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# 1629 Wednesday, November 26, 2003 - Editor: Joyce (Know_Mystery)
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I dip my robes in the Cherry Blossoms so that I may remember them when they are gone. ~ Kino Aritomo ~ (Editor's Note: Ron Brown ~ Spiritual Friends supplied the Way of Tea material in this issue)
Chado - The Way of Tea What is the Tea Ceremony? An Introduction to the Tea Ceremony Zen
is not about Sundays. There is no Sabbath...nor special
day. Zen is not about church. There is no special
place where one can be at rest. Zen is not about God or
Buddha. There is no entity greater than any other. Zen is
about life. "Of
great importance to the Way of Tea is the concept of
kokoroire. Written with two characters, the first
character represents "heart-spirit-mind": the
second, "to put in." In other words, the host
puts his whole being into the intent of creating an
atmosphere wherein the guest can find
tranquility’’ As is Zen, so is tea. There
is nothing special about a Tea Ceremony. The ceremony is
like any other event in your life: it is one moment. It
is like the cherry blossoms of the spring. They bloom
and, for a few moments, radiate with an elegant beauty.
Then they are gone. But
we do not lose sight of the beauty just because the
flower has disappeared. The simple glory of the flower
stays with us. I
think that the tea ceremony is very much like this
flower. For one brief moment, our lives are everything we
would want them to be: elegant, ordered and peaceful. Yet
when the Tea Ceremony ends, do our lives fall into
disorder? Do we lose all sense of grace? Of course not. The Ceremony is not the source of these
things which we want our lives to be, it is simply a
focus for achieving them. The
flower is not beauty...beauty is the feeling it evokes in
us. The
tea is not peace...peace is the feeling it evokes in us. We
take the tea with us. Thus when the ceremony has ended,
we will still remember it and all it has evoked in us. It
is simply an example of peace in our lives. It
exemplifies the single minded effort that is necessary. When
one serves tea, that is all that one does. In order to
serve the tea properly, one must have the proper
mind. If one's mind is not
directed, it will wander to other things. The tea will be
too hot or too cold, too strong or too weak. Steps will
be eliminated, not by choice, but by mistake. This is not
the proper way to serve tea. All
activities are like this. How can one drive safely during
rush hour if one's mind is lost in thought about a late
homework assignment? Everything we do should be a single
minded effort, directed towards the task at hand. So,
while we don't drink tea everyday...Tea is part of our
everyday lives. Chad Brinkley
(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/5/1_5_3.html) ~~~
The preparation and drinking of tea could be an
expression of the Zen belief that every act of daily life
is a potential act that can lead to enlightenment. The
principles which govern the Japanese Tea Ceremony are harmony,
respect, purity, and tranquility, which combine with
what might be called the Zen aesthetic of emptiness to
give the Tea Ceremony its distinctive feel. In Zen,
everything which is not necessary is left out; this is as
true of the mind as it is as of the physical setting. The
spirit of austere simplicity pervades the Tea Ceremony.
Each utensil has a specific purpose, and only those
utensils which are necessary for the Ceremony are brought
into the tea room. Nothing superfluous is added.
Moreover, before making a bowl of tea, the host ritually
cleanses each utensil, just as the student of Zen empties
or "cleans" the mind through study of Buddhism.
In Tea, this is known as the principle of
purity. Practitioners of Tea rid their minds of
attachment and worldly concern, and, in short, of every
unnecessary thing. The host focuses entirely on serving a
cup of tea; the guest, entirely on receiving it with
gratitude. In so doing, both guest and host focus
completely on the present moment, another fundamental
practice of Buddhism. In
Tea, there is space between things, both in the physical
setting of the tea room and in the Ceremony itself. To a
Buddhist, this is the way the universe itself is
structured, and in tea this is the principle of harmony
with the rhythms of nature. This is what Senno Rikyu
meant when he admonished his disciples, "In summer
suggest coolness, in winter, warmth" - not to avoid
the changing of the season, but rather, as Soshitsu Sen
XV suggests, to practice a way of enjoying each season
as it comes (Tea Life, Tea Mind, 36). Zen
further suggests that in order to attain the Zen ideal of
emptiness of mind, we need a discipline or way to guide
our practice. Tea provides such a discipline. In Tea,
mind and body are disciplined by adding certain
restraints, which, in a sense, leads to a greater
freedom. Like zazen, Tea espouses an idea of
naturalness or freedom which is not the same as
sloppiness or an "anything goes" mentality.
Shunryu Suzuki reminds us that "nothing exists
without form and color" (Zen Mind, Beginner's Mind,
108) and so Tea, like zazen, is formalized.
Certain actions are appropriate to the different stages
of the Tea Ceremony, other actions are not; movement too
is formalized, and even the aesthetics of the tea room
are governed by formal principles. It is by practicing
Tea within this disciplined formality that host and
guests obtain a true sense of tranquility. ~~~
Jonathan Conant (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/5/1_5_1.html)
'Make a delicious bowl of tea; lay the charcoal so that it heats the
water; arrange the flowers as they are in the
field; in summer suggest coolness; in winter, warmth; do everything ahead of time; prepare for rain; and give those with whom you find yourself
every consideration.' (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/4/1_4_1.html)
Japanese characters for WA (Harmony) KEI (Respect) SEI(Purity) JYAKU (Tranquility) These four principles guide the rules of
the Way of Tea and signify the highest ideals of the Way
of Tea. Furthermore, they are the important
principles of humanity. In the busyness of everyday
activities, it is valuable for each one to take time and
ponder upon each principle and utilize it for one’s
spiritual cultivation. Thus, through a bowl of tea, one
can acquire peace of mind, and contribute to the
establishment of world peace. Sen Soshitsu , Urasenke
Grand Tea Master XV, has been traveling all over the
world with the goal, Peace through sharing a bowl of tea. (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/3/1_3_1.html) Harmony
between ourselves and nature between
all the different aspects
of our surroundings
between nature's seasons and our
man-made environment
between us and other people Harmony never means that everything
becomes alike. The point is to achieve a balanced
relationship, not between things which are identical, but
between things which are complementary.
... Harmony with contrast,
as in the black ink of
the words and the
space of the
white paper.
Harmony weaves everything together
into an intricate,
yet oh-so-simple web.
Respect
for the moment
for each person
for time
for ourselves
for the objects we use
for nature
Respect could
be defined as
the act of giving
particular attention
to the recipient. In
showing respect, we demonstrate
our understanding of the
interconnectedness of all things.
And having shown respect, we
understand even better
why it is valued.
Purity
of mind
(like the clear stream)
of purpose
(has everything unnecessary been swept away?)
of action
(at any one moment, we should be completely
focused on the action of that moment)
of vision
(do I see my goal clearly?...)
To be pure is to contain nothing
that does not properly belong;
so that we are not weighed down
or distracted by that which
contributes nothing to the good
of the whole.
Tranquility
the state of being free from agitation of mind
and spirit.
If we are in harmony with
our surroundings and if we
respect the moment and what
it brings us, then we can
achieve purity of mind, purpose
and action, and thus carry
with us a state of tranquility.
Tranquility
through the practice of
Harmony
Respect and Purity
is ours to choose,
and ours to create
within ourselves.
A Message from Soshitsu Sen, Urasenke
Grand Tea Master XV Chado, the Way Of Tea, is based upon the
simple act of boiling water, making tea, offering it to
others, and drinking of it ourselves. Served with a
respectful heart and received with gratitude, a bowl of
tea satisfies both physical and spiritual thirst. The frenzied world and our myriad dilemmas
leave our bodies and minds exhausted. It is then that we
seek out a place where we can have a moment of peace and
tranquillity. In the discipline of Chado such a place can
be found. The four principles of harmony, respect, purity
and tranquility, codified almost four hundred years ago,
are timeless guides to the practice of Chado.
Incorporating them into daily life helps one to find that
unassailable place of tranquility that is within each of
us. As a representative of this unbroken
Japanese tradition of four hundred years, I am pleased to
see that many non-Japanese are welcoming the chance to
pursue its study. This growing interest in Chado among
peoples of all nations leads me to strive even harder to
make it possible for more people to enter the Way of Tea. (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/1/1_1_2.html) Urasenke Grand Tea
Master XV An Explanation by Sen Soshitsu in Tea Life, Tea Mind: “The simple act of serving tea and
receiving it with gratitude is the basis for a way of
life called Chado, the Way of Tea. When serving a bowl of
tea in conformity with Tea etiquette, a cultural
synthesis of wide scope and high ideals, is brought into
play with aspects of religion, morality, aesthetics,
philosophy, discipline, and social relations. The student of Tea learns to arrange
things, to understand timing and interludes, to
appreciate social graces, and to apply all of these to
daily experience. These things are all brought to bear in
the simple process of serving and receiving a bowl of
tea, and are done with a single purpose – to realize
tranquility of mind in communion with one’s fellow
men within our world. It is in this that the Way of Tea
has meaning for today. With a bowl of tea, peace can truly
spread. The peacefulness from a bowl of tea may be shared
and become the foundation of a way of life.” (Tea
Life, Tea Mind, p. 9) (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/1/1_1_3.html) The History of the Way of
Tea - Focusing on Famous Tea Masters Tea was first of all a medicine. The tea
plant probably originated in the mountainous region of
southern Asia and was brought to China. By the Tang
Dynasty (616-907), tea was drunk mainly for the enjoyment
of its flavor. Tea was so important that it was the
subject of a three -volume work called Ch’a Ching,
the Classic of Tea. At that time, tea leaves were pressed
into brick form. To prepare tea, shavings were taken and
mixed with various flavorings, such as ginger or salt,
and boiled. Later, during the Song dynasty (1127-1280),
green tea leaves were dried and then ground into a
powder. This powered green tea was mainly used for
ceremonial purposes in temples, but was also appreciated
for its taste by laymen. Some tea was probably brought to Japan
during the height of cultural contact with Tang China.
Kukai, patriarch of the Shingon sect of Buddhism, brought
tea in the brick form from China to the Japanese court in
the early ninth century. The drinking of tea was confined to the
court aristocracy and Buddhist ceremonies until the
twelfth century. Eisai (1141-1215), founder of Rinzai
Zen, reintroduced tea to Japan upon his return from study
in China. He also wrote Kissa Yojoki, a treatise that
extolled the properties of tea in promoting both physical
and spiritual health. Eisai’s interest in tea was shared by
his renowned disciple, Dogen (1200-1253), who is called
the founder of the Soto sect of Zen Buddhism. When Dogen
returned from China in 1227 he brought with him many tea
utensils, and gave instructions for tea ceremonies in the
rules which he drew up for regulating daily life at the
Eiheiji temple founded by him in Fukui prefecture. Appreciation of tea did not remain
confined to temples. Its popularity spread among the
court nobles of Kyoto and among the warrior class. The
tea gatherings of this era were boisterous affairs and
included contests in which participants identified
various teas and prizes were offered to the winners.
These were usually accompanied by linked-verse sessions,
liberal consumption of sake, and gambling, along with
ostentatious displays of expensive tea utensils imported
from China. Especially notorious for extravagant tea
parties was the fourteenth-century nobleman, Sasaki Doyo.
This flaunting of things Chinese was a fad among the
warrior leaders, who went so far as to send their own
special envoys to China to collect art objects. (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_1.html) Nevertheless, contained in these
gatherings were elements which were refined into the tea
gathering of today. For example, the banquet became
the light meal that often precedes the drinking of tea,
overindulgence in sake evolved into an exchange of a few
small cups of it, gorgeous arrays of flowers and displays
of painted screens were reduced to a simple arrangement
of flowers and a single scroll hanging in the tokonoma.
Today, appreciation of the host’s specially selected
utensils is still of great importance. The process of refinement of the
procedures to make tea involved a complex interaction of
various elements: the ceremonial tea of the temples; the
extravagant social teas of the aristocracy; the rise, in
the fifteenth and sixteenth centuries, of a newly
prosperous and influential merchant class; and the
powerful personalities of three men, Murata Shuko, Takeno
Jo-o, and Sen Rikyu. Murato Shuko (1422-1503) lived during the
brilliant culture of the Muromachi period (1392-1573).
Shuko was from Nara and had probably participated in tea
gatherings that included popular amusement such as
bathing. Later he came in contact with Noami, an artistic
advisor of Shogun Ashikaga Yoshimasa who was versed in
the procedures of tea as it was served in Kyoto. After
this meeting he moved to Kyoto, entered the Buddhist
priesthood, and studied Zen under the direction of the
famous Ikkyu (1394-1481), abbot of Daitokuji, from 1474
until the death of the latter. There is evidence that
Ikkyu was acquainted to some extent with Chinese as well
as Korean tea procedures, and it seems likely that he
imparted what he knew to his pupil. Within the Tea of
Murata Shuko was the awakening of the concept that tea
went beyond entertainment, medicinal value, or temple
ceremony; that the preparation and drinking of tea
could be an expression of the Zen belief that every act
of daily life is a potential act that can lead to
enlightenment. This belief manifested itself in the
development of a new aesthetic for Tea, an aesthetic
which sought beauty in the imperfect and in the simple
object of everyday life. Shuko once said that,
more than a full moon shining brightly on a clear night,
he would prefer to see a moon that was partially hidden
by clouds. Likewise, Shuko found beauty in Japanese
utensils, which had been considered inferior to those
from China. In a letter to one of his disciples, he
wrote, “It is most important to seek as many
admirable traits in Japanese objects as in Chinese.” (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_2.html) Read more at:
(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_3.html) (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_4.html) (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_5.html) (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_6.html)
Sen Rikyu (1522-1591), the greatest
sixteenth century tea master, identified the
spirit of the Way of Tea with four basic principles of
harmony, respect, purity, and tranquility. These four principles guide the rules of
the Way of Tea and signify the highest ideals of the Way
of Tea. Furthermore, they are the important principles of
humanity. In the busyness of everyday activities, it is
valuable for each one to take time and ponder upon each
principle and utilize it for one's spiritual cultivation.
Thus, through a bowl of tea, one can acquire peace of
mind, and contribute to the establishment of world peace.
Sen Soshitsu , Urasenke Grand Tea Master XV, has been
traveling all over the world with the goal, Peace through
sharing a bowl of tea. (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/3/1_3_1.html) "A disciple of Sen Rikyu once asked
this question: 'What precisely are the most
important things that must be understood and kept in mind
at a tea gathering?' Sen Rikyu answered: 'Make a delicious
bowl of tea; lay the charcoal so that it heats the water;
arrange the flowers as they are in the field; in summer
suggest coolness; in winter, warmth; do everything ahead
of time; prepare for rain; and give those with whom you
find yourself every consideration.' The disciple, somewhat dissatisfied with
this answer because he could not find anything in it of
such great importance that it should be deemed a secret
of the practice, said, 'That much I already know....' Rikyu replied, 'Then if you can host a tea
gathering without deviating from any of the rules I have
just stated, I will become your disciple.'" (Tea
Life, Tea Mind, p. 30) (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/4/1_4_1.html)
These Seven Rules of Rikyu have been
revered and handed down as the most important guides for
one's proper attitude in the Way of Tea. Even though we
call them rules, they, at first, seem to be seven totally
reasonable and unremarkable things. However, it would be
rash to think it unnecessary to discuss them, for they
are extremely difficult to observe in our daily life. The Way of Tea is not merely an art or
accomplishment or amusement, but is rather a way of life
possessing a strong ethical and moral character. The
Seven Rules of Rikyu, defining the attitude of one who
practices Tea, are considered a fundamental teaching. As
with most truths, the simpler the words, the stronger and
more straightforward they are, a nd the more forcefully
they strike our hearts." "Of great importance to the Way of
Tea is the concept of kokoroire. Written
with two characters, the first character represents
"heart-spirit-mind": the second, "to put
in." In other words, the host puts his whole being
into the intent of creating an atmosphere wherein the
guest can find tranquility. (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/4/1_4_2.html)
The principles which govern the Japanese
Tea Ceremony are harmony, respect, purity, and
tranquility, which combine with what might be called the
Zen aesthetic of emptiness to give the Tea Ceremony its
distinctive feel. In Zen, everything which is not
necessary is left out; this is as true of the mind as it
is as of the physical setting. The spirit of austere
simplicity pervades the Tea Ceremony. Each utensil has a
specific purpose, and only those utensils which are
necessary for the Ceremony are brought into the tea room.
Nothing superfluous is added. Moreover, before making a
bowl of tea, the host ritually cleanses each utensil,
just as the student of Zen empties or "cleans"
the mind through study of Buddhism. In Tea, this is known
as the principle of purity. Practitioners of Tea rid
their minds of attachment and worldly concern, and, in
short, of every unnecessary thing. The host focuses
entirely on serving a cup of tea; the guest, entirely on
receiving it with gratitude. In so doing, both guest and
host focus completely on the present moment, another
fundamental practice of Buddhism. Related to this is the principle of
respect, which binds host and guests together in the way
of Tea. The host offers his or her guest a sweet,
carefully makes a bowl of tea, then presents it,
respectfully asking the guest whether it is too hot. The
guest receives the tea with thanks. If there are other
guests present, the first guest does not assume the right
to drink first, but excuses him or herself for drinking
before the second guest. The second guest encourages the
first to do so; regardless of social rank and standing,
in the social dynamic of the Tea Ceremony, guest and host
respect one another equally. In Tea, there is space
between things, both in the physical setting of the tea
room and in the Ceremony itself. To a Buddhist, this is
the way the universe itself is structured, and in tea
this is the principle of harmony with the rhythms of
nature. This is what Sen no Rikyu meant when he
admonished his disciples, "In summer suggest
coolness, in winter, warmth" - not to avoid the
changing of the season, but rather, as Soshitsu Sen XV
suggests, to practice a way of enjoying each season as it
comes (Tea Life, Tea Mind, 36). Sen further suggests that in order to
attain the Zen ideal of emptiness of mind, we need a
discipline or way to guide our practice. Tea provides
such a discipline. In Tea, mind and body are disciplined
by adding certain restraints, which, in a sense, leads to
a greater freedom. Like zazen, Tea espouses an idea of
naturalness or freedom which is not the same as
sloppiness or an "anything goes" mentality.
Shunryu Suzuki reminds us that "nothing exists
without form and color" (Zen Mind, Beginner's Mind,
108) and so Tea, like zazen, is formalized. Certain
actions are appropriate to the different stages of the
Tea Ceremony, other actions are not; movement too is
formalized, and even the aesthetics of the tea room are
governed by formal principles. It is by practicing Tea
within this disciplined formality that host and guests
obtain a true sense of tranquility. Jonathan Conant (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/5/1_5_1.html)
Like a Catholic Mass, the Tea Ceremony is
a ritual in which shared food symbolizes the common bond
of humanity. The aim of both rituals is to cultivate
one's mind and soul; the stained glass windows in a
church are like the scrolls in the tokonoma which are
there to please the senses and to educate the mind.
Although far more inclusive and considerably less formal,
learning to perform a tea ceremony properly takes years
of training to develop the necessary understanding and
appreciation. Whether making or receiving a bowl of tea,
participation in a tea ceremony requires complete
concentration, both mental and physical. Each movement is
prescribed so as to be the most efficient. Such physical
control can exist only with a mind that is focused solely
on the present actions. An undisciplined mind or body
will not be able to perform or to appreciate the subtle
beauty of the tea ceremony. Just as the movements in the performance
of a tea ceremony are explicitly described, so too are
the aesthetics. Sen no Rikyu developed the style of tea,
the taste of which has pervaded Japanese society, based
on simplicity and almost rustic beauty. The flowers in
the tokonoma, the scrolls, all the tea utensils, and even
the tea house itself should be natural and unpretentious,
even austere. This aspiration toward a wabi/sabi beauty
is the aesthetic reflection of a philosophical acceptance
of the insufficiency. Zen teaches that there is no duality. The
way to happiness is to integrate all the dualism
(life/death, happiness/sorrow, wealth/poverty) into an
acceptance of one's immediate imperfect reality. The Tea Ceremony might almost be
considered a Zen mass as it is firmly rooted in that
philosophical tradition. When participating in a Tea
Ceremony, there is no room for outside deliberations; all
attention is focused on the activity at hand, which is
representative of life itself. The Tea Ceremony can be seen as an ideal
society in microcosm; the host and guests are in perfect
agreement, and everything is done with the utmost mutual
consideration. Seldom in social relations is there such
harmony. The host directs his or her complete attention
to the needs and comforts of the guest. The guest, in
turn, devotes all his or her attention to total
appreciation of the elements of the Tea Ceremony. This is
done with all possible sincerity. Directing all the heart
and mind toward providing for another person leaves no
room for vanity or greed. The complete and sincere
consideration for other people and nature which is
displayed in the Way of Tea is an expression of true
human morality. Christine Heitsch (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/5/1_5_2.html)
When we study Zen, we must clear our minds. In our daily lives we are constantly thinking, constantly choosing, constantly experiencing. Most of the time we are rushing from place to place, from thought to thought, from idea to idea. As a Zen abbot once observed, we spend most of our lives in movement. Sometimes, he said, it is best to stop that movement; to stop our thought, to cleanse our minds. We do not do this by denying our experience, or insisting it is evil or wicked, and thus trying to a void it. Rather, we change our approach. We rid our minds of every unnecessary thing. We free ourselves from our perceptions, which limit our horizons. We remove everything. This is the principle of emptiness, and it is important. But whatever is necessary, we bring back in again. If everything which we had before is necessary, we bring everything back. This is important too. In doing this, our perceptions change, and we come to understand things in a new way. So, as Shunryu Suzuki says in his book, Zen Mind, Beginner's Mind, "true understanding will come out of emptiness." (p.111) There is a saying in Zen: "So vast a mountain, not one bird calling." Throughout the expanse of nature, not a sound can be heard. This is an expression of the spirit of emptiness; Zen cultivates the ability to choose this. Really, we are continually surrounded by sounds - the murmur of a brook, the blowing of the wind through the trees, the calling of the birds - but if our practice is correct, we can stop them. When we practice zazen, we do not think. In our daily lives thoughts simply come to our minds. This is natural. But when we meditate, we clear our mind, and no thoughts reach it. Just so, if our practice is correct, we can choose to stop the sounds which constantly surround us. So, if not one bird can be heard calling, even on a vast mountain, then our mind is clear. Many people seem to believe that this is
somehow unnatural. This is because they are continually
thinking, and continually hearing. They believe that,
where one thing ends another must immediately begin, but
this is not exactly how the universe is constructed.
Sounds are continuous; often they even overlap. But there
is also a sense of the space between things. It exists
between objects and between sounds as well as between
thoughts. This too is the principle of emptiness, and
when we clear our minds we are cultivating the space
between things, and living in that space. This is not
unnatural; really, only the approach and the perception
are different. Jonathan Conant (http://www.art.uiuc.edu/galleries/japanhouse/tea/3/4/3_4_1.html) Panhala ~ Joe Riley Grace Mind Power to
believe deeply in something ~ et33 ~ |