Written by mindfulness tea teacher, Miki Sensei.
Previously, I touched on the unique significance of the chasen, the bamboo tea whisk, within the world of tea utensils and the distinct aesthetic surrounding it.
Even today, nearly 100% of Japan’s chasen are made by only sixteen families in Takayama-chō, Ikoma City, Nara Prefecture. (The chasen itself is said to have originated from the idea of the sasara (筅), a bamboo brush used to scrub burnt residue from cooking pots. The Takayama chasen came to be written with the characters 竹全 (“bamboo” and “complete”) after the second son of the lord of Takayama Castle produced one at the request of Murata Juko, regarded as a founding figure of the tea tradition, during the Muromachi period. It was praised as “Takaho (高穂),” and later the craft was inherited and developed by lower-ranking samurai retainers.)
Even today, the craft is preserved through isshi soden (一子相伝), in which it is taught only verbally to the eldest son, maintaining a closed tradition.
Despite the remarkable skill required to make a chasen, it is treated differently from other tools in the tearoom and remains anonymous. Unlike tea or sweets, the maker’s name is never spoken. Yet, nothing can replace the chasen; it stands alone among tea utensils.
Today, just as matcha itself is becoming scarce in Japan, chasen are becoming rare as well. Preserving not only the physical objects but also the invisible artistry behind them is now a significant challenge.
In this article, let us examine the rarity of the Takayama Chasen (not to be confused with the general “chasen made in Japan”) through the lens of its production process.
Materials
Chasen production begins with the careful selection of suitable bamboo.
There are over 100 varieties of chasen, distinguished by tine count, shape, and tea school. The bamboo used includes hachiku, soot bamboo, purple bamboo, and others.
The most common material, hachiku, is harvested in midwinter at 2 to 3 years of age. After boiling, it is sun-dried for about a month, then air-dried in the shade for 1 to 2 years. Only bamboo free of cracks or discoloration is selected.
The Seven Steps of Making a Chasen
Hegi (片木)
The outer skin above the bamboo node is shaved, and the bamboo is split into sixteen pieces.
The outer skin above the bamboo node is shaved, and the bamboo is split into sixteen pieces.
Kowari (小割)
The bamboo is finely split and divided according to the required number of tines.
The bamboo is finely split and divided according to the required number of tines.
Ajikezuri (味削り)
The shaving style varies by tea school, giving each chasen its distinctive character.
The shaving style varies by tea school, giving each chasen its distinctive character.
Mentori (面取り)
The outer tines are carefully shaped.
The outer tines are carefully shaped.
Shita-ami (下編み)
The outer tines are pulled up and bound with thread.
The outer tines are pulled up and bound with thread.
Ue-ami (上編み)
Two more rounds of thread binding are applied.
Two more rounds of thread binding are applied.
Finishing (仕上げ)
The overall form is refined and adjusted.
The overall form is refined and adjusted.
Each of these seven steps is performed by hand. Some craftsmen specialize in certain steps, while others complete the entire process. Producing one chasen takes 2 to 3 hours, and a craftsman can make about five per day.
At the end of 2025, I observed Mr. Tango Tanimura, the 20th-generation chasen maker of Wakitado, purveyors to the Tokugawa shogunate, demonstrate each step of the process.
Each movement is delicate and precise, guided by years of experience. Due to his mastery and familiarity with bamboo, the work appears almost effortless. It seems as if he reads the bamboo, moving with it rather than forcing it. At times, the bamboo even appeared comfortable in his hands.
During the kowari (小割), the tines are divided from the original sixteen into anywhere from 16 to 120. A typical whisk has 64 tines (128 when both inner and outer tines are counted).
Note:
Fewer tines = thicker, stronger whisk, used for kneading koicha (thick tea)
e.g. kazuho (~70 tines), joho (64 tines)
e.g. kazuho (~70 tines), joho (64 tines)
More tines = finer, more flexible whisk, used for preparing usucha (thin tea)
e.g. hachiju-hondate (75–80 tines), hyaku-hondate (81–95 tines)
e.g. hachiju-hondate (75–80 tines), hyaku-hondate (81–95 tines)
The most critical step in the process is fittingly called ajikesuri (味削り), which literally means “flavor shaping” in Japanese. This step determines the tea's taste and reveals the individuality of each maker’s house. By shaving the tines at subtle angles with a blade, the craftsman adjusts their thinness and flexibility.
Observing this process was reminiscent of a groomer or veterinarian working carefully with a delicate animal: feeling its delicate areas, removing what is unnecessary, breathing life into it until it becomes clear, alive, and vibrant.
In recent years, more foreign visitors have observed the craft, and chasen are now mass-produced in countries such as China. However, Mr. Tanimura explained that while the outward form can be replicated, individual skill and sensibility cannot. During his apprenticeship, he received especially intensive training in this crucial step.
Another difference from overseas products lies in the thickness of the handle. Traditionally, chasen’s thickness is 6–8 bu (about 2 cm), which is a sign of carefully matured bamboo and well-chosen materials.
Mr. Tanimura also shared an intriguing story that almost feels like a secret.
Many chasen today have tightly curled tips, but this was not the original form. According to him, this shape was developed for commercial reasons.
The authentic chasen (particularly the Shin chasen) has tips that form a gentle inward oval, elegant and pure in appearance.
When comparing their elasticity, the difference becomes clear.
With the natural oval form, pressure spreads across the entire whisk, allowing the whole structure to flex resiliently.
With tightly curled tips, the force concentrates at the ends, causing them to bend and break more easily.
In other words, if the whisk wears out more quickly, customers must replace it more often. Thus, the curled shape became common.
For Mr. Tanimura, a truly “good chasen” is one that is both strong and supple—qualities that may seem contradictory but exist together in harmony. Perhaps this balance reflects the sound beauty that Japanese people have long admired in bamboo and in nature itself.
During my visit, I was allowed to try the sixth step, the thread binding. The tines are so delicate that even a slight misjudgment in pressure could break them. Carefully binding the inner and outer tines with thread made me newly aware of the quiet role those black threads play. Though not conspicuous, they guide the whisk's structure as we hold it, set it down, or pass it through the chasen stand, like the North Star guiding our path.
At the end, Mr. Tanimura completed the finishing work himself. I will never forget his words and expression at that moment:
"There is no final completion.”
It is a practice that continues endlessly toward refinement. Knowing that each chasen is made with this mindset has completely changed how I approach my own whisk.
Because it is a consumable object, created through the collaboration of nature and human hands at this moment, here and now, it carries tremendous energy and purpose. For the first time, I felt the sacred beauty of a chasen and a deep affection for it.
Afterward, in the small tearoom beside the workshop, Mr. Tanimura prepared tea for us with a whisk he had made. As we admired the playful arrangement of utensils he had made, he spoke with childlike openness. The chasen, a traditional craft with no maker’s name attached, seems to redefine what traditional art can mean. When Mr. Tanimura said, “The chasen sits at the lowest seat among tea utensils,” I sensed both humility and pride in his words.
He has also participated in “REVALUE NIPPON CHARITY GALA with GUCCI,” organized by Hidetoshi Nakata and Kashiwa Sato, and has traveled widely in Japan and abroad. That day, he mentioned he would leave for the United States the next morning. He is clearly opening new doors to this tradition.
When I think of wise figures in tea, the word “to serve” comes to mind. The way of the chasen, and Mr. Tanimura’s quiet strength and sense of purpose, truly embody that word. It was a deeply cleansing visit to Nara that turned my attitude towards the tea, fitting for the end of the year.
Tips for Making Your Chasen Last Longer
Before use
- Place the whisk tips in a bowl or cup with water or warm water (not boiling). Do not immerse the handle.
After use
- Immediately rinse by shaking the tips in a bowl or cup filled with water to remove residue. Do not immerse the handle.
- Stand it upright to allow the shape to reset as it dries naturally.
- Once dry, store it standing, handle down and tips upward.
Mr. Tanimura's history and information on the chasen tour can be found here:
https://www.tango-tanimura.com/
Written by:
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Miki Fujisaki, hibana to bloom founder, mindfulness tea facilitator/coach Website: https://www.hibana-to-bloom.com/ nstagram: @hibanatobloom / @mikiwisteria |
Miki was born in Osaka and began her journey in Urasenke Chado while working as a Japan Airlines cabin attendant. During her time in London, she planned and managed Japanese cafes ("Matcha" and "Cha no Ma"), and after her return to Japan, she oversaw international project planning.
To deepen her understanding of spaces and relationships where individuals coexist, illuminate, and nurture, Miki studied coaching and facilitation. Currently, she holds tea gatherings and coaching sessions for individuals and companies in tea rooms, offices, online, and overseas. Her work is centered around the theme of interbeing, cultivating a sense of interconnectedness, mindfulness, and "here-and-now."