ホモテナシ

• In CQ25, たにかわ　てつぞ argues that 茶の湯 is composed of 4 aspects, which are all interdependent and each practitioners style will give different importance to those aspects.
  • artistic element (さくい), which means to add variations. 利休 was praised for this, and 織部, but some people who came after him just imitated him, and were not highly regarded.
  • social activity
  • formal decorum (rules)
  • ascetic training

• Manners are important, but more important is thoughfulness:
  • 利休 praised ちくあん, when he made tea but was trembling for excitement and knocked over 茶筅 and 茶杓.
  • つじ　げんさい was じょうおう first student, and even though he knew it all, people said his 茶の湯 was lacking.
• Rules are important, but we strive to surpass them.
  • Social activity: Flattery is evil, as is trying to please, because then you get entangled. It's good when host and guest harmonize, but none should go out of their way to make it happen.

There are texts from twelfth century Japanese monks who went to China to study Zen that show that there were elaborate ceremonies to serve tea in Chinese temples. Then, in the Muromachi period (1336-1573), tea was served as refreshment in a formal setting. Ikkyu Sojun (1394-1481) was then the first to bring together Zen practise and the shogun's formal tea (CQ24).

Soshitsu (Urasenke XV) explains:

点（てん）means point, and 前（まえ）in front of: One concentrates one's mind on the point in front of one while making tea (Urasenke Chanoyu Handbook One). With this awareness one is able to adjust with ease to any given situation. In fact, the structuring of tea procedures sets the stage for the unexpected, creating the situation where it will have to be confronted. In a sense “the unexpected” is courted, just as it is in Zen practice. (CQ24). Learning how to deal with this with equanimity is called 働き（はたらき）, working out a solution (Urasenke Chanoyu Handbook One).

Although the manner and order are all fixed, when different people prepare and serve Tea, they give life to the standards with their own character and heart (Urasenke Chanoyu Handbook One).

In CQ25, it is explained that the many rules of 茶の湯 serve as stepping stones and as a means for discipline, so that we can attain a freeness from rules.

Miya (VI 24) explained, that there are two ways of writing it: 点前 and 手前. The first one is when actual tea is being made; the second one for charcoal etc. The 淡交テキスト also adheres to this rule.

Gengensai wrote:

a 手前 should be quite free of glossiness, and for this, it should be something without highlights and one needs to turn resolutely away from giving in to the temptation of showing off in front of others or trying to appear skillful.

Likewise, CQ26 explains that the movements of the 点前 are at first sight everyday movements: It is a naturalness that is beyond art and not a naturalness that is before art. (So you have to train to attain this more natural than actual naturalness naturalness.)

In CQ26, there's a brief note on the importance of tempo and ma (balance of intervals of activity and rest).

Working out things when something unexpected happens in CNY (CQ26).