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Traditional Japanese ceremony

The Japanese tea ceremony (known as 'The Way of Tea'; 茶道; sadō/chadō or (茶の湯)) is a Japanese cultural activity involving the ceremonial preparation and presentation of (抹茶), powdered green tea, the procedure of which is called (点前). The English term "Teaism" was coined by Okakura Kakuzō to describe the unique worldview associated with Japanese tea ceremony, as opposed to focusing just on the ceremonial aspect. In the 1500s, Sen no Rikyū revolutionized Japanese tea culture, essentially perfecting what is now known as the Japanese tea ceremony and elevating it to the status of an art form. He redefined the rules of the tea house, tea garden, utensils, and procedures of the tea ceremony with his own interpretation, introduced a much smaller tea house; ; chashitsu and rustic, distorted ceramic tea bowls specifically for the tea ceremony, and perfected the tea ceremony based on the aesthetic sense of ; [[Wabi sabi. Sen no Rikyū's great grandchildren founded the Omotesenke, Urasenke, and Mushakōjisenke schools of tea ceremony, and the tea ceremony spread not only to feudal lords; ; daimyo and the samurai class, but also to the general public, leading to the establishment of various tea ceremony schools that continue to this day. Zen Buddhism was a primary influence in the development of the culture of Japanese tea. Shinto has also greatly influenced the Japanese tea ceremony. For example, the practice of purifying one's hands and mouth before practicing the tea ceremony is influenced by the Shinto purification ritual of ; misogi. The architectural style of the chashitsu and the gate that serves as the boundary between the tea garden and the secular world have been influenced by Shinto shrine architecture and the shrine gate; ; torii. Much less commonly, Japanese tea practice uses leaf tea, primarily sencha, a practice known as 'the way of sencha'; 煎茶道; senchadō. Tea gatherings are classified as either an informal tea gathering ('tea gathering'; 茶会; chakai) or a formal tea gathering ('tea event'; 茶事; chaji). A chakai is a relatively simple course of hospitality that includes confections; ; wagashi, thin tea, and perhaps a light meal. A chaji is a much more formal gathering, usually including a full course kaiseki meal followed by confections, thick tea, and thin tea. A chaji may last up to four hours.

The first documented evidence of tea in Japan dates to the 9th century. It is found in an entry in the Nihon Kōki having to do with the Buddhist monk Eichū (永忠), who had brought some tea back to Japan on his return from China. The entry states that Eichū personally prepared and served sencha (tea beverage made by steeping tea leaves in hot water) to Emperor Saga, who was on an excursion in Karasaki (in present Shiga Prefecture) in 815. By imperial order in 816, tea plantations began to be cultivated in the Kinki region of Japan. However, the interest in tea in Japan faded after this. In China, tea had already been known, according to legend, for more than a thousand years. The form of tea popular in China in Eichū's time was "cake tea" or "brick tea"; 団茶; dancha – tea compressed into a nugget in the same manner as [[Pu'er tea tea. This then would be ground in a mortar, and the resulting ground tea mixed together with various other herbs and flavourings. The custom of drinking tea, first for medicinal, and then largely for pleasurable reasons, was already widespread throughout China. In the early 9th century, Chinese author Lu Yu wrote The Classic of Tea, a treatise on tea focusing on its cultivation and preparation. Lu Yu's life had been heavily influenced by Buddhism, particularly the Zen–Chán Buddhist school. His ideas would have a strong influence in the development of the Japanese tea. Around the end of the 12th century, the style of tea preparation called (点茶), in which powdered matcha was placed into a bowl, hot water added, and the tea and hot water whipped together, was introduced to Japan by Buddhist monk Eisai on his return from China. He also took tea seeds back with him, which eventually produced tea that was considered to be the most superb quality in all of Japan. This powdered green tea was first used in religious rituals in Buddhist monasteries. By the 13th century, when the Kamakura shogunate ruled the nation and tea and the luxuries associated with it became a kind of status symbol among the warrior class, there arose "tea tasting"; 闘茶; tōcha parties wherein contestants could win extravagant prizes for guessing the best quality tea – that was grown in Kyoto, deriving from the seeds that Eisai brought from China. The next major period in Japanese history was the Muromachi period, pointing to the rise of Kitayama Culture (:ja:北山文化), centered around the cultural world of Ashikaga Yoshimitsu and his villa in the northern hills of Kyoto (Kinkaku ji), and later during this period, the rise of Higashiyama culture, centered around the elegant cultural world of Ashikaga Yoshimasa and his retirement villa in the eastern hills of Kyoto (Ginkaku ji). This period, approximately 1336 to 1573, saw the budding of what is generally regarded as Japanese traditional culture as it is known today. The use of Japanese tea developed as a "transformative practice" and began to evolve its own aesthetic, in particular that of wabi sabi principles. Wabi represents the inner, or spiritual, experiences of human lives. Its original meaning indicated quiet or sober refinement, or subdued taste "characterized by humility, restraint, simplicity, naturalism, profundity, imperfection, and asymmetry" and "emphasizes simple, unadorned objects and architectural space, and celebrates the mellow beauty that time and care impart to materials." Sabi, on the other hand, represents the outer, or material side of life. Originally, it meant "worn", "weathered", or "decayed". Particularly among the nobility, understanding emptiness was considered the most effective means to spiritual awakening, while embracing imperfection was honoured as a reminder to cherish one's unpolished and unfinished nature – considered to be the first step to satori, or enlightenment. Central are the concepts of omotenashi, which revolves around hospitality. Murata Jukō is known in chanoyu history as an early developer of tea as a spiritual practice. He studied Zen under the monk Ikkyū, who revitalized Zen in the 15th century, and this is considered to have influenced his concept of chanoyu. By the 16th century, tea drinking had spread to all levels of society in Japan. Sen no Rikyū and his work Southern Record, perhaps the best known – and still revered – historical figure in tea, followed his master Takeno Jōō's concept of ichi go ichi e, a philosophy that each meeting should be treasured, for it can never be reproduced. His teachings perfected many newly developed forms in architecture and gardens, art, and the full development of the "way of tea". The principles he set forward – harmony (和), respect (敬), purity (清), and tranquility (寂) – are still central to tea. Sen no Rikyū was the leading teamaster of the regent Toyotomi Hideyoshi, who greatly supported him in codifying and spreading the way of tea, also as a means of solidifying his own political power. Hideyoshi's tastes were influenced by his teamaster, but nevertheless he also had his own ideas to cement his power such as constructing the Golden Tea Room and hosting the Grand Kitano Tea Ceremony in 1587. The symbiotic relationship between politics and tea was at its height. However, it was increasingly at odds with the rustic and simple aesthetics continuously advertised by his tea master, which the regent increasingly saw as a threat to cementing his own power and position, and their once close relationship began to suffer. In 1590, one of the leading disciples of Rikyu, Yamanoue Sōji, was brutally executed on orders of the regent. One year later the regent ordered his teamaster to commit ritual suicide. The way of tea was never so closely intertwined with politics before or after. After the death of Rikyū, essentially three schools descended from him to continue the tradition. The way of tea continued to spread throughout the country and later developed not only from the court and samurai class, but also towards the townspeople. Many schools of Japanese tea ceremony have evolved through the long history of chadō and are active today.

Japanese tea ceremonies are typically conducted in specially constructed spaces or rooms designed for the purpose of tea ceremony. While a purpose built tatami floored room is considered the ideal venue, any place where the necessary implements for the making and serving of the tea can be set out and where the host can make the tea in the presence of the seated guest(s) can be used as a venue for tea. For instance, a tea gathering can be held picnic style in the outdoors, known as (野点). For this occasion a red parasol called (野点傘) is used. A purpose built room designed for the wabi style of tea is called a chashitsu, and is ideally 4.5 tatami in floor area. A purpose built chashitsu typically has a low ceiling, a hearth built into the floor, an alcove for hanging scrolls and placing other decorative objects, and separate entrances for host and guests. It also has an attached preparation area known as a mizuya. A 4.5 mat room is considered standard, but smaller and larger rooms are also used. Building materials and decorations are deliberately simple and rustic in wabi style tea rooms. Chashitsu can also refer to free standing buildings for tea. Known in English as tea houses, such structures may contain several tea rooms of different sizes and styles, dressing and waiting rooms, and other amenities, and be surrounded by a tea garden called a roji.

Seasonality and the changing of the seasons are considered important for enjoyment of tea and tea ceremony. Traditionally, tea practitioners divide the year into two main seasons: the sunken hearth (炉) season, constituting the colder months (traditionally November to April), and the brazier (風炉) season, constituting the warmer months (traditionally May to October). For each season, there are variations in the temae performed and utensils and other equipment used. Ideally, the configuration of the tatami in a 4.5 mat room changes with the season as well. During the sunken hearth season, the Chajin opens the sunken hearth in the middle of the tea room. Water is heated using the sunken hearth. The sunken hearth is the only form of heat in the room during the winter. During the brazier season, water is heated in a raised brazier. The weather determines the exact time to use the sunken hearth or brazier. During the time of year when the brazier does not provide enough heat to the room for the guests to be warm, but the hearth was too warm, the Chajin could cover the hearth with the lid, and put the brazier on top of it. The location of the hearth or brazier is the biggest change between seasons, however, there are many other changes that are made, such as the incense, utensils, and clothing worn. During the winter, a type of incense known as Neriko, a type of incense that is formed into pellets, is used. Jin or Byakudan are used in the summer, and during the end of spring or the beginning of autumn, the Chajin puts out Kokukobei or Umegako. Guests drink tea from a more cylindrical style of bowl in the winter to keep in heat, and use a flat bowl in the summer to release heat. Different designs are depicted on the tea bowl based on the season. During the summer, participants wear a kimono made up of one layer to ensure that it is not too hot. However, outside the summer, participants wear a double layered kimono so they will be warmer.

Procedures vary from school to school, and with the time of year, time of day, venue, and other considerations. The noon tea gathering of one host and a maximum of five guests is considered the most formal chaji. The following is a general description of a noon chaji held in the cool weather season at a purpose built tea house. The guests arrive a little before the appointed time and enter an interior waiting room, where they store unneeded items such as coats, and put on fresh tabi socks. Ideally, the waiting room has a tatami floor and an alcove (tokonoma), in which is displayed a hanging scroll which may allude to the season, the theme of the chaji, or some other appropriate theme. The guests are served a cup of the hot water, kombu tea, roasted barley tea, or sakurayu. When all the guests have arrived and finished their preparations, they proceed to the outdoor waiting bench in the roji, where they remain until summoned by the host. Following a silent bow between host and guests, the guests proceed in order to a tsukubai (stone basin) where they ritually purify themselves by washing their hands and rinsing their mouths with water, and then continue along the roji to the tea house. They remove their footwear and enter the tea room through a small "crawling in" door (nijiri guchi), and proceed to view the items placed in the tokonoma and any tea equipment placed ready in the room, and are then seated seiza style on the tatami in order of prestige. When the last guest has taken their place, they close the door with an audible sound to alert the host, who enters the tea room and welcomes each guest, and then answers questions posed by the first guest about the scroll and other items. The chaji begins in the cool months with the laying of the charcoal fire which is used to heat the water. Following this, guests are served a meal in several courses accompanied by sake and followed by a small sweet (wagashi) eaten from special paper called (懐紙), which each guest carries, often in a decorative wallet or tucked into the breast of the kimono. After the meal, there is a break called a (中立ち) during which the guests return to the waiting shelter until summoned again by the host, who uses the break to sweep the tea room, take down the scroll and replace it with a flower arrangement, open the tea room's shutters, and make preparations for serving the tea. Having been summoned back to the tea room by the sound of a bell or gong rung in prescribed ways, the guests again purify themselves and examine the items placed in the tea room. The host then enters, ritually cleanses each utensil – including the tea bowl, whisk, and tea scoop – in the presence of the guests in a precise order and using prescribed motions, and places them in an exact arrangement according to the particular temae procedure being performed. When the preparation of the utensils is complete, the host prepares thick tea. Bows are exchanged between the host and the guest receiving the tea. The guest then bows to the second guest, and raises the bowl in a gesture of respect to the host. The guest rotates the bowl to avoid drinking from its front, takes a sip, and compliments the host on the tea. After taking a few sips, the guest wipes clean the rim of the bowl and passes it to the second guest. The procedure is repeated until all guests have taken tea from the same bowl; each guest then has an opportunity to admire the bowl before it is returned to the host, who then cleanses the equipment and leaves the tea room. The host then rekindles the fire and adds more charcoal. This signifies a change from the more formal portion of the gathering to the more casual portion, and the host will return to the tea room to bring in a smoking set (タバコ盆) and more confections, usually [[Higashi (food), to accompany the thin tea, and possibly cushions for the guests' comfort. The host will then proceed with the preparation of an individual bowl of thin tea to be served to each guest. While in earlier portions of the gathering conversation is limited to a few formal comments exchanged between the first guest and the host, in the usucha portion, after a similar ritual exchange, the guests may engage in casual conversation. After all the guests have taken tea, the host cleans the utensils in preparation for putting them away. The guest of honour will request that the host allow the guests to examine some of the utensils, and each guest in turn examines each item, including the tea caddy and the tea scoop. (This examination is done to show respect and admiration for the host.) The items are treated with extreme care and reverence as they may be priceless, irreplaceable, handmade antiques, and guests often use a special brocaded cloth to handle them. The host then collects the utensils, and the guests leave the tea house. The host bows from the door, and the gathering is over. A tea gathering can last up to four hours, depending on the type of occasion performed, the number of guests, and the types of meal and tea served.

Every action in chadō – how a kettle is used, how a teacup is examined, how tea is scooped into a cup – is performed in a very specific way, and may be thought of as a procedure or technique. The procedures performed in chadō are known collectively as temae. The act of performing these procedures during a chaji is called "doing temae". There are many styles of temae, depending upon the school, occasion, season, setting, equipment, and countless other possible factors. The following is a short, general list of common types of temae.

Chabana (literally "tea flower") is the simple style of flower arrangement used in tea rooms. Chabana has its roots in ikebana, an older style of Japanese flower arranging, which itself has roots in Shinto and Buddhism. It evolved from the "free form" style of ikebana called "throw in flowers"; 投げ入れ; nageirebana, which was used by early tea masters. Chabana is said, depending upon the source, to have been either developed or championed by Sen no Rikyū. He is said to have taught that chabana should give the viewer the same impression that those flowers naturally would give if they were still growing outdoors, in nature. Unnatural or out of season materials are never used, as well as props and other devices. The containers in which chabana are arranged are referred to generically as (花入れ). Chabana arrangements typically comprise few items, and little or no filler material. In the summer, when many flowering grasses are in season in Japan, however, it is seasonally appropriate to arrange a number of such flowering grasses in an airy basket type container. Unlike ikebana (which often uses shallow, wide dishes), tall, narrow hanaire are frequently used in chabana. The containers for the flowers used in tea rooms are typically made from natural materials such as bamboo, as well as metal or ceramic, but rarely glass as ikebana (another flower arrangement) uses short, glass vases. Chabana arrangements are so simple that frequently no more than a single blossom is used; this blossom will invariably lean towards or face the guests.

(懐石) or (茶懐石) is a meal served in the context of a formal tea function. In cha kaiseki, only fresh seasonal ingredients are used, prepared in ways that aim to enhance their flavour. Great care is taken in selecting ingredients and types of food, and the finished dishes are carefully presented on serving ware that is chosen to enhance the appearance and seasonal theme of the meal. Dishes are intricately arranged and garnished, often with real edible leaves and flowers that are to help enhance the flavour of the food. Serving ware and garnishes are as much a part of the kaiseki experience as the food; some might argue that the aesthetic experience of seeing the food is even more important than the physical experience of eating it. Courses are served in small servings in individual dishes. Each diner has a small lacquered tray to themselves; very important people may be provided their own low, lacquered table or several small tables. Because cha kaiseki generally follows traditional eating habits in Japan, meat dishes are rare.

Many of the movements and components of tea ceremonies evolved from the wearing of kimono. For example, certain movements are designed to keep dangling sleeves out of the way or prevent them from becoming dirty. Other motions allow for the straightening of the kimono and the hakama. Some aspects of tea ceremony – such as the use of silk fukusa cloths – cannot be performed without wearing a kimono and [[obi (sash), or a belt substitute, as the cloth is folded and tucked into the obi within the ceremony. Other items, such as kaishi, smaller cloths known as (小袱紗), and fans, require kimono collars, sleeves and the obi worn with them in order to be used throughout the ceremony; otherwise, a substitute for storing these items on the person must be found. For this reason, most tea ceremonies are conducted in kimono, and though students may practice wearing Western clothes, students of tea ceremony will need to wear kimono at some point. On formal occasions, the host of the tea ceremony will always wear kimono, and for guests, formal kimono or Western formal wear must be worn. No matter the style of clothing, the attire worn at a tea gathering is usually subdued and conservative, so as not to be distracting. For women, the type of kimono worn is usually an [[Kimono#Iromuji – a solid colour, unpatterned kimono, worn with a [[obi (sash)#nagoya obi in an appropriate tanmono fabric; slub weave silks, shibori patterns and generally bright coloured obi are not worn. [[Kimono#Edo komon kimono may also be worn, as their patterns are small enough as to be unobtrusive. Men may wear kimono only, or (for more formal occasions) a combination of kimono and hakama (a long, divided or undivided skirt worn over the kimono). Those who have earned the right may wear a kimono with a (十徳) or juttoku jacket instead of hakama. Women wear various styles of kimono depending on the season and the event; women generally do not wear hakama for tea occasions, and do not gain the right to wear a jittoku. Lined kimono are worn by both men and women in the winter months, and unlined kimono are worn in the summer. For formal occasions, (紋付着物) (kimono with three to five family crests on the sleeves and back) are worn. Both men and women wear white tabi (divided toe socks).

In Japan, those who wish to study tea ceremony typically join a "circle", a generic term for a group that meets regularly to participate in a given activity. There are also tea clubs at many junior and high schools, colleges and universities. Classes may be held at community centres, dedicated tea schools, or at private homes. Tea schools often teach a wide variety of pupils who may study at different times; for example, the school may have a group for women, a group for older students, and a group for younger students. Students normally pay a monthly fee which covers tuition and the use of the school's (or teacher's) bowls and other equipment, the tea itself, and the sweets that students serve and eat at every class. Students must be equipped with their own fukusa, fan, kaishi paper, and kobukusa, as well as their own wallet in which to place these items. Though some groups and practitioners of tea ceremony may wear Western clothing, for most occasions of tea ceremony – particularly if the teacher is highly ranked within the tradition – wearing kimono is mostly considered essential, in particular for women. In some cases, advanced students may be given permission to wear the school's mark in place of the usual family crests on formal kimono. This permission usually accompanies the granting of a chamei, or "tea name", to the student. New students typically begin by observing more advanced students as they practice. New students may be taught mostly by more advanced students; the most advanced students are taught exclusively by the teacher. The first things new students learn are how to correctly open and close sliding doors, how to walk on tatami, how to enter and exit the tea room, how to bow and to whom and when to do so, how to wash, store and care for the various equipment, how to fold the fukusa, how to ritually clean tea equipment, and how to wash and fold chakin. As they master these essential steps, students are also taught how to behave as a guest at tea ceremonies: the correct words to say, how to handle bowls, how to drink tea and eat sweets, how to use paper and sweet picks, and myriad other details. As they master the basics, students will be instructed on how to prepare the powdered tea for use, how to fill the tea caddy, and finally, how to measure the tea and water and whisk it to the proper consistency. Once these basic steps have been mastered, students begin to practice the simplest temae, typically beginning with O bon temae. Only when the first offering has been mastered will students move on. Study is through observation and hands on practice; students do not often take notes, and many teachers discourage the practice of note taking. As they master each offering, some schools and teachers present students with certificates at a formal ceremony. According to the school, this certificate may warrant that the student has mastered a given temae, or may give the student permission to begin studying a given temae. Acquiring such certificates is often very costly; the student typically must not only pay for the preparation of the certificate itself and for participating in the gathering during which it is bestowed, but is also expected to thank the teacher by presenting him or her with a gift of money. The cost of acquiring certificates increases as the student's level increases. Typically, each class ends with the whole group being given brief instruction by the main teacher, usually concerning the contents of the tokonoma (the scroll alcove, which typically features a hanging scroll (usually with calligraphy), a flower arrangement, and occasionally other objects as well) and the sweets that have been served that day. Related topics include incense and kimono, or comments on seasonal variations in equipment or offerings.