Yamahira Atsushi
Yamahira Masako
Numazu Club Surrounded by Senbon Matsubara
In Numazu, overlooking Suruga Bay, lies Senbon Matsubara, a pine forest that has been protected by the local people for over 400 years. Within this forest, a tea pavilion was built by Miwa Zenbei, a connoisseur of the Taisho era, with the dream of hosting a tea ceremony for a thousand people. This tea pavilion marked the beginning of Numazu Club’s 110-year history.
A View of Mount Fuji Through the Pines
On this perfect day for Hatsugama (New Year's Tea Ceremony), the majestic Mount Fuji appeared between the tall, straight pine trees.
Upon entering, the first sight is the Nagaya-mon (long gate), built in 1913 (Taisho 2). It is a sukiya-style gate with the appearance of a simple grass hut.
Today’s guests included faculty, staff, and students from Chiba Institute of Technology, where Joi serves as president. Many of the students were from the design department, while members of the tea ceremony club were busy preparing for the ceremony in the mizuya (tea preparation room).
Before the tea ceremony, there was a discussion with Mitsui Rei, the architect who designed the new tea room scheduled to be completed at the university this spring.
The Discussion
Joi shared how his journey into the world of tea began—when he became a partner in Numazu Club and discovered the presence of a wonderful tea room, prompting him to start learning tea.
The new tea room at Chiba Institute of Technology is inspired by Toshintei, a tea room in Minase Shrine, located in Shimamoto Town (Osaka Prefecture), near Yamazaki in Kyoto. It was originally a gift from Emperor Go-Mizunoo.
In a traditional tea ceremony, the shokyaku (main guest) is the primary focus, and tea rooms are usually designed with this in mind. However, this tea room’s temaeza (tea-making seat) is slightly off-center, allowing the host to naturally face all guests. This design was chosen as it aligns with the philosophy of a university tea room.
Additionally, since this tea room was originally built for the imperial family, it was not designed for Senke-style tea preparation. As a result, when members of the Urasenke-style tea club use the room, they may find certain aspects challenging. However, it is hoped that such experiences will encourage students to reflect on the essence of tea practice.
The discussion also covered topics such as respect for nature in tea room design, the concept of “utsushi” (reinterpreting traditions to create something new as an homage), and the psychological effects of architectural space. For design students, these topics likely resonated with their current studies.
To conclude, Joi reflected on the evolution of tea from the Meiji era to the postwar period, discussing what aspects should be preserved and what should evolve to ensure the future of tea culture within a university setting.
The tea room’s opening ceremony and next year’s Hatsugama are in preparation, with many details still to be decided and organized.
Since Hatsugama at the university is a major ceremonial event, today's tea ceremony served as its preparatory meeting. All present became members of this dedicated group, united in their commitment to next year's Hatsugama Project.
Thick Tea (Koicha) Ceremony
At the Koicha ceremony, a hanging scroll featuring the phrase “Suito Kyosei” (水到渠成) was displayed. This phrase, written by philosopher Nishida Kitaro, who was involved in shaping the educational philosophy of Chiba Institute of Technology, means “When water flows continuously, a channel will naturally form”, symbolizing how persistent learning paves the way for achievement and when people gather, a movement begins.
The flower vase used was Rikyu’s ‘Shakuhachi’, previously owned by Oda Urakusai, the Tsuchiya family, and Ii Naosuke. The crisp air seemed to challenge each participant to reflect on their own journey of learning.
The main guest was Mr. Kamiyama, advisor to the tea ceremony club. Before the ceremony began, he guided students experiencing their first tea ceremony, explaining basic etiquette.
The ceremony began with wagashi (Japanese sweet), a treat everyone had been looking forward to.
The wagashi for today was Hanabira Mochi from Ganyudo. The delicate combination of sweet white miso and burdock root, wrapped in soft mochi, brought a taste that perfectly suited the New Year’s tea ceremony.
As guests enjoyed the wagashi, Joi performed the temae (tea preparation).
The main tea bowl was Juko Seiji, a celadon bowl passed down in the Hirase family. Juko refers to Murata Juko, a tea master highly respected by Sen no Rikyu. The bowl’s interior featured "nekokakide" (cat-scratch marks), a pattern resembling cat claw marks. Originally used as an ordinary vessel in China, such pieces became highly prized in Japan during the Momoyama period.
The tea bowl for the next guest was crafted by Raku Kichizaemon XVI. Its rough texture and weight left a lasting impression.
The kodai (foot of the tea bowl) is characterized by its flat, spiral-like shape.
The black natsume (tea caddy) used was a Takeno Joo-style piece. The fact that its lacquer finish remains intact even today is remarkable.
The chashaku (tea scoop) was handmade by Joi and named “Chisoku,” a Zen phrase meaning "knowing contentment," reflecting his personal philosophy as a lifelong learner.
Students took turns holding and examining the utensils, carefully observing their design, weight, and texture.
Thin Tea (Usucha) Ceremony
The group moved to another room for the Usucha ceremony.
The main tea bowl was a striking golden chawan, a contemporary work by Tanaka Masafumi titled "JEWEL Gold." Its matte finish subdued the brilliance of gold, creating an atmosphere of elegance and refinement.
The tea bowl for the next guest was made by Oogami Yuki. Though small, its metallic waves expressed a dynamic, artistic vision.
In Senke-style Hatsugama, tea is often served in gold and silver “Shimadai” bowls. Today’s setting, using contemporary artists’ works, seemed to reinterpret this tradition.
The Usucha ceremony was a relaxed and friendly gathering, occasionally filled with laughter.
A Makie (gold lacquer) natsume featuring pine needle motifs sparked conversation about the intricacy of its craftsmanship.
Professors and students gathered around the utensils, discussing how to appreciate tea bowls and how to pair different items.
Tea Room Exploration
Lastly, the group toured a three-mat tea room, relocated from Kyoto. By pure coincidence, its design was nearly identical to the new university tea room, featuring a temaeza placed centrally among guests.
Natural light softly filtered through shoji screens of various heights and sizes. Interestingly, while traditional Japanese rooms prohibit tatami grain from aligning toward the tokonoma, this tea room’s tatami and ceiling grain do align with the tokonoma, indicating its imperial origins.
Architect Mitsui explained the intricate design and the playful spirit of its original designer. Finally, each participant took turns sitting in the temaeza, experiencing the warm sense of connection with guests.
Final Reflections
During the Koicha ceremony, a student whispered, “That was impressive.” In the Usucha ceremony, others were captivated by the design of the tea bowls.
This reminded us once again of the depth and inclusivity of the tea ceremony.
Above all, witnessing Joi’s commitment to learning and action through the panel discussion and tea ceremony was truly inspiring for the students.
Nishida Kitaro’s bold calligraphy of 'Suito Kyosei' seemed to gently watch over this hopeful day, reflecting the meaning of 'Suito Kyosei'—as water continues to flow, a channel naturally forms, symbolizing how things naturally come to fruition in due time.
The Hatsugama Project is now in full motion.
Photo by Yamahira Atsuhiro Text by Yamahira Masako
