2023-06-28-Midorikai-Koshukai-Notes

June 28, 2023

From Kanazawa-sensei:

• For sukuidashi, he says to fill enough to make it easy to scoop, but don’t overfill. “If you have one person koicha, maybe put in 2 person worth.”
• Karioki in shikaden:
  • It does not exist, he says. Of course, we do karioki in lower temae, but in shikaden, we don’t do that. The position on the side is not a “temporary position” — it’s just “the position.” So, no relationship to karioki.
  • He had us place it with L hand “yoko” ie at 9 o’clock. Putting your hand there takes a lot of space, so it needs to be pretty far from the wall. It ended up for me being about on the edge of the shikiita, just in front of the knee line
• Okashi for okuden:
  • His preference is to put the main sweet (joyo manju is highest) in the middle, fruit on the bottom closest to the guest, then the rest of the sweets kinda circling around the middle. But no strong preference.
  • For shikaden specifically, sweets are not decided (I didn’t confirm for others). Upper two sweets are whatever you want. Lower sweet must be fruit. Upper two must be different though (different technique too, not just different type or flavor)
  • Originally, sweets used to be put in hoshogami (not hoshigami), but nowadays hoshogami is hard to find, so people just do boxes. Leave your leftover sweets in fuchidaka, host will collect and give it to you in a box later.
• His preference, 3x shikko/shittai always, even in kinindate!
• Our jiku: “kinniku danjou (first part, not written), ichi mu i shin nin” (I think). Worth looking up later
• Kensui, always hold from the same place with L. When you take kensui, your thumb is in line with the hishaku. That is the place you always take. So when you sit down to open the door at the end of temae, you take from that same place, ie from the L side.
• Karamono
  • Mouth is small, can scoop more than 3
  • Back at door, still place shifuku kake on chashaku
  • Kyaku, only ask for katachi for karamono.
    • This does not have denrai, so because we don’t know about the origin, we can only ask about the shape.
    • The same is mostly true for the shifuku - because it’s old, you don’t know who made it, so you should only ask the kireji.
      • I asked specifically, “Can you not have a new shifuku made and use that?” And he said: yes absolutely. You do want to make sure that you don’t throw away the old shifuku (it’s part of history, he says), but often when you have a new shifuku made, you’ll even have a new box made for it. Separately, he also said that we often say Yuko for shifuku, but if it really was Yuko, his kao would be on the shifuku. So, you would know.
      • Then, conferring with Kim from her notes from Shirahase-sensei, he says the same as above, with the addendum that “if the shifuku looks new, then you should ask.”
• Nani kazari
  • Chashaku, hang it on the lid as if it was placed without a lid (ie, balancing on the lip).
• Wakin
  • At some point, year i missed, in 8gatsu and shogatsu, gengensai was asked to do tea for the imperial palace. After the shogatsu time, he was given a “ha-kin” (shiro-kin) in return. So then, gengensai used that and made wakin from it, and did the temae debut at that year’s (I think that year’s) hatsu-geiko. The kaiki is well-known. From my memory, it was:
    • Oo-natsume with kiku on it
    • Gomotsubukuro kind of thing for the natsume shifuku
    • Soma-something-yaki for the mizusashi
    • Rikyu chashaku
    • Some kind of chawan, but I think he said it was not kuro-raku
    • Shin-nari gama
  • But then over time, the dougu has changed and generations have changed the dougu selection.
    • Ikuchiyo, the name of the tea scoop we often hear in okeiko, is actually the name of a particular shape of chashaku. It’s a very wide (maybe 2cm wide) chashaku and very short (length of my middle finger perhaps), and it was originally made by rikyu (?). Gengensai made perhaps 10 different utsushi of that original chashaku. It’s perfectly acceptable to use that name in okeiko, but the chashaku we usually use today are not at all the same shape.
    • For the wakin, you ask “goyuishho”, and the story he has heard as the common okeiko story is “the wakin was made from the fabric used as the veil in the rikyu onsodo, the veil that partially obscures rikyu in the altar”. So, of course, this is not at all the same fabric as the one from the original kaiki.
    • The nakatsugi was introduced at some point. He didn’t say when, but if it’s tantansai-konomi, probably he introduced it? Senke jushoku (I think) is Rissai for woodwork, so this would be a rissai thing.
  • He said ish: Wakin is not a shikaden temae. Actually, the four shikaden temae are karamono, bondate, daitenmoku, and satsubako. The first three are obvious, but the fourth is shikaden because you are serving two different kinds of tea — it’s all regular konarai handling, but the fact that you are doing two temae elevates it into the shikaden. So, wakin is an addition. You do do all of the usual shikaden things though in wakin (no abbreviation, gyo no te, all that), but because really it’s just futsuu wamono, it’s not really shikaden.
  • The reason we use 2h for the nakatsugi is because nakatsugi is used to serve kami at kenchashiki.
  • Because this is all wamono and not particularly special, you should NOT avoid the dougu. When you put chakin on top, when you take down the mizusashi lid, etc, just go straight.
  • Wakin handling:
    • Chotto different from what I was originally taught, but mostly same.
    • R lifts corner, L takes corner underhand and does not move yet. R reholds underhand and slides over to the R corner. Then, together, both hands move up to the side.
    • When you’re turning it etc for haiken:
      • Take as usual, but L corner does not move. Instead, just R corner moves up to opposite corner, then you spin.
      • At the end, both hands come to center (L goes up, R goes down), then R comes in to hold the nakatsugi as usual.

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