ホモテナシ

台子 brought from China to Japan in 1267 by a monk together with a 皆具-set; and this came to be used for preparing tea. At first in a separate room, then, around 1450, in front of the guests; still with the 台子.

Jōō was then the first to deviate from the 台子 with the use of the 袋棚（ふくろ）, a staggered 大棚 inspired by 香道.

棚 are not used in the small room, or in large rooms where for example the 風炉 is on the ふみこみ畳, or if the 炉 is in the host's 畳.

Used in large rooms

16 lines away from middle of 畳

If the wood grain is visible, the base of the tree is on the side farther away from the guest (so it cannot be really used for 逆勝手)

及台子（きゅう）, because it looks like a gate to pass through. 2 legs with decorations; top shelf may have ふでがえし to prevent brush from falling off. Upper shelf is smaller than lower one, which is 90.6 ╳ 42.4 (again), and the whole thing is 55.4 cm high.

高麗（こうらい）, Korean, favoured by Sōtan because the king of りゅうきゅう gave him one like this; he used it with a peach motif 皆具 he had from 利休. It 68.2 ╳ 36.4 ╳ 32.3 in total (which seems super small!)

竹, made of paulownia. All plates are 75.1 ╳ 38.6; height is 54.8; originally only intended for 炉; in 風炉 a small 風炉 must be used.

爪紅（つまぐれ） (red fingernail) with red lacquered edges

Others:

Also, the 長板 goes in this category; it's the bottom shelf of the 真台子. In 風炉, it's 84.8 ╳ 36.4 ╳ 1.8; in 炉 its 72.7 ╳ 30.3 ╳ 1.2. You can use the 長板 with only a 水指 rather than the “full display”, but you should only do this if the 水指 is 名物.

Full 畳 width 棚 that are not a 台子.

紹鴎（じょうおう）, cypress with しゅんけいぬり and a bottom cabinet. Used in 炉 with a 水指 made of copper. You display writing brush set on top, a 炭斗 or a flower. CQ51 sketches how to use it.

志野（しの）, created by 利休 based on an incense cabinet owned by a guy named 志野. Plain paulownia; mostly similar to 紹鴎's.

よし, which means reed. This is quite interesting, as it allows you to transform a room into a だいめ. Can be used in 炉 and 風炉. (Not the same as よしの, which is smaller).

寒雲棚（かんうん）, which is a 運び棚 made by Gengensai. Quite an ugly fucker. Similar to this is the えんゆ, also one of his additions, equally ugly.

山里（やまざと), made by 利休, cedar. Given to やぼのうち school, and associated with it. Only used with 炉; special because it can be used with unglazed 水指, which otherwise you could not use in a large room. In this case, the bottom board is moistened, as well as the 水指.

さんじゅ: Three friends, Stav said in Hurtebise 23 it's about the 3 千家-schools

Generally, the 茶杓, when resting on the 棗（なつめ）or 茶入, never protrudes into the space of the 棚. This dictates the distance of the 茶入 etc. from the 棚. This is also true for boards as in 中置き（なかおき）, for example.

When 棚 is used, we don't use a bamboo ふたおき.

When finishing, take 柄酌, hold with L, then turn R away from you to hold from below, and place on 棚. Make sure it's not sitting on the edge of the 棚, but within. For 濃茶, this happens after putting out the items for 拝見, but 薄茶 before.

Then take 蓋置き on L, R on knee, and shift in front of 棚.

Also, when you start with the 棗 on the 棚, something needs to change before you go. Either take it with you, or put it on a different shelf.

When moving 釜, shift to face 棚 and move it to its left side.

水指 lid with R, L (for opening during tea, and when filling it)

Closing: first 棗 (one hand), then 茶碗 (two hands)

For 拝見: Shift to 0° to pick up 棗, clean it at 90°, then to 45° to get 茶杓 and put it down from there.

After 拝見, shift in front of 棚, place 茶杓 on 水指 lid if it's lacquered, or on the 棚 if it's ceramic (?), put 棗 on 棚, and just go out with the 茶杓

片口 if the 棚 has 3 legs or fewer; where you don't need to remove the 水指

こしぐろやかん for 棚 with 4 legs