How Much Would You Pay for This Tea Jar?

Last week, this tea jar sold at auction at Christie’s . . .



. . . for $662,000.

So maybe you’re asking yourself, what is it, and why would anybody pay that much for it?

This is what’s called a chatsubo, or a tea storage jar. In the old days, they used these to transport tea leaves and store them until they were ready to grind and drink. I wrote in my last post about the special ceremony that involves the opening of the new tea for the year. During that ceremony, the chatsubo is put on display in the tearoom and given to the guests so that they can look at it more closely.

This particular jar is what’s called “o-meibutsu.” Meibutsu is a term that refers to certain very old tea utensils that came from China to Japan during the centuries when tea ceremony first became popular. These items were very highly valued by tea practitioners not for their intrinsic value, but for their aesthetic value.

This particular tea jar originally came from Chin during the Southern Song Dynasty in the 13th century. During the late sixteenth century – the lifetime of Sen no Rikyu – it was owned by a series of merchants/tea practitioners, and recorded in some famous tea diaries. In fact, there’s a letter from Rikyu himself that accompanied the piece at auction (the description I read didn’t say what the letter was about, but presumably it was an authentication of the jar). During the 17th century, it became the property of the Tokugawa shogunate (the military rulers of Japan), and then it passed through a variety of nobility and wealthy Japanese hands until it finally came to this auction. Like all meibutsu, it has a poetic name (mei), which is Chigusa, “Myriad of flowers.”

Recently, I was in a class where the teacher was talking about meibutsu. He said that in the old days, when those items were brought to Japan, the tea masters spent a lot of time really looking at the utensils used in tea and comparing their characteristics to determine which ones were the best, and for that reason we should study the same utensils so that we can learn from them. Of course, unlike the 16th-century tea masters who used meibutsu in their gatherings on a regular basis, the chance of someone in America seeing a meibutsu object outside of a museum is pretty darn slim. Mostly we rely on photos, and maybe a glimpse of one if we do visit a museum in Japan. That’s why it’s kind of exciting to me to think that we have a meibutsu object here in the United States. It’s like a living piece of tea history – or maybe even tea legend – is a little bit closer to home.

Tasting Tea

In reply to one of my previous posts, someone asked me if tea ceremony practitioners are concerned with the taste of the tea at all, or if it’s mostly about the form and movement. In fact, tea people actually do a lot to try to make the best possible bowl for their guests.

It actually starts before the tea ever comes near a tearoom, in the fields where the tea is grown. Matcha, the powdered tea used in tea ceremony, is botanically the exact same plant that Lipton’s uses, camellia sinensis. The first difference between matcha and other types of tea is the way that it’s grown. It’s cultivated in the shade (not completely, because the plants do need some light, but the amount of light is strictly regulated), and the leaves are picked in May, when they’re still young. Camellia is an evergreen, but for the best tea the growers take the young leaves. The leaves are steamed to keep them green and then put into storage for six months, similar to the way wine is aged. As with wine, the aging process matures the taste – fresh tea doesn’t have the same complexity.

After the tea is aged, it’s put through a process that removes the stems and veins and then ground into a fine powder, about the consistency of flour. (In fact, in the old days they used grinding stones that were very similar to the ones used in milling flour.) So around November, the current year’s tea is ready to be opened and drunk. This is a special time in the tea world because it’s also the transition from summer to winter season, when we open the sunken hearth in the tearoom. There’s a special type of tea gathering performed only in November (often combined with the opening of the sunken hearth) in which the host will unseal a chatsubo, a ceramic tea storage jar, in front of the guests. Then, while the guests are eating their meal, they hear the sound of the host grinding the tea leaves, which are then used to prepare both thick and thin tea. However, these days most people buy their tea already powdered from the tea growers.

For the purpose of tea ceremony, there are two grades of matcha, usucha and koicha. Usucha means “thin tea;” it’s a lower grade of matcha, so the taste is more bitter, but still very good. If anyone has ever whisked a bowl of matcha for you, you’ve probably had usucha. Because the tea is powdered and you’re drinking the whole leaf, it’s stronger than steeped green teas like sencha, but still what we usually think of when we think of tea. Koicha, on the other hand, is exactly what the name says: “thick tea.” There’s more powdered tea mixed in with less water, and the end result is about the consistency of paint. For that reason, you want the best-tasting matcha you can get, and so the highest grades of matcha are reserved for koicha. Well, there’s no rule that says you can’t use koicha-grade tea for usucha, but it’s expensive – generally anywhere from $0.50 to $5 per gram.

Big matcha companies will often offer many different types and grades of koicha and usucha, each distinguished by its own poetic name. (For example, today I had an usucha whose poetic name was “sangetsu,” which means “moon and mountain.”) Like wine makers, tea growers will often blend tea from different sources to create a more consistent taste, but still, the taste of different teas is very distinctive. In fact, there’s even a type of tea gathering called chakabuki, in which the guests taste different teas, and then in a “blind tasting” try to remember the taste and correctly identify which tea is which.

When preparing for a gathering, the host pays careful attention to all of the factors that might affect the taste of the tea. Besides the tea itself, there’s the water. In the old days, particularly in Kyoto, which has been the center of tea culture since there was tea culture, the tea masters identified special wells that were thought to have the best possible water. To get the optimum taste, they would go to the wells before dawn to draw the water, even if the gathering was later in the day. These days it’s not so easy to get water from a special well, but we do make an effort to get the best-tasting water we can find.

Another factor is the sweets that are eaten right before the guest drinks the tea. We never serve sweets that have dairy in them, or that are greasy or oily, or that have a strong flavor, because that affects the taste of the tea. The best tea sweets are ones that complement the taste of the tea, and tea people spend a lot of time thinking about what will work and what won’t.

Yet another major factor (as with any type of tea) is the temperature of the water. Generally speaking, we aim for a temperature of around 180 degrees, but since we can’t whip out a thermometer and test the temperature in the middle of preparing tea, it’s up to the skill of the host to know when the water is too hot or too cold. That’s why during tea, we always carry a jar of cold water into the room and set it down next to the kettle – so if needed, we can cool down the water in the kettle so it doesn’t “burn” the tea.

But probably the most important thing that the host does to affect the taste of the tea is simply to create an atmosphere of tranquility in the room. One of the purposes (maybe the main purpose, depending on your point of view) of all the ritual surrounding the preparation of tea in chanoyu is to encourage the guests to relax and open their senses. Matcha tastes completely different in a tearoom than it does if you just whisk a bowl in your kitchen; the atmosphere, the sensory impressions, the person’s state of mind, everything about tea contributes to the main event, which is the moment that the first sip passes your lips. When we talk about the taste of tea, usually we’re talking about the literal flavor, but I think that any tea person would agree that the real taste of tea is in the heart, and not on the tongue.

August Heat

Typically, we don’t have tea lessons in August. It’s not just that people tend to go on vacation; it’s the heat. Shofuso is a traditional-style Japanese house, which means, of course, no air conditioning. It was fine this year until the last week in July, when the weather turned very hot and humid.

In tea, we have techniques for dealing with hot weather, most of which revolve around tricking yourself and your guests into thinking that they’re not really melting into tiny liquid pools on the tatami mats. It falls under the deceptively simple heading of one of the seven rules of Rikyu: in the summer, suggest coolness.

In July and August tea people use utensils of cool-looking materials – glass is one that’s become popular in the past fifty years or so (which in tea terms makes it one of those newfangled innovations that them young ‘uns came up with). There are glass tea bowls, glass tea containers, glass tea scoops – almost any element of the tea ceremony can be done in glass. Other popular materials for the summer are dark wood and baskets, or anything unusual and playful. It’s no fun being serious when you’re hot, right?

There are also special kimonos for the hottest season of the year, made of a mesh fabric called “ro.” Of course, it’s good to choose colors that look cool, but the fabric itself also allows some breeze to come through, so instead of wearing body-covering underwear, a full-length under-robe, and a full-length kimono, it feels like you’re only wearing two layers of clothes in 95-degree weather. (Actually, I exaggerate – they do make ro kimono under-robes that, in combination with a ro kimono, do let the air in, and they’re a vast improvement over a normal kimono.)

However, Sasaki Sanmi’s tea almanac probably says it best: “Clear your mind of all mundane thoughts, and you will be able to find coolness. This is true; whether you can beat the hot weather or not depends on your state of mind.”

I’ll be raising a bowl of hot tea to you all!

Eido Roshi on Zen in Scrolls

At the Friends in Tea gathering last month, Eido Roshi, the head of the Daibosatsu, gave a talk commenting on the meaning of some famous Zen phrases that are often used on tea scrolls. I wanted to share some of the things he said here. I did my best to take the notes as accurately as possible, but I know there are some things missing, so for that I apologize.

Ichigo Ichie

“This expression is so enormous that I don’t have to tell you anything. … It’s often translated, ‘one time, one meeting.’ Literally, that is not inaccurate, but my interpretation is ‘unprecedented and unrepeatable.’ We have never before met here – unprecedented. Most likely, six years from now, there may be new faces. Hence, unrepeatable.”


Wa Kei Sei Jaku

[Usually translated “harmony, respect, purity, tranquility,” Roshi translates the second character “reverence” and the last one “extinction.”]

“Wa, kei, sei, jaku is a beautiful expression, but this order is wrong. Jaku is another way to say ‘Nirvana,’ which in English means ‘extinction.’ . . . We have a lot of deceptions, delusions, illusions, and even subconscious preconceived ideas. It is perhaps too idealistic to think that all these will be gone. If that happens, then wa, kei, and sei will be gone, too. But assuming that the preconceived ideas are extinguished [jaku], then wa, kei, and sei will happen.

“Some people translate ‘jaku’ as ‘tranquility,’ but tranquility is temporary. Of course, everything is temporary, but tranquility is particularly temporary. It should be translated ‘extinction.’ “


Enso

[This is not a word, but simply a circle drawn in a single stroke.]

“There are many ways to write this, but [it’s important to] do it in one breath – no inhalation, no exhalation. Quicker is better, more tasty.”

The enso is often written with a “san,” a poem or capping phrase accompanying the image. Usually the person who does the image and the person writing the capping phrase are different. Three common san that are often written with the enso are:

Tsuki ka dango ka oke no wa ka (Is it a moon or a dumpling or the ring of a wooden pail?) – “You can write anything here. Is it a bagel, or a doughnut, or just sembe?”

Nore ni te yoshi (It’s all right as it is) – “It’s all right as it is, whether it’s crooked or a perfect circle. A perfect circle is not so tasty as a crooked one.”

Kore nanzo! (What is this!)

“A Rinzai Zen master was constantly asking his students, ‘Who is it that hears? Who is it that tastes?’ . . . The other day I saw a photo in the paper of a painting in the Boston Museum. The title was, ‘Where are we from? Who are we? Where are we going?’ On one side was a baby, in the middle a young, strong man, and standing at the end was an old lady crouching. This is exactly the question, ‘Kore nanzo?’ It is undoubtedly the greatest question we can ask while we are living in this incarnation.”


Nichi Nichi Kore Kojitsu [Every day is a good day]

Konnichi Kore Kojitsu [Today is a good day]

“There was a Zen master named Unmon who said to his monks, ‘I do not ask anything before the 15th day of the month, but I will say something after the 15th day.’ And one monk said, ‘Nichi nichi kore kojitsu.’ It’s easily misinterpreted.”

Konnichi Buji [Today, no agenda]

“The real meaning of buji is:
bu = no, negation
ji = event, matter, happening

“Looking at our lives, birth is an event. It’s not a no-matter. Getting old is an event. Sickness, passing away, too. From morning to night, all day long, event, event, event. Up to this point, it’s easy [to understand].

“A few years ago I was translating the Genzai Roku into English. This buji is one of the main themes of the Genzai Roku, and I thought it needed explanation.

“We tend to think that by doing various practices we can reach a point where delusions disappear, and we think there’s nothing else to do. This view is a deception. How could reality be altered by practice? Yet, you may ask, if buji implies doing nothing, then why do we have to practice? Isn’t ‘doing nothing’ in the usual passive sense of the phrase enough? At the same time, isn’t every being one ji? And isn’t our very being the source of all our problems that exist? Can we negate or transcend our own limited being? When we completely realize the true nature of the universe, what seems to be ji is nothing other than buji. No matter what we do, [it’s nothing].

“The closest English word to ‘buji’ is ‘now.’ Can you improve on now? Of course not. At this moment, can you or your circumstances be otherwise? When you understand that the present moment is all there is, you have no choice but to come to a radical acceptance, and this radical acceptance is the most difficult part.

“Buji means ‘one with suchness’ – the unconditional nature of being ready to be, with nothing wanting, nothing superfluous.

“To understand what I have just said is not so difficult, but radical acceptance is hard, and therefore we need practice.

“Konnichi buji means ‘today I accept this is what it is.’ This is a dilemma. We want to make progress, and therefore we think, the more we practice the better we get. We cannot deny that. In one thousand years of practicing Zen, ten thousand years of practicing tea, there’s never a day when you’re ready. It’s always, not yet, not yet, not yet. But today, this is it. When those two come together – not yet / this is it – there’s no word for that, so we have to say radical acceptance.”


Tozan Sui Jo Ko [East mountain always walks on water]

Kumpu Minami Yori Kitari [Fragrant wind comes from the south]

“Sanmon asked Unmon, ‘Where do all the Buddhas and Bodhisattvas come from?’

“Unmon said, ‘Tozan sui jo ko.’”

“Another monk said, ‘I would not have said it like that. I would have said, Kumpu minami yori kitari.’

“This you can understand even rationally.”


Den Kaku Biryo wo Shozu [A subtle coolness pervades the dharma hall]

“When you enter a tearoom, the firs thing you see is the tokonoma, and what the scroll there says determines the main theme of the gathering. At this morning’s chakai, there was a scroll that read ‘Sei gin no yo cha o niru,’ ‘Reciting poetry at night, boiling tea.’ Nowadays in modern society we cannot appreciate such a scene. In Western history the ancient period ends about the fifth century, when the Roman Empire was finished. After that, for nine hundred years we are in the Dark Age. Gradually, the Renaissance took place in the fourteenth, fifteenth, sixteenth centuries. From then on, things changed. In the eighteenth century, the Industrial Revolution was where life really changed – how long we live, how quickly we live. We forgot the memento mori [mementos of the dead]. This is where our tragedy began. There are improvements – we have modern civilization – but we also have to remember the memento mori. Even the mention of death is taboo [today]. This is really a serious matter.

“Okay, we are living in the modern age. Accept, appreciate. But it makes our minds artificially and mechanically unnatural. It makes it essential to come to Daibosatsu and set up the tearoom, even though you don’t chant or say poetry, to make an image of that through the imagination, we can go back to ancient days. This is what is the point of tea practice. . . .

“Truly these days, East and West are no longer distinguishable. Even the borders are becoming less and less. And for us, students of Zen and students of tea, what is really necessary is learning the nature of beauty and simplicity.

“For Rikyu, everything was beauty. Even his death was beauty for him.”

[Roshi referenced Rikyu’s death poem, his san, which is as follows:
Having lived for seventy years
I have now transcended my anger [toward Hideyoshi], totsu!
I have carried my treasure sword throughout my life
It could kill the Buddhas and the patriarchs
Now the time has come for me to throw it to heaven!]


Haku Un Onozukara Koraisu [White cloud comes and goes naturally]

Seizan Moto Fudo [Blue mountain does not move]

“There is a contrast here – white and blue. You can imagine the clouds and the mountain. But you have to think another way: not yet / this is it.

“Which one is the mountain? Which one is not yet? This is it.”

Friends in Tea

Last week I was at a wonderful gathering of tea ceremony practitioners called Friends in Tea. It’s not sponsored by any one organization, or even any one school of tea ceremony – it’s a group of people who volunteer to put together a gathering every two years, always in a different place.

This time the gathering was held at the Dai Botsatsu Zendo, a Buddhist monastery in the Catskill Mountains in New York State. The setting is remote (about 20 miles from the nearest town, which itself is not that big) and beautiful – the monastery and its guest house overlook Beecher Lake, so named because the property used to be owned by the Beecher family (of Harriett Beecher Stowe fame).

The gathering was four days of workshops, discussions, and people doing tea for each other. Most of the participants had studied tea for a while, and so the idea behind the teas was not to worry about doing things perfectly, but to have fun drinking tea together. Some people got up at 6 a.m. to do chabako (picnic-style tea) outside; some people took tatami mats out to the patio to do tea out there. But probably my favorite story is about Eido Roshi coming for tea.

Eido Roshi is the head of the monastery and its partner Zen center in New York City. Whenever he comes into the room, everything else stops. He and some of the monks were invited to the opening tea gathering, but mid-way through the conference he paid us a surprise visit. Down in the main room of the guest house we had sign-up sheets for our “open tearoom” – people could sign up to either make tea or be a guest at someone else’s tea, depending on their preference. Roshi had signed up as a guest in a blank spot, meaning nobody had signed up to be a host yet. So, of course, we were obliged to find someone to make tea for him. No problem; we’re all tea people. The lucky host was Marjorie Yap, a tea teacher from Portland. However…

The open tearoom space was split into two sections. On one side was Roshi’s tea. On the other side, one of the other participants had signed up to do another tea. Now, I heard the stories afterwards second-hand, because I wasn’t there, but the way I heard it, while Roshi was sitting at a very quiet and serious koicha (thick tea) temae, on the other side of a set of shoji screens the second group was laughing and having a good time drinking usucha. Apparently every once in a while Roshi would look around as if to say, “Hey, I want to be over there where they’re having fun!”

After Roshi’s tea was finished, he came over to the other tea and sat in for a bit. They were using a huge Shino-ware bowl that actually belonged to Roshi’s personal collection (and which he allowed us to use for the conference). He told us that he had named the bowl “macho.” It’s not what you’re thinking. “Ma” here means “devil,” and “cho” means “transparent.” The idea is that drinking from the bowl makes your evil impulses fade more and more until they’re completely gone. (No word yet on whether it worked.)

More from Friends in Tea in posts to come…

Going to a Chaji

This weekend, I was invited to a chaji put on by one of our teachers, Drew Hanson.

“Chaji” literally means something like “tea event,” and it’s considered the culmination of tea practice. It’s more formal than a chakai (“meeting for tea”), which has a more flexible format. In a chaji, everything is carefully determined. It starts with a meal that has a set number of courses. When the first course is brought in, each person gets a tray with two bowls and a plate. One bowl has rice, one bowl has soup, and the plate has sashimi. Once everybody has their tray, they simultaneously take the lids off the two bowls, put them together, and set them off to one side of the tray. From that point onward, each step is carefully choreographed: What’s in each course, when it enters the room, and how it is served. Even the guests have to pay attention to the timing, because they have to eat certain things by the time the next course is served.

If you’re the host, the food is by far the most stressful part. The menu is planned months in advance, and the cooking begins days in advance, because each element of the meal requires special preparation. And, because some courses are served hot, the host needs helpers in the kitchen to make sure everything is ready at exactly the right moment.

The food at this gathering, by the way, was wonderful. It was in a very traditional Japanese style, but there were vegetables from his garden as well as seafood and even some things imported from Japan.

After the food came the laying of the charcoal, which is done in front of the guests. As the fire builds, the smell of incense fills the room. With the fire going, the host served sweets. The sweets were in a hydrangea shape – bean paste dyed blue, grated, and arranged on top of a red bean paste center. Then little cubes of clear kinton (a gelatin-like substance) laced with gold leaf are put on top of it so that it looks like dew. They were really beautiful, but not too beautiful to eat!

After the sweets came the break. At that point, we’d been in the tearoom for about two and a half hours, and we were all ready for a standing break – sitting seiza for that long is no joke. During the break, the scroll in the alcove was replaced with a flower arrangement in a vase that Drew’s friend Brandon had made from local bamboo.

When we came back in, we had koicha, or thick tea, followed by thin tea. The utensils had been chosen to reflect a theme, which was water. The bowl for thin tea had fish painted on it, and the character for “ocean” on the bottom of the inside of the bowl. The tea container also had a wave pattern on it, and the lid-rest was in the shape of three fish.

But more than anything else, it’s the people who really make a gathering. Knowing the amount of preparation and care that went into everything that happened was really touching, and being able to share it with good company made it even better. It’s hard to describe how it feels, to be sitting in a tearoom, drinking in harmony with everyone else, soaking in every detail with every one of your senses. But by the end, there’s do doubt about why a chaji is considered the ultimate tea experience.

Tea Things

After Yamada-sensei’s passing, I didn’t have a chance to write about the tea conference I was attending just before he died. It was an academic conference on tea ceremony hosted by Yale University, held in connection with an exhibition of rare tea ceremony utensils that had been donated to the university.

The conference had presenters from Japan and the U.S., including some experts in their field, and it was really interesting to get the different perspective on tea. For instance, one of the lectures was about the change in the types of ceramics that were found in archaeological digs from 16th century Japan, when the way of tea that we practice today was first starting to take hold. There was a much greater use in Japanese and Korean ceramics, where before the emphasis was on Chinese. Around the same time, there was a shift in the types of calligraphy used, away from Chinese poetry and towards a more Zen style, where the emphasis was on the way in which the characters were written rather than (or in addition to) the words themselves. There’s nothing surprising about that, of course, but it was fascinating to hear about how tea affected people’s daily life and collecting habits during that time period.

Most of the other lecture also centered around the objects used in tea, with the exception of one that I’ll talk about later. The focus on utensils wasn’t surprising, considering that we were at a museum, but it really made me stop and think about the way that tea practitioners approach doing tea.

On the one hand, tea philosophy emphasizes that objects are not the important thing – what’s important is the spirit that both host and guests bring to the gathering, and valuing the experience as it happens. On the other hand, tea practice also teaches us to respect the utensils that are used, to handle them carefully, and to show courtesy to the host by asking questions about each item. Respect for, and an understanding of, the utensils used in tea is an important part of the practice. The intent is to put the focus on the people behind the objects, not on the objects themselves, but in the real world, we end up talking a lot about the various utensils used, and in the process there’s a lot of emphasis put on objects.

That can have its good points. Making a tea bowl, for example, requires a lot of artistry, and I can’t help but think that a Japanese potter would get a kick out of knowing that somewhere on the other side of the planet, some crazy matcha-drinking Americans are oohing and aahing over his work. And from a historical perspective, the tea people who are lucky enough to own utensils from three or four hundred years ago might still use them, which is a tremendous opportunity for their guests to interact with the past.

On the other hand, I walked out of that conference wondering if maybe we talk too much about utensils and not enough about the way of tea itself. I think that sense of possessiveness is something that tea people really need to watch out for – just as the wonder of seeing a rare tea utensil is something to treasure.