There are different types of tea gatherings, such as intercessional rituals (okencha and okucha) performed to offer tea to gods or as memorials for the deceased, and chaji, which are more commonly observed gatherings. Chaji involves various elements, including greetings, a meal, tea preparation, and the presentation of thick and thin tea (Anderson 1987, 481).

 

The host carefully plans the event months in advance, choosing a theme that often reflects the season and selects guests who are experienced in Tea and can interact smoothly. On the day of the chaji, the host prepares the water and the venue, signaling a sense of welcome and tranquility to the arriving guests. The guests go through transitional spaces which help mediate between everyday life and the ritual event. These spaces are decorated in line with the theme of the gathering and provide an aesthetic and calming atmosphere (Anderson 1987, 483). The transition from one space to another is liminal, meaning "on the threshold." This blends the guest's roles with what they were with what they will be after the ritual ends (Sims and Stephens 2011, 109).

 

The guests then proceed to the inner garden path (roji), which is divided into an outer and inner part. The inner path is more indirect, symbolizing the increased difficulty in the final stages of spiritual enlightenment—which often resembles a natural mountain path. As the guests proceed through the inner garden path, they reach the waiting area known as the koshikake machiai, a covered bench or veranda section. Here, guests are encouraged to relax, and various symbolic elements, such as a palm leaf broom, are present to signify purification and the idea of leaving the “dust of the world” behind (Anderson 1987, 483). The guests sit in rank order, and the main guest often has a higher stone to rest his feet, indicating his honored status while maintaining a sense of humility and egalitarianism.

 

The host then performs a purification ritual at a low stone basin (tsukubai) in the inner garden. This ritual involves purifying the hands and mouth with water, which is then scattered around the area. After pouring fresh water into the basin, the host greets the guests at the middle gate (chumon) with bows but no words are exchanged. The guests are invited to purify themselves using the stone basin and to view a symbolic waste pit (chiriana) where leaves and branches are discarded, signifying the shedding of worldly concerns. Following this task, the guests follow the path to the tearoom, which is indicated by heart-sized stones bound with black twine (sekimori ishi) (Anderson 1987, 484-85).

 

The guests then enter the tearoom through a small, low entrance called the nigiriguchi, a design inspired by fishermen entering their boats through small hatches. This crawling entrance physically compels humility and discomfort, symbolizing rebirth and a departure from the materialistic world. The size and layout of tearooms vary, and the preferred dimension for a tea room, a four and one-half mat room (yojohan), is based on both Zen ideals and Taoist cosmic symbolism (Anderson 1987, 485).

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Following these preparations, the host opens the door to the tearoom, greets the guests, and announces the serving of a light meal called kaiseki. The meal is followed by the first charcoal ceremony (shozumi), which involves building the fire to boil water for tea and burning sandalwood incense. The incense creates an atmosphere separate from reality and represents the ephemeral quality of the season. The shape and decoration of the utensils used in this ceremony also reflect the season’s characteristics and contribute to the overall aesthetic experience of the ritual.

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Following their meal, the host provides the guests with meticulously arranged seasonal sweets (omogashi), as they prepare the tearoom for thick tea. A gong signals the guests to enter the tearoom, and they are expected to kneel until the gong’s echo fades. Before re-entering the room, they cleanse themselves again at the stone basin. Upon their entry, the guests scrutinize the alcove, noting the host’s efforts to convey the essence of the natural world through thoughtfully positioned flowers and the changes in the fire’s state (Anderson 1987, 486-88). 

 

The ensuing segment of the ritual, known as koicha, stands as the most solemn and spiritually intimate phase of the chaji. Utensils are purified, tea is scooped, water is introduced, and the tea is kneaded (as opposed to being whisked, as in the case of thin tea). The assembled guests share a single cup of tea, after which the bowl is returned to the host, and the utensils are cleansed. Key distinctions between the preparation of thick (koicha) and thin (usucha) tea involve the examination of the silk wiping cloth before use, the concentrated nature of the tea, and the manner of sharing.

 

The apex of the entire ritual unfolds as the principal guest takes the initial sip of koicha. If both host and guest are to encounter a profound sense of shared serenity, it is in this moment. Ideally, the guest feels profound gratitude for the intricate effort that culminates in the remarkable experience represented by the first sip of tea. Concurrently, the host senses successful communication of something profoundly meaningful to someone who comprehends the import of the endeavor. For an instant, both individuals have the chance to immerse themselves in an indescribable feeling of completeness, well-being, and sacredness (Anderson 1987, 488-89).

 

Following the sharing of the remaining koicha among the other guests, the bowl is examined and surrendered to the host for cleansing. Expressing appreciation for the moment, all individuals bow. During the host’s cleaning of the tools, the main guest inquires about the bowl’s history and the significance of the other utensils used. Particularly crucial is the name of the tea scoop, often embodying a symbol tied to the host’s theme.

 

After the koicha portion of the chaji, the second charcoal ceremony (gozumi) revives the waning fire and introduces incense. This signals the initiation of the thin tea ritual (usucha), and that guests can unwind. Each guest is served a bowl of thin tea, with the option for seconds.

After inspecting the tools employed for usucha, the guests express gratitude for the host’s hospitality. As they depart, they take a final glance at the flowers in the alcove and the glowing embers in the brazier. In the inner roji, they bow to the host. The host reopens the low entrance, and bows, bidding them farewell. The host remains watchful until the guests are out of sight (Anderson 1987, 489).