The tea ceremony, in its essence, is the synthetic expression of the fundamental aspects of Japanese culture. As such it is preserved over the centuries and despite the inevitable marketing, which occurred immediately after the war, has succeeded to preserve its symbolism beyond the undeniable aspect of folklore associated with it. HISTORY
tea, drink wine less arrogant, not selfish as coffee and cocoa as not so harmless, makes his entrance in Europe around the middle of 1600 but it was already known and appreciated in the oriental world at least the eighth century. The tea plant is native to southern China and was well known since ancient times in botany and medicine. He attributed it to this important plant therapeutic properties such as to offer relief from fatigue, cheer the soul, strengthen the will, healing and vision problems. In religious environment, where he found a lasting place in the centuries, the leaves of his plant were considered, inter alia, an essential ingredient of life in vain quell'elisir long cherished by Taoist monks. Buddhist monks also attributed to the infusions prepared with tea leaves another property: to favor the merger. In fact, the monks used it extensively during the long hours of meditation to combat drowsiness. The use of tea as a beverage was certainly widespread in the east. The original recipe, primitive and highly complex, provided a list of ingredients and a very special mode of preparation. According to an ancient Chinese recipe tea leaves were steamed, crushed in a mortar and then they made a cake that was boiled with rice, ginger, salt, orange peel, spices, milk and sometimes added to the intrinsic onions. The salt was the first ingredient to be gone forever and the recipe suffered over the centuries modifications and simplifications, but it is likely that Japan has known the tea using a recipe similar to questa.Il tea came to Japan for the first time around the tenth century to the thirteenth century but was witness to the spread following the development of doctrine Zen, a form of contemplative Buddhism borrowed from China. The Buddhist tradition attributes to monaco Eisai (1141-1215) credited with having introduced tea to Japan. It is said that Eisai had spent some time studying Zen in China and on his return to Japan had brought with it the seeds of that plant magic and had begun to grow in the garden of the monastery. Like his ancestors he was convinced of the various Chinese medicinal properties of plants. It was only later, however, that tea is popular as a form of entertainment for guests of the monastery for the monks themselves. And as entertainment then the tea soon became theism, or the cult of tea, the Chanoyu (literally "water for tea"), drew ever closer to art began to dissociate from the exclusively monastic. The tea ceremony was therefore to represent the link between life and art, between the sacred and the profane. It is essentially "the cult founded
sull'adorazione of the beautiful among the sordid facts of existence, is the worship of the imperfect, as it is a vague attempt to make something possible in this impossible thing that is life ". The connections of tea with Buddhism, especially Zen, are numerous and it is no coincidence that the monks were the first to take an active interest this drink. Tea with its characteristic slightly bitter taste that soothes and clarifies, well suited to the spirit of austere monastic life. The Sado, the way of tea, in its constant pursuit of that accounted for simplicity simplification is typical of Zen and Zen borrowed from its peculiar aesthetic sense, the very sensual awareness of the void expressed by the concept of Wabi. The Chanoyu spread in the fifteenth century, thanks to other Zen monks who gradually adapted to Japanese taste and made it an art form and at the same time were the initiators of the various schools, some of which are still flourishing today. The tea is used in the ceremony is not the common tea leaves drop to hot water. It is a tea from the characteristic bright green, finely ground and dissolved in hot water with a bamboo whisk. The result is a drink thick, slightly foamy, with a characteristic bitter taste very different from the common tea. A Chinese writer has in fact poetically described as "foam liquid jade." The tea ceremony is divided into three distinct phases:
- Kaiseki a light meal eaten before the tea;
- Koichi tea dense
- Usucha tea light.
The ceremony in its entirety requires so many hours, reserving the full ceremony for special occasions, usually it is limited solely to the time dell'Usucha. An elaborate code of etiquette governs all phases of the ceremony from the number of days in advance which extends an invitation (usually no more than five), the ritual washing of hands before entering the tea room at the post to be filled during the ceremony and for guests to the host, description of the guest of honor, how to serve and drink tea. The strict observance of formal rules is nothing but a way to ensure that nothing unexpected disturb the dignified serenity and harmony of spirit associated with the ceremony itself.
The Usucha and Koichi visually represent two distinct moments of the ceremony and ritual associated with them is in fact different. Koichi involves the use of a single cup from which each guest drinking a few sips. The Protocol provides that before handing the cup to his lips the one admires, after tasting the tea you compliments for the taste and then drink a couple of sips before handing over the cup near the guest having thoroughly wiped with a towel the part from which it is consumed. After the round is possible that our most important ask to see the cup again to appreciate the quality. Dell'Usucha If the protocol is slightly different. Every guest in fact drink the whole cup of tea, then wipes the board with his fingers and wipes her hands with a napkin, and the cup returns to the landlord that the washing with hot water and dried after it fills it again to serve 
another guest. The cup is given to guests by presenting the most beautiful. The host in turn will take care to turn it so as not to drink the best part. The tea ceremony became, was accompanied by a new awareness in the arts and architecture and did not fail to influence, with his love for the simplicity and sobriety, the life of every day.
The popularity of the ceremony in the seventeenth century was responsible for the great impetus to the development of ceramics, and especially to the one used for tea. Many schools were born, each corresponding to the specific aesthetic, each reflecting the philosophy and style of a particular teacher. Mugs Raku, originating in Kyoto, were those that met the most success among connoisseurs. They are pleasant to touch and inspire their unique simplicity and serenity in elegant simplicity decorative. Are usually not perfectly round but are made to be held with both hands, as is customary drinking tea. The upper edge is not perfectly smooth but wavy, so as to provide a pleasurable sensation when brought to his lips. The base is usually not glazed, letting them see the type of clay that make up the cup. Do not have a specific motif, but the decoration is created by the glazed and the interplay of colors and natural contorni.Il Zen Buddhism has not only created the tea ceremony, giving it depth and spirituality, but has permeated and spiritualized the same room used to his worship. The tea room can be a separate unit from the rest of the house (Sukiya) or be part of the house. The size of the classic tea room are four and a half tatami, tatami with the medium in the center. At the center is placed the teapot as guests, not more than five for the small room size, are arranged on the remaining four tatami. The tea room, size and simplicity, often contrasts with the rest of the house. In it you want to create an idea of \u200b\u200brecollection and simplicity. It differs from a living room because it was closed on all four sides, representing an isolated and secluded area very attractive. The light filters recently and the only decorative element is given by tokonoma (a kind of decorative panel vertical) that can accommodate an important painting or flower arrangement. The bare elegance of this room, based only on the dark shades, allows the soul to break free from the bonds of human social life, soaring to the highest spiritual values. The true reality of the room is empty, as such, allows an infinite number of interpretations and freedom of movement, both spiritually and physically. Only in a vacuum indeed find expression and realization the wide range of aesthetic emotions, and only through empty man is able to overcome his physical limitations and intellectual, moral and spiritual.
another guest. The cup is given to guests by presenting the most beautiful. The host in turn will take care to turn it so as not to drink the best part. The tea ceremony became, was accompanied by a new awareness in the arts and architecture and did not fail to influence, with his love for the simplicity and sobriety, the life of every day. The popularity of the ceremony in the seventeenth century was responsible for the great impetus to the development of ceramics, and especially to the one used for tea. Many schools were born, each corresponding to the specific aesthetic, each reflecting the philosophy and style of a particular teacher. Mugs Raku, originating in Kyoto, were those that met the most success among connoisseurs. They are pleasant to touch and inspire their unique simplicity and serenity in elegant simplicity decorative. Are usually not perfectly round but are made to be held with both hands, as is customary drinking tea. The upper edge is not perfectly smooth but wavy, so as to provide a pleasurable sensation when brought to his lips. The base is usually not glazed, letting them see the type of clay that make up the cup. Do not have a specific motif, but the decoration is created by the glazed and the interplay of colors and natural contorni.Il Zen Buddhism has not only created the tea ceremony, giving it depth and spirituality, but has permeated and spiritualized the same room used to his worship. The tea room can be a separate unit from the rest of the house (Sukiya) or be part of the house. The size of the classic tea room are four and a half tatami, tatami with the medium in the center. At the center is placed the teapot as guests, not more than five for the small room size, are arranged on the remaining four tatami. The tea room, size and simplicity, often contrasts with the rest of the house. In it you want to create an idea of \u200b\u200brecollection and simplicity. It differs from a living room because it was closed on all four sides, representing an isolated and secluded area very attractive. The light filters recently and the only decorative element is given by tokonoma (a kind of decorative panel vertical) that can accommodate an important painting or flower arrangement. The bare elegance of this room, based only on the dark shades, allows the soul to break free from the bonds of human social life, soaring to the highest spiritual values. The true reality of the room is empty, as such, allows an infinite number of interpretations and freedom of movement, both spiritually and physically. Only in a vacuum indeed find expression and realization the wide range of aesthetic emotions, and only through empty man is able to overcome his physical limitations and intellectual, moral and spiritual.
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