ホモテナシ

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History

  • Originally from China, obviously; rojantai 11 kilos, 1.5 m long; given as a gift from China, bits given to Nobunaga, who gave some to Rikyu; and to Emperor Meiji
  • kyarazen lots of information
  • In tea we don't use kyara, only use byakudan and jinkou
  • One of the seven shikichijiki has kou: shaza
    • Flowers, incense, koicha, usucha
    • There is also shokyaku kinen shaza, and a teishoku one; and a futari kinen shaza
    • kosuki kagetsu no shiki, ko, then hira kagetsu, then poem based on the incense. During spring and hana, the person that gets hana gets to take the poem home; in winter its tsuki
    • Gengensai (XI) some other shiki. Incorporates mawaribana (change the flowers in one vase), and honzumi shomo; and then two incenses (honkou, and a second one)
    • Another one with many flower vases
    • Tantansai had showa no shiki, where everyone uses the flower for inspiration for hana
    • Officially, we don't do incense in a chaji, only in shikishiki; but it's perfectly fine to do it anyway (if you have a special incense)
  • kagetsu
  • shaza
  • mawari zumi
  • mawari bana
  • chakobuki (rate teas)
  • ichi ni san (rate people)
  • kasucha no shiki (
  • nanatsu kodogu
    • uguisu → its what was bent for chabako! uguisu
    • kosaji are used in koudou, not really in chanoyu. In CNY we pick up the incense with the chopsticks, in KD we use the kosaji
  • koudou. Rikyuu said: Winter for ceramic, and also gourd for sumi; and summer we use lacquer, and vegetable baskets for sumi. If use non-ceramic for winter, use a camelia leaf; after temae it is dumped into sumi tori so the guests can do haiken with out it. (when to drop it?)
  • in shaza we use jinkou, not byakudan
  • nerikou it is very resinous, so it's not good for the furo
  • put jinko in the kougou in the toko to elevate it?, but normally just byakudan
  • nerikou: put together with honey or mitsu (thick sugar syrup). Shoyedo much moister, the others are drier. Take 3 pieces to knead in hand into a pyramid; but you can also do it in a plastic wrap to form a equal side pyramid. Or: use the palm of the hand
  • top of paper gets into bottom
  • use a woman's kaishi, cut away some so you can half and then third it to make the paper pocket
  • final packet is: 1.8 cm x 3.5 cm long
  • shinobukuro, used in two-incense shikijishi by gengensai. tied just like nagao. men put it in their right sleeve and put it in; but women take it out of right, and put it back to left
  • you can also use furo kudazumi
  • koro: left hand assist, lid to R
  • incense on second line inside,
  • but put down with one hand
  • basami like mountain
  • ring finger is the cleanest one
  • a little bit to the right the hibashi
  • tameshi kiki (testing, no turning)
  • listening line facing to you
  • kansha, be careful
  • turn counter clockwise!
  • pass inside
  • depending on which shikijibla it goes in toko or on tana

6z opjk78u

  • how to clean ginjo: make a very strong bancha and soak it to clean it
  • turn it differently so to show it's not tea, to distinguish between tea and incense
  • official urasenke is black lacquer and white raku; but omote is kuwa and green, which many people use
  • shinobukuro with 2 kous, 2 mica plates in, it will be in right sleeve of everyones sleeve.
  • first guest does like shaza
  • then you take out shinobukuro, take top one , pull turn right; open it like chabako
  • hold with thumb L, pull string, make it straight, turn left, hook it in top, turn to the L, hook, straighten, turn R
  • First mica is square, second one is diagonal (karo)
  • woman put it in from the back side in the L, men from the front side R
  • host sais leave ko as it is, and add honkou, put the second one to the L side, and the honkou in the middle (only for senju)
  • normally only use furo bai
  • hibashi too thick for the hole
  • hiire are different, usually mizuya hibashi
  • kurazumi used, would be ideal, not kotadon, in urasenke it leans a little to the left
  • it shows to the guests that everything is under control
  • carry around a shino bukuro
  • do incense before sumi in chaji, or after sumi and leave away sumi.

練香

  • Ulrich said in 21 how he mixed ground remains of incense sticks collected from the temple with musk, camphor (for freshness), ground coal and honey
  • Shoyedo sais the must be aged for 3 to 5 years in ceramic jars.
  • Here we have a video by 香源
    • 1 ts agarwood (じんこう)
    • 1 ts patchouli leaves (かっこう)
    • 1 ts nard (is it frankincense?) (かんしょう)
    • 1 ts clove
    • 0.25 ts star anise
    • 0.25 cinnamon bark
    • 0.5 benzoin
    • 0.25 borneol (竜脳)
    • 0.5 charcoal powder
    • 1 ts honey
  • Some blogger made 練香 into seasonal shapes; she uses apricot instead of plum flesh; and argues to use wild honey for its lower water content.
  • You could also use labdanum for binding; or .5 to .75 dried fruit to 1 part of lose incense. Soak fruit overnight in red wine. Fruit can also be raisins. 1 ts honey to .75 cup of dried fruit; and 1 cup of incense to 0.5 cups of fruit, 2-4 weeks to dry, turning daily. (link)
  • scents of earth seems to be a good supplier
  • kyarazen sais to cook honey gently for 20'
  • I actually got a set from 山田松 called 香り遊び
  • On 14 XI 21 I tried blending about in Tbsp each: 1 Lilienwurzel, 1 Kohle, 1 stick aloeswood, 1 pinch of camphor, 1 tsp Benzoe, 1 tsp cinnamon, 5 cloves, 1 Tbsp moschus, with 2 wine-soaked aprictos and a tsp of honey. I froze the resins, and the nutribullet went through all of that in a breeze.