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We normally use 白檀 or 沈香（じんこう）, but not 伽羅（きゃら）

It is only formally part of CNY in the 七事式（しちじしき）; but if you wanted to incorporate it into a 茶事, you could do it, provided you have a special incense, before or after 炭, leaving away the incense laying.

In the 七事式, we use 沈香; not 白檀. You also use 沈香 in the 香合 for displaying it in the 床の間 to elevate it.

People used to carry しの袋 in their sleeve where they have some special incense with them.

This is used in one of the 七事式, where the host provides the main incense, and one of the guest will add one which they've brought.

The うぐいす that is used in 香道 to pin some scoresheet to the mat is the same as the うぐいす in 茶箱 (where it is bent)

To clean the ぎんよ, cook strong 番茶（ばんちゃ）and rinse it in there.

The ひばし make a whole almost to big, so better to use the うぐいす!

帛紗灰 is used here

official Urasenke is black lacquer tray and white 楽　香炉; but Omotesenke has a くわ tray and green 香炉, which is also seen now in Urasenke because it's pretty

The top goes into the bottom

Use a woman's かいし and cut away ~11 ╳ 10.5 cm. It is then halved, and then folded into thirds so that the final packet is 1.8 ╳ 3.5 cm.

Always assist with the L when touching the stacked container, but place compartments on the 畳 with one hand.

The ぎんよ is slightly pressed with the ring finger, which is the cleanest, since it barely touches anything.

The 香炉 is turned counter-clockwise (to differentiate it from the tea); and passed between guests on the inside.

Be careful when doing 感謝, lest the incense slips off its plate.

koro: left hand assist, lid to R

incense on second line inside,

basami like mountain

a little bit to the right the hibashi

tameshi kiki (testing, no turning)

The しの袋 is carried by all in the right sleeve. After using it, women put it in the left sleeve from behind; men into the right sleeve.

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)

hiire are different, usually mizuya hibashi

it shows to the guests that everything is under control

Since the 練香 is very resinous, we don't use it in 風炉 (as it might hurt it)

While 利休 said to use ceramics in winter and lacquered 香合 in summer, if you are using a non-ceramic 香合 with 練香, add a camelia leaf. This leaf is then dropped into the 炭斗 before 拝見!

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.

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.

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