Children’s Day (Kodomo no hi) is celebrated on 5th May in Japan. It is a national holiday on which all children are celebrated and their mothers are honoured.

this is event in japan i wish here philippine do celebrate also. what a cool idea would it be… if we also have the same event just like them. a lotof kids and also thier moms would be happy nag gay. but i wish it would also be on a summer vacation so that we can enjoy it as much as we want to. here are some of the usual things that are done when this event come to japan.

childr2Children’s Day Traditions

Until recently, 5th May was known as Boy’s Day (Tango no Sekku, or the Feast of Banners), so many of the traditional celebrations on Children’s Day come from Boy’s Day.

Carp Kites (koinobori)

Families with boys hang colorful carp kites, called Koinobori, outside their houses – one for each boy, with the biggest representing the oldest boy at the top. The kites flutter in the wind and look beautiful, as you can see in the photo above! In Japanese culture, the carp (or koi) represents courage and perseverance, as the fish is known for its strength and determination as it swims against the current upstream. The carp kite symbolises each family’s wish for their sons to grow up brave and strong.

this one cool thing to be hanged on our backyard fot the children/kids to enjoy during the said event… well they say fishes are said to be good luck and can bring you happiness. i thnik… i just thought about it when people think of fishes. i really do wish we also have that event here… here are another cool ideas from them…

Golden Boy Doll (Kintaro)

Families with boys display a model of Kintaro, a Japanese folk hero. Kintaro was a boy of superhuman strength who grew up to be a famous warrior, and again he represents the wish of the family for their boys to be brave and strong.

Read more about the legend of Kintaro 

Samurai Helmet

The Samurai were the most noble warriors of Japan, and the Samurai Helmet which they wore also symbolizes strength and courage and is often worn by boys on Children’s Day.


well i do hope you people who reads my post do enjoy this. thanks.

Chopsticks (also called Magic Fingers) is a commonly played two player traditional Japanese children’s hand game. However, it has spread to many other countries such as the United States.


The goal of Chopsticks is to knock out the other opponent’s “hands” by giving both hands five or more points thus “knocking out” the hands.

Each finger is equivalent to one point. Each player starts out with two points (one finger on each hand). A player must tap a hand in order to give it points. When a player taps an opponent’s hand, the player adds what the opponent originally had on his or her hand and what is on the player’s hand to get the sum of the fingers that your opponent has on his or her hand. A player’s hands do not change when the opponent’s hand is tapped. The option of being able to transfer points from one hand to another is available. For example, if a player had three points on his or her right hand and one on his or her left, the player could rearrange them to have two on each hand. The points must be distributed differently after they tap their hands together; a player may not simply swap which fingers are on which hands.

The players take turns giving each other points. Both hands of an opponent must be knocked out (both hands receive five or more points) in order for a victory. This is called a dead hand. If a single hand receives five or more points, the hand is eliminated (an eliminated hand is equivalent to zero points) and the hand is useless unless it is revived by transferring points from a hand that is alive. An opponent cannot revive or tap an eliminated hand.

Alternate explanation

A player’s hand goes out when it has 5 or more fingers out (the idea being that each finger represents a separately held chopstick, and it is only possible to hold 4 chopsticks separately at the same time). The game of chopsticks is a turn-based game; each player has the opportunity to and must make one move in each turn. A player can do one of two things in a turn: tap one of the other player’s hands that already has one or more fingers out, or tap their own hands together. Should they choose to tap the other player’s hand, the other player must put out as many extra fingers as the hand they were tapped with had (e.g.: Player 1 has 3 fingers on his left hand, and Player 2 has 1 finger on his left hand. Player 1 taps Player 2 with his left hand. Player 1 will still have 3 fingers, but Player 2 will now have 4 fingers.). If tapping another player would cause their hand to have 5 or more fingers, the hand will instead go out. Should they choose to tap their own hands together, they must then add up the total number of fingers they have on both hands, and then distribute them as they please. The fingers must be distributed differently after they tap their hands together; a player may not simply swap which fingers are on which hands. They are free to remove all fingers from a hand or bring a hand which was previously brought out of play (either by moving fingers or by have 5 or more fingers) back into play.

Chopsticks is a solved game in which the second player can always force a win when playing with the original rules.

Variations of play


Chopsticks can also be played the way mentioned above except if one hand gets more than five points the leftover points are left on the hand. This means you subtract five from the number of points one hand gets and the only way a hand can get knocked out is if it accumulates exactly five points. This way of playing is generally for more advanced players and requires more strategy.


Players are allowed to evenly divide an even number of points in one hand to an empty hand, an action known as “split”. (e.g., a player with a 4:0 point distribution can use their turn to “split” the points 2:2, 2:0 would become 1:1, and 3:0 would become 2:1 or 1:2) In addition to splitting, players are allowed to hit their own hands to add points as they would for an opponent’s. This variation of the game, however, would go on forever with perfect play from both sides.


The knubs variation is played the same as regular Chopsticks except that there can now be half-fingers or “knubs”. A knub is created by extending the finger upwards and curling it down. Since a knub represents a half of a finger, two knubs will equal one regular finger, which means that everything can be split, so 1:0 would become 0.5:0.5 and 3:0 would become 1.5:1.5 and 4.5:0 becomes 2.5:2, etc. Because of all of the possible splits the game can last a while. A good strategy to use while playing knubs is to reduce the opponent’s hands to 0:0.5 and transfer until you have 4.5:4.5.


This variation is played the same way as Knubs except that each knub can further be divided into half-knubs which represents a quarter of a finger. This variation is very confusing and will last a long time.

Game of Five

In this variation, a player does not lose when he gets 5 fingers on one hand, instead losing when they have more than 5 fingers on a hand. When this variation is played in conjunction with the Splits variation, the game is a win for the second player to go.


As kimono has another name gofuku (呉服? literally “clothes of Wu (呉)”), the earliest kimono were heavily influenced by traditional Han Chinese clothing, known today as hanfu (漢服? kanfu), through Japanese embassies to China which resulted in extensive Chinese culture adoptions by Japan, as early as the fifth century ce[4]. It was during the 8th century, however, when Chinese fashions came into style among the Japanese, and the overlapping collar became particularly a women’s fashion[4]. During Japan’s Heian period (794–1192 ce), the kimono became increaslingly stylized, though one still wore a half-apron, called a mo, over it [4]. During the Muromachi age (1392-1573), the Kosode, a single kimono formerly considered underwear, began to be worn without the hakama pants over it, and thus began to be held closed by an obi “belt” [4]. During the Edo period (1603-1867), the sleeves began to grow in length, especially among unmarried women, and the Obi became wider, with various styles of tying coming into fashion [4]. Since then, the basic shape of both men’s and women’s kimono has remained essentially unchanged. David Bowie made it a fashion statement on stage in 1972 with his Ziggy Stardust character. Kimonos are a great work of art. [4].


Kimono for men are available in various sizes, but kimono for women are typically of a similar, larger size and are adjusted to body size by tucking and folding. An ideally tailored kimono has sleeves that end at the wrist when the arms are lowered. Men’s kimono should fall approximately to the ankle without tucking. A woman’s kimono is longer to allow for the ohashori, the tuck that can be seen under the obi.

Kimono are made from a single bolt of fabric called a tan. Bolts come in standard dimensions – about 14 inches wide and 12½ yards long[4] – and the entire fabric is used to make one kimono. The finished kimono consists of four main strips of fabric – two panels covering the body and two panels forming the sleeves – with additional smaller strips forming the narrow front panel and collar[4]. Historically, kimono were often taken apart for washing as separate panels and resewn by hand. Because the entire bolt remains in the finished garment without cutting, the kimono can be retailored easily to fit a different person.[4]

The maximum length of the sleeve is dictated by the width of the fabric. The distance from the center of the spine to the end of the sleeve could not exceed twice the width of the fabric. Traditional kimono fabric was typically no more than 36 centimeters (14 inches) wide. Thus the distance from spine to wrist could not exceed a maximum of roughly 68 centimeters (27 inches). Modern kimono fabric is woven as wide as 42 centimeters (17 inches) to accommodate modern Japanese body sizes. Very tall or heavy people, such as sumo wrestlers, must have kimono custom-made by either joining multiple bolts of fabric together or weaving custom-width fabric. source

Traditional kimono are sewn by hand, and their fabrics are also frequently hand made and hand decorated. Various techniques such as yūzen dye resist are used for applying decoration and patterns to the base cloth. Repeating patterns that cover a large area of a kimono are traditionally done with the yūzen resist technique and a stencil. Over time there have been many variations in color, fabric and style, as well as accessories such as the obi.

Kimono and obi are traditionally made of silk, silk brocade, silk crepes (such as chirimen) and satin weaves (such as rinzu). Modern kimono are also widely available in less-expensive easy-care fabrics such as rayon, cotton sateen, cotton, polyester and other synthetic fibers. Silk is still considered the ideal fabric, however, and is a must for formal occasions.

Customarily, woven patterns and dyed repeat patterns are considered informal; Formal kimono have free-style designs dyed over the whole surface or along the hem[4]. During the Heian period, kimono were worn with up to a dozen or more colorful contrasting layers, with each combination of colors being a named pattern[4]. Today, the kimono is normally worn with a single layer on top of a slip style undergarment. The pattern of the kimono can also determine in what season it should be worn. For example, a pattern with butterflies or cherry blossoms would be worn in spring. Watery designs are common during the summer. A popular autumn motif is the russet leaf of the Japanese maple; for winter, designs may include bamboo, pine trees and plum blossoms.

Old kimono are often recycled in various ways: altered to make haori, hiyoku, or kimono for children, used to patch similar kimono, used for making handbags and similar kimono accessories, and used to make covers, bags or cases for various implements, especially for sweet-picks used in tea ceremonies. Kimono with damage below the waistline can also be worn under hakama to hide the damage. Historically, skilled craftsmen laboriously picked the silk thread from old kimono and rewove it into a new textile in the width of a heko obi for men’s kimono, using a recycling weaving method called saki-ori.

The kimono (着物?)[1] is the national costume of Japan. Originally the word “kimono” literally meant thing to wear (ki wearing and mono thing)[2] but now has come to denote a particular type of traditional full-length garment.

Kimono are T-shaped, straight-lined robes that fall to the ankle, with collars and wide, full-length sleeves. Kimono are wrapped around the body, always with the left side over the right (except when dressing the dead for burial)[3] and secured by a wide belt called an obi, which is usually tied at the back. Kimono are generally worn with traditional footwear (especially zōri or geta) and split-toe socks (tabi).[4]

Today, kimono are most often worn by women, and on special occasions. Traditionally, unmarried women wore a style of kimono called furisode,[4] which have floor-length sleeves, on special occasions. A few older women and even fewer men still wear kimono on a daily basis. Men wear kimono most often at weddings, tea ceremonies, and other very special or very formal occasions. Professional sumo wrestlers are often seen in kimono because they are required to wear traditional Japanese dress whenever appearing in public.[5] They commonly wear the kind of casual Japanese attire that is referred to as yukata, which is of plain unlined cotton.

Kimono hobbyists in Japan can take courses on how to put on and wear kimono. Classes cover selecting seasonally and event-appropriate patterns and fabrics, matching the kimono undergarments and accessories to the kimono, layering the undergarments according to subtle meanings, selecting and tying obi, and other topics. There are also clubs devoted to kimono culture, such as Kimono de Ginza.

This is a list of articles used in Japanese tea ceremony. Please add utensils by category in English and subcategory in Japanese, in alphabetical order. For reasons of appearance and ease of reading, please do not italicize names of dōgu listed here.

This list is part of an expansion of the Japanese tea ceremony series of articles and category. In time it will expand to include articles on the major dōgu listed.

Equipment for tea ceremony is called dōgu (道具; lit., “tools”) or more specifically chadōgu (茶道具; “tea tools”). Chadōgu can be divided into five major categories: decorative items (装飾道具); items for the tea-making and service (点前道具); items for the chakaiseki meal (懐石道具); items used in the preparation room (水屋道具); and items for the waiting room and roji garden (待合・露地道具).[1] A wide range of dōgu is necessary for even the most basic tea ceremony. Generally, items which guests prepare themselves with for attending a chanoyu gathering are not considered as chadōgu; rather, the term fundamentally applies to items involved to “host” a chanoyu gathering. This article, however, includes all forms of implements and paraphernalia involved in the practice of chanoyu.


In Japan, cherished items are customarily stored in purpose-made wooden boxes. Valuable items for tea ceremony are usually stored in such a box, and in some cases, if the item has a long and distinguished history, several layers of boxes: an inner storage box (uchibako), middle storage box (nakabako), and outer storage box (sotobako). The storage boxes for tea implements are not tea equipment in themselves, but have a very important place in the practice of chanoyu for the inscriptions on them which serve to validate their history and other such important data.


Chabako (茶箱, literally “tea box[es]”). Special lidded boxes containing tea bowl, tea caddy, tea scoop and other equipment, used in certain types of ceremonies. They constitute portable tea-making sets. The box is carried into the tea room, sometimes on a tray, and the ceremony proceeds with each item being removed from, and finally returned to, the box.

Tea boxes are made of wood, and may be lacquered and decorated, or left untreated. There are similar portable tea-making sets called chakago (茶籠, literally “tea basket[s]), in which case the box is of basketry.

Charcoal-related items

Ash container

Haiki (灰器), a shallow bowl used by the host to carry the ash into the tea room for the charcoal-laying procedure. It carries the “sprinkling ash” (makibai) for the procedure in the case of a portable brazier (furo), and the “moist ash” (shimeshibai) for the procedure in the case of a sunken hearth (ro). The styles for these are different.

Ash spoon

Haisaji (灰匙). This is a spatula-like implement mainly used to shape the ash in the portable brazier (furo), or to sprinkle ash during the charcoal-laying procedure.


Sumi (炭)

Charcoal container

Sumitori (炭斗 or 炭取), the container in which the host places the charcoal and charcoal-laying implements for transporting them to and from the tea room for the charcoal-laying procedure.

Charcoal carrier

Hakosumitori (箱炭斗), a charcoal container used in the preparation room, and not considered a formal piece of equipment. It is brought into the tea room if the charcoal in the portable brazier or sunken hearth requires replenishing. It is box-shaped, has a handle, and is made of wood — usually mulberry wood.

Charcoal starter

Feather brooms

Habōki (羽箒). There are various styles. The kind composed of three layered feathers and referred to therefore as mitsubane (三つ羽) is used to dust off the portable brazier or sunken hearth during the charcoal-laying procedure. It is part of the set of equipment carried into the tea room with the charcoal container (sumitori). Other kinds of feather brooms are used for sweeping the tea room.


Hibashi (火箸, literally “fire chopsticks”). Metal chopsticks used to handle charcoal.

Incense container

Kōgō (香合). A small lidded container for the incense that is added to the charcoal fire during the charcoal-laying procedure. For the kneaded incense (nerikō) that is used in a sunken hearth (ro), the container is generally made of ceramic. For the chips of incense wood (kōboku) used in a portable brazier (furo), it is generally made of lacquer ware or plain wood. There are also incense containers made of clam shells.

Cloth items


Chakin (茶巾). A small rectangular white linen or hemp cloth mainly used to wipe the tea bowl. There are two main sizes: large and small. Usually the plain term chakin is used in reference to the small size, which is approximately 30.3 cm long and 15.2 cm wide. The raw edges on the lendthwise sides are have a narrow rolled hem finished with serging. These two hems face opposite sides of the cloth.


Fukusa (帛紗). A double layer silk cloth approximately 30 cm or a little less than 12 inches square, with fold on one edge and the other three edges sewn together so the stitching is invisible. It is used for the symbolic cleansing of the tea scoop and tea caddy, and to handle hot kettle or pot lids. The people on the “hosting” side of a tea gathering wear the fukusa tucked into the obi, or belt of their kimono. This is a sign that they are on the hosting side. Due to respect of purification, the host of a formal tea ceremony is expected to use a fukusa never used before. Fukusa are most often monochromatic and unpatterned, but variations exist. There are different colours for men (usually purple) and women (orange, red), for people of different ages or skill levels, for different ceremonies and for different schools. The size and way of making fukusa was purportedly established by Sen Sōon, Sen Rikyū‘s second wife.


Fukusabasami are wallets used to carry personal items needed to participate in tea ceremony. The items basically include kaishi paper, a pick for cutting and eating the sweet, a kobukusa, a fukusa, and a small fan. There are two sizes: a smaller one for women, and a larger one for men; the sizes correspond to the two sizes of kaishi paper. Both are rectangular and in many cases are shaped like a traditional envelope, with a flap that closes the wallet. Men’s fukusabasami are generally less ornate and brightly coloured than women’s, but this is not always the case.


Kobukusa (古帛紗). A cloth approximately 15.15 cm or 6 inches square, which, unlike the cloth called fukusa, is generally of richer and thicker, brocaded and patterned fabric. Its construction is similar to that of a fukusa. Both the people on the hosting side of a tea get-together, as well as the guests, should each carry one. If wearing kimono, it is kept in the breast of the kimono. Guests not wearing kimono might carry it in their fukusabasami. The kobukusa is sometimes used by guests to protect the tea implements whilst examining them. Depending on the circumstances, the host may put one out with the tea, and because of this, kobukusa are also referred to as dashibukusa (“fukusa for serving”).


Shifuku refers to a variety of bags used for storing chaire and other tea implements. They are traditionally made from silk, and are often patterned or brocaded. Shifuku are secured with a silk cord, which is tied in prescribed ways.



The daisu (台子), the original portable shelf unit used in the Japanese tea ceremony. The most orthodox style is the formal shindaisu, finished in highly polished black lacquer. The lower board rests on the tatami, and there are four posts at the corners of this, supporting a shelf. The width of this unit, from side to side, is equal to the width of a kyōma (Kyoto-size) tatami.


A nagaita (長板) is a wooden board, usually lacquered, on which the main tea implements may be displayed in the tea room. The size derives from the size of the lower board of a daisu.


Shikiita (敷板) is the term for the various kinds of boards on which the portable brazier (furo) may be arranged in the tea room. They are classified by shape as large, half-size, small, or round. They are wooden, and may be finished with lacquer and/or decorated in various other manners. There are rules for what kind of board to use with what kind of brazier.


Tana (棚), literally “shelf/shelves,” is a general word that refers to all types of wooden or bamboo shelf units used in tea preparation; each type of tana has its own name. Tana vary considerably in size, style, features and materials. The three basic categories are built-in tana (shitsukedana), suspended tana (tsuridana), and portable shelves (okidana). The latter, okidana, are basically categorized as either large shelf units (ōdana) or small shelf units (kodana). Various tea implements are placed on, or stored in, them. They are used in a variety of ways during different tea ceremonies.



Binkake (瓶掛) are relatively small portable braziers on which to heat the kind of iron hot-water kettle called tetsubin, which has a spout and handle across the top.


Furo (風炉) are portable braziers used in the tea room to heat the hot water kettle (kama) to make the tea. They are commonly made of ceramic or metal, although there are rare examples of wooden furo as well.


Ro (炉) are fire pits built into the floor of tea rooms and used in the cold season, for heating the hot water kettle (kama) to make the tea. The frame that fits around it at the top is called robuchi (炉縁, ro frame), and usually is of lacquered wood. In the season when the ro is not in use, the frame is removed and the ro is covered with one of the tatami mats that form the surface of the floor, and is not visible.


A portable ro that is set on the floor and is used in circumstances when the room does not have a ro that can be used.

Kaiseki-related items



Japanese Wikipedia article: 唐物

Karamono (唐物, literally “Tang item”) is a term for refined quality tea implements, mainly ceramics, produced in China particularly in the Song Dynasty, Yuan Dynasty, and Ming Dynasty, which when imported to Japan were selected for their excellence and have been highly valued in Japan ever since. See also Chawan, Chaki.


Japanese Wikipedia article: 高麗物

Kōraimono (literally, Goryeo item) is a term for tea utensils produced mainly during the Yi dynasty in Korea. See Chawan, Chaki.


Kuniyakimono (国焼物, literally “country fired things”) are ceramics made in Japan. More specifically, the term means “provincial ceramics,” and does not include Kyoto-ware and Seto-ware ceramics.

Miscellaneous items


A chakindarai is a relatively small bowl, usually made of copper, used for rinsing and washing chakin. It is kept on the bamboo sink-covering in the mizuya.

Chasen kusenaoshi

A chasen kusenaoshi is a shaper for bamboo whisks. Kusenaoshi are made from wood or ceramic; a wet whisk is placed on the shaper and allowed to dry, restoring its shape. This item is used in the mizuya back room, and is not seen in the tea room. See image, top.


Ōgi (扇) Sensu (扇子).


Futaoki (蓋置, literally “lid rest[s]”) are for resting the lid of the kettle on, and also for resting the water ladle (hishaku) on. They are made of bamboo, ceramic, or metal. There are many styles.


Gotoku (五徳), a metal tripod on which the kettle is set.


Hanaire (花入, literally “flower container[s]); also referred to as kaki (花器).



Kaishi (懐紙) is white paper used for miscellaneous purposes. It is usually in the form of a pad of paper folded in half. The name indicates that it is paper kept handy in the bosom overlap of the kimono.




The kensui (建水) is the rinse-water container used by the host in the tea room during ceremonies. Usually made of metal or ceramic, though there are some made of lacquered bentwood. Water that has been used to rinse the tea bowl is emptied into it. In the event that the host must dispose of a small item (such as a used sheet of kaishi)[citation needed], he or she will place it in the kensui. It is kept out of sight of the guests as much as possible, being the last item brought into the tea room, and the first item removed. While the kensui is a necessary item for the tea ceremony, and is among the implements the host specially selects for the occasion, it is not among the “showpiece” items the guests are expected to specially notice.


  • Furosaki byōbu
  • Kekkai



Main article: Kama

Kama (釜) are pots, usually made of iron, in which the water used to make tea is heated.


Main article: [[Tetsubin|]]

Tetsubin (鉄瓶) are iron pots having a pouring spout and handle that crosses over the top. They are used for heating and pouring the hot water during certain tea ceremonies.


Japanese Wikipedia article: 島物

Shimamono is a generic term for tea utensils produced outside Japan, Korea and China.

  • Ruson (呂宋): items from the Philippines
  • An’nan (安南): items from Vietnam
  • Nanban (安南): items from Southeast Asia
    • Sahari (砂張): copper items from Southeast Asia
  • Hannera (ハンネラ): a type of simple bisque ware from Southeast Asia
  • Kinma (蒟醤): a style of lacquer ware that entered Japan from Thailand or Myanmar

Smoking equipment

Tabakobon (煙草盆; lit., tobacco tray), the tray or box for the smoking set that the host provides the guests in the waiting room, at the waiting arbor, and in the tea room at the time of the “thin tea” service (usucha temae).

Hiire (火入; lit., fire container), a container for the lit charcoal that serves as the lighter. Usually made of ceramic. The tabakobon holds this hiire.

Haifuki (灰吹), a bamboo tube that serves as the ash receptacle. The tabakobon holds this haifuki.

Kiseru (煙管), a long-stemmed smoking pipe. The host provides this with the tabakobon.

Sweet-related items



Tea bowls

Main article: Chawan (茶碗)

Chawan are bowls used for making and drinking matcha tea. They can be classified by country of origin, by potter or kiln, by shape, or by the type of tea they are designed to hold.

Tea containers

Main article: Chaki (茶器)

This category refers to the small lidded caddies that are used to hold the powdered green tea (matcha) for the tea-making procedure (temae) in chanoyu. The term chaki literally translates as “tea implement,” but in the vocabulary of chanoyu it usually implies the small lidded caddies that are used to hold the matcha for the tea-making procedure for usucha (thin tea).[2] All tea containers for usucha may be called usucha-ki. Usucha-ki usually are of lacquered or plain wood, although not necessarily so. Commonly they are of a variety of shape called natsume, and so all usucha-ki tend to be loosely referred to as natsume. Natsume and other forms of usucha-ki are classified by size or shape.

The ceramic caddies usually used to hold the powdered green tea for the procedure to make koicha (thick tea) are basically referred to as cha-ire (茶入; lit., “tea container”).[3] They may also be referred to as koicha-ki. Cha-ire are classified according to country of origin: China (karamono), Japan (wamono), or “island-make” (shimamono). The wamono ones are classified by potter, region, or kiln. All are also classified according to shape.

  • Cha-ire
    • Karamono (唐物)
      • Nasu (茄子)
        • Bunrin
        • Shifukura
      • Katatsuki (肩衝)
      • Marutsubo
      • Tai kai (大海)
      • Tsurukubi (鶴首; lit., “crane-neck”)
      • Shirifukure
    • Wamono (和物)
      • Provincial ware
        • Karatsu (唐津)
        • Satsuma (薩摩)
        • Shigaraki (信楽) Pottery made in Shigaraki, Shiga Prefecture. Japanese Wikipedia article: 信楽焼
        • Takatori
        • Omuro
        • Tanba
        • Bizen (備前) Pottery made in Bizen, Okayama Prefecture. Japanese Wikipedia article: 備前焼
      • Kilns
        • Maemon
        • Rikyu
        • Genjuro
        • Oribe
        • Shidoro
        • Shimbei
        • Tojiro I, II, III, IV
  • Natsume
    • Ō-natsume
    • Chū-natsume
    • Ko-natsume
    • Hira-natsume

Tea scoops

Chashaku (茶杓, tea scoop[s]) are used to transfer the powdered tea from the tea container (chaki) to the tea bowl (chawan). Usually they are made of a narrow, thin piece of bamboo, although there are also those of wood or ivory. They are generally about 18 cm in length. The original ones imported to Japan from China were ivory. Tea masters in Japan have traditionally carved their own bamboo chashaku, providing them with a bamboo storage tube (tsutsu) as well as a poetic name (mei 銘) that will often be inscribed on the storage tube. The selection of the chashaku for use at a chanoyu gathering will largely depend on its poetic name.


Various styles of trays are used in tea ceremony, including:

  • Hakkebon (round tray with design of the eight Chinese divination symbols)
  • Yamamichibon (“mountain-pass tray,” having undulating rim)
  • Yohōbon (square tray)
  • Sen-no-Rikyu blackie green square tray


Wamono (和物) means “Japanese item”; an article produced in Japan. See Chawan, Chaki, Kuniyakimono.

Water containers


mizusashi (水指) is a lidded container for fresh cold water used by the host in the tea room during ceremonies. The water is mainly used to replenish the water in the kama at the end of certain ceremonies. Mizusashi are generally made of ceramic, but wooden and glass mizusashi are also used. If it is a ceramic mizusashi and has a matching lid of the same ceramic, the lid is referred to as a tomobuta or “matching lid.” Often, a ceramic mizusashi will have a custom-made lid made of lacquered wood, especially if it is a container originally lacking a matching lid.

The mizusashi is one of the main objects in the aesthetic scheme of the objects the host selects for the particular occasion. It is good manners for the main guest (shōkyaku) to ask the host about it. The correspondence about mizusashi is expected to happen just after the water pouring from mizusashi to kama ended and the host puts the lid of the mizusashi back onto it.(citation required) Mizusashi are classified by their shape, and in the correspondence, the type of shape, creator, period, and other such points of interest may be asked by the guest and delivered.


A mizutsugi (水次, water pourer) is a lidded water pitcher used to replenish the vessel for fresh water (mizusashi) at the end of certain ceremonies. There are ones of metal, ones of ceramic, and ones of bentwood. This water pitcher is not kept in the tea room, but rather is brought in as the final step of certain ceremonies.

Water ladles

Hishaku (柄杓). This is a long bamboo ladle with a nodule in the approximate center of the handle. It is used to pour hot water into the tea bowl from the iron pot (kama) and to transfer cold water from the fresh water container to the iron pot when required. A tetsubin does not require the use of a hishaku. Different styles are used for different ceremonies and in different seasons. A larger version that is made of cypress wood is used for the ritual rinsing of hands and mouth by guests before entering the tea room, or for use by the host in the back preparation area of the tea room (mizuya), in which case it distinguished as mizuya-bishaku.


Chasen (茶筅) are bamboo whisks used to prepare matcha. They are hand-carved from a single piece of bamboo. There are differences in their style according to the type of bamboo they are made from, the shape of the tines, the number of tines, the thickness of the bamboo, the length of the bamboo, the color of the thread that is woven around the bottom of the tines, and so on. Different schools of chanoyu (see Schools of Japanese tea ceremony) prefer different styles and employ different styles depending on the particular kind of tea or tea-preparation style for which it is to be used. For instance, there are specific styles for preparing thin tea (usucha), thick tea (koicha), tea offerings in tenmoku tea bowls, tea in tall cylindrical tea bowls, for including in a portable boxed tea set (chabako), for outdoor tea-making, for New Year’s, and for other special auspicious occasions. Also, there are styles such as the “Rikyū-gata” (利休形) or “Sen Rikyū model”; the style attributed to Sen Rikyū’s son Dōan and referred to as the “Dōan-gonomi” (道安好) style, and other such “favored” (好; konomi) styles of famous tea masters, so that the styles have continued to increase.[4]

Generally, the kind used for whisking thin tea (usucha) has 80, 100, or 120 fine tines.

Claim: A few sips of hydrogen beer enables Japanese karaoke nuts to sing soprano parts and shoot blue flames out of their mouths at dramatic moments.
Status: False.

[Collected on the Internet, 1994]

January 1, 1994
TOKYO (AP) — Here in the chic pubs of the Aoyama district, the latest fad inspired by beer makers struggling through a sluggish economy is the flammable suds of the new Hydrogen Beer. The latest craze among the environmentally conscious crowd of twentysomethings, the “Suiso” beer made by the Asaka Beer Corporation has been extremely popular at karaoke sing-along bars and discotheques.Hydrogen, like helium, is a gas lighter than air. Because hydrogen molecules are lighter than air, sound waves are transmitted more rapidly; individuals whose lungs are filled with the nontoxic gas can speak with an uncharacteristically high voice.Exploiting this quirk of physics, chic urbanites can now sing soprano parts on karaoke sing-along machines after consuming a big gulp of Suiso beer.The drink comes in a transparent hexagonal bottle imported from the maker of the new American drink, Zima,” according to Hideki Saito, marketing director of Asaka Beer Corp. While the bottles are imported from Tennessee, the labels are made with a 100% biodegradable polymer. The bottle caps are equipped with a safety valve to prevent excess build-up of pressure in high temperatures.The flammable nature of hydrogen has also become another selling point, even though Asaka has not acknowledged that this was a deliberate marketing ploy. It has inspired a new fashion of blowing flames from one’s mouth using a cigarette as an ignition source. Many new karaoke videos feature singers shooting blue flames in slow motion, while flame contests took place in pubs everywhere in Tokyo on New Year’s eve.So far, Asaka beer has insisted that the quantities of hydrogen used in the drinks is too low to create potential for bodily harm. In the factory, the carbon dioxide that is dissolved in the beer is partially extracted and replaced with hydrogen gas. Mr. Saito maintained that the remaining carbon dioxide mixed with hydrogen prevents the rate of combustion from increasing dramatically. Carbon dioxide is a nonflammable gas that is naturally contained in the exhaled breath of humans. However, the company has hesitated from marketing the product in the US due to legal complications.Each bottle of Suiso beer sells for approximately 1,200 yen, or 11 US dollars. The bottles are packed in special crates lined with concrete to prevent chain explosions in the event of a fire.


Origins: Initially making the rounds in 1994, this bit of fiction is still in circulation on the Internet and continues to pop up in the media. Additional spurious details about an injured participant engaging in a lawsuit against the brew’s manufacturer and a karaoke bar were added to the story in late 1998.
Folks will believe most anything, provided someone sticks “AP” at the front of it. Though it was decked out to look like it, the above wasn’t a real wire service story. (Even so, this tale has suckered a fine selection of highly-respected newspapers, including The New York Times in March 1996, the Boston Globe in November 1997, and The Washington Post in September 1999. It has also appeared in a widely-used introductory-level college chemistry textbook.)

There is no Asaka Beer Corporation. Due to tight government regulations, there are only five beer companies in Japan: Kirin (40.6% market share), Asahi (37.6%), Sapporo (15.8%), Suntory (5%) and Orion (1%). Nor is there a Suiso beer. Both these names are made up, nothing more than wonderful bits of embroidery employed to give a fanciful tale an aura of believability. Proving yet again that no story is too good not to be improved upon, the following version appeared in inboxes everywhere in late 1998:
TOKYO (AP) The recent craze for hydrogen beer is at the heart of a three way lawsuit between unemployed stockbroker Toshira Otoma, the Tike-Take karaoke bar and the Asaka Beer Corporation. Mr Otoma is suing the bar and the brewery for selling toxic substances and is claiming damages for grievous bodily harm leading to the loss of his job. The bar is countersuing for defamation and loss of customers.The Asaka Beer corporation brews “Suiso” brand beer, where the carbon dioxide normally used to add fizz has been replaced by the more environmentally friendly hydrogen gas. A side effect of this has made the beer extremely popular at karaoke sing-along bars and discotheques. Hydrogen, like helium, is a gas lighter than air. Because hydrogen molecules are lighter than air, sound waves are transmitted more rapidly; individuals whose lungs are filled with the nontoxic gas can speak with an uncharacteristically high voice. Exploiting this quirk of physics, chic urbanites can now sing soprano parts on karaoke sing-along machines after consuming a big gulp of Suiso beer. The flammable nature of hydrogen has also become another selling point, even though Asaka has not acknowledged that this was a deliberate marketing ploy. It has inspired a new fashion of blowing flames from one’s mouth using a cigarette as an ignition source. Many new karaoke videos feature singers shooting blue flames in slow motion, while flame contests take place in pubs everywhere. “Mr Otoma has no-one to blame but himself. If he had not become drunk and disorderly, none of this would have happened. Our security guards undergo the most careful screening and training before they are allowed to deal with customers” said Mr Takashi Nomura, Manager of the Tike-Take bar. “Mr Otoma drank fifteen bottles of hydrogen beer in order to maximise the size of the flames he could belch during the contest. He catapulted balls of fire across the room that Gojira would be proud of, but this was not enough to win him first prize since the judgement is made on the quality of the flames and that of the singing, and after fifteen bottles of lager he was badly out of tune.” “He took exception to the result and hurled blue fireballs at the judge, singeing the front of Mrs Mifune’s hair, entirely removing her eyebrows and lashes, and ruining the clothes of two nearby customers. None of these people have returned to my bar. When our security staff approached he turned his attentions to them, making it almost impossible to approach him. Our head bouncer had no choice but to hurl himself at Mr Otoma’s knees, knocking his legs from under him.” “The laws of physics are not to be disobeyed, and the force that propelled Mr Otoma’s legs backwards also pivoted around his centre of gravity and moved his upper body forward with equal velocity. It was his own fault he had his mouth open for the next belch, his own fault he held a lighted cigarette in front of it and it is own fault he swallowed that cigarette.” “The Tike-Take bar takes no responsibility for the subsequent internal combustion, rupture of his stomach lining, nor the third degree burns to his oesophagus, larynx and sinuses as the exploding gases forced their way out of his body. His consequential muteness and loss of employment are his own fault.” Mr Otoma was unavailable for comment. As well he might be, since he doesn’t exist. There’s still no Suiso beer, no Asaka Beer Corporation, and certainly no such lawsuit. The names used in the piece give an additional clue to its being a leg-pull: Takashi Nomura and Toshiro Mifune are both actors in classic Japanese films, and Otoma comes from Katsuhiro Otomo, a modern director. This newest version makes more of a story out of the tale, turning what purported to be a staid news article about a karaoke innovation into a bemusing report about yet another silly lawsuit. Merely the mental picture of a drunken Japanese hurling blue fireballs at the judges who’d passed him over is enough to keep one entertained for hours. Karaoke is weird enough without anyone having to blow blue flames as part of it.

Tea equipment is called chadōgu (茶道具; literally “tea tools”). A wide range of chadōgu is necessary for even the most basic style of chanoyu. A full list of all available tea implements and supplies and their various styles and variations could fill a several-hundred-page book. The following is a brief list of some essential components:

  • Chakin (茶巾). The “chakin” is a small rectangular white linen or hemp cloth mainly used to wipe the tea bowl.

Two modern “thin tea” bowls

  • Tea bowl (chawan 茶碗; main article: chawan). Tea bowls are available in a wide range of sizes and styles, and different styles are used for thick and thin tea (see Tea ceremony, below). Shallow bowls, which allow the tea to cool rapidly, are used in summer; deep bowls are used in winter. Bowls are frequently named by their creators or owners, or by a tea master. Bowls over four hundred years old are in use today, but only on unusually special occasions. The best bowls are thrown by hand, and some bowls are extremely valuable. Irregularities and imperfections are prized: they are often featured prominently as the “front” of the bowl.
Broken tea bowls are painstakingly repaired using a mixture of lacquer and other natural ingredients. Powdered gold is added to disguise the dark colour of the lacquer, and is known as kintsugi or “joint with gold,” and additional designs are sometimes created with the mixture. Bowls repaired in this fashion are used mainly in November, when tea practitioners begin using the ro, or hearth, again, as an expression and celebration of the concept of wabi, or humble simplicity.
  • Tea caddy (chaire 茶入 and natsume ; main article: chaki). Tea caddies come in two basic styles, the natsume and the chaire, though there is variation in shape, size and colour within the styles. Chaire, which are used for koicha, are usually tall and thin (but shapes may vary significantly) and have ivory lids with gold leaf undersides. Chaire are usually ceramic, and are stored in decorative bags called shifuku. Natsume are mostly used for usucha, and are named for their resemblance to the natsume fruit (the jujube). They are short with a flat lid and rounded bottom, and are usually made of lacquered wood.
  • Tea scoop (chashaku 茶杓). Tea scoops generally are carved from a single piece of bamboo, although they may also be made of ivory or wood. They are used to scoop tea from the tea caddy into the tea bowl. Bamboo tea scoops in the most casual style have a nodule in the approximate center. Larger scoops are used to transfer tea into the tea caddy in the mizuya (preparation area), but these are not seen by guests. Different styles and colours are used in various tea traditions.
  • Tea whisk (chasen 茶筅). This is the implement used to mix the powdered tea with the hot water. Tea whisks are carved from a single piece of bamboo. There are various types. Tea whisks quickly become worn and damaged with use, and the host should use a new one when holding a chakai or chaji.
Old and damaged whisks are not simply discarded. Once a year around May, they are taken to local temples and ritually burned in a simple ceremony called chasen kuyō, which reflects the reverence with which objects are treated in the tea ceremony.

All the tools for tea ceremony are handled with exquisite care. They are scrupulously cleaned before and after each use and before storing.

According to the “Latter Chronical of Japan” (日本後記; Nihon Kōki), drinking of tea was introduced to Japan in the 9th century, by the Buddhist monk Eichū (永忠), who had returned to Japan from China. This is the first documented evidence of tea in Japan. The entry in the “Latter Chronical of Japan” states that Eichū personally prepared and served “simmered tea” (煎茶, sencha) to Emperor Saga who was on an excursion in Karasaki (in present Shiga Prefecture) in the year 815. By imperial order in the year 816, tea plantations began to be cultivated in the Kinki region of Japan.[1] However, the interest in tea in Japan faded after this.[2]

In China, tea had already been known, according to legend, for more than a thousand years. The form of tea popular in China in the era when Eichū went for studies was “brick tea” (団茶 dancha?). The brick tea was made by steaming and pounding tea leaves, pressing this into moulds, and drying this until hard. This then would be ground in a mortar, and the resulting ground tea decocted together with various other herbs and/or flavorings.[3]

The custom of drinking tea, first for medicinal, and then largely also for pleasurable reasons, was already widespread throughout China. In the early 9th century, Chinese author Lu Yu wrote the Chá jīng (茶經, the Classic of Tea), a treatise on tea focusing on its cultivation and preparation. Lu Yu’s life had been heavily influenced by Buddhism, particularly the ZenChán school. (This form of Buddhism is known as Chan in China and Zen in Japan). His ideas would have a strong influence in the development of the Japanese tea ceremony.[4]

Around the end of the 12th century, the style of tea preparation called “tencha” (点茶), in which powdered tea was placed in a bowl, hot water poured into the bowl, and the tea and hot water whipped together, was introduced by Eisai, another Japanese monk returning from China. He also brought tea seeds back with him, which eventually produced tea that was of the most superb quality in all of Japan.[5]

This powdered green tea was first used in religious rituals in Buddhist monasteries. By the 13th century, samurai warriors had begun preparing and drinking matcha as they adopted Zen Buddhism, and the foundations of the tea ceremony were laid.

Tea ceremony developed as a “transformative practice,” and began to evolve its own aesthetic, in particular that of wabi. Wabi, meaning quiet or sober refinement, or subdued taste, “is characterized by humility, restraint, simplicity, naturalism, profundity, imperfection, and asymmetry [emphasizing] simple, unadorned objects and architectural space, and [celebrating] the mellow beauty that time and care impart to materials.”[6] Ikkyū, who revitalized Zen in the 15th century, had a profound influence on the tea ceremony.

By the 16th century, tea drinking had spread to all levels of society in Japan. Sen no Rikyu, perhaps the most well-known—and still revered—historical figure in tea ceremony, followed his master, Takeno Jōō‘s, concept of ichi-go ichi-e, a philosophy that each meeting should be treasured, for it can never be reproduced. His teachings perfected many newly developed forms in Japanese architecture and gardens, fine and applied arts, and the full development of chadō, “the “way of tea”. The principles he set forward – harmony ( wa?), respect ( kei?), purity ( sei?), and tranquility ( jaku?) – are still central to tea ceremony.

Many schools of Japanese tea ceremony have evolved through the long history of chanoyu, and are active today.

The Japanese tea ceremony is called chanoyu (茶の湯, lit. “tea hot-water”) or also chadō or sadō (茶道, “the way of tea”) in Japanese. It is a multifaceted traditional activity strongly influenced by Zen Buddhism, in which powdered green tea, or matcha (抹茶), is ceremonially prepared and served to others.

The get-togethers for chanoyu are called chakai (literally “tea meeting”) or chaji (literally “tea function”). Usually the term chakai is used to refer to a relatively simple course of hospitality that includes the service of confections, usucha (thin tea), and perhaps tenshin (a light snack), while the term chaji refers to a more formal course of hospitality usually including a special kind of full-course meal called kaiseki (懐石) or more specifically cha-kaiseki (茶懐石), followed by confections, koicha (thick tea), and usucha (thin tea). A chaji may last up to four hours.

Lesson 1:

Study of Common Expressions

1. Ohayoo –> Good Morning

2. Konban wa –> Good Evening

3. Konnichi wa –> Good Afternoon

4. Maiban –> Every night or Nightly

5. Mainichi –> every day or Daily

6. Nanji desu ka –> What time is it?

7. Mada ikanai de kudasai –> Please don’t go yet.

8. Kirai desu ka –> Don’t you like it?

9. Tokidoki –> Sometimes

10. Ikura desu ka –> How much is it?

11. Sumimasen –> Please excuse me or Pardon me

12. Nannimo naranai –> Good for nothing

13. Wakarimasu ka –> do you understand?

14. Arigatoo –> Thank You

More Words for Study:

1. otoko –> man                     6. gakkoo –> school

2. onna –> woman                  7. empitsu –> pencil

3. hon –> book                       8. hana –> flower

4. isu –> chair                         9. ottosan –> father

5. inu –> dog                          10. okkasan –> mother