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).


  • 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.)
  • 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.

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!


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

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.



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.

初歩の茶道 割稽古
千宗室著、  淡交社刊

水屋の心得、 釜