Buddhism originated in India during the sixth century B.C. As Buddhism spread across the east and integrated elements of Taoism, a new form, called Ch'an in China, and Zen in Japan, emerged. This form of Buddhism rejected scripture, Buddhas, and Bodhisattvas. Zen Buddhism focused instead upon "training for direct intuition of cosmic unity, known as the Buddha-nature or Void" (Fisher 152). A strict method of sitting and long periods of meditation produce sudden bursts of enlightenment, known as kensho. The Ceremony of Tea, called Cha-No-Yu (hot water for tea), originated from this Japanese sect, Zen Buddhism.

Zen tradition combines spontaneity of a calm mind with very disciplined concentration. From this thought comes the Zen paintings, created with the "perfect spontaneous brushstroke" (Fisher153) that has the whole body and a lifetime of practice behind it. Placing oneself fully in the moment, aware of only what your are currently doing, is a Zen teaching. This applies to everything from breathing to serving tea (153).

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During the Kamakura period (1185-1336), the Zen priest Eisai brought powered green tea (matcha) to Japan to be served as a stimulant to the monks, thus helping prevent them from falling asleep during the long periods of meditation (Macadam 11). In the tradition of Zen, the very drinking of tea became a ceremony. Marata Shuko (1422-1503), considered the founder of the Japanese Tea ceremony, established a new philosophy for tea drinking, based upon spiritual accord. He sought a spiritual relationship between host and guest. Shuko set rules for tea drinking and organized the experience into a formal ceremony, thus becoming the first Tea Master in Japan (Piepenburg 25). His disciple Jo-o carried his theories further, introducing the concept of wabi, avoidance of luxury and falsity. The disciple and student of Jo-o, Sen-no Rikyu (1521-1591), perfected the philosophy of Zen Buddhist tea, and is considered the greatest Tea Master of Japan. Rikyu wrote verses to explain the tea ceremony and wabi.

Demand for the taste of the tea led the ceremony to secularization. By the end of the fourteenth century, the Tea ceremony had spread from the Zen monasteries to the aristocracy and samurai society (Peipenburg 24). Many were drawn to the ceremony since "Rank and status were forgotten during the ritual of the tea ceremony" (25). During the times of political confusion, the strict, calm rituals of the Tea ceremony were a comforting escape (Macadam 12). Through the teachings of the tea masters, the spirit of the Tea ceremony entered into Japanese life and culture (Piepenburg 28).

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The tea ceremony itself contains a mixture of both ancient Indian and Chinese cultures, as well as the Japanese culture that transformed and adapted the ceremony into the institution of that country. Although each tea master approaches the ceremony differently, little variation occurs in the essential elements. Three distinct phases of the ceremony exist: Kaiseki, a meal, is the first phase; Koicha, or thick-tea is second; and Usa-Cha, the thin-tea phase is third. Any, or even all of these phases may be chosen by the host. Usually, only the thin-tea, or Usa-Cha, phase is chosen. The ceremony in it's entirety is usually reserved for special occasions, partly since it takes three to four hours to complete properly (Piepenburg 37).

A simple example of an entire tea ceremony

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The teahouse is a building, relatively small in size, which is made of natural materials, such as wood and bamboo (Macadam 175). Teahouses reflect a deliberate form of architectural purity. Although they may resemble straw-and-mud huts, they are made with great care, and can cost as much as the main house (Piepenburg 50). Teahouses need only consist mainly of a tearoom, however, more elaborate houses have many tearooms connected by corridors, a kitchen, and possibly a preparation room. A small size for the tearoom is preferred because "Rikyu asserted that 'the essence of the cha-no-yu is in the small room'" (Macadam 174).

The tearoom can have many different designs. Early tearooms, and modern ones, are sometimes areas of the home partitioned off with screens. The tearoom could also be separate from the home in a teahouse. Either way, the tearoom is used only for ceremonial purposes (Piepenburg 46). One of the more common tearoom designs consists of four and a half mats, and has variations, but a commonly used plan was designed by Rikyu. This tearoom consists of stepping stones to enter, the guest entrance, an alcove for the calligraphy and flower arrangement, and the host's entrance. There are also mats for the guests, the host, the utensils, and the hearth (47). "The secret of the tearoom lies in its undecorated walls and its simple unadorned beauty" (50).

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Teabowls play an important part within the Tea ceremony. They hold the tea and are passed around and admired by all the guests. The raku teabowl was developed over the years in Japan. Each teabowl is valued for it's distinctive beauty, reflecting the Tea Master's philosophy and taste (Piepenburg 30). A typical teabowl is "easy to handle because of its low center of gravity" and round shape (Wilson 18).

There are four main ways to create teabowls for the Zen Buddhist tea ceremony. The first way is known as Tebineri, or "hand-pinching," used for centuries and "held in high esteem." There is also the carving-out, or Hori-dashi, method. Finally, the last method is throwing on a potter's wheel.

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Through simplicity and tranquillity, the Japanese Zen Buddhist Tea Ceremony achieves peace and compassion. Originated and developed through the years, the tea ceremony has become a central part of not only Zen Buddhism, but also of Japanese life. In this ceremony, the teabowl not only serves as a vessel for tea, but also spans the "gap between spirit and embodiment in Japan" (Piepenburg 24).

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Bibliography

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