The narrow streets around Furutsu Sensei’s house showed that this was an old part of Matsue, built without cars in mind. Despite this most of the houses were in the modern style. Furutsu Sensei’shouse dating from 130 years ago sat like an island of the past, surrounded by power lines and asphalt.

Although I was coming for what I expected to be a casual chat and interview about the tea ceremony I noticed that my host had already cleansed the stone path in preparation for his arriving guests. As I stepped into the genkan (entry hall) a seasonal display of flowers was arranged in an elegant vase, providing as warm a welcome as our host’s wife herself. Before I had even met the man I felt welcomed and that his thoughts were purely about making his guests feel welcomed and appreciated.

Our host, dressed casually in jeans and a sweater led us into a room in the shoin style with a view out onto a small yet immaculate Japanese garden. Waiting for us was Furutsu Sensei’s friend, teacher, and fellow Student of the Tea ceremony Fujihara Sensei.

The two explained some of the history of tea in Japan dating from its introduction from China by Eisai (1141-1215). Originally tea was for medicinal usage and came as a compressed brick. Tea was shaved off the brick to be used as needed.

At around the same time that Europe was undergoing the renaissance with a blossoming of the arts and sciences, Japanese society was developing its own unique art forms in Noh theatre, the tea ceremony, flower arranging, as well as developing a uniquely Japanese style of garden differing from the Chinese style that had been emulated up until that time.

The tea ceremony started as a form of entertainment for the rich and privileged and was often accompanied by ostentatious ceremonies and elaborate displays. This was all changed by Sen no Rikyuu (1522-1591) who introduced the wabi style of tea ceremony that is considered the origin for most modern forms of the tea ceremony. Wabi is often defined as the beauty to be found in spareness and simplicity. An aesthetic that continues to exert a strong influence on the Japanese arts.

After their brief explanations, our hosts lead us through the sansui (mountain view style) garden, through a bamboo gate into another simpler garden where we all cleanse our hands (left then right) and rinse our mouths at the Tsukubai wash basin, cleansing ourselves as we prepare to enter that other world that is defined by the walls of the tea room. The tea room itself is typically plain. A cozy size that leaves one feeling at peace without ever being claustrophobic. We take in the simply displayed flower and then turn our attention to the tools of the tea ceremony which have already been laid out for us.

In the waiting room had been a hanging scroll featuring cherry blossoms, and as I take in the Natsume (a lacquer container that holds the powdered green tea) I notice a cherry blossom motif. Although the Cherry blossoms will not appear for another 3 weeks, the host’s choice of theme has already turned my thoughts to that most special of Japanese seasons.

A kettle is already steaming on the brazier giving off a soft noise known as Matsu no Kaze no oto (the sound of wind through the pines). The water has had time to sit and lose the chemical aromas that come with tap water these days. For larger meetings and grander occasions the water will often been drawn from a well.

With little fuss our host goes about his business. Each movement measured and well practiced. Formal and yet somehow casual. A natural part of his being, he moves with an easy grace that I can only liken to that of a sportsman who seems to have all the time in the world.

The ceremony begins with us greeting and bowing to each other. This marks the most obvious difference between the Fumai and other styles of tea ceremony. Instead of placing our hands palm down on the tatami matting we tuck our thumbs into our fingers almost forming a fist, and place our knuckles on the ground. A gesture devised by Lord Matsudaira Fumaiko to keep ones hands clean and maintain hygiene.

Our host places his fukusa (a cloth for wiping and preparing the tools on his right hand side and goes about his business. He moves slowly and deliberately yet the actions are restrained. As he prepares the first bowl, cleaning it with the bamboo whisk and hot water he sounds the handle of the whisk gently against the bowl three times, marking the start of the tea making. Despite thefact that he is working right in front of me the first bowl of tea is prepared without me even noticing what he was doing.

Our host’s service goes on like this till we have all had two bowls of tea. After ensuring we are all satisfied he then finally prepares his own bowl of tea, letting out a laugh as he makes a mistake in preparing the tea for himself.

The time has passed quietly, leaving aside the cares of the outside world, and indeed I feel a great distance between the coziness of the tea room and the rest of the world, both physically and mentally.

Since Rikyu’s death the tea ceremony had once again begun to become more extravagant and ostentatious. Lord Matsudaira Fumaiko developed his style of the tea ceremony as a return to the ideals of Sen no Rikyu.

The tea ceremony in this form was devised to create a distance between the world of the tea room and the outside world, as well as to bring the participants together no matter what their social status. There should be no need for expensive tools, as long as one has a kettle, a bowl and some tea one should be able to follow the path of tea.

I had not been conscious of it before but when I ask our teachers how the study of tea influences ones everyday life I am told that the practiced movements become a part of you and find expression in any movement you make even outside the tea room. Indeed, upon hearing this I recall the casual, calm and graceful movements of our host as he moved about his house.

The tea ceremony arose from Zen Buddhism and embodies many of its ideals. Taking part brings a sense of peace, calm and clear thought. The tea ceremony has been described as the ultimate synthesis of the Japanese arts. From the garden surrounding the tea room, the architecture of the tea room itself, ikebana in the simple seasonal flower displays, the craftsmanship of the traditional sweets involved, the pottery, ceramics, carving and lacquer-ware of the tools, calligraphy, painting, cuisine, clothing and so on. When every aspect is examined it is a world in itself, and yet when brought together it becomes a simple act of grace, beauty and most of all simplicity.

It is the simple act of serving a guest, but in doings so the host gives their entire being to the consideration of the guest as host and guest share a time of mutual understanding and a common act.

I would like to thank Mr Furutsu & Mr Fujihara for teaching so much about the tea ceremony and the Fumai style and my only regret is that I could not do it all justice in this space. I would also like to thank Chiyo Matsuura for making the meeting possible.