A Chaji in Early Spring — Part 1

Some gatherings begin on the day they are held.
A chaji, however, begins much earlier.

The Beginning of Our Chaji Study Group - Kikuno-kai

In 2024, I started a small study group dedicated to practicing chaji, the formal tea gathering at the heart of the Japanese tea tradition. Rather than studying tea only through lessons, I wanted to learn by actually preparing and hosting tea gatherings ourselves.

When I shared the idea with my friends, five of them kindly raised their hands to join. All of us are women, and we are a group of precious friends who have come together because we wanted to study the tea ceremony while balancing family, work, and raising children.

There was also a dear friend of mine who offered thoughtful advice when the group was first being formed. He suggested a name for our group: Kikuno-kai.

The name carries the wish that the group may continue for a long time to come. It was a beautiful name, and we were grateful to receive it.

Since then, the six of us in Kikuno-kai have continued our practice under the guidance of a gyōtei-sensei of the Urasenke school. Together we have been learning the many elements that shape a tea gathering—the structure of a chaji, the handling of utensils, the preparation of the roji garden path, and the quiet rhythm that connects everything together.

Little by little, we have been learning these things step by step.

Choosing the Scroll and the Tea Utensils

Some gatherings begin on the day they are held.

A chaji, however, begins much earlier.

On March 10th, our group held a tea gathering at a tea room within the grounds of Imakumano Kannon-ji, Kyoto.

One of us served as the host, while I worked behind the scenes as part of the preparation team. For several months leading up to the day, the six of us met regularly to plan every aspect of the gathering.

A tea gathering is often described through what happens on the day itself—the meal, the tea, the conversation. But much of the gathering already exists in the quiet preparation that takes place long before the guests arrive.

The Guests and the Theme

Another important part of the preparation was thinking about the guests.

The main guest of this chaji was a close friend of the host—someone she had shared many years of raising children with. Their friendship had grown through everyday moments: school events, small celebrations, and the steady rhythm of family life.

This gathering was held at a meaningful moment for them both. Their children were reaching new stages—graduations and new beginnings—and the main guest herself had recently received certification as a Senior Instructor of Urasenke.

In this sense, the tea gathering quietly became a celebration.

The two additional guests were also invited through connections within the Urasenke tea community. All three guests continue their own paths of study and dedication within tea.

As we planned the gathering, we hoped the occasion could gently celebrate these journeys.

The seasonal phrase we chose as our guiding theme was “Momo Hajimete Saku.”

In the traditional Japanese calendar, this phrase marks the moment when peach blossoms begin to open, announcing the quiet arrival of spring.

We felt this image resonated with the moment. Just as the peach blossoms begin to unfold after winter, each person present was also stepping into a new stage of their path.

Choosing the Scroll

With this theme in mind, we began considering the tokonoma, the alcove that holds a kakejiku, a scroll and flowers.

In a tea gathering, the scroll often sets the tone of the entire occasion. A few characters of calligraphy can quietly shape the atmosphere of the room.

The scroll we selected was written by Hōunsai Hansō Sōshitsu, Sen Genshitsu and bears the phrase:

“One flower opens, revealing five petals.”

The phrase suggests that when a single flower begins to bloom, its unfolding reveals a larger harmony within.

For us, it felt like a gentle expression of the moment we wished to celebrate. Each person present continues to follow their own path, yet those paths briefly meet within the quiet space of a tea gathering.

The Quiet Work of Choosing Utensils

Alongside the kakejiku/scroll, we considered the tea utensils that would be used throughout the gathering.

In tea practice, utensils are not merely functional objects. Each piece carries its own history and name. Many tea utensils have a mei—a poetic name that evokes a landscape, a season, or a line from classical literature.

When arranging the utensils for a tea gathering, these names begin to quietly converse with one another. The scroll, the tea bowl, the container for tea, even the smallest objects all contribute to a subtle narrative.

This process is known as dōgugumi, the arrangement of tea utensils.

Rather than assembling a perfect set, we tried to create a gentle harmony. A tea bowl and a chashaku, tea scoop that hinted at celebration. We arrange the early spring flowers. A scroll that could hold these small nuances together.

Our discussions often moved slowly. At times we simply sat together, looking at the objects placed before us.

Preparing a tea gathering in this way feels a little like composing a quiet poem—one written not with words, but with objects, space, and time.

The guests who attend the gathering may only see these choices for a brief moment. Yet those fleeting moments are supported by months of careful thought.

And in many ways, the tea gathering begins here—in the quiet time spent choosing.

Shiho Kanai

Art Director, Gallery Rin