Yamahira Atsushi
Yamahira Masako
Preparing to Welcome Guests
Joi carefully prepared to welcome guests, arranging flowers and tending to the charcoal. The hanging flower vase in the tokonoma had an overwhelming presence, prompting me to ask about its history. It was the Rikyu-made bamboo flower vase, "Shakuhachi," once owned by Oda Urakusai and later passed to the Ii family. The inscription on the box bore the characteristic calligraphy of Kobori Enshu.
There was an aura of profound dignity and warmth in its presence, evoking the essence of Sen no Rikyu himself. Naosuke Ii, who navigated Japan through foreign relations in the late Edo period and saw tea as a means of spiritual discipline, also once owned this piece. The historical connection between him and Joi seemed deeply resonant.
For this occasion, a stunning arrangement of Unryu-bai (dragon plum) and Akebono flowers (camellia) was prepared. Their positioning and length were adjusted multiple times before achieving the perfect composition.
The hanging scroll for today was a trial brushwork piece of Sotan's letter, beginning with "Shikai ikka subete kyōdai nari" - a phrase signifying that all people under the sky are one family and brothers to each other. The last line read, "At the beginning of the year, myriad flowers begin to bloom.”
A sprig of willow was placed on the wooden veranda, which was used as a waiting area.
With everything in place, the tea room was finally ready to welcome the guests.
Thick Tea (Koicha) Ceremony
Dressed in elegant kimono, the guests entered the tea room one by one from the waiting area, adding a lively vibrance to the newly built tea room.
The thick tea ceremony began in a solemn atmosphere.
The main tea cup used for the main guest was Juko Seiji, a Chinese-made Southern Song Dynasty period, celadon tea cup once owned by Hirase Roko, a modern tea master from Osaka. As described, it was originally made as a humble vessel, with a large and sturdy feel. The bold and unpretentious craftsmanship of the Chinese artisans was clearly evident.
The chawan for the next guest was an Imayaki piece by Raku Kichizaemon XVI. The intense weight and passionate presence of this tea bowl suggested that the young artist had infused a piece of his very soul into it.
The black natsume (tea caddy), fitting snugly in the palm, was crafted by Yozo, a lacquer artisan favored by Takeno Jo-o. It was passed down through the Mizoguchi family, likely the lineage of Mizoguchi Hidekatsu. The three shifuku (silk pouches)—kinran, donsu, and kendou—attested to its long history and the many hands it had passed through.
The confection served alongside the tea was “Ikomiki”, a special kuzuyaki (baked arrowroot sweet) from Wakuden, personally brought from Kyoto by the proprietress that very morning. The name “Ikomiki” carries a unique meaning, referring to things that resemble one another.
The kuzu (arrowroot) confection was gently reheated just before serving, releasing the invigorating aroma of fuki (butterbur shoots). As the rich, velvety koicha glided down the throat, its sweetness resonated perfectly with the fresh, earthy fragrance.
Thin Tea (Usucha) Ceremony
The utensils for this Usucha ceremony were arranged in a lighthearted manner, contrasting with the previous setting. The Hinode-nami-e Chawan (Sunrise Wave Pattern Tea Bowl) by Eiyo Kōsai of Makuzu-yaki was particularly festive, befitting the New Year.
The chawan for the next guest was created by Sonoda Naomi, an illustrator and lacquerware artist. Titled "Tokyo Rakuchū Rakugai-zu," this bowl features a modern depiction of Tokyo, with Tokyo Tower standing tall at the center—an artistic interpretation of the classic "Rakuchū Rakugai-zu" paintings, which traditionally portrayed Kyoto.
The sweets served were "Beni" by Wakuden and "Matsuba Boro" by Kashin Ōsuga—offering a comforting and familiar taste.
As the gathering became more relaxed, the conversation turned to tabakobon (tobacco trays), admiring the deep red lacquer of the Karamono Tabakoire (Chinese-style tobacco container) and the intricate decorations of the E-shino Hiire (E-shino incense burner).
While waiting for the tea to be prepared, Joi answered questions about the tea room, explaining its design details. The splendid karakami (decorative paper) sliding doors and the chidori-gumi (staggered lattice) shoji panels were inspired by Katsura Rikyū, a historic imperial villa.
After the tea ceremony, guests had time to closely examine the utensils.
Printed explanations about the utensils and tea room were prepared in advance, allowing even those unfamiliar with tea culture—including international guests—to fully appreciate the experience. Joi’s passion for sharing the beauty of the tea world was clearly conveyed.
For souvenirs, guests received custom-made sensu (folding fans) from Ōnishi Tsune Shōten, a well-known fan maker. With lingering fondness, the first tea gathering of the New Year came to a warm and gentle close.
Closing Thoughts
The Koicha Ceremony, where historical tea masters such as Jukō, Jo-o, Rikyū, Sōtan, Oribe, and Enshū seemed to gather in spirit, was followed by the Usucha Ceremony, featuring contemporary artists’ works—two contrasting yet complementary settings.
On the day Joi first encountered the Rikyū Shakuhachi , the Tokonoma was boldly sprinkled with water, and Jukō Seiji was displayed. The striking scene left a deep impression on him, inspiring him to acquire the Shakuhachi. Perhaps today’s tea ceremony recreated that moment.
Looking out the window, a historical detail about Tokyo Tower came to mind—it is said that scrap metal from U.S. military tanks was used in its construction. The tower was completed in 1958, just 13 years after the Great Tokyo Air Raid, which turned the city into a sea of fire. Further back, 22 years before that, the Great Kantō Earthquake devastated Tokyo—during the era when Masuda Donō and other modern tea masters were active. And exactly 100 years before Tokyo Tower’s completion, Ii Naosuke was leading Japan toward its historic opening to the world.
Joi begins his self-training before dawn each morning in this tea room. In tea, he finds the strength and beauty of past generations, and through his quiet efforts, he shares their wisdom with others. Perhaps, in an era of uncertainty, this practice is a powerful way to lay the foundation for a new day.
This New Year, Kinoto-mi (乙巳), is a year of change and renewal. Being present at this first tea ceremony of the year was a profound and quiet joy.
Photo by Yamahira Atsuhiro Text by Yamahira Masako
