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JAPANESE ARTS AND SCIENCES   PERIOD GAMES FOR THE SCA JAPANESE PERSONA JAPANESE POETRY THE JAPANESE TEA GARDEN JAPANESE THEATER

CHA-NO-YU
(The Japanese Tea Ceremony)

The green tea plant is highly prized for its medicinal value, for relieving fatigue, strengthening the will and enlightening the soul. Chinese Taoist considered it the elixir of immortality. Zen Buddhists used it to prevent drowsiness during meditation and vigils. The earliest record of tea drinking in Japan was in the year 729 AD. The seeds were reportedly first planted in Japan in 805 AD.

Cha-no-yu, the tea ceremony, is a ritual indigenous to Japan. It is closely associated with flower arranging and gardens. It is said that to understand and appreciate the beauty and discipline of the tea ceremony is to know true Japan. One must look quietly into oneself to appreciate nature while meditating within a rustic tea house.

Zen is closely associated with the tea ceremony, which was originally a monastic custom. The fundamentals of Zen philosophy, as applied to the tea ceremony, are Wa-Kei-Sei-Jaku (Harmony-Respect-Purity-Tranquillity).

It was the tea master, Sen-no-Soeki (1521 - 1591), who was better known by his court name Rikyu, formulated the rules for cha-no-yu, purging it of all excesses and raised it to the dignity of a national art. There are strict rules concerning the etiquette of the tea ceremony and its utensils should never be ostentatious or costly. There is a strong emphasis on harmony and respect among guests, cleanliness, and the tranquillity from unhurried handling of aesthetically beautiful articles that are a part of the tea ceremony.

There are numerous ways of conducting a tea ceremony depending on the occasion, season, and precepts of the tea school, type of tea served and whether it is a formal or informal ceremony. The hour of the day will vary depending on the season or occasion. Foreigners normally are not invited to the formal cha-no-yu.

In the formal cha-no-yu, invitations are sent out, generally a week or more in advance either in person or in writing, and usually for only up to five people (a number that can fit in the traditionally sized tea room). Etiquette demands that the guest respond promptly and those accepting the invitation will call on the host a day before the party to express their thanks in advance.

The host prepares carefully for the party with great attention to details. Special consideration in placed on the flower arrangement and the kakemo (hanging scroll) to be placed in the tokonoma (small alcove of honor), utensils suitable for the occasion and the food to be served.

In the formal tea ceremony a host first serves the kaiseki (light meal), followed by koicha (a thick, pasty tea) and lastly the usucha (a foamy tea). Sometimes only the usucha is served. In the formal ceremony only one hour is required.

Before the guests arrive, the host sweeps the garden and its path, sprinkles it with water then arranges the tea utensils in proper order.

Guests arrive about fifteen minutes before the appointed time and assemble in the garden or yoritsuki (small waiting room). According to strict etiquette, rings, watches, or jewelry that could damage the tea bowls or various valuable utensils should be removed. No perfume should be worn for this would contaminate the pure aroma of the tea and ceremonial incense. Clothes should be of quiet colors in keeping with the simplicity and calmness that is essential at a cha-no-yu party. No haori (short overgarment) is worn inside the tea room. Footgear must also be removed before stepping into the room. Guests should have with them at the tea party a small folding fan, a pad of kaisha (small pieces of white paper on which to place the cake and to use to wipe fingers), and one or two pieces of silk called fukusa (which is usually red or purple, folded double in about a ten inch square). The fukusa is placed under the tea bowl and other articles the guest takes in hand to admire. These with other necessities are carried in a special case.

When guests are assembled and ready in the waiting area, an assistant to the host appears at the entrance, bows, prepares a cup of hot water for each guest to drink, then invites them into the garden. Special straw sandals are prepared for this area.

The host then comes out to greet them in the garden and welcomes each guest with a bow. Guests stand up, bow and proceed slowly toward the tea house down the roji (meaningful garden path). The guests go in single file with the principle guest leading. The leader is usually well versed in the art of the tea ceremony, and chosen by the host in advance, though sometimes the guests arrange this themselves while waiting in the yoritsuki. The leader, a guest of honor, acts as the spokesman and retains the responsibility throughout the ceremony.

At the tsukubai (a stone water basin) next to the tea house, guests pause and each in turn performs the ritual of washing their hands and rinsing their mouths.

The slow walk along the roji and the purification ceremony at the water basin is intended to prepare the guests for the strict discipline that reigns throughout a true cha-no-yu ceremony. Guests leave their sandals at the steps of the tea house and creep through the small, low opening one by one. In proper order, each guest in turn kneels in front of the tokonoma and places his fan in front of him, making a respectful obeisance. He then admires the hanging scroll and flower arrangement. On a shelf there may be two or three other objects tastefully displayed with the tiny incense burner. These are also admired. Next he looks at the kettle and the hearth with respectful attention in accordance to the rules of the tea ceremony, then takes a seat. The principal guest takes a seat before the tokonoma.

When the host appears the leader and other guests greet him politely and thank him for the invitation. The spokesman inquires about the tea garden, the kakemono and the flower arrangement, then expresses his admiration of those works of art and other objects chosen for the tokonoma.

For the first session of the formal tea ceremony, the host serves a light repast called kaiseki. It consists of a few dishes carefully prepared and served with great formality and in a fixed order. Food is served in small quantities and is lightly flavored. It is rude not to each everything and the host does not eat with his guests, but in the separate room. This is a sign of respect for the guests the host prepares and serves the food himself. The guests then retire to the bench in the garden for a short recess.

The host, following precise rules and rituals, and doing everything in an orderly, reserved manner, prepares and serves koicha, a thick pasty green tea from the powdered young leaves of old tea plants that are from twenty to seventy years old. Koicha resembles a very thick, spinach soup in consistency and color. It is then whipped to a creamy froth with a splint bamboo whisk. Tea for several guests is made in one bowl using two to three spoonfuls of tea and enough water for three and a half mouthfuls for each person there. Bowl is placed first in front of the head guest.

The proper way to drink koicha is to hold the tea bowl on a fukusa in the palm of the left hand supporting one side with the right hand. After nodding to the next guest saying "osaki-ni" (before you), guest turns the bowl to the left, bringing the side without the design to the front (or the side the host showed was important by facing it towards the guest) and takes three sips. The guest then wipes the edge of the bowl where the lips touched with a piece of kaishi, and passes the bowl to the next guest. After all guests have drunk the tea in the same manner, the bowl is cleaned by the host with more formality and passes the empty bowl to the first guest. Each guest in turn admires the bowl, tea caddy, dipper and other utensils. The leader on behalf of the group, asks about the origin and history of each piece. Looking carefully at each article with interest is considered good etiquette.

The host examines the fire and replenishes it with systematic exactness in order to prepare the usucha, a frothy green tea made from the powdered young tea made from tea plants that are three to fifteen years old (the serving of usucha, along with sweet-meats normally constitutes the only part of an informal tea party.).

Cake is taken from a tray with chopsticks, if provided, and eaten first as the host prepares the usucha. The tea is timed to be ready for each guest by the time they finish their cakes. Head gust takes the cake first, placing it on a piece of kaishi before him on the tatami mat. Others follow each apologizing to the next person as a matter of form for taking a piece before them. Tea is prepared for each guest, one at a time, in separate bowls.

The tea is set before a guest, the guest bows to the person next to him as an apology for taking precedence, lifts the bowl on to the palm of the left hand protecting it with the right, and raises the bowl up almost level with the forehead then lowers it a little. The guest next puts the right hand on the edge of the bowl and turns it a little (each school has its own way of turning the bowl). The idea is since the host considers the most important part facing you; it should be turned a little to avoid putting the lips on that particular part. All tea is drunk to the last drop. When finished, part of the bowl touched by the lips is wiped lightly with the fingers of the right hand and wiped with the kaishi. The bowl is now placed on the mat in the position the host placed it, then lifted again in both hands to admire it carefully, never holding it too high or carelessly. The bowl is then returned to the host.

Head guest asks about these bowls. After a great deal of formality concerning the bowls, the host makes a silent bow to denote that the ceremony is finished. Guests proceed to the waiting room where they prepare to go home.

In three to four days a guest must no fail to write a note or call in person at the host's home to express thanks for the ceremony.

If a guest has a sincere, simple and modest attitude, they will be in tune to the tea ceremony.

There are several games a Japanese and non-Japanese persona can play at events that are period for a Japanese persona. Some are very similar to the European games, some have subtle differences, but all are enjoyable and challenging.

One type of amusement for the aristocracy can be grouped under the heading awase or "joinings". These card games were similar to games called kai-awase or "shell-joinings" in which both halves of clamshells were painted with scenes then turned upside down, mixed and then players had to match the pictures together. These "shell-joinings" led to a card game in the Heian Period (approximately 1180 to 1192/1333) called hyakunin isshu. In this game there are 100 cards showing the last half of a poem and an illustration, and 100 cards with the first half of the poems. The illustrated cards would be laid out, then one person, or caller, would draw a card from the first half poem deck. The players would then try to find and grab the corresponding matching card. The winner has the most cards at the end (this game is still played today during New Year's). Since few in the SCA know these poems, some gamers can illustrate flash cards of Japanese scenes or mons then try to match them.

SUGOROKU/BACKGAMMON Sugoroku or backgammon is also a game played in Japan as illustrated in the Hojo Godai-ki, a historically work of the times, which showed samurai polishing swords, playing go and sugoroku. GO Go also known as igo, is one of the best known Asian games. It is easy to learn but hard to master. Go is believed to have arrived from India via China around 400AD/700AD. It was very popular in court during the Heian Period but at some point the samurai believed it to be the strategy game of all times. During the Tokugawa Period (1603 - 1860) it was organized into a rigid rating system and ranks to be earned. Today it is a professional game like chess and shogi. The go board has a grid of 19 by 19 lines. Pieces (stones) are placed on the intersections rather than on one squares. Black has 181 pieces and white has 180 pieces. Black goes first placing a piece on any intersecting point, then white does the same anywhere it wants to. If pieces completely surround an opponent piece, or there are no open areas in the enclosure. the surrounding piece is taken by the captor.

Shogi or Japanese chess, like Western chess began in India, and was introduced to Japan via China. During the Heian Period several forms emerged, though modern shogi is very similar to shogi from the Muromachi Period (approximately 1330s to 1400s) in which two more pieces were added to the game.

The shogi ban, or shogi board is 9 by 9 grids and each player has 20 koma (pieces) which are pentagonally shaped with point towards the opposing player. Pieces lay flat and are slightly beveled. All pieces are uniformed in shape and distinguished by the character of the piece painted on them. The fuhyo (pawn) is the only piece slightly smaller than the rest. Captured pieces are also placed to the right of the board for the captor's use.

One player has a o/osho (king) the other has a gyoku/gyokusho (jewel), based on the concept that there cannot be two kings on the board. They move as a Western chess king does.

The hisha (rook) can move an unlimited number of spaces horizontally or vertically and can promote to a ryu, which moves as the hisha plus can move one space in any direction when it goes into the opponent's territory (first three spaces, where pieces start out) by flipping over the piece showing the new character of the promoted piece. There is only one hisha per side starting out.

The kaku/kakugyo (bishop) moves diagonally an unlimited number of spaces and can promote to ryuma which combines the moves of the kaku and one space in any direction. There is also only one kaku per side starting out.

The kin/kinsho (gold general) is a new piece for chess players. It moves one space in any direction except diagonally backwards. There are two per side starting out and many pieces will promote to this type of piece. There is also the gin/ginsho (silver general) which moves one space in any direction except sideways or straight backwards. It can promote to narigin which moves only as the kin/kinsho. There are also two of these pieces per side when starting out.

The kei/keima (knight) moves like the Western knight except it can only go forward two then one right or left. It is the only piece that is allowed to jump over other pieces. It can promote to narigin which moves only as a kin/kinsho. There are two per side when starting the game.

A popular piece different than Western chess is the kyo/kyosha (lancer) which move unlimited straight forward and may not retreat backwards. It can promote to narikyo which moves as the kin/kinsho. There are also two of these pieces per side when starting out.

Then there is the fu/fuhyo (pawn) which moves like a Western pawn, one space straight forward. It can promote to tokin, which moves as the kin/kinsho. There are nine per side when starting the game.

To capture an opponent's piece, it must be at the end of a sphere of movement. For example, unlike European chess, the fu/fuhyo or pawn captures when moving one space forward, not diagonally.

A new twist for the regular chess player is a move called the haru. A captured piece may be placed on the board as a turn and used by the captor. It, however, cannot be placed in enemy territory (three spaces were opponent's pieces start), put the king in check, and must be able to move the piece.

Naru is the promotion system in which when a piece enters enemy territory the player may or may not choice to promote the piece by flipping the piece over showing the character of the promotion. It reverts back to the original piece if captured. The player must promote upon entering opponent's territory or must take a turn later to promote the piece.

To set up the board the pieces go in this order, the first file next to the player, right to left: kyo (lancer), kei (knight), kin (gold general), gin (silver general), o or gyoku (king or jewel), kin (gold general), gin (silver general), kei (knight), then kyo (lancer). Second file, right to left: space, hisha (rook), five spaces, kaku (bishop), then space. The third file is all fu (pawns).

The weaker player generally moves first. Another way some players choice is to put the o in one hand and the gyoku in another, put behind back, mix and let other player choice a hand.

The Heian court also played another game similar to modern soccer exercise (or hacky sack) call kemari. It was played with a skin-covered ball that was about six to eight inches in diameter, and there was even a special outfit worn when playing consisting of a baggy kimono, hakama, and a peaked hat. Players were as few as two and as many as twelve. They would form a circle and one person would toss the ball up then kick it back in the air with his foot. He could kick it as many times as he wished, the more the better then lob it in the direction of another player who must keep it from hitting the ground. The only part of the body to touch the ball in play is the foot. The person kicking the ball would say "ariyaaa" every time he kicked it (similar in context to 'here we go'),and then "ari" (context is 'go') when kicking it to someone else. The object is to be the one who can keep the ball in the air and not touch the ground. The game was very popular during the 10th to the 16th century.

JAPANESE POETRY Many Europeans have heard of the Haiku (or Hokku) but do not know what this type of poetry is based on. The original form is based on the waka, renga and the renku.

The waka is a poem composed of five lines. These lines are based on a certain number of syllables per line 5-7-5-7-7. During the Kamakura period (1185-1333), according to the Shinkokin shu, waka and renga became popular among the samurai class. The waka was also known as a tanka or uta in a historical document of the time, the Manyoshu (18th century).

The renga and renku are a succession of waka, normally composed at parties, or for contests , in which three lines are composed by one person with the syllabic pattern 5-7-5, then another composes the next lines of 7-7, the third 5-7-5 and so on. Some of these renga were over one hundred lines composed by four or five people. In these long, composite poems, the first three lines are called hokku, and are considered the most important part of the poem and the best known (like a versus is known in a song). These verse-capping style meetings eventually had rules laid down about their composition by the poets Fujiwara Sadaie (1162-1241), Fujiwara Sadatake (1139-1202), and Iio Sogi (1421-1502).

Haiku is like a hokku , but is not attached to a waka and is used for describing the informal verse. Senryu is a satirical form of the haiku and included vulgarism, obvious humor, moralizing and philosophical comment. It is given this name to separate it from the traditional themes for tanka (5-7-5-7-7) and haiku (5-7-5) which are love, nature, gentle melancholy, passing of time, brevity of human existence, and use the power of suggestion in words to avoid blatant statement of facts.

The differences between Chinese and Japanese poetry are best explained by the following: Chinese poets dealt with vastness, while the Japanese poet focuses on the small; Chinese presents a historical past, Japanese presents the individual past in a historical setting; Chinese describe space in terms of ranges of mountains, the Japanese describe space of day or night.

Japanese poetry is subtle, and generally avoids obvious attempts at humor or philosophic comment. The poet wants the reader to figure out what is being implied and feel the realization of what is being said or portrayed. Poetry was very important to the samurai and it was once said that for a samurai the "sword and pen each in their own accord" suggesting that even a warrior had to be good in the art of poetry and writing. The Kokinshu (Collection of Waka of Ancient and Modern Times, 10th century) stated that poetry should "move heaven and earth, stir the feelings of the unseen gods and spirits, soften the relations between man and woman and soothe the heart of the fierce warrior."

From the Man'yoshu (Collection of Myriad Leaves, 760):

Tanka: "In Joy" by Prince Shiki (668-716) translated by Hiroaki Sato

"Above the cascade running down the rocks, bracken sprouts; the spring has come"

"In Praise of Sake" by Otomo no Tabito (665-731) translated by Hiroaki Sato

"Don't think about useless things - you should be drinking, it seems to me a bowl of raw sake. Better than to say things like a wise fellow, it seems, is to drink sake, get drunk, and weep. Since all living things die in the end, while I'm in this world I'll enjoy myself."

"On Love", Anonymous translated by Watson

"Here I thought I was a big men, hardly smaller than earth and heaven - and yet in love my courage fails."

"Love" by Lady Izumi (born 970) translated by Hiroaki Sato

"There is no color called love in this world, yet how thoroughly it has dyed my heart"

From the "64 Tanka" by Saigyo (1118-1190) translated by Watson

"Did I hear you ask what the fires of Hell are burning for? They burn away evil and you are the firewood."

From the "78 Tanka" by Princess Shikishi (died 1201) translated by Hiroaki Sato

"As I sleep somewhere near a mountain away from home, spring is fragrant in reality and in dreams."

The formal tea garden follows certain rules for a proper setting for a tea ceremony. The setting should induce the correct spiritual attitude before entering the tea house. The classical tea garden is usually divided into three parts.

The outer or entrance garden is very small and simple. A short path from the outer garden leads to the middle garden. In the middle garden is a waiting are where there is a thatch covered bench where the guests arriving for a tea ceremony wait for the host to greet them. From the middle garden is a garden path called roji which leads to the tea house or tea room. The path is made of irregularly laid stepping stones, and is considered the most important part of the tea garden, Many types of art forms are used to suggest the woods or a mountain path. The roji is intended to break the connection with the outside world, bring a mood of calm, a withdrawal from earthly cares and to cleanse the spirit.

Near the tea house is a stone water basin called a tsukubai, similar to the Japanese word "to crouch" because one must bend over to use the water in the basin. Here a guest observes the ritual of washing hands and rinsing the mouth before entering the tea house. This represents washing away cares and sins of the world. Close to the basin stands a stone lantern which is lit by a candle for an evening tea ceremony. The best height for the lantern is five feet tall and should always be simple and dignified, not overtly carved or ornamental. Sometimes a bench will be near a smaller tea house similar to the one in the middle garden for guests to rest at between the first and second session of the formal tea ceremony.

The tea house itself is designed to look like a simple farmhouse with a thatched roof to suggest refined poverty. Rooms consist of a waiting room, tea room and an anteroom (pantry) where utensils are washed and stored.

Although the appearance is of poverty, they are built carefully of the best materials. Sometimes it can cost more per square foot for a tea house than a temple or expensive dwelling.

Room sizes in Japan are measured by the number of tatami mats that cover the floor. The conventional size of the tea room proper is four and a half mats, which is generally between nine and ten feet squared. The smallest tea rooms are generally one to one and a half mats to the largest being twelve mats. The waiting room is usually three tatami mats in size. In wealth homes, a particular room in the main dwelling is often used in place of a tea house and in earlier times a tea room was made by placing partitions in a large room.

The entrance for the traditional tea room from the outside is through a small opening two feet by one and a half feet. It is purposely placed low so guests have to creep through. This humility is to make a guest leave behind worldly power and possessions.

Another feature is a small tokonoma, an alcove about four by two feet, displaying a picture scroll and a flower arrangement which the guests most examine before taking a seat.

The interior is designed to hold no more than five guests. A hearth is usually built into the floor on which an iron kettle is placed. Walls are generally plaster and colored a soft beige to induce tranquillity and contemplation. Light is subdued and diffused as it comes through small windows with grills of bamboo and shoji, sliding panels covered with rice paper.

For more information on the Cha-No-Yu (tea ceremony), look for my other article under that name.

JAPANESE THEATER There were three types of organized theater popular in period Japan. No is a formal type of theater involving music, dance, poetry and masks. Joruri is puppet theater and Kabuki is a commoner type of lyrical drama popular in the 1600's. No ("talent") theater was mostly frequented by the upper classes. It was chiefly 4th century, 10th century (also popular at this time was sarugaku "monkey music" included a mix of music, song, dancing and miming) and 15th century plays known for being distinguished, indirect, symbolic and written in verse of alternating 7-5 syllables. It has a Shite (a principal dancer who is the protagonist), a waki (assistant) normally portraying a priest, four or five additional characters, and a chorus similar to a Greek drama, and who never take part in the action. Masks are used to tell the story but are restricted to the principal dancer and his companions, especially when portraying a woman.

Joruri is a puppet theater with plays written in the 7th and 8th century and is also serious in tone. No theater made the puppet theater easier to catch on since the audience was used to masks, expressionless faces, and the chorus that become various voices for the puppets. The plays were livelier than the gloomy poetry of the No tragedy though. Puppets were manipulated by strings above, or held from below by a concealed operator. As time went by, the size of the puppets increased until they were 2/3 the size of the operators and various developments made it necessary for three men to work each of the important puppet figures.

Kabuki theater was generally considered vulgar to the samurai class. It was a lyrical drama that was popular in the 17th century. Samurai attended it but not as openly as No since it was considered beneath them.

The Haiku Form by Joan Giroux
Joan Giroux, 1974

Complete Anachronist #65 A Japanese Miscellany by Anthony J. Bryant
SCA publication