GOZUMI  (後炭) Replenishing the charcoal

The charcoal used for Tea is of a set size and material so the fire has a set life before it peaks and begins to fail. The Chaji has been designed to reflect the required timing for the charcoal to get burning and achieve its peak just when needed to make the Koicha. In a well-timed Chaji, as soon as the koicha is presented to the Guests, the fire then rapidly looses strength and the kettle falls silent. Continuing with Usucha in this condition is very embarrasing, since the kettle is considereed “dead” at this point. So, the charcoal is added. In chaji where Tsuzukiusucha is required, such as Asacha in the summer morning, it is necessary to add a piece or two during Nakadachi. In the cold and dark Yobanashi of winter, one might add a piece but since there is a practice called Tomezumi , “stopping” charcoal or Tachizumi, “leaving” charcoal, wherein the Host adds a bit of charcoal and incense at the very end of the chaji, during Haiken for example, to bring the kettle back to the boil and give the Guests and Host a chance / reason to linger and talk, as the name of the winter’s evening chaji implies, “evening conversation.”

Gozumi is a temae requiring greater skill and experience than Shozumi, because on every occasion, the way the fire has burned will differ according to the condition and formation of the ash, the air flow, the weather and other factors.

(Placing the sumitori to the geza / pillar side, Teishu sits at the door and says)


Allow me to replenish the charcoal.
(Teishu replenishes the charcoal. Little “need” be said, and there are no fixed phrases. One may ask about utensils missed during Shozumi. The only things new in gozumi are Kumi Kamashiki and maybe a Mizusugi. Kumi kamashiki are usually used in gozumi; Jo-o used in shozumi but Rikyu changed that, saying there was too much stuff in the kaichu so put kumi kamashiki in sumitori; originally karamono, woven pad between tea grind stones to prevent damage when imported; made of rattan, fuji, akebi, etc.; several konomi of kumihimo (not really usable in temae) by Yuhkoh. The Kogo is the same used in Shozumi during the furo season; during ro season, the Kogo is not used but the ko, after coating its bottom with ash, is put directly on the Haisaji.

In the Ro season, a Haiki full of Shimeshibai, damp ash is used to cover the bottom of the Ro in order to prevent the dry ash from flying up when the charcoal is put in. Half is used during shozumi, most of the rest used at gozumi. In gozumi, the haisaji is laid in the haiki, next to the remaining half, with the ko on it.

In Furo season, the haiki and haisaji are brought in to finish the “perfection” of the haigata by filling the cut “moon” with Fujibai. In the Ro season, the ash is applied slightly differently, in gozumi to cover the remains of the first laying of charcoal and to prepare the bed for the second laying.


What is the ・・・?
O-・・・・WA ? (お・・・は?)

It is・・・ .
・・・DE GOZAIMASU (・・・でございます)
(after replenishing the charcoal in Furo season, Teishu moves the Kama closer to the Furo, puts the lug rings on the Tatami. The Guests get to do Furo-chu no Haiken at this point if they wish. In Ro season, the Guests get to come right up to the Ro and watch as the charcoal is placed in for both the first and second laying of the charcoal.)


We would like to take a closer look inside of the brazier.
Shokyaku (to second Guest):

Pardon me for going ahead of you.
OSAKI NI (お先に)
Each guest, in turn, goes to the Furo and looks inside at the haigata, the way the charcoal has burned and was laid by the Teishu. It is also a chance to look at the other utensils. Furochu no Haiken is not done at the beginning of the chaji because so much tramping around may cause the haigata to collapse and because by this point, if the Host inexperienced, the shitabi may not be at their peak.

After finishing up gozumi, the Teishu returns to the mizuya door, says,

and, placing the Sumitori out of sight, says,