mizuya.
  • At this time, the first guest takes the kogo.
  • When the host exits into the mizuya with the haiki, he takes out the kamashiki from his pocket, returns again, sits in front of the sumitori, returns holding the sumitori (Img58), sits in the host’s entrance, places the sumitori in front of his knees, and closes the fusuma door (Img59).
  • The first guest gives a bow and views the kogo. After it has been passed around to the last guest, the kogo is returned through “deai”.
  • When the kogo has been returned, open the fusuma, and sit facing the items viewed. After talking about the kogo and the incense name (Img60), take the kogo with the right hand (Img61), and place it on the left palm. Steadying it with the right hand, return the host’s entrance, sit, and place the kogo by the door frame’s pillar with the right hand. Give a communal bow (Img62.)
羽箒を元に戻し(写真31)、炭斗を元の位置に引寄せ、火箸を取り、左手に待たせ、右手で胴炭を取り(写真32)、五徳の左右の間に置き、その指先を清め、左手の火箸を右手に持ち、右膝頭で突き、持ち替え、炭斗の中の丸毬打、割毬打、丸毬打の順につぎ(写真33)、つぎに管炭、割管と二本同時につぎ(写真34)、それと平行に枝炭を管炭にもたせかけるようにつぎ(写真35)、点炭をつぎます(写真36)。
このとき、末客から、順に次礼して、座に戻ります。
火箸を炭斗に戻し、羽箒を取り、後掃きをします(初掃きと同じ)(写真37)。
羽箒は炭斗の左肩にのせ、右手で香合を取り、左掌にのせ(写真38)、蓋は始めにかんを置いた位置に置き(写真39)、火箸を右手で取り、右膝で突いて(写真40)、持ち直し、香をたきます(写真41)。
火箸を右膝頭で突いて、持ち替え、炭斗へ戻し(写真42)、香合の蓋を閉めます(写真43)。
このとき、正客から香合の拝見の所望があれば、左掌に香合をのせたまま受け(写真44)、香合の向きを正し、炉縁の右向こう角の脇へ出します(写真45)。
つぎに体を左のほうななめに回り、左手でかんを横から取り(写真46)、両手で割って、釜にかけ、始めあげた位置まで引き寄せ(写真47)、炉正面に向き直り、釜をかけ(写真48)、かんをあずけたまま、釜敷を左手で取り、炭斗の上で右手の指でぱんと打ち(写真49)、釜敷を右手で懐中します。
つぎに、釜のかたむきを正し、かんをはずして(写真50)、右の四本の指を合わせ目に入れ、炭斗の中、手前にもたせかけて置き(写真51)、一膝さがって、羽箒を取り、蓋を「ア」の字に掃き(写真52)、羽箒を元に戻し(写真53)、釜の蓋を手なりに切ります(婦人または共蓋か摘みが南鐐の場合は袱紗で切る)(写真54)。
下座ななめに回り、灰器を右手で取り(写真55)、左手であしらい、右手に持ち、立って(写真56)、茶道口に坐り、灰器を膝前に置き、襖を開け、灰器を持って、(写真57)、水屋にさがります。
このとき、正客は香合を取り込みます。
亭主は灰器を持って水屋にさがると、懐中の釜敷を出して、ふたたび出て、炭斗前に坐り、炭斗を持って帰り(写真58)、茶道口に坐り、炭斗を膝前置き、襖を閉めます(写真59)。
正客は次礼をし、香合の拝見をします。末客まで回ると出会いで返します。
香合が戻ると、襖を開け、拝見物の正面に坐り、香合、香銘の挨拶ののち(写真60)、右手で香合を取り(写真61)、左掌にのせ、右手を添えて、茶道口に帰り、坐り、香合を建付けへ右手で置き、総礼をします(写真62)。
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。

After sprinkling the ash, return the haiki to its place (Img 28). Take the habouki, do the nakabaki, and return the habouki to it’s place. With both hands, move sumitori back to its place. Take the hibashi with the right hand, hold them temporarily in the left hand (Img 29), and put the douzumi into the hearth with the right hand. Clean the fingertips on the kaishi, adjust the grip on the hibashi, and put in the rest of the charcoal in order.
When the last piece is put in, starting from the last guest, the guests give a bow to each other and return to their seats.
Return the hibashi to the sumitori (Img 30). Take the habouki, do the gobaki (Img 31), and put it on top of the sumitori (Img 32). Take the kougou with the right hand, and place it on the left palm. Place the lid inside the edge of the tatami in front of the sumitori to the left. Take the hibashi, change the grip with the left and burn the incense (Img 33).
Put the hibashi into the sumitori, take the kougou’s lid with the right hand (Img 34), and close it.
Accept the request for veiwing the kougou from the first guest (Img 35). Return to face the hearth, and put the kougou out to the right side of the hearth (Img 36). Turn to face the daisu, take the kan rings with the left hand, put them on the kettle, and pull the kettle back to it’s first position (Img 37). Put the kettle back in the hearth (Img 38). Leaving the kan rings still attached, take the paper trivet and tap it over the sumitori (Img 39). Put it into the kimono with the right hand, correct the level of the kettle, and take of the kan rings. With the mouths of the kan facing up, put them into the sumitori. Move back one knee, take the habouki, and dust the lid of the kettle (Img 40). Place the habouki on top of the sumitori (Img 41).
Take the hibashi with the right hand, change your grip to the left hand, and take the habouki with the right hand. Dust the tips of the hibashi two times (Img 42). Turn them over and dust them once. Return the habouki to it’s place.
Holding the hibashi with the left hand, turn to face the daisu, and put them with the right hand into the shakutate (Img 43). Return to face the hearth. Fold the fukusa at your waist to crack the lid of the kettle (Img 44). Turn to face right diagonally, take the haiki, and go to exit (Img 44). Sit at the host’s entrance, open the door and enter the mizuya. Return to pick up the sumitori and exit (Img 46). Placing it before one’s knees, close the host’s entrance.
When one returns for haiken, sit facing the kougou and answer any questions. Holding, exit (Img 47). Place the kougou at the jamb of host’s entrance, and give a communal bow (Img 48). Finished!

灰をまき終わると灰器を元に戻し(写真28)、羽箒を取り、中掃きをし羽箒を元に戻し、炭斗を両手で元の位置に戻し火箸を右手で取り、左手に持たせ(写真29)、右手で胴炭を炉中につぎ、懐紙で〔指先を清め、火箸を持ち直して、順次つぎます。
点炭をつぎおわると、末客から次礼して自席にもどります。
火箸を炭斗に戻し(写真30)、羽箒を取り、後掃きをして(写真31)、炭斗の上にのせ(写真32)、香合を右手で取り、左掌にのせ、蓋を縁内、炭斗の正面左寄りに置き、火箸を取り、左手で扱って持ち替え、香をたきます(写真33)。
火箸を炭斗の中に入れ、香合の蓋を右手で取り(写真34)、閉めます。
正客より香合の拝見の所望があるとこれを受け(写真35)、正面を正し、炉の右向こうに出します(写真36)。
台子正面に回り、左手でかんを取って、釜にかけ、最初にあげた位置まで、引き寄せて(写真37)、釜をかけ(写真38)、かんをずけたまま左手で釜敷を取り、炭斗の上で打ち(写真39)、右手で懐中し、釜のゆがみを正しかんをはずし、合口を上にして炭斗のほうにもたせかけ一膝さがり、羽箒を取り、釜の蓋を掃き(写真40)、羽箒を炭斗の上にのせます(写真41)。
右手で火箸を取り、左手に持ち替え、羽箒を右手で取り、火箸の先を二度掃いて(写真42)、かえして一度掃き、羽箒を元に戻します。
火箸を左手に持ち、台子正面に回り、杓立に右手でさし(写真43)、炉正面に戻り、腰の帛紗を捌いて釜の蓋を切ります(写真44)。右ななめに回り、灰器を持ってさがり(写真45)、坐って茶道口を開けて水屋に入り、つづいて炭斗を持ってさがり(写真46)、膝前に置いて茶道口閉めます。
拝見物が戻ると、香合正面に坐り問いに答、持ってさがり(写真47)、茶道口建付けに香合を置き、主客総礼をして(写真48)、終わります。

Daisu Shozumi-Demae for the Hearth (Part 1 of 2)

Display the habouki (feather brush) and kogou (incense container) on the front left of the top board of the daisu (Img 1). Shimeshibai (damp ash) is generally sprinkled inside the ro. Put in the shikikou (underlying incense) and then three sticks of shitabi (starter charcoal). Put on the kettle.
Set the sumitori down by the pillar of the host’s entrance. The host and guests give a communal bow (Img 2). Carrying in the sumitori and lace it to the right side of the ro (Img 3). Then carry in the haiki and close the door. Holding the haiki (Img 4), sit right-diagonally in front of the ro. Place the haiki at the tatami’s bottom edge (Img 5). Turn to face the daisu. With the right hand, take the habouki (Img 6). Place it in front of the knees horizontally like the character 一 (Img 7).
Next, take the kogou with the right hand (Img 8) and place it on your left palm. Holding the habouki in your right hand so the kogou is sort of under it’s tip (Img 9), return to face the ro. Place the habouki in the space between the ro and sumitori, just left of the latter (Img 10). Place the kogou in front of the sumitori inside the edge of tatami (Img 11). Turn to face the daisu. Touch both hands to the ground. With the right hand, pull out the hibashi from the shakutate (Img 12). Turn them horizontally and hold them with the left hand (Img 13). Return to face the ro. Place them aligned to the right of the habouki (Img 14).
If a lady, using a tomobuta, or the kettle’s knob is nanryou, fold the fukusa at one’s waist, close the kettle lid (Img 15), and return the fukusa to the waist.
Take the kan rings from inside the sumitori and fasten them to the kettle (Img 16). Take the paper trivet from the front kimono pocket with the right hand and place it with the left hand near they left knee (Img 17). Move one knee forward, raise the kettle (Img 18), and place it on top the trivet (Img 19). Pull it until conveniently to one’s far side. Unfasten the kan rings and place them to the left of the kettle with the left hand (Img 20). Return to face the ro. Take the habouki with the right hand and do the shobaki (Img 21). Place the habouki diagonally to the right of the kogou (Img 22). When shobaki starts, the guests should veiw it from close by the ro, in order from the first guest and giving a bow to the next guest.
Take the hibashi, and using the left hand, adjust one’s grip (Img 23). Fix the shitabi, and deposit the hibashi into the sumitori (Img 24). With both hands, shift the sumtori farther to the right (Img 25). Turn diagonally right and take the haiki with the right hand (Img 26). Return to face the ro. Place the haike in the prescribed position (Img 27) and sprinkle in the ash.

台子 炉 初炭手前
羽箒と香合を台子天板左手前に荘っておき(写真①)、炉中には湿し灰を全体にまき、敷香をして下火三本をを入れて、釜をかけておきます。
炭斗を茶道口建付けに置き、主客総礼して(写真②)、運び出し、炉の右横に置き(写真③)、つぎに灰器を持ち出し茶道口を閉め、灰器を持って(写真④)、炉の前右ななめに坐り、灰器を敷合わせに置き(写真⑤)、台子正面に回り右手で羽箒を取り(写真⑥)、膝前に横一文字に置きます(写真⑦)。
つぎに香合を右手で取り(写真⑧)、左掌にのせ、右手で羽箒を持ち、羽先の下に、香合があるようにして(写真⑨)、炉正面に戻り、羽箒を、炭斗と炉の間左寄りに置き(写真⑩)、香合を炭斗の正面、縁内に置き(写真⑪)、台子正面に回り、両手をつき、右手で杓立の火箸を抜き(写真⑫)、横にして左手に持たせ(写真⑬)、炉正面に戻り、羽箒の右に並べて置きます(写真⑭)。
婦人、共蓋、摘みが南鐐の場合は腰の帛紗を捌き、釜の蓋を閉め(写真⑮)、帛紗を腰につけます。
炭斗の中のかんを取り、釜にかけ(写真⑯)、懐中より紙釜敷を右手で取り出し、左手で左膝脇に置き(写真⑰)、一膝前に進み、釜をあげ(写真⑱)、釜敷の上にのせます(写真⑲)。勝手付きまで引き寄せて、かんをはずして、左手で釜の左に置き(写真⑳)、炉正面に戻って、羽箒を右手取り、初掃きをし(写真21)、羽箒を香合の右のほうにななめにおきます(写真22)。客は初掃きが始まると正客より順に次礼をして炉辺に寄って拝見します。
火箸を取り、左手で扱って持ち替え(写真23)、下火を直し、火箸を炭斗の中にあずけ(写真24)、炭斗を両手で右向こうに突(写真25)、右ななめに回り右手で炭器を取り(写真26)、炉正面に戻り、灰器を定座に置き(写真27)、灰をまきます。

Taken from Urasenke Chado Curriculum 9: Shelf Procedures

Tabi Dansu (Traveling Chest)

Favoured by Rikyu, it was created for use on the occasion of the Odawara Conference, it is said.
A tea shelf of plain palownia wood, it is fitted with a kendon style door. Fixed with a metal latch, it also has a metal pull.
On both left and right sides, a bar to hold it by is fixed.
Inside, a middle and upper shelf are attached. On the bottom shelf, the mizusashi is arranged; on the middle shelf the natsume and chawan are. On the upper shelf, there is a notch used to hang the hishaku.
The height is 1 shaku, 4 sun, and 8 bu. The width is 1 shaku, 1 sun, 4 bu. The breadth is 9 sun.
If it is an outside event, or if practicing as if it were, take out the middle shelf and use it on which to arrange the natsume and chasen. It can be used with the brazier or the hearth.

Thin Tea Procedure
With the natsume on the middle shelf of the tana, place the mizusashi on the bottom board. Hang the hishaku on the upper shelf, beneath this, place the futaoki on top the bottom board. Close the door and latch it.
At the chadoguchi’s entrance, set down the chawan and open the fusuma door. Give a communal bow and pick up the chawan. Advance to the front of the tana and sit (Photo 1). Temporarily place the chawan at katte (Photo 2), and lift up the latch to release it with your right hand (Photo 3). Insert the door into it’s receiving groove (Photo 4). While steadying it with the left hand, pull it towards you (Photo 5). Holding the left corner of the door with the right hand, lean it against the left side of the tana (Photo 6).
Move the mizusashi forward the edge of the bottom board (Photo 7), take the natsume from the middle shelf (Photo 8), and place it close to the right-front of the tana (Photo 9). Arrange the chawan next to the natsume (Photo 10). Take the futaoki, set on the left palm (Photo 11), and turn towards the corner of the hearth. Place the futaoki next to the hearth (Photo 12), and remaining there, take out the hishaku from the tana (Photo 13). Handling it, place it on futaoki (Photo 15).
The rest of making and serving tea is the same as the making thin tea with the hearth using a tana.
After closing the lid of the mizusashi, accept the request for haiken. Take and handle the hishaku, and hang it on the upper shelf of the tana. Take the futaoki, place it on the left palm, turn to the front of the tana, and place it at katte of the bottom board (Photo 16). Move the chawan to the wall, take the chaire, place it on the left palm, and turn towards the guests. Fold the fukusa (Photo 18), and put out the natsume at next to the hearth.
Turn to face the front of the tana, take the kensui (Photo 19), and fall back to the mizuya. Bring in the mizutsugi and sit in front of the tana. Using three hands, lean the lid of the mizusashi against the front of the mizusashi (Photo 20, 21), Pour some water (Photo 22), Close the lid of the mizusashi, move the mizusashi further inside, and return carrying the mizutsugi (Photo 23).
Coming back in to take back the utensils that were veiwed, answer any questions. Then take the natsume and chashaku (Photo 24), turn to the front of the tana, leave the chashaku on top of the tana (Photo 25), transfer the natsume to the right hand, and put it away on the middle shelf (Photo 27). With the right hand above and the left hand below, grab the door and pull it out (Photo 28). Holding the metal latch up with the right thumb, insert the lower part of the door into the bottom board’s groove, supporting with your left hand (Photo 29). Close the door, let go of the latch (Photo 30), and insert the latch from the top to the bottom (Photo 31).
Picking up the chashaku from the top with three hands (Photo 32), fall back to the chadouguchi. Place the chashaku at the doorjamb and finish with a communal bow.

旅箪笥
利休好みで、小田原の役の際、創案されたといわれています。
桐木地の棚で、倹飩蓋がはめられ、落としこみの金具がついており、引手金具ともなります。左右両面には、持ち手の桟が付いています。
内部は、中棚と上棚がつけられ、地板に水指、中棚に棗、茶碗を仕組み、上棚には柄杓掛け用の切り込みがあります。
高さ一尺四寸八分、幅一尺一寸四分、奥行九寸です。
野点の場合、芝居として、中棚の板ははずして棗、茶筅を置き合わすのに用います。風炉、炉とも用います。

薄茶点前
棚の中棚に棗、地板に水指を置き、柄杓を上棚に掛け、その下、地板上に蓋置を置いて戸を閉め、掛け金をしておきます。
茶道口建付けに茶碗を置いて襖を開け、総礼をして茶碗を持ち出し、棚正面に進んで坐り(写真①)、茶碗を勝手付きに仮置きし(写真②)、掛け金を、右手で上にはずし(写真③)、戸の受け金に差し込み(写真④)、左手を添えながら点前に引き(写真⑤)、右手で戸の左角を持ち、勝手付き、棚の横に立てがけます(写真⑥)。
水指を地板いっぱいまで引き出し(写真⑦)、中棚の棗を取り(写真⑧)、棚正面右寄りに置き(写真⑨)、茶碗を棗と置合わせます(写真⑩)。蓋置を取り、左掌にのせ(写真⑪)、居前まで回り、蓋置を定座に置き(写真⑫)、居前のまま、柄杓を棚から出し(写真⑬)、扱って(写真⑭)、蓋置に引きます(写真⑮)。
以下茶を点てて出すのは、棚の炉薄茶点前と同様です。
水指の蓋を閉めたとき、拝見の所望があると受けて、柄杓を取り扱って、棚の上板に掛け、蓋置を取り、左掌にのせて棚正面に回り、地板勝手付きに置き(写真⑯)、茶碗を勝手付きに割付け、棗を取り(写真⑰)、左掌にのせて客付きに回り、帛紗を捌いて(写真⑱)、棗を定座に出します。
棚正面に回り、建水を持って(写真⑲)、水屋にさがります。水次を持ち出して棚正面に坐り、水指の蓋を三手で、水指の前に立てかけ(写真⑳21)、水を注ぎ(写真22)、水指の蓋を閉めて、水指を奥に入れ、水次を持ちかえります(写真23)。
拝見物が戻ると取りに出て、問いに答え、棗、茶杓と持ち(写真24)、棚正面に回り、茶杓を天板にあずけ(写真25)、棗を右手に持ち替えて(写真26)、中棚に仕舞い(写真27)、右手上、左手下と戸を持ち、引き出して(写真28)、掛け金を右手親指が上になるように持ち、地板の溝に戸の下部がはまるように左手を添えて入れ(写真29)、戸を閉め、掛け金をはずし(写真30)、上から下に掛け金を差し込みます(写真31)。
天板の茶杓を三手扱いで持ち(写真32)、茶道口にさがり、建付けに茶杓を置いて、総礼をして終わります。

Urasenke Chado Curriculum 1
The Basics of the Way of Tea: Warigeiko
by Soshitsu Sen, Publisher: Tankosha

Knowledge of the Mizuya: The Kettle

Rikyuu Koji said, “If he has one kettle, a person can follow the way of tea”. Hanging the kettle and so on instead of having a chaji or chakai is called a country kettle. The kettle is the thing that is the heart of the way of tea, but isn’t the treatment and settlement of the kettle a treament unexpected and plain?

First, when you use an old kettle after a long time, slowly bring water to boil with a weak fire. Change it to cold water two or three times. You need to take away the smell of storage and rust. If this is not done, however famous bowl and fine quality tea you use, even using famed water, it is impossible to give satisfaction. Also, if it is a new kettle, in the same way (go) slowly and change the water to take away the metallic taste and smell of lacquer. If you don’t do this with cold water, you cannot make delicious tea. After that, when you can produce the water, well water, and tap water because recently utensil that remove the dry-wood and so on have been produced, it is possible to use delicious water. For treating the kettle, of foremost (importance) is that directly touching the kettle surface with your hands should be avoided. And when hanging the kettle in the fire it is nessiscary to use charcol fire, avoiding gas fire and briquettes. Let’s endevour to treat it well by not grudging the trouble and labor it takes.

First, set the kettle on top the drainboard in the mizuya, of course placing it on the kamasue. Next, wash the kettle’s surface completely with water, pour water into the kettle about halfway (full), and wash the inside. Empty the water out, of course using a cloth. Using the kettle rings to return the kettle should be avoided. Especially, it is unsightly to use the brass mizuya rings to return the kettle, with the rings clinging near the kettle lugs. For such kettles as those (last) used a long time ago, the hanging wash is nessicary three times. When pouring the water into the kettle, use a strainer. Be very careful so trash and stuff isn’t poured in. The amount changes according to the kettle’s shape, but as a rule, 80 percent full or to the kettle lug’s level is suitable. If it is filled with water, twist on the mizuya rings, place it temporarily on top the cloth, take the water falling from the kettle’s surface with the cloth, hang it in the hearth or brazier. Hang the kettle levelly in the middle of the hearth or brazier, and crack the lid. Use a dish cloth to wipe the kama lid too, because it is washed with water. As for the cleaning up of kettle (you) used, first, set it on the kamasue in the mizuya, and remove the rings. Next, scoop out one cupful of the kettle’s hot water with the hishaku, pour over the kettle surface, and wash away any dust or ash attached to the surface. Scoop out cold water with the hishaku, pour in to the kettle about two cupfuls, and wash the kettle surface. Take hot water in the chakin basin and empty out the kettle’s hot water. Leaving it atop the kamasue, set it upside down, and gently scrub the wash the bottom of the kettle. This time, if the kettle is an old one, use the cloth. Such a gentle beating doesn’t damage it. When you use a cut-straw brush, since the tines fall, utilize only the bottom of the base. When it has become clean, gently push it against the cloth, taking the bottom part’s dampness. From there, set the kettle atop the cloth, and gently pushing it against something like bleached cotton, because (we) don’t rub the moisture on the kettle’s surface. In the hearth that the fire was built in, slowly dry the kettle without the lid on that residual fire. If the residual fire is strong, the portion that is the inside of the bottom of the kettle can be damaged, so take caution. Also, wash the lid, gently wipe with a dish cloth, and dry in the mizuya. Before putting it into a box for safekeeping, let it dry in the shade for two or three days.

裏千家茶道教科1
初歩の茶道 割稽古
千宗室著、  淡交社刊

水屋の心得、 釜

利休居士は「釜一つあれば茶の湯はなるものを」と言われていますが、茶事、茶会の代わりに、釜をかけるとか在釜と称し、茶の湯の中心になるものが釜ですが、この釜の扱い後始末となると意外と粗末に扱われているのではないでしょうか。

まず古い釜を久方振りに使うときは、弱い火でゆっくり湯をわかし、水を変えて、二、三度蔵さびのにおいを取ることが必要です。これをしないといかに名碗、極上の茶を使い、名水を用いても客に満足を与えることを不可能です。また、新しい釜の場合も同じ様に、ゆっくりと水を変えて金気、うるしのにおいなどをとり、水になれさせなければ美味しい茶を点てることができません。それに使う水はできれば井戸水、水道の水でも近頃はカレキなどをのぞく器具ができているので、美味しい水を使うことが可能です。釜を扱うのに、第一直接釜肌に手をふれることはざけるべきで、火に釜をかけるのにも、ガス練炭などはさけて炭火を用いることが必要です。手数、手間をかけることをいとわずに、扱うよう心がけましょう。

まず水屋のすのこの上に、必ず釜据をおいて釜をのせます。次に釜の肌に水をかけすっかり洗い流し、釜の中に半分ほどみずを入れて、中を洗います。釜の水をあけるのには必ず、準巾を使ってあけます。釜鐶を使って釜を返すことはさけるべきです。特に真鍮の水屋鐶を使って釜を返すと、鐶付付近に直鍮がこびりついて見苦しくなります。久し振りの使う釜などは、三度位は水をかけて洗う必要があります。釜に水を入れるときは水こしを使い、ごみなどが入らないよう十分気をつけます。分量は釜の形によって変わることもあるが、およそ八分目、鐶付位が適当です。水が入ってたら、水屋鐶をかけ、一度雑巾の上にのせて、釜肌から落ちる水を雑巾で取り、炉なり、風炉にかけます。釜は炉、風炉の中央に水平にかけ、釜の蓋を切ります。釜の蓋も、水で洗ってから、布巾で拭いて使います。使った釜の後始末は、まず、水屋の釜据にのせて、鐶をはずし、次に、釜の湯を柄杓ですくって釜肌にかけて、肌についた灰、ほこりなどを洗い流し、柄杓で水をすくって、釜に二杓ほど入れては釜肌に流して、茶巾盥に湯を取り、釜の湯をあけます。そのまま釜据の上に、裏返してのせ、釜の底を軽くこすって洗い流します。このとき釜が古いものの場合は雑巾を使って、軽くたたくようにすると釜をいためません。切りわらを使うとき、羽落より下の底のみに使用します。きれいになったら、雑巾で軽くおしあてるようにして、底の部分の水気を取ります。それから、雑巾の上に釜をのせて、さらしのようなもので、釜の肌の水気をこすらず軽くおしあてて取ってから、火をあげた炉に余火でゆっくり蓋をせず釜を乾かします。余り火が多いと釜の底の内側にある部分(なり)を損じるので、注意します。また蓋も洗って布巾で軽くぬぐって、水屋で乾かします。箱に入れて保管するときは、この上二、三日は陰干しをします。