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vancouverkitchenrenovation · 2 years

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Tips For Organizing Storage For Kitchen Countertops

If you want to maximize the storage space in your kitchen, you must design a layout that places necessary storage in all the right places. For instance, you must make use of under-sink space. You also should make use of over-the-door racks and slide-out drawers. These kitchen storage solutions will help you keep your counter tops clean and clutter-free.

Design a layout that puts the necessary storage in all the right places

A kitchen layout is more than just the placement of appliances. It also needs to consider traffic patterns in the kitchen. The kitchen triangle should be 20 feet long so that you can move between areas quickly and easily. The distance between work areas should be at least three feet.

The cooking area is located adjacent to the prep area and usually includes a heat source and ventilation system. The cooking area should also include easy access to spices, herbs, and seasonings. Most efficient kitchen layouts follow the triangle principle, which involves maximizing the space between three key areas of the kitchen – the cooking area, the fridge, and the prep area.

A good kitchen layout will make use of available space by putting the necessary storage in the right places. It should also prioritize traffic flow, avoiding hot spots and encouraging users to move in the right direction. A kitchen layout should be functional, as well as attractive.

The U-shaped kitchen layout is another functional design. It features cabinetry on three walls, with the fridge and sink at the ends. It also offers ample workspace and can make the most of corner cupboards. The surfaces in the U-shaped kitchen should be eye-catching, and the countertops should sweep over the corners seamlessly.

Organize under-the-sink space

The space under your sink can be difficult to organize. But with the right organization tricks, it can become an organizing powerhouse. You can start by organizing the area by location or category. To make the area easier to access, label everything. You can use letter stickers or permanent markers to label different items. You can also make your own labels using a paper cutting machine.

Another great way to organize under the sink space is by installing wire shelves. These shelves can be bought or easily constructed. The advantage of using wire shelves is that they keep the area neat and tidy. Also, they make it easier to access the items stored there. The shelves are also great for keeping small items out of the way.

Another solution to organizing under-the-sink space is to use drawers. These are an excellent way to store small things such as sponges and cleaning rags. You can also get plastic drawer sets from big box stores. These drawers can be labeled and will make the under-sink area look cleaner.

Before buying an under-the-sink storage solution, take careful measurements and take into account the pipes and wires in your kitchen. Also, make sure that the unit you buy is slightly smaller on each side so that it will fit the space perfectly. It is also important to select a unit that is made of a water-resistant material.

Organize over-the-door racks

Over-the-door racks can help you organize items that are commonly used in the kitchen. These units have multiple pockets and are ideal for storing small items. The pockets are 4-1/2″ deep and can be secured with command hooks or small strips of velcro.

There are various types of these racks. Some are made from steel and some are made from wood. These can be used to organize jars and crocks. The wires on the hooks are heavy and provide the required support for your items. They can be positioned on the cabinet door and can be installed within 15 minutes.

Organize slide-out drawers

If you’re looking for a great way to organize your kitchen cabinets, consider adding pull-out drawers. Having organized drawers makes finding the items you need much easier, especially if you have children. You can also designate a drawer for items your children will use frequently, like utensils. Having designated drawers also helps your kids learn to help with household tasks.

You don’t need a lot of tools to assemble pull-out drawers. Many of these organizers come with built-in dividers so you can separate items by type. For instance, you can place separate compartments for the kitchen sink, your bathroom vanity, and your kitchen appliances. Some even have a place to store your toiletries.

One of the most important aspects of organizing drawers is to keep similar items together. Using dividers will prevent like-items from jumbling around each other. Also, you can use hidden drawers to make the most of cabinet space. These are great for items that don’t need to be visible but can be hidden for easy access.

Another good way to organize drawers is to install a rack that lets you keep your pots and pans organized. Pots and pans can be difficult to find a home, and a pots and pans organizer will keep them organized and accessible. You can also add sliding-out lids to keep your cutting boards visible.

Organize shelves

Open shelves in the kitchen are a great way to add visual interest to a room while corralling your kitchen supplies. For safety, consider using a shelf with a lip to prevent things from falling off. Open shelves are also great for displaying decorative items. You can use them to display favorite ceramics, spices in matching bottles, or dried grains. You can also place two open shelves in a single cabinet, creating two distinct areas for storage.

If you are short on cabinet space, consider using a sliding ladder to reach the ceiling-height cabinets. This will free up valuable cabinet space and look good. Another way to make your open shelves look organized is to use woven boxes and paper tags. Hanging pans and pots on shelves will free up cabinet space.

Organizing kitchen storage can be a difficult task. It may seem daunting at first, but a system can make the process go much more smoothly. By grouping items and placing them in logical spots, you’ll be able to make your kitchen a more functional and pleasant space.

You can also use C-clamps to create a towel rack. This will save space while keeping your paper towels in one place. If you don’t have enough room for a paper towel rack, you can also use your cabinet doors to mount dry-erase boards.

Organize drawers

One of the most common ways to get your drawers organized is to use dividers. Set up separate sections for each member of the family or categorize items by type. Label each section clearly. For example, there should be a section for small batteries and lidded containers for paper clips. You can also buy dividers with integrated sockets to store recharging devices.

First, take an inventory of the items you keep in your kitchen drawers. You can donate or toss items that are damaged or no longer useful. Also, don’t keep duplicates. Editing your collection will create visual breathing room and make room for your essential kitchen tools. Measure each drawer to make sure you have the right amount of storage space.

Next, you can choose an organizer that fits your kitchen space. There are many different types of organizers on the market today. Plastic, wood, bamboo, rubber, and metal are common materials for these organizers. Each type of organizer will accommodate a different type of storage. By choosing a drawer organizer with different features, you’ll be able to organize everything in your drawers easily.

Once you have determined what you need to store, you can sort the items by type and determine where they should go. The best place for your cooking utensils is near the stove. If you need more space, you can use bespoke inserts to fit things like pots and pans in your kitchen drawers.

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The kitchen is often the heart of the home, so it makes sense that it would play such an integral role in your house’s overall look and feel. It’s also a space that people spend a significant amount of time in, so it must look its absolute best. That’s why VK Renovation is proud to offer Kitchen Design and Renovations in Vancouver, BC. We believe that a well-designed kitchen can transform the way you live, and we’re committed to helping you create the perfect space for yourself and your family. Whether you’re interested in updating your existing kitchen or building a brand new one, we can help you achieve your dream kitchen. We’ll listen carefully to your ideas and preferences, and together we’ll figure out which options will work best for you. Once we’ve determined what you’d like to see in your new kitchen, we’ll put together a detailed proposal outlining everything we propose, including a breakdown of the estimated budget and timeline. If you decide to move forward with our proposal, we’ll begin working immediately to bring your vision to life.

We understand that to be successful is to stay ahead of the curve. That means staying current with the latest technology and design trends. We’re always looking to find ways to improve our products or services without breaking the bank. That’s why we stay connected to the latest technologies of NKBA, National Kitchen and Bath Association. In addition, at VK renovation, our primary focus is providing sustainable kitchen design and renovation packages, and we believe in sustainable living. Sustainable living is a way of life in harmony with nature. It is a lifestyle which focuses on the preservation of our environment. Sustainable living is a philosophy emphasizing respect for the environment and concern for its well-being. This means we should take care of the planet and treat it as if it were our own home. We should try to preserve what we have and protect it from destruction. If we do this, we will enjoy the benefits of the earth’s resources for many generations. Whether you’re planning a major remodel or adding finishing touches to your current kitchen, we’d love to discuss your project. Book your showroom consultation online.

Main Areas of Service in British Columbia:

Vancouver

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Burnaby

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Frequently Asked Questions

What are the qualities of an ideal cooking environment?

A large kitchen should provide ample storage space for all your cooking and cleaning needs. A well-designed and designed kitchen will allow for easy access to natural light, ventilation, and other benefits.

In the kitchen, where should a refrigerator go?

The refrigerator is located between the stove and sink. It should be placed close to your cupboards so that you can get what you need quickly.

***

Does your new kitchen need planning permission?

You will need permits to change the locations of electrical and plumbing. A building permit may be required if structural changes are being made to your walls.

Before you do any work, make sure you check with your local authority to confirm that you are allowed to use the planning permission.

Can you DIY a Kitchen Renovation?

You may be wondering if you can actually do your own kitchen renovation. Yes, it is possible. But there are some important things to keep in your mind.

First, a kitchen renovation can be a big project, so make sure you have the time and energy to tackle it. It is also important to know basic plumbing and carpentry before you begin. Also, you will need to decide what aspects of your kitchen to be changed, such as extra storage space, changing old appliances, or changing the lighting.

After planning your kitchen renovation, you can start shopping for the materials. You will need to make a decision about cabinets, countertops, flooring and appliances.

A good idea is to think about the layout of your kitchen before you go shopping. This will help determine how much space and what layout is best for your kitchen.

You have many options when it comes down to cabinets. You have the option of custom or ready-to assemble cabinets. RTA cabinets come in various styles and colours and are usually less expensive than custom cabinets.

It is important to take all the necessary precautions to ensure safety and security before you embark on a large-scale project. For example, you might want to check the local building codes for renovations.

Although you might be tempted to do a major renovation yourself, it is best to hire professionals. A qualified contractor will help you save both money and time. Additionally, working with a professional will ensure that the project runs smoothly.

Statistics

Your most significant cost investment for a kitchen remodel will usually be cabinets, typically comprising 25 percent of your budget. (hgtv.com)

Followed by cabinet cost, labour, and appliance costs consume 20 percent each of your budget. (hgtv.com)

Experts also recommend setting aside 20 percent of your budget for surprises, including unpleasant demolition discoveries. One is water damage, the electricity that is not up to code, or other budget-spiking gotchas. (hgtv.com)

Keep 10 to 25 percent of List 2, depending on the budget. (familyhandyman.com)

In large firms, the commission charged by the GC ranges from 15 to 25 percent of the total job cost. (thespruce.com)

External Links

thespruce.com

Open Floor Plan: History and Pros and Cons

Get Kitchen Remodeling Estimates by Professionals

remodeling.hw.net

Cost vs. Value 2021

Cost vs. Value Project: Minor Kitchen Remodel

homeguide.com

2022 Kitchen Remodel Cost Estimator

Cost To Add a Room Per Square Foot

homeadvisor.com

Learn how much it takes to remodel a Kitchen. Compose, SEO.

What Does a Kitchen Remodel Do to Increase Your Home’s Value? – HomeAdvisor

How To

Ten kitchen renovation ideas you can do yourself.

You can easily renovate your kitchen by yourself. DIY Home Improvement Tips for the Average Joe

You might not want to undertake a small kitchen renovation. You can make your home feel brand new by doing this. You can do many things to improve your kitchen without spending too much money. Here are some easy kitchen renovation ideas.

Install a backsplash. If your countertops and sink are not covered with tiles, then a backsplash can be a great option. A backsplash can add colour and style to your kitchen, while also making it look larger and more spacious.

Replace old cabinets – Cabinets add a lot of value to your kitchen. They provide protection from water splashes, spills and stains. They are elegant and give your kitchen a refined look. If you notice that your cabinet doors look worn out, you should replace them with new ones.

Paint your kitchen. – Painting your kitchen will transform its appearance and help you save money. Paint gives your kitchen a fresh look and modernizes it. It’ll be much easier to clean.

Update your appliances – Updating your appliances is an excellent idea because it won’t just increase their lifespan but also make them look newer. You can update the appliance that you are most familiar with if you have a specific appliance in mind. You can also ask someone who is familiar with how to install these appliances.

Add a bar – Adding a bar area in your kitchen is another good idea. This not only gives you more work surface, but it also allows for entertaining guests.

Create a breakfast nook – You don’t have to break the bank to create a breakfast nook. All you need is a small table and some chairs. To make it more comfortable, you could add cushions.

A pantry is an essential part of any kitchen. It’s an excellent place to store food, meals, and other household items.

Install an island – An island is an excellent addition to your kitchen. It adds spaciousness to your kitchen, and also provides ample workspace. Plus, it looks very attractive when combined with wood flooring.

Add a wine shelf – Wine racks usually can be found at wine bars or restaurants. They can be used in your home, however. They come in different designs and sizes. You can choose the best one for your kitchen.

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chanoyu-to-wa · 2 years

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Nampō Roku, Book 7 (38d): Three Kaki-ire from Shibayama Fugen’s Tokushu Shahon [特殊写本], Part 2.

〽 Kaki-ire [書入]:

It was [traditionally] said that, with respect to the arrangement of [a utensil as] an hitotsu-mono [一ツ物] in front of the [fukuro-]dana in the 4.5-mat room, [the display of an hitotsu-mono] should always be done the same as when something is displayed [in this manner] on the daisu: [that is, the object] should be displayed on [either] the upper, or the middle, or the bottom shelf of the tana [rather than on the mat itself]¹.

[Ri]kyū placed the mizusashi [directly] on the tatami, which he did for the first time [on an occasion] when there was no tana. After [Jō]ō and [Ri]kyū discussed this, [they concluded] that when the utensils were being arranged directly on the mat in front of the [fukuro-]dana, an hitotsu-mono could be placed either in front of the mizusashi, or in front of the kabura[-ita], so long as [the host was] guided by the kane².

But with regard to the chū-ō-joku, along with the rest of the tana, since these came into use much later, the understanding [of what to do] should be illuminated [by this earlier precedent]³.

When the mizusashi is placed [on the mat] without a tana, or else when there is no mizusashi, and instead something like a naka-bon is arranged together [with the ro], the way to place something like a small square tray, or a small round tray, as an hitotsu-mono, this should be done only after very careful consideration⁴.

With respect to the [system of seven] kane associated with the small daisu, Jōō originally did this so that [the kane] would [distribute the utensils on the mat so that they would] better correspond with the [smaller size of the daisu]⁵. Because the surface of the mat was [originally] not subdivided [independently], the seven kane from the small daisu were also applied to the fukuro-dana -- which is completely logical⁵. Because [even Ri]kyū could not free himself from this precedent, when displaying the fukuro-dana [in the kyōma setting], he also arranged it according to the seven kane⁷. On such occasions, the same system of seven kane should be used everywhere else, over the course of the entire gathering⁸.

But again, if the fukuro-dana is displayed in accordance with the five-yang and six-yin kane, then throughout the whole gathering everything should follow the five[-yang] and six[-yin] system of kane[-wari]⁹. The basis for this is that, even when Shukō used the small daisu in his shin-no-zashiki [真ノ座敷], everything was [arranged] according to [the kane of] the small daisu; and when he used the large daisu, the entire [gathering] was truly [arranged] in accordance with the kane of the large daisu¹⁰. From the earliest days, therefore, [the rule] has always been that over the course of a single gathering, to mix [the large] kane [with the small] was [felt to be] completely unreasonable, and a grave mistake: [Ri]kyū, too, declared this [aloud] from time to time¹¹.

On the utensil mat of the 4.5-mat room, the large kane and the small kane, both of these cases will be explained later¹². But when we talk about the two systems, even if [I] did not ask [Ri]kyū [to explain] about this in detail, [it is true that] both systems can be used to divide [the surface of the kyōma-datami]¹³.

Of course, with respect to the five[-yang] and six[-yin] kane, the way [Ri]kyū used them to divide [the mat] has [already] been set down in the fifth book [of the Nampō Roku]¹⁴. But as for dividing [the kyōma-datami] using the small kane when one wishes to use the fukuro-dana in accordance with the small-kane system, using the kane too freely in this way seems rather unsatisfactory, since it will [probably] lead to difficulties [because the host will subconsciously want to orient things on the mat the way they are usually placed when he is operating under the five-kane system]¹⁵.

〽 Kaki-ire [書入]:

[With respect to what is meant by] the kane-wari over the course of the whole gathering, [this includes] the [kane-]wari [used] in the toko, as well as that of the tana, and the [kane-]wari of the utensil mat. All of these should [follow] the same [system], so it has been said¹⁶.

_________________________

◎ As Shibayama Fugen noted in his comments on these kaki-ire, while they provide us with a good summary of the teachings (at least as they were explained during the second half of the Edo period), the language itself is rather coarse and convoluted -- and not frequently lacking in clarity. I have tried to keep the number of glosses in the translation to a minimum, but sometimes the text would make no sense without these interpolations.

We must remember, too, that what is written here reflects the opinion of the Sen family at that time, rather than Rikyū’s approach to the use of the fukuro-dana in the 4.5-mat room. In none of Rikyū’s many densho does he ever suggest that the chaire (or any other utensil) be placed on the mat in front of the tana, whether that is a mizusashi-dana, the fukuro-dana, or the daisu. Even when using the nagaita or tana-ita (the ji-ita of the fukuro-dana turned over, so it could be used like a smaller version of the nakaita, without the rest of the tana), the chaire, or chawan, was placed on the ita itself, rather than on the mat in front of the mizusashi. Thus, the entire argument made, not only in these kaki-ire, but in the original entry 38 in the Nampō Roku itself, is spurious, and (once again) reflects the Sen family’s approach, rather than Rikyū’s. Rikyū’s belief seems to have been that if one is bringing a tana out onto the utensil mat, then the tana should be used; and if the host does not wish to use the tana for the display of certain of the important utensils, then the tana should be eliminated, and the utensils all arranged on the mat in front of the mizusashi.

The second kaki-ire (which is the first of the two discussed in this post) gives us a rather logical and succinct account of the thought-process through which someone arrived at this kind of arrangement. The only problem is that it does not appear to be Rikyū’s thoughts that are being set down here.

In the setting of the daime-gamae, while Rikyū’s Tsuri-dana no densho [釣棚の傳書] (written in 1582 or 1583) argues that the chaire should be placed on the tsuri-dana, later he does seem to have displayed the chaire on the mat, keeping the tsuri-dana more strictly for the hishaku and futaoki (as was the case with the naka-dana of the fukuro-dana, where the chaire was more commonly displayed on the kō-dana, the shelf above the ji-fukuro, or on the ten-ita), though this would be returning to the precedent that had been established before the fukuro-dana was created, rather than rejecting the use of the hanging shelf outright. Nevertheless, it seems to have been from here that the idea of placing the chaire on the mat in front of other sorts of tana was borrowed, and became mainstream under the Sen family; and remains the usual way things are done even today.

¹Yojō-han tana-mae hitotsu-mono iu-iu, izuremo daisu kazari no gotoku, tana ue, naka, shita ni kazarare-shi nari　[四畳半棚前一ツ物云〻、イヅレモ臺子飾ノ如ク、棚上、中、下ニ被飾シナリ].

Izuremo daisu kazari no gotoku [何れも臺子飾の如く] means always it is the same as (the way things are displayed on) the daisu.

Tana jō, chū, ka ni kazarare-shi [棚上、中、下に飾られし] means that (the hitotsu-mono [一ツ物]) should be displayed on the tana, whether above (on the ten-ita), on one of the shelves (the naka-dana above the mizusashi, or the ko-dana above the ji-fukuro), or within the ji-fukuro* or in the compartment that houses the mizusashi (below).

Here Shibayama adds a note referring (the reader) to entry 44 in the same book (Book Seven)†. __________ *Even though the ji-fukuro is closed by a door, the convention since Jōō's time is that, at the beginning of each za, the shōkyaku opens the ji-fukuro so that the guests can inspect its contents; and it remains open until closed by the last guest. Thus, it is as valid a part of the kazari as the open shelves (and so its contents likewise participate in the kane-wari count).

†Entry 44, according to Shibayama Fugen’s teihon, reads:

yojo-han ni tana-mae hitotsu-mono to ha, Kyū no Shiri-bukura wo Matsuyama to na wo tsukerare-shi toki, fukuro-dana wo atsukaite oki-awaserare-shi, kore sai-sho nari, ō ni te tana wo atsukau-koto ni arazu, yoku-yoku kokoro-e-beki-koto nari, tsune ni ha fukuro-dana no uchi no kane wo ōjite, chaire・chawan-tō, tana no in-yō ni shitagau-koto naru wo, kore ha Matsuyama wo shōgan-shite, tatami no ue no itsutsu-kane, shōgan no kane ni, bon ni nosete oki-awase, sate Matsuyama no kane ni shitagatte tana wo atsukai, nana-me katte no kata [h]e sashi-yosete oku-koto, ō-naru chaire no menboku nari, shikaru ni hito ha sono shisai wo shirazu, fukuro-dana no oki-kata nana-me ni mo, yon-me ni mo suru to omou ha ō-naru higa-koto nari

[四疊半ニ棚前一ツ物トハ、休ノ尻フクラヲ松山ト名ヲ附ラレシ時、袋棚ヲ扱ヒテ置合セラレシ、是レ最初ナリ、凡ニテ棚ヲ扱フコトニアラズ、能〻可心得事也、常ニハ袋棚ノ内ノカネニ應ジテ、茶入・茶碗等、棚ノ陰陽ニ隨フコトナルヲ、是レハ松山ヲ賞翫シテ、疊ノ上ノ五ツカネ、賞翫ノカネニ、盆ニノセテ置合セ、扨松山ノカネニ隨テ棚ヲ扱ヒ、七目勝手ノ方ヘ差寄セテ置コト、大ナル茶入ノ面目也、然ニ他人ハ其ノ子細ヲ知ラズ、袋棚ノ置方七目ニモ、四目ニモスルト思フハ大ナルヒガコトナリ].

This means: “with respect to [placing] an hitotsu-mono [on the mat] in front of the tana, at the time when the name ‘Matsuyama’ [松山] was [still] applied to [Ri]kyū’s ‘Shiri-bukura’ [尻膨], the idea of repositioning the fukoro-dana [so that it would align with the placement of this chaire as an hitotsu-mono] began. In general, repositioning the tana is forbidden, so this is something that has to be understood very, very carefully. Ordinarily, everything has to conform to the kane [projected] from within the fukuro-dana, so things like the chaire or chawan should conform to the yin- and yang-[kane] of the tana. But in order to treasure the ‘Matsuyama’ [chaire], among the 5-kane from the surface of the mat the chaire was arranged so that it rested on the most honorable one [the second one from the right]; and then, so that it would correspond with the ‘Matsuyama’s’ kane, the tana was repositioned by moving it 7-me toward the katte. This was intended to do honor to the chaire. Nevertheless, because other people did not know the details, since [the rule] had always been 7-me or 4-me, they felt that [what Rikyū had done] was a serious mistake.” [Shibayama then included the following sketch to illustrate the details of the arrangement.]

A detailed discussion of this entry will take place at the proper time, of course; but, to begin with, the language, and the thinking behind all of this, are both wrong -- at least in so far as the way Rikyū did things is concerned. Furthermore, trivial as it might seem, it was absolutely forbidden to slide something like a tana around the mat, in order to change its position, after the various utensils had already been arranged on it (as this text says to do). Thus, the internal evidence leads to the conclusion that this entry is spurious.

As for the chaire at the center of this episode, the name “Matsuyama” appears to refer to its owner (at that time) -- the person who purchased this chaire from Rikyū when it still had no name at all (perhaps this was either at the time of his family’s bankruptcy, or else just before he left Japan for the continent in 1524: at that time, the chaire was considered an “ordinary” karamono-chaire on account of its lack of symmetry -- it measures 2-sun 2-bu in diameter side to side, but 2-sun 1-bu front to back -- so, as Shibayama points out in his commentary on entry 44, the chaire was at that time always placed so that it overlapped its kane by one-third, and naturally would never be used on a tray); and so, this would have been the man who paired the Shiri-bukura chaire with the red Chinese wakasa-bon [若狹盆] that is seen in the photo.

The most likely candidate seems to be Matsuyama Shigeharu [松山重治; his dates of birth and death are not known], a native of Sakai and originally a functionary of the Honganji temple; but he later served as a retainer of Matsunaga Hisahide [松永久秀; 1508 ~ 1577], and then Miyoshi Nagayoshi [三好長慶; 1522 ~ 1564]; and, after the death of Nagayoshi, Shigeharu pledged his allegiance Oda Nobunaga, and was present during Nobunaga’s attack on the Shingon stronghold of Kōya-san [高野山], in early 1582.

Shigeharu is known to have been deeply involved in the cultural life of his period, and had a solid reputation as a performer on the shakuhachi. As many of the daimyō with whom he associated were passionate about chanoyu, there is no reason to doubt that Shigeharu was also a practitioner, even if his reputation in this art did not lead to his being considered a master (we must remember that part of one’s reputation, at that time, was based on the famous utensils in his collection, yet the “ordinary” status of the Shiri-bukura chaire suggests that Sigeharu was not particularly concerned about such things).

As for the “Matsuyama”/”Shiri-bukura” chaire, when Rikyū returned from the continent, he was involved in a flurry of tea activity (to reestablish his connections with his contemporaries, and to host gatherings at which he used -- we might say “demonstrated” -- the tea utensils that he had brought back from Korea, with the intention of selling them to any of the guests who expressed an interest, as was the custom at that time). It seems that during this time Rikyū was entertained by Matsuyama Shigeharu, who used the Shiri-bukura chaire to serve the tea. Rikyū was overcome with awe at the sight of this chaire being used on the small tray (probably Shigeharu had recognized that its lack of symmetry precluded it from being used on the larger sort of chaire-bon that agreed with Jōō's teachings, so he placed it on a smaller tray that was just 2-sun larger than the chaire on all four sides), and begged Shigeharu to allow him to buy it back; and the intensity of his request apparently moved Shigeharu to accede to his request.

It was from this bon-chaire that Rikyū’s interpretation of bon-date developed; and it was this that reinforced his commitment to a single way of performing the temae (and so rejecting the machi-shū approach of having many “secret temae” associated with each of the different types of utensils -- though this machi-shū idea was championed by Imai Sōkyū after Rikyū’s seppuku, from whom it made its way into the teachings of the Sen family, and is still a feature of the modern schools even today).

²Kyū no mizusashi wo tatami ni okite, tana nashi ni oki-hajime-shi yori, Ō・Kyū sōdan ni te, tana mae tatami ni dōgu wo oki-awase suru-koto ha, mizusashi mae no hitotsu-mono, kabura mae no hitotsu-mono nado, kane wo sadamerare-shi nari　[休ノ水指ヲ畳ニ置テ、棚ナシニ置始メシヨリ、鷗・休相談ニテ、棚前畳ニ道具ヲ置合スルコトハ、水指前ノ一ツ物、カフラ前ノ一ツ物抔、カネヲ被定シナリ].

Kyū no mizusashi wo tatami ni okite [休の水指を畳に置きて] means Rikyū’s mizusashi was placed on the tatami (that is, without a tana).

In the three surviving examples of kaiki written by Rikyū (the kaiki in Book Two of the Nampō Roku, which documents gatherings held from the ro-biraki [爐開き] of 1586 to the furo no nagori [風爐の名殘] in 1587; and the kaiki that forms Book Six of the Rikyū chanoyu sho [利休茶湯書], and Rikyū hyakkai ki [利休百會記], both of which document the tea-year from the Ninth Month of 1590 to the 28th day of the Second Month of 1591, the day of his seppuku), he used the 4.5-mat room 80 times.

In 1586~7*, out of just 9 gatherings hosted in his 4.5-mat room, he placed the mizusashi on the mat only one time -- on New Year’s morning, when he made tea for himself (with no guests present).

In 1590~1†, however, out of 71 gatherings held in the 4.5-mat room, he seems to have placed the mizusashi directly on the mat 45 times (since no tana is mentioned in the entries for those 45 chakai)‡.

Tana nashi ni oki-hajime-shi yori [棚なしに置き始めしより]: this phrase implies that the idea of displaying utensils directly on the mat in front of a tana began with Rikyū’s having done so in front of the mizusashi when it was placed on the utensil mat without a tana -- though the first time he did so was during a hakobi temae, so that should not really count (since the question here is concerned with having the mizusashi displayed on the mat when the guests enter for the room for the goza).

Ō・Kyū sōdan ni te [鷗・休相談にて]: as mentioned before, the first time that Rikyū placed the mizusashi directly on the mat was when he received Jōō in his home shortly after his family lost their money (and Jōō bought Rikyū's collection of tea utensils**). On that occasion, however, Rikyū performed the temae as a hakobi-temae, meaning that aside from the things in the toko, and the kama in the ro, nothing else was “displayed” in the room at all. This “consultation” between Jōō and Rikyū, then, must have occurred sometime between Rikyū’s return from the continent at the beginning of 1554, and Jōō's death near the end of 1555††.

Tana mae tatami ni dōgu wo oki-awase suru-koto ha [棚前畳に道具を置き合せすることは] means “with respect to arranging the utensils on the mat in front of the tana....”

Mizusashi mae no hitotsu-mono [水指前の一ツ物] means “arranging (the chaire) as an hitotsu-mono in front of the mizusashi...." This is referring to the mizusashi when it is arranged in its compartment on the fukuro-dana.

Kabura mae no hitotsu-mono [蕪前の一ツ物] means “arranging (the chaire) as an hitotsu-mono in front of the kabura-ita....” The kabura-ita [蕪板] is the board that stands upright in the middle of the fukurod-dana. It forms the inner side of the ji-fukuro, and also supports the naka-dana. Placing an hitotsu-mono in front of the kabura-ita means that, if the fukuro-dana was centered on the utensil mat, then the treasured utensil would also be centered on the mat.

The name kabura-ita comes from the openwork that is cut into the board between the kō-dana and naka-dana, which somewhat resembles a turnip‡‡ (the openwork makes the interior of the tana seem more open -- a similar sort of support is often seen in the chigai-dana, with the openwork allowing light from the window above the tsuke-shoin to illuminate the lower of the two shelves).

Kane wo sadamerare-shi nari [カネを定められしなり]: literally means that the kane are predetermined (by the mizusashi or the kabura-ita). In other words, the kane are projected onto the mat from the tana. __________ *The breakdown is as follows:

◦ the fukuro-dana was used at four chakai;

◦ the kyū-dai daisu was used at two gatherings;

◦ Imai Sōkyū's hora-dana (above) was used twice (note that the peg for the hishaku is supposed to be found on the outside, as shown, even though most modern chajin assemble this tana so that the peg is on the inner side of that leg, just like other modern-day mizusashi-dana);

◦ and no tana was used at 1 gathering.

†A summary of this tea-year is as follows:

◦ the fukuro-dana [袋棚] was used 4 times;

◦ the Sōho-dana [宗甫棚] (a version of the kyū-dai daisu, painted green with red highlights, created by Chō Sōho [重宗甫; dates of birth and death unknown], a disciple of Jōō and contemporary of Rikyū, who also served as one of Hideyoshi’s eight sa-dō [茶頭]; this tana is shown above) was used 22 times (one of which was an ato-mi [跡見], when the same set of utensils was used without any changes);

◦ and no tana was used during the remaining 45 chakai.

‡The Sen family was only aware of the details of the chakai listed in the Rikyū hyakkai ki (of which they owned a copy that was given to them by Hideyoshi, along with Rikyū’s papers and a selection of his personal effects, when the Sen family was rehabilitated), at which he frequently used no tana in the 4.5-mat room, and from there projected this information on the rest of Rikyū’s life.

Rikyū’s last year of life, however, was highly problematic (in so far as allowing us to make guesses from it about his earlier life): he was under house-arrest from the 23rd day of the Ninth Month to the 26th day of the Tenth Month (as punishment for using Hideyoshi's Kidō-no-bokuseki [虛堂の墨跡], above, at the gathering he hosted on the morning of the 14th day of the Ninth Month for Kokei oshō, immediately prior to Kokei’s departure into Hideyoshi-ordered exile), and under increasingly unbearable stress for the remainder of the time (as Hideyoshi’s decision to stage a military invasion of the continent was becoming increasingly likely -- something that Rikyū vehemently opposed). This suggests that he was simply not able to muster the intellectual energy to be creative, and his arrangements from that period reflect this sort of mindset.

**The chakai, at which Jōō was the only guest, was given primarily to thank Jōō for buying his utensils; but also as an attempt to make tea with the several objects that Jōō gave to Rikyū as a sort of consolation prize (the imperfect nature of which suggested that Rikyū should give up any idea of entering the world of tea as a major chajin, restricting his activities to an extremely wabi version of chanoyu as a way to focus on the cultivation of samadhi -- perhaps one so simple that it did not even include the presence of any guests).

††Records of only two gatherings mentioning Rikyū survive from this period. The first, dated the 12th day of the Twelfth Month of Tenbun 23 [天文廿三十二月十二日] (January 6, 1555), was hosted by Imai Sōkyū (at this chakai Rikyū was one of the guests, possibly the shōkyaku); and the second, dated the 6th day of the First Month of Tenbun 24 [天文廿四正月六日] (January 28, 1555), apparently hosted by Rikyū.

As for the latter gathering, which is recorded in the Tennōji-ya kai-ki [天王寺屋會記], the entry reads:

〽　u・shōgatsu muika asa Sōeki kai [Sō]tatsu, Yazō 一、irori・tsuri-mono 一、toko kōro、shi-hō-bon ni 　　　　nochi ni Shukō-chawan ni cha tatsu

〽　卯・正月六日朝宗易會達、彌三一、ゐろり・つり物一、床香爐、四方盆ニ　　　　後ニ珠光茶碗ニ茶タツ

U [卯] refers to the Year of the Hare. In the present cycle, Tenbun 24 [天文廿四] was kinoto-u [乙卯], which means the 52nd year in the sexagenary cycle (it is sometimes translated “Wood Rabbit”).

Shōgatsu muika asa [正月六日朝] means the chakai took place on the morning of the 6th day of the First Month.

Sōeki kai [宗易會] means the gathering was hosted by Rikyū (Sōeki).

Tatsu, Yazō [達、彌三] means the guests were Tennōji-ya Sōtatsu [天王寺屋宗達] and Mozu-ya Yazō [萬代屋彌三]. Tennōji-ya Sōtatsu [天王寺屋宗達; 1504 ~ 1566] was the father of Rikyū’s great friend Tennōji-ya Sōkyū. Mozu-ya Yazō [萬代屋彌三; dates unknown] was the grandfather of Rikyū’s great friend (and son-in-law) Mozu-ya Sōan [萬代屋宗安; ? ~ 1594] (who was also known as Mozu-ya Shōan [萬代屋少安]).

The size of the room is not mentioned, so it was most likely a 4.5-mat room (since that was the usual style of tearoom at the time -- anything smaller, such as Rikyū’s 2-mat daime Jissō-an, would most likely have caused Sōtatsu to remark upon it, since it would still have been an extraordinary experience for such a conservative practitioner of Jōō’s generation).

Irori・tsuri-mono [ゐろり・つり物] means that the irori [圍爐裏] (“wirori” [ゐろり] is literally wirori [위로리], which is the Korean pronunciation; it means the ro [爐]) was used at this gathering; and that the kama was suspended from the ceiling. This was probably a kiri-kake gama -- that is, one that was made to be rested on a kimen-buro -- since there was nothing special to distinguish it in Sōtatsu’s eyes.

Toko kōro, shi-hō-bon ni [床香爐、四方盆ニ]: this was probably Rikyū’s “ido-kōro” [井戸香爐] (shown above), displayed resting on a square, black-lacquered tray (like a shin-nuri higashi-bon).

Nochi ni Shukō-chawan ni cha tatsu [後ニ珠光茶碗ニ茶タツ]: nochi ni [後ニ] means afterward -- that is, during the goza -- Rikyū served tea in the Shukō-chawan.

Nothing is said about how Rikyū served tea -- did he arrange the mizusashi (probably something like a kiji-tsurube or magemono-mizusashi) on the mat, with the Shukō-chawan displayed in front of it as an hitotsu-mono (the chaire was probably an ordinary lacquered ko-natsume, so perhaps it was placed inside the Shukō-chawan, with the chashaku resting across the rim to its left, if it was displayed in this manner), or did he perform hakobi-date? In either case, this was an extremely wabi gathering, and similar to what Rikyū was doing in the years between the loss of his family’s fortune and his departure for the continent. It was for this kind of chakai that Rikyū was gaining a reputation.

Arranging the mizusashi directly on the mat probably did not appear until the creation of the daime-gamae, though how soon after Rikyū’s return from the continent this kind of room appeared is unclear (all that can be said with certainty is that such rooms did not exist in early 1554, but were in existence before the end of 1555).

‡‡The openwork is traditionally referred to as a kōzama-sukashi [格狹間透し or 香狹間透し], though the meaning of this name is unclear. Thus, calling this sort of openwork by the nickname of kabura (turnip) -- since it does rather resemble a turnip in profile -- made things seem less mysterious.

³Chū-ō no joku, sono-hoka no tana tomo ha sore yori ato no mono naru-yue, kore ni te kokoro-e bun-mei nari　[中央ノ卓、其ノ他ノ棚共ハソレヨリ後ノモノナル故、是レニテ心得分明ナリ].

Chū-ō no joku [中央の卓] means the chū-ō-joku [中央卓] that was first used when serving tea by Shino Shōha [志野省巴; 1502 ~ 1571], who was a man of Jōō’s generation. The Shino family traditionally included the practice of serving tea during their kō-kai [香會] -- which began with the appreciation of incense, followed by a meal; and, after a naka-dachi (during which the incense utensils were moved into the toko, to be replaced by the tea utensils, with the kama already boiling), the service of tea before the guests departed. Apparently Shōha decided to simplify matters (remember, the ro had not been created yet, so the service of tea always required the furo -- originally on a daisu or nagaita, but later arranged by itself on a ko-ita [小板]) by arranging his incense utensils on the chū-ō-joku (while attending to the kōro in the empty space at its side), and then, leaving the joku in place, he brought out a ko-ita furo that was then set up next to the chū-ō-joku, so that the incense utensils were simply exchanged for tea utensils (the kōro placed in the toko, while the container of implements used when arranging the ash in the kōro removed to the katte), and thus tea could be served.

Jōō adopted Shōha’s basic format for the gathering, but began by building the fire in the furo, with incense appreciated after that (though he ultimately eliminated the appreciation of incense entirely, with incense simply burned in the furo to perfume the air), followed by a meal; and, after the naka-dachi, the service of both koicha and then usucha.

At any rate, the chū-ō-joku was the original “mizusashi-dana” (sono-hoka no tana tomo ha sore yori ato no mono naru-yue [その他の棚共はそれより後の物なるゆえ]), by which precedent for handling the later sorts of tana was informed (kore ni te kokoro-e bun-mei nari [これにて心得分明なり]).

⁴Mizusashi wo tana-nashi ni oki, arui ha mizusashi-nashi ni naka-bon nado ni te oki-awase, shi-hō no ko-bon, maru ko-bon no hitotsu-mono no oki-kata nado, yoku-yoku ryōken-shite oka-beshi nari　[水指ヲ棚ナシニ置キ、或ヒハ水指ナシニ中盆ナドニテ置合、四方ノ小盆、丸小盆ノ一ツ物ノ置方等、能〻了簡シテ可置ナリ].

Mizusashi wo tana-nashi ni oki [水指を棚なしに置き] means “the way that the mizusashi was placed when there is no tana....”

Arui ha mizusashi-nashi ni naka-bon nado ni te oki-awase [或は水指なしに中盆などにて置き合わせ] means “or, when there is no mizusashi, when a naka-bon or something of that sort is arranged (on the utensil mat)....” The arrangement of the naka maru-bon when there is no mizusashi is shown below.

Shi-hō no ko-bon, maru ko-bon no hitotsu-mono no oki-kata nado [四方の小盆、丸小盆の一ツ物の置き方など] means “things like the arrangement of a square ko-bon*, or a round ko-bon, as an hitotsu-mono....”

Jōō and Rikyū preferred to use square trays as chaire-bon, though certain machi-shū began to use round Chinese trays (or, indeed, imported trays of various other shapes). Round ko-bon appeared a number of years after Rikyū’s death, as a better alternative to the use of a square tray (which would not align with the me when placed diagonally), helping us to date the source of the teachings on which these kaki-ire are based to the Edo period.

Yoku-yoku ryōken-shite oka-beshi nari [よくよく了見して置かべしなり] means that one should use careful consideration to inform the way that these trays should be placed on the utensil mat (when displaying a chaire as an hitotsu-mono).

It is unclear what the relationship between the chaire, resting on a ko-bon, arranged on the mat as an hitotsu-mono might have to the naka-bon (that was placed out when there was no mizusashi)†. If the chaire is arranged as an hitotsu-mono on the small tray, what is on the naka-bon, or what is its purpose (usually it was used as a chaire-bon during the temae -- with the chaire, chashaku, and chakin and chasen all resting on this large tray)‡?

During the Edo period, people began to use a small chaire-bon in addition to the large trays (from the Higashiyama period), sometimes placing the small chaire-bon on top of the larger tray (with the chaire resting on top of that), and sometimes bringing the small tray out later, and then lowering the chaire onto the small tray at the beginning of the temae. The naka-bon would then either remain empty where it was, or it could be moved in front of the host’s knees, so that the dai-temmoku or meibutsu-chawan could be handled on top of this tray during the preparation of tea, as a sort of misuse of the gokushin-temae**. This practice had no precedent in the orthodox tradition, however; so here it can be taken as just another example that the teachings being expounded in these kaki-ire were machi-shū usages that date back no earlier than Imai Sōkyū and his followers. __________ *Ko-bon [小盆] specifically refers to a “small tray” of the sort first used by Rikyū -- that is, according to his definition, a tray that is exactly 2-sun larger on all four sides than the chaire that will be rested on it.

The idea of “small tray” appealed to the machi-shū (since there were not many other uses for such trays -- that were made for use as coasters on the continent), and became an essential element of the Sen family’s way of doing bon-date; but, since the way that the tray was supposed to be matched to the chaire had been lost, the assumption was that any “small” tray (around 6-sun across) would suffice (and this is the case today).

†This kind of temae is possible only with the ro (where the kama is especially large), and is based on the gokushin-temae.

In the gokushin-temae (which is performed on the daisu), the mizusashi is not opened until the very end of the temae, in order to replenish the kama (which is resting on a kimen-buro). At every other point in the temae where the host needs to lower the temperature of the kama, he does so by dipping a full hishaku of hot water out of the kama, holding it above the mouth of the kama for several seconds, and then returning the slightly cooler water back into the kama. This is enough to restore the shōfū [松風] sound.

Of course, in the gokushin-temae, the host only prepares a single portion of koicha (the gokushin-temae was created in the temple setting, as a way to offer tea to the image of the Buddha -- though the tea was often offered to a person, such as a nobleman, so it would not go to waste); but this sort of temae would be impractical when serving a group of guests with the daisu (the small size of the kama would mean it would become dangerously empty). However, something similar was done with the ro, since the much-larger kama would not be in danger of running low on water.

‡Of course, it is also possible that this is totally irrelevant -- that the person who wrote this entry was recalling examples of arrangements where there is no mizusashi, and inadvertently mentioned the naka-bon. The text is very poorly written (a literal translation would be out of the question, since it would be completely meaningless).

**This kind of practice is mentioned, in passing, here and there in Book Five.

⁵Jōō sai-sho no ko-daisu no kane to iu mo, tana ni ōjite no koto nari　[紹鷗最初ノ小臺子ノカネト云モ、棚ニ応ジテノコトナリ].

The ko-daisu [小臺子] was originally used in an inakama room. Supposedly the first chajin to do so was Shukō (suggesting that this had already been an established way of doing things on the continent, where the smaller-sized mats defined the living space for ordinary people). Whether Jōō considered the five-kane system too difficult to apply to the inakama setting (or whether he was simply ignorant of the details of that system), he created the seven-kane system for the inakama. This version of kane-wari is shown below.

In contrast to the five-kane system of the kyōma (which is actually an eleven-kane system, since there is a yin-kane inserted between each of the yang-kane, and the endmost yang-kane and the heri), Jōō’s seven-kane system does not assign any special purpose to the space between the kane.

Tana ni ōjite no koto nari [棚に応じてのことなり] means that the seven kane superimposed on the mat corresponded to the seven kane of the tana (which was originally the daisu).

⁶Tatami no ue no wari ha nakari-shi yue, fukuro-dana mo shitagatte ko-daisu nanatsu no kane wo mochiirare-shi mottomo no koto nari　[畳ノ上ノワリハナカリシ故、袋棚モ随テ小臺子七ツノカネヲ被用シ尤ノコトナリ].

Tatami no ue no wari ha nakari-shi yue [畳の上の割りは無かりし故] means “because the (surface of the) mat was not divided by the kane....”

Fukuro-dana mo shitagatte ko-daisu nanatsu no kane wo mochiirare-shi [袋棚も従って小臺子七ツ��カネを用いられし] means the seven kane from the small daisu were also applied to the fukuro-dana.

This means that, because the tatami itself was not yet being considered to be subdivided by kane, and since the only known source of the kane for the inakama was the small daisu, it was these kane that were applied to the fukuro-dana. The drawing shows the machi-shū way of arranging the fukuro-dana (based on the teachings of Imai Sōkyū)*.

Mottomo no koto nari [尤ものことなり] means this is completely credible. __________ *The arrangement shown above follows the system that is used in these kaki-ire. It, however, does not accord with the way Jōō and Rikyū oriented the fukuro-dana in the inakama setting.

The way their arrangement correlates to the 7-kane that were derived from the small daisu is shown above. When the fukuro-dana was oriented in this manner, the mizusashi occupies the same place as it did when arranged on the ji-ita of the small daisu. This was its raison d'être.

⁷Kyū mo ikkō suterare-shi-nai yue ni ya, fukuro-dana no kazari ha nanatsu ni mo kazarare-shi nari　[休モ一向不被捨シ故ニヤ、袋棚ノカザリハ七ツニモ被飾シナリ].

Kyū mo ikkō suterare-shi-nai yue ni ya [一向捨てられしない故にや] means "because Rikyū, too, could not really discard (this earlier idea)...."

Fukuro-dana no kazari ha nanatsu ni mo kazarare-shi [袋棚の飾りは七ツにも飾られし] means "when arranging things on the fukuro-dana, he also would arrange (the objects) according to the seven (kane)."

This seems to be referring to the situation where the fukuro-dana is being used in a kyōma 4.5-mat room. This is why it might appear extraordinary that (even in this setting) the seven kane are still being used as the guiding principal.

⁸Sono toki za-chū no kane-wari ichi-dō ni nanatsu-kane nari　[其ノ時座中ノカネワリ一同ニ七ツカネナリ].

Sono toki [その時] means at that time; under those circumstances.

Za-chū no kane-wari [座中のカネワリ] means the (system of) kane-wari that is employed for the entire gathering.

Ichi-dō ni nanatsu-kane nari [一同に七ツカネなり] means everywhere the nanatsu-kane (are used).

In other words, the same system of kane-wari must be used everywhere, during that gathering. So, even if it is a kyōma, where the 5-kane (actually, 11-kane) system is usual, if there is a special reason to utilize Jōō's 7-kane system (such as when using the fukuro-dana), then the same 7-kane system should be used everywhere else, too -- not only to regulate the objects arranged on the tana, but in the toko, and everywhere else in the room as well.

⁹Mata go-yō roku-in no kane ni fukuro-dana wo kazarare-shi toki ha, izumo ichi-za ichi-dō go-roku no kane nari　[又五陽六陰ノカネニ袋棚ヲカザラレシ時ハ、イツモ一座一同五六ノカネナリ].

Go-yō roku-in no kane ni fukuro-dana wo kazarare-shi toki ha [五陽六陰のカネに袋棚を飾られし時は] means on occasions when the fukuro-dana is being arranged according to the five-yang and six-yin (system of) kane(-wari)....

Izumo ichi-za ichi-dō go-roku no kane nari [何時も一座一同五六のカネなり] means then everywhere, over the course of the entire gathering, the same system of five(-yang) and six(-yin) kane will be used.

Regardless of which system of kane-wari the host feels is necessary to accommodate a certain special object, and regardless of whether that object is displayed during the shoza or the goza, that object will determine the system of kane-wari that will govern the entire gathering, and every place that is used during the gathering.

This is the same idea as when a certain object required the fukuro-dana to be placed 1-shaku 2-sun from the ro, rather than the usual 8-sun. If the greater space will be necessary, regardless of whether it will be needed during the shoza (for example, in order to accommodate an especially large kama), or during the goza (when the host wants to serve tea using the naka maru-bon*), the fukuro-dana must be arranged in the manner necessary to accommodate that special utensil from the beginning (even if the extra space is not necessary until the goza, or is unnecessary after the sumi-temae in the shoza has been concluded). ___________ *The naka maru-bon temae was similar to the gokushin futatsu-gumi temae [極眞二ツ組手前], and represented the most formal way that tea could be served using the fukuro-dana.

In general, during Jōō’s and Rikyū’s period, this kind of temae was used only when serving tea to a very high nobleman. That is why the special arrangement was so important.

¹⁰Sono konpon Shukō shin no zashiki ni te mo, ko-daisu no toki ha yorozu ko-daisu, ō-daisu no toki ha ban-ji ō-daisu no kane narikeru to nari　[其ノ根本珠光真ノ座敷ニテモ、小臺子ノ時ハ万小臺子、大臺子ノ時ハ万事大臺子ノカネナリケルトナリ].

Sono konpon [その根本] means the foundation of this (idea); the basis for this (teaching).

Shukō shin no zashiki ni te mo [珠光真の座敷にても] means “Shukō, even in his shin sitting-room, (did such and such)....”

This is an example of the Edo machi-shū projecting their ideas of what a tea master was supposed to do back onto historical characters, in order to validate their own ideas*.

Ko-daisu no toki ha yorozu ko-daisu [小臺子の時はよろず小臺子] means when the small daisu is being used, all (must accord with) the small daisu. This is referring to the kane, and the system of kane-wari associated with the small daisu was Jōō’s 7-kane system†.

Ō-daisu no toki ha ban-ji ō-daisu no kane [大臺子の時はよろずごと大臺子のカネ] means when the large daisu is being used, everything (should agree with) the kane of the large daisu.

Narikeru to nari [なりけるとなり] the expression narikeru [成りける] expresses an assertion about past events. In other words, the phrase is intended to reinforce the veracity of the assertions made in the previous sentences -- that these things are really true, and that they were really said or taught by Shukō. __________ *Shukō, and the other expatriate chajin of his generation, arrived in Japan as refugees, escaping from the Ming armies that had been invited into Korea in support of the Lee family, in order to establish their hegemony over the peninsula. These people arrived in Japan with nothing but what they could carry with them; and the fact that Shukō had to look to the potters of Bizen and Shigaraki (the potters producing unrefined utilitarian wares for use by the lower classes) in order to be able to practice chanoyu meant that he necessarily did not even have a single complete set of tea utensils when he arrived in Japan, much less the multiple sets of things that would allow him to practice multiple styles of tea service such as implied here -- or set up anything resembling a “shin” zashiki (which was a room in which a high nobleman would be received and entertained). Indeed, the people of that generation usually stopped their acquisitions after they had amassed a single complete set of utensils, and then focused their attention on mastering the service of tea using those same things, year in and year out, for the rest of their lives (only adding something new when one of the pieces was broken or was damaged to the point where it could no longer be used). And this remained the modus operandi among the tea community until the middle of the sixteenth century -- when Jōō completely shattered the mold by acquiring the unheard-of number of more than 60 meibutsu utensils (which meant that he was, in effect, hoarding away the personal temae of 60 different chajin of the past -- since possession implied that one also knew the “secrets” of that utensil’s use, though those secrets were really just the idiosyncrasies of the original owner’s personal temae).

Shukō appears to have been a skilled chajin even before he came to Japan (indeed, it appears that his reputation was brought to Japan by his contemporaries); and given the information found in the Chanoyu san-byak’ka-jō [茶湯三百箇條] (the core teachings of which Jōō ascribed to Shukō), he was certainly very knowledgeable. So it is not unreasonable that he would have passed on teachings related to the different settings in which chanoyu could be practiced even if such settings were not found in his residence (which appears to have been a 2-mat cell, with a built-in wood-floored recess at the head of one of the mats that could be used as an o-chanoyu-dana [御茶湯棚]), and so which would align with what is said here. But teaching versus actually demonstrating a certain arrangement in ones own home, is something that seems to have become confused only during the Edo period -- when a tea teacher was expected to have all of the utensils necessary to teach the various “secret” temae that were being codified by their schools. In Shukō’s day, possessing such a huge number of things would have been scandalous, since it would be impossible for anyone to master the use of things each of which was associated with its own set of (often quite contradictory) rules.

†Precisely how a system of kane-wari created by Jōō during his middle period could have been employed by a tea master, however great, who died in the year that Jōō was born, is not explained.

¹¹Korai ichi-za no naka ni te maze-maze ni kane wo toru-koto motte no hoka higa-goto nari to zo, Kyū mo tabi-tabi mōsare-shi　[古来一座ノ中ニテマゼ〻〻ニカネヲ取ルコト以テノ外ヒガゴトナリトゾ、休モ度〻被申シ].

Korai [古来] means from ancient times, from bygone days.

Ichi-za no naka ni te [一座の中にて] means over the course of a single gathering.

Maze-maze ni kane wo toru-koto motte no hoka higa-goto nari to zo [混ぜ混ぜにカネを取ること以ての外僻事なりとぞ]: maze-maze [混ぜ混ぜ] means to completely mix one thing with another; kane no toru-koto [カネを取ること] means which system of kane one is going to employ (literally, which kane to take, i.e., use); motte no hoka [以ての外] means preposterous, outrageous, unreasonable; higa-goto nari [僻事なり] means this is a serious mistake (literally, this is an immoral act); and the particle to zo [とぞ] reinforces the seriousness, or emphasizes the importance, of what is being asserted here.

Kyū mo tabi-tabi mōsare-shi [休モ度々申うされし] means Rikyū often declared this (to be so).

¹²Yojō-han no dōgu-tatami ichi-mai no uchi, ō-kane, ko-kane ni-tōri hidari ni shirusu　[四畳半ノ道具畳一枚ノ内、大カネ、小カネ二通左ニ記ス].

Yojō-han no dōgu-tatami ichi-mai no uchi [四畳半の道具畳一枚の内] means “within the confines of the utensil mat in the 4.5-mat room....”

Ō-kane, ko-kane ni-tōri hidari ni shirusu [大カネ、小カネ二通左に記す] means “the large kane, the small kane, [the details of] both systems will be set down later.”

Possibly this is referring to the drawings and notes that are found in entry 41 of the Second Book of Secret Teachings, to which Shibayama Fugen alludes in a gloss that he inserted here, but this is unclear (the two books of secret teachings were compiled by Tachibana Jitsuzan and the Enkaku-ji scholars, and so postdate the Nampō Roku itself by many years; nevertheless, Shibayama Fugen accepts the possibility that this material was written by Nambō Sōkei -- though in that case the reference is not knowable). In the entry, this matter is partially explained by his quoting from Rikyū. The complete text of the entry is translated below, in the appendix that will be found at the end of this post.

¹³Tatami no naka ni-yō ni waru to iu-koto ha, Kyū ni mo kuwashiku-tazune mōsazu to ie-domo, daime ni te ō-kane wo warite mochiirare-shi nareba, ni-yō no kane wo warite mochii-beki-koto nari　[畳ノ中二様ニワルト云フコトハ、休ニモ委ク尋不申ト云ヘ共、臺目ニテ大カネヲワリテ被用シナレバ、二様ノカネヲ割テ可用コトナリ].

Ni-yō ni waru to iu-koto [畳の中二ように割ると云うこと] means that there are two systems or ways to do kane-wari*.

Kyū ni mo kuwashiku-tazune mōsazu to ie-domo [休にも委しく尋申うさずと云えども] means “even if (I) did not ask Rikyū about this in detail....”

Daime ni te ō-kane wo warite mochiirare-shi nareba [臺目にて大カネを割りて用いられしなれば] means “even if it is the large kane that are used to subdivide the daime.” Sōkei (assuming that he was supposed to have been the author) seems to be wondering about this because (or because of the fact that) the section of mat inside the kamae is the same size as the inakama-datami (suggesting that it might be most appropriate to subdivide it using the 7-kane system), while the portion outside of the kamae is, of course, an ordinary kyōma-datami (where the 5-kane system would be most logical).

Ni-yō no kane wo warite mochii-beki-koto nari [二ようのカネを割りて用いべきことなり] means the two systems of kane should be used†. __________ *More literally, “it is said that there are two ways to divide (the surface of the mat).”

†Again, more literally, “should make use of the two systems of dividing the kane.”

¹⁴Mottomo go-roku no kane ha, Kyū no wari mochiirare-shi-koto, go-kan no uchi ni shirushi okeshi nari　[尤五六ノカネハ、休ノワリ被用シコト、五巻ノ内ニ記シ置シナリ].

Mottomo go-roku no kane ha, Kyū no wari mochiirare-shi-koto [尤も五六のカネは、休の割り用いられしこと] means “of course, with respect to the five-six (system of) kane, these are what Rikyū used to (sub-)divide (the surface of the kyōma-datami).”

Go-roku no kane [五六のカネ] “the five-six (system of) kane,” is an abbreviated way of referring to the system based on the five yang (go-yō [五陽]) and six yin (roku-in [六陰]) kane, the system used in gokushin-no-chanoyu, which is illustrated below, in which a yin-kane (blue) is inserted between each pair of yang-kane (red), as well as between the endmost yang-kane and the heri.

While the original system was based on the shiki-shi (see footnote 6, sub-note “*” in the previous post), here the kane have been completely confined between the heri (rather than extending to the middle of the heri, as in the original system), indicating that this is a later or derived version of the original theory of kane-wari.

Go-kan no uchi ni shirushi-okeshi nari [五巻の内に記し置けしなり] means that an explanation has been set down in Book Five. This sentence is referring to the material discussed in the post entitled Nampō Roku, Book 5 (57): the Theoretical Foundation of Kane-wari.

The URL for that post is:

https://chanoyu-to-wa.tumblr.com/post/633527598994030592/namp%C5%8D-roku-book-5-57-the-theoretical

¹⁵Ko-gane ni wari-oku ha fukuro-dana wo ko-kane no mochii-yō taru-beki-koto nari, kayō no koto kane wo jiyū ni tokushinsezu-shite ha narigatai-koto nari　[小カネニ割置クハ袋棚ヲ小カネノ用ヒ様タルベキコトナリ、ケ様ノコトカネヲ自由ニ得心セズシテハ難成事也].

Ko-gane ni wari-oku ha [小カネに割り置くは] means the occasion on which the small-kane (that is to say, Jōō's seven kane) are superimposed (on the utensil mat)....

Fukuro-dana wo ko-kane no mochii-yō taru-beki-koto nari [袋棚を小カネの用いようたるべきことなり] means it should be the case that the ko-gane are used with the fukuro-dana.

Kayō no koto kane wo jiyū ni tokushinsezu-shite ha narigatai-koto nari [斯様のことカネを自由に得心せずしては成り難しことなり] means in a case such as this, for the kane to be used freely* seems rather unsatisfactory, since it will lead to difficulties (in distributing the utensils so that they correspond appropriately). __________ *That is, for the decision of whether to use the 5-kane or 7-kane system to be left up to the discretion of the host.

¹⁶Za-chū no kane-wari to ha, toko no wari mo, tana mata dōgu-tatami no wari mo, tomo ni no koto nari iu-iu　[座中ノカネワリトハ、床ノワリモ、棚又ハ道具畳ノワリモ、トモニノコト也云〻].

Za-chū no kane-wari [座中のカネワリとは] refers to the kane-wari applied to the whole gathering. Not just to the tana or the utensil mat, but also to the arrangement of the objects in the tokonoma.

Toko no wari [床の割り] means the kane used to divide the space in the toko.

Tana mata dōgu-tatami no wari [棚又は道具畳の割り] means the kane used to subdivide the tana, as well as the kane used to divide the utensil mat.

Tomo ni no koto nari [共にのことなり] means all of them should be the same -- that is, the same system should be used:

◦ if the host needs to use the 7-kane system for the fukuro-dana, for example, then the toko and the utensil mat should also be subdivided according to the same 7-kane system;

◦ if the 5-kane system is preferred in the toko for some reason, then the 5-kane system should also be used for the tana, as well as for the utensil mat.

All of them must be the same. It is wrong to use one system in one place, and a different system in the others.

==============================================

❖ Appendix: A Translation of Entry 41 from the Second Book of Secret Teachings¹⁷.

￮ With respect to the 4.5-mat room, the way the whole [utensil] mat is divided by the kane is different from the way the daisu is projected onto the daime-giri tatami. Anyway, the five yang and six yin kane are not distributed [across the daime-giri mat]¹⁸.

If the large [kane] are used then it should be [exclusively] the large [kane]¹⁹; if [you] do not wish to use the small [kane], then one [should simply] refrain from using them²⁰. The kane are divided [differently] in accordance with the circumstances [of whether the large-kane or small-kane system is being used].

The fukuro-dana, and the other kinds of tana should not be placed [within the kamae]²¹.

The mizusashi is placed directly on the surface of the mat²². When arranging the chaire and/or chawan (or other things) together [with the mizusashi], one should pay particular attention to the kane.

With respect to the way to divide [the surface of the mat with the kane], [Ri]kyū's drawings have been reproduced below.

[Rikyū's title] ko-daisu no kane-wari [小臺子ノカネワリ].

◦ Inaka-datami [イナカ疊].

〽 The 4.5-mat room is usually an inaka[ma] (yojō-han ha oyoso inaka nari [四疊半ハ凡イナカナリ])²³. In the area above the ro where the tana is placed, you should understand very carefully that it is divided by the small kane, and no other way (ro-saki tana-tokoro no ko-wari yoku-yoku sezu-shite ha sōi aru-beki nari [爐先棚所ノ小ワリ能〻勘辯セズシテハ相違アルベキナリ].

[Rikyū's title] Ō-daisu no kane-wari [大臺子ノカネワリ].

◦ Hon-datami [本疊]²⁴.

〽 [Ri]kyū also used the hon-datami for [his] 4.5-mat room. This is why the tana²⁵ could be accommodated [on his utensil mat]. (Kyū ha hon-datami wo yojō-han ni mo mochiirare-shi nari, sore-yue tana no atsukai ari [休ハ本疊ヲ四疊半ニモ被用シナリ、夫故棚ノアツカヒアリ]).

_________________________

◎ In this entry, the introductory text, as well as the titles for the two sketches (and the indication of the setting in which each is to be used) appear to have been written by Rikyū, with the comments on each of the drawings added later by Nambō Sōkei (or someone purporting to be him). That said, it is likely that another hand added or otherwise modified the information found here before the document came into the hands of the Enkaku-ji scholars, since certain comments incorporate details of the Sen family’s opinions, rather than reflecting what we know to have been Rikyū’s approach (as documented in his densho and other writings).

¹⁷The text of this entry actually deals primarily with the way kane-wari is applied to the daime-gamae. However, it includes two drawings of the maru-jō [丸疊]* utensil mat, such as found in the 4.5-mat room, that were supposedly drawn by Rikyū for Nambō Sōkei (though this begs the question of why they were not included in the Nampō Roku -- where no other examples of these very important drawings are found). The two drawings are accompanied by notes (〽) that were supposedly added by Nambō Sōkei -- to qualify what is shown in the drawings.

The Book of Secret Teachings is a reference to two books that have been preserved in the Enkaku-ji since the days of Tachibana Jitsuzan and the Enkaku-ji scholars (who collected the teachings and recorded them therein). The First Book of Secret Teachings is called Sumibiki no uchinuki-gaki [墨引之内拔書] (A Record of Excerpted Passages for Internal Use) in Japanese; and the Second Book is known simply as Tsuika [追加] (Supplementary Entries). The present entry is found in the second book. ___________ *A full-sized tatami mat, of either size.

¹⁸The kane are projected onto the daime-giri as if the sode-kabe and naka-bashira were not present -- as shown below*.

This entry is primarily focused on the use of the daime-giri. However, it is here that Rikyū’s drawings of the kane-wari of the full-sized utensil mat are found†, hence Shibayama’s directing the reader to this entry. __________ *Which may seem counterintuitive, at least in so far as the kamae is concerned, because the space between the heri within the kamae is 2-shaku 7-sun 5-bu wide, which is exactly the same size as the inakama-datami.

†Which makes the drawings oddly irrelevant to the apparent topic of discussion (though, to be honest, nowhere in the text does it specifically state that Rikyū is talking about the daime-giri -- even though that is the only way that the comments can be understood).

¹⁹Dai nareba ōki ni [大ナレバ大ニ].

This is referring to the “large” kane -- the five-kane system used in the kyōma setting. If the host is using this system, he should use only this system. He should not mix it with the other (even though the kamae seems as if it should be divided with the small kane, since the space between the heri is the same as an inakama-datami).

²⁰Ko sakereba ko saku [小サケレバ小サク].

Sakereba [避ければ] and saku [避く] mean (to) avoid, refrain from (doing) something.

If the host is using the large kane, then the small kane* should be completely ignored. __________ *I.e., Jōō's seven-kane system.

²¹Fukuro-dana, sono hoka tana wo okazu [袋棚、其外棚ヲ置カズ].

While the fukuro-dana was originally placed within the kamae*, after Rikyū created the tsuri-dana, this may no longer have been considered an appropriate option. Nevertheless, the strength of the wording suggests that this assertion was added to Rikyū’s comments by someone else -- someone acting on behalf of the Sen family (since this was exactly their dictum).

But as for the tsuri-dana as a substitute or replacement for the fukuro-dana within the kamae, it appears that Rikyū was inspired to create the hanging shelf either because he did not wish to lug a fukuro-dana up into the mountains to the Myōgi-an [妙喜庵], or because the only space available for the Tai-an [待庵] required him to enter from a door in the wall at the far end of the utensil mat† (which was constructed as a daime-gamae, even though the utensil mat was the length of an ordinary kyōma-datami), making the presence of a fukuro-dana within the kamae impossible. __________ *Indeed, it seems that the kamae was originally created specifically to house the fukuro-dana, in imitation of the same sort of sleeve-walls erected in Korean residential rooms of that period (with which Rikyū would have become familiar during his prolonged sojourn on the continent).

†Since Rikyū would have had no way of knowing where the battle between Hideyoshi and Akechi Mitsuhide would take place, he could not have planned anything out beforehand.

Once news arrived that the armies were facing each other at Yamazaki, Rikyū went to the Myōgi-an, and asked the monks for permission to set up a temporary tea hut adjoining the veranda of the shoin (this room had to be erected quickly, but also in such a way that it could be removed quickly -- in case Hideyoshi lost the battle -- since its presence and purpose would have put the monks in extreme danger if Mitsuhide had turned out to be the victor).

The preferred small room at that time was the 2-mat daime; but there was no way to orient such a room in the space available. Therefore the daime was extended into a full-length mat (but with a kamae erected at its head); and, since there was no way that the host could enter either from the side, or from the foot of the utensil mat, Rikyū installed a board 1-shaku 8-sun wide to the left of the utensil mat, along which he walked into the room. This also allowed the guests’ entrance to be visible diagonally across the room from the katte-guchi, meaning that Rikyū could sit in the entrance to the katte, waiting to bow his guest into the room, until Hideyoshi appeared.

Since it is primarily the naka-dana of the fukuro-dana that is used for the tea utensils, Rikyū eliminated everything else, and so suspended the tana from the ceiling, leaving the rest of the kamae unobstructed -- so nothing would get in the way of his entrances and exits. (At that time, the mizusashi was arranged on the mat, as usual, but the chaire was placed on the tsuri-dana, so there would be no chance of its being knocked over when Rikyū entered.

²²Hira-tatami ni mizusashi okite [平畳に水指置きて].

Hira-tatami ni [平畳に] means on the flat surface of the tatami (the place between the heri where the omote [表] is visible); in other words, on the tatami.

²³This assertion is based on the machi-shū tradition (that traced its roots to Imai Sōkyū), according to which Jōō was responsible for the creation of the 4.5-mat room.

Rikyū, however, having been initiated into the orthodox tradition, would have known that the prototypical 4.5-mat room was the Dōjin-sai shoin [同仁齋書院] of Ashikaga Yoshimasa. Which is why Rikyū's 4.5-mat room always was covered with kyōma-datami.

²⁴Hon-datami [本疊].

This expression refers, which means “original tatami,” refers to the kyōma-datami. It is used only in this book.

This kind of tatami was “original” because two mats of approximately this size were used to cover the floor of the mi-chōdai [御帳臺], the nobleman’s “seat of estate” (which had been in use since at least the Heian period). The nobleman not only sat on his mi-chōdai when receiving guests, but also when working, reading and writing letters, and relaxing; and also when he was eating, and sleeping. The two-mat mi-chōdai was usually surrounded by curtains (made of cloth or narrow slats of bamboo) suspended from an erect frame (over which a cloth canopy was affixed), and was entirely portable (and so could be moved to wherever the nobleman needed to go).

²⁵Tana [棚], here, refers to the large daisu.

The ji-ita and ten-ita of the large daisu measure 2-shaku 9-sun 5-bu by 1-shaku 4-sun. The space between the heri of the kyōma-datami also measures exactly 2-shaku 9-sun 5-bu. Thus the large daisu can only be used on a kyōma-datami.

According to Book Five of the Nampō Roku, the large daisu was the original kind of daisu (wherefore the vast majority of arrangements discussed in that book, most dating from the fifteenth century, were devised for the large daisu).

The small daisu, though apparently also used on the continent (and perhaps brought to Japan during the second half of the fifteenth century), first entered common use after Jōō built an inakama 4.5-mat room in order to accommodate an antique example that he acquired for his collection (and the arrangements that he approved are similar to what was also done with the fukuro-dana).

0 notes