Category Archives: N-1茶思想-中英文The Ideology of tea.Chinese-English

N-1茶思想-中英文The Ideology of tea.Chinese-English

茶道的獨特境界-无-蔡荣章

茶道的獨特境界-The Unique State of Nothingness

 蔡荣章Rong-tsang Tsai

 2003.03《茶艺》月刊社论The Editorial of “Tea Culture Monthly”

每一个人对自己所钻研的学科都会有自己想强调的观点,本文作者当然也在笔墨间显露出很多个人的见解,如「无」的观念就是一再强调的地方。

在茶的领域里,不同的学派当然会有自己想强调的茶道理念。但这理念应从「茶」而生,否则只是外来的思想挂靠在茶的身上是不扎实的。我们从「茶」的诞生与应用上发现「无」是很重要的特色:茶的制造过程中除了利用空气、水、温度等大自然的元素与「自体」发生效用外,无需外加其他的东西,但却因为这样的「无」,产生出从绿到红,从白到黑的各种茶味。再说茶的冲泡,即使再讲究的技术,也只需要无色、无味,几近没有矿物质的白水而已,然而也就是因为这样几近于「无」的水,将茶泡出不受干扰的各种品级与风味的茶汤。最后说到品饮,也是要以无好恶之心1.、无先入为主2.的态度才能体会、欣赏出各种不同个性的茶叶,若是无法放空,就会或多或少阻挡了与茶为友的领域。这些「无」,都是从茶原生出的茶道特质。

我们也把这样的「无」,透过「无我茶会」3.的举办,介绍、推广出去。无我茶会的「无我」应该解释为「知道『无』的我」4.。第一,「抽签决定座位」5.,不只无尊卑之分,而且「无」后才能随遇而安,才能喝到很多人所冲泡的茶汤。第二,「依同一方向奉茶」6.,磨练自己无所为而为地奉茶,降低报偿之心。第三,「茶叶自备、茶类不拘」7.,不但能喝到各种不同类别的茶,而且训练自己无好恶之心、培养超然的胸怀。第四,「席间不语」8.,认真把茶泡好,太多的心思容易分散自己的注意力。第五,「依既定程序,不设指挥」9.。「既定程序是有」,「不设指挥是无」。我们强调的「无」不是一无所有的无,不是死亡的无,而是有了以后的无,如「光」的无色是由七彩融合成的;将财富、知识、地位、美体融汇贯通后所形成的无才是我们喜爱的境界。第六,「默契与协调,显现群体律动之美」10.。这是人与人、人与地、人与物、人与宇宙之间最佳的「自然」状况,是多元「无」的组合。第七,「茶具、泡法不拘」11.,无地域与流派之分。这更需要有「无」的体认与胸襟,由此,不但可以博览大家所研发的成果,而且丰富了自己所拥有的「茶」的资源。我们不都是爱茶人吗?怎么会排斥别人研制更好的茶、发现更多的泡法、设计更多用具与探讨更丰富的理论思想呢?只怕太多「观念」、「名利」、「地位」的「有」阻扰了「无」的通行。

我们相信把「无」的精神吸收、推广后,茶人12.一定可以泡更好的茶,享受到更美的茶文化资源。

 以下为文內之编码Coding in the text:

1. 无好恶之心absence of preconception or prejudice

2. 无先入为主no fixed mindset

3.「无我茶会」Sans Self Tea Gathering

4.「知道『无』的我」‘the self who is aware of the presence of nothingness’

5.「抽签决定座位」seats are allocated by drawing lots

6.「依同一方向奉茶」tea is served in one direction

7. 「茶叶自备、茶类不拘」each individual brings along tea leaves of his own choice

8. 「席间不语」there should be no conversation throughout the gathering

9. 「依既定程序,不设指挥」there is no moderator as the procedure has been set beforehand

10. 「默契与协调,显现群体律动之美」mutual understanding and coordination brings out rhythmic beauty of the masses

11. 「茶具、泡法不拘」there is no specific requirement as to the tea ware or tea brewing methods

12. 茶人tea gurus

 说明:茶的“美”、茶的“性” 、茶的“境”是认识茶、享受茶的重要途径,但这部分不容易表述。有关茶道思想方面的文章,无论那种语文,都颇缺乏,现在我们试着用华文描述,再请专人译成 英文,使我们想要表达的尽量以其原始面貌呈现,让各地的读者能一起共享喝茶的乐趣。我们也认为这是当代很重要的茶文化推广工作。本茶道术语翻译及审定工作始于2010.01月,一直持续进行中。英文翻译:Katharine Yip。(文内之编码系方便中英对照之茶道术语)

 

  (1830)

從「茶道學習」到「抽象概念的產生」-蔡荣章

從「茶道學習」到「抽象概念的產生」From the Concept of the Abstract to the Learning of the Way of Tea

蔡荣章Rong-tsang Tsai

(2002.08《茶艺》月刊社论)

  知道了茶道1与抽象艺术的关系,我们还要知道如何去了解抽象的事物。宇宙间的事物,抽象的要比具象的多得多,如果我们只看得懂、听得懂具象的事务,那我们是半瞎半聋的。

我们希望茶者2重视抽象概念的体认与抽象艺术的欣赏,因为有了这些修养,对不规则的茶器如顺手捏来的茶碗、茶壶,茶席里用泥土稻草糊成的墙壁,草庵式茶席3屋顶底部坦裸的结构……才得以理解与接纳。有了抽象的理念,也才能借着各项茶具的组合、全程的泡茶品饮手法、茶屋空间的设计与布置、以及所饮用的茶叶、茶汤4来表达所要诉说的道理与希望与大家享用的境界。

抽象概念的建立首先要破除已认知形象的束缚,如看到山,不要一直追寻山形长得像猫或像狗,参观石展,不要只注意到石头里面的纹路显现的是一尊观音或罗汉。其次是屏除生理机能的干扰,如画室里进行人体创作,应只专注于身躯线条与肌肉质感显现的美感。进一步则是超越已经知道的功能性,如走过天天经过的菜市场,暂且忘掉卖鱼卖肉的功能,换个心情欣赏一下:收摊之后,刷洗得非常洁净,显露明显木纹与年轮的肉摊上那块劈砍不坏的厚木板。最后还得忘掉原以为是「理所当然」的结构与式样,泡茶时的那把壶,谁说壶嘴一定是长在壶身的一侧,它可以长在顶上,也可以长在底部,茶碗哪有规定非圆的不可?

有了以上的这些观念与训练,才可以单纯就线条、色彩与质感从事美的创作与欣赏,对于形象如此,对于音乐亦如此。抽象与具象并没有严格的界线,认知之前往往偏向于抽象,如在未知茶碗为何物之前,看到茶碗之时的抽象概念是优于具象的;但是在认知之后,却偏向于具象。如从事抽象艺术创作的人,熟知自己的抽象语汇之后,一看或一听则都是老面孔、熟声音。

「认知」随着岁月与知识的增长不断扩大其领域,人们也因此拓展了生活的空间。「抽象」的概念与习惯可以让感官与思想经验不断更新,这是创作的泉源,也是茶道得以运用自如的基础。

以下为文內之编码Coding in the text:

茶道1 the Way of Tea 1

茶者2 tea aficionados 2

草庵3 thatched huts 3

茶汤4 tea infusion 4

 说明:茶的“美”、茶的“性” 、茶的“境”是认识茶、享受茶的重要途径,但这部分不容易表述。有关茶道思想方面的文章,无论那种语文,都颇缺乏,现在我们试着用华文描述,再请专人译成 英文,使我们想要表达的尽量以其原始面貌呈现,让各地的读者能一起共享喝茶的乐趣。我们也认为这是当代很重要的茶文化推广工作。本茶道术语翻译及审定工作 始于2010.01月,一直持续进行中。英文翻译:Katharine Yip。(文內之编码系方便中英对照之茶道术语)

 


(1881)

From the Concept of the Abstract to the Learning of the Way of Tea-Rong-tsang Tsai

從「茶道學習」到「抽象概念的產生」From the Concept of the Abstract to the Learning of the Way of Tea

蔡荣章Rong-tsang Tsai

(The Editorial of “Tea Culture Monthly” Aug,2002 )

Now that we realize the relationship between the Way of Tea 1 and the Abstract Art, we will need to understand the abstract.  The figurative is way outnumbered by the abstract in this universe – if we comprehend nothing but just the recognizable, we are as good as half-blind or partially-deaf.

We hope that tea aficionados 2 can take the abstract – realization of the concept and appreciation of the art – in a serious manner. This is the sure way to understanding and acceptance, be it the oddly shaped tea ware, free-form tea bowls or tea pots, walls made with straw and mud for tea presentation, or the bare structure of thatched huts 3. With the abstract concept in mind, we will be able to communicate ideas and create the aspired space for sharing with the ensemble of tea utensils, the process of tea brewing and drinking, the décor and setting of the tea room, and the tea leaves and tea infusion 4.

To establish the concept of the abstract, we must free ourselves from the restriction of known forms.  When we see a mountain, we should not be concentrating on its physical likeness (resembling a cat or dog, for instance). When we visit a natural stone exhibition, we should not be asking if the exhibits look like the Goddess of Mercy or the mighty Luo Han. Our attention should not be marred by the physical function of objects and beings. When we are doing figure painting in the studio, our focus should be given solely to the aesthetics of the human profile and the texture of skin.  Taking this a step further, we should transcend known functionality.  Forget about the market being a place where you get your fish and meat; but rather, turn your attention to the chopping block that has survived the test of time – observe the now washed block with unique wood rings and grain lying idle on the butcher’s counter in the quiet market when the butcher and the customers have gone home.  Last, we must also discard any idea about structure and form that we have been taking as a matter of fact.  Who is to decide that the sprout must be at the side of a tea pot, instead of further up, or lower down? By the same token, why should tea bowls be round and not otherwise?

With the above shift of perception and training, we will be able to venture into the creation and appreciation of the aesthetics in terms of lines, colours and texture, and nothing else. This is the case with images, and equally so with music. There is no clear line between the abstract and the figurative.  The key lies in recognition – before we recognize an object, our perception tends to be abstract. That is why when we first came across a bowl without prior knowledge of it, the abstract perception overpowered that of the figurative. However, once we recognized it, our perception would move towards the figurative. This is not unlike someone involved in abstract art – once he became familiar with his own abstract vocabulary, what he sees and hears will become familiar sights and sounds.”

Our scope of recognition expands as time goes by.  Our world expands with it, so to say. An awareness and openness to the ‘abstract’ will fuel the continuous renewal of our sensory and thought experience, which is also the basis to a masterful command of the Way of Tea.

以下为文內之编码Coding in the text:

茶道1 the Way of Tea 1

茶者2 tea aficionados 2

草庵3 thatched huts 3

茶汤4 tea infusion 4

Introduction:The aesthetics, character and the state of mind created are not to be undermined in the understanding and enjoyment of tea; and yet, they are the hardest to express.  Writings on the thoughts pertaining to tea, regardless of languages used, remain scarce.  We have attempted to express them in Chinese, with accompanying English translation(Translator:Katherine Yip.2010.01), to elaborate our thoughts as they are. What we want is to share the knowledge of tea alongside tea drinking.  This is, in our opinion, an important contemporary task in promoting the tea culture (Coding in the text is for cross-referencing of the academic terms of tea).

  (1903)

论茶道的规则性与风格差异-蔡荣章

论茶道的规则性与风格差异 Regularities and Stylistic Difference of the Way of Tea

蔡荣章-Rong-tsang Tsai

(2000,05 《茶艺》月刊社论The Editorial of “Tea Culture Monthly”)

举凡任何事物都有「不变」与「变」的部分,不变都是原则性的道理,变者是因客观条件及风格之需要所做的改变。有的学派强调「不立文字」,唯恐思想固着于即有的说法与成规之上,但不立文字又无法传递既有的发现与不立文字的理念,所以最佳的方法就是纪录之而不受记录的局限、了解原则性道理而不受规则的束缚。

规则性含有「规律」与「整齐」的意思。制茶上、茶叶质量的优劣上都有一定的规则,例如良好的萎凋1与发酵2是制作好茶的基本条件,但如何从事萎凋、如何进行发酵、什么状况之下应该进行杀青3,可就不能列出一张明细表了。有规律可循,但不是整齐划一的。

泡茶也是如此,不论功能性或美学的追求上。功能性是把茶泡出该壶茶最好的茶汤状况,这有一定的规则:包括茶器质地、水质、水温、茶量与浸泡时间;但每次都会有不同的情况,所以也无法列出统一的标准。美学追求上藉泡茶、品饮的过程,表现或获取内心想要的感觉与境界,这也有一般人对美丑悲喜的常态性规律,但呈现与取得的方式与方法就海阔天空了。

茶器的应用也可分成理性与感性的部分,理性是「使用上的方便性功能」与「表现茶性的适当质地」;感性是造型、土色、釉彩、质感在美学上的效果。不论理性与感性,都有大家认同的原则,但是良好使用功能如何在壶、盅上表现,情绪上的效果如何在这些器物上达到,就没有一定的方法了。有人说茶道的美学特质是不可一致性,传承上不能依老师的教条,器物上也要使用变形的碗。如果把这样的话归在「规则」的范围,那不就把「规则」解释为「一致」了吗?这将扼杀了茶道自由活泼的多样性。

老师在茶道教学上所传授的「原则」要有理论根据,但「方法」与「美学」上所介绍的应该只是「例子」,受教者不要受其限制。当然每位老师有其性格的差异,所举之「例子」会有一定风格的走向,这也就是「流派」的形成。

以下为文內之编码Coding in the text:

萎凋1 withering 1

发酵2 fermentation 2

杀青3 fixation 3

说明:茶的“美”、茶的“性” 、茶的“境”是认识茶、享受茶的重要途径,但这部分不容易表述。有关茶道思想方面的文章,无论那种语文,都颇缺乏,现在我们试着用华文描述,再请专人译成 英文,使我们想要表达的尽量以其原始面貌呈现,让各地的读者能一起共享喝茶的乐趣。我们也认为这是当代很重要的茶文化推广工作。本茶道术语翻译及审定工作 始于2010.01月,一直持续进行中。英文翻译:Katharine Yip。(文內之编码系方便中英对照之茶道术语)

 

  (1869)

Regularities and Stylistic Difference of the Way of Tea-Rong-tsang Tsai

论茶道的规则性与风格差异 Regularities and Stylistic Difference of the Way of Tea

蔡荣章-Rong-tsang Tsai

(2000,05 《茶艺》月刊社论The Editorial of “Tea Culture Monthly”)

Everything has its variable and invariable components – the invariable elements are predominantly a matter of principle, while the variable elements are often changes required out of objective conditions and stylistic requirements.  True, there are ‘schools’ of thoughts that swear by the non-written approach, for fear that their ideas be confined to existing opinions and pinned down to prevailing rules.  And yet, without the benefits of words, it would be impossible to communicate the ideas that have been discovered but not documented. The best way, therefore, is to record it without being restricted by the records; and to understand the principles without being chained to the rules.

Regularities imply rules and uniformity. In tea making and quality assessment, there are certain rules. For example, it requires good withering 1 and fermentation 2 for the making of premium tea; and yet, how to handle withering and fermentation, and under what circumstances one should proceed with fixation 3 are among issues that could not simply be compiled into a checklist. Rules are essential as a guide, but uniformity may not be practical.

The same goes with tea brewing, for both its functional and aesthetic pursuit.  Functionally, brewing the best infusion requires rules pertaining to the materials the tea ware is made of, condition of the water, water temperature, quantity and brewing time. The reality is, the condition with each brewing is different, making it impossible to spell out the uniform standards.  Aesthetically, the experience of brewing and drinking helps evoke the state of mind one aspires to –rules are not unusual in the process, as we experience what is beautiful, ugly, sad or joyous. And yet, the ways in which this is presented, and obtained, see no boundaries.

以下为文內之编码Coding in the text:

萎凋1 withering 1

发酵2 fermentation 2

杀青3 fixation 3

 Introduction:The aesthetics, character and the state of mind created are not to be undermined in the understanding and enjoyment of tea; and yet, they are the hardest to express.  Writings on the thoughts pertaining to tea, regardless of languages used, remain scarce.   We have attempted to express them in Chinese, with accompanying English translation(Translator:Katherine Yip.2010.01), to elaborate our thoughts as they are. What we want is to share the knowledge of tea alongside tea drinking.  This is, in our opinion, an important contemporary task in promoting the tea culture (Coding in the text is for cross-referencing of the academic terms of tea).

 

  (1681)

Are they Rowers or Wave Frolickers?-Rong-tsang Tsai

 

是「撑船汉」还是「弄潮人」 Are they Rowers or Wave Frolickers?1

蔡荣章Rong-tsang Tsai

(2001.07《茶艺》月刊社论The Editorial of “Tea Culture Monthly”)

 

People question the need of an examination for learners of the Way of Tea. They argue that this could scare tea drinkers and turn them away. Come to think about this, if not for the examination, many of them will not have brewed a pot themselves even after they have completed the studies and graduated. Worst still; they may not have warmed up to tea drinking at all. Now, do you think this makes great sense teaching the Way of Tea? Such a way to tea learning will not forge a good enough relationship with tea in terms of time and intensity. It is highly likely that they will turn to some other interests, say flower arrangement, soon after.

During the lessons, we keep harping on the importance of brewing, drinking and cherishing tea, instead of just learning about it. What’s the good of mastering the knowledge without a passion for a cuppa? Some shy away from drinking tea because they are worried they can’t sleep. Some don’t feel like making tea; they just wait to be served because they think it is a chore of the servants. On the other hand, some take tea to prevent cancer, to slim down and shape up, to be trendy or just out of business needs. These are examples of tea drinking in a very superficial manner – it is no lasting affection, but short-lived preoccupation. The attention will be directed to some other interests in no time. For genuine tea gurus, it is nothing short of a love affair with tea. When tea becomes a part of life, the brewing and cleaning is no cause of dismay but a source of delight. Don’t get this wrong – it is not infatuation that stems from greed, but the feeling of mutual dependence developed over time. This applies to drinking tea, appreciating tea and enjoying tea; and this goes with researching into the history of tea, the ways tea is made, the art of tea and the thoughts surrounding tea. These are two sides of the coin essential to the attainment of the aforementioned realm.

Zen Master Fori from Hangzhou was quite an impetuous soul when he was young. He challenged fellow Zen believers wherever he went, and said once, “Whoever surpasses the level of Zen wisdom I have attained will be my teacher.” Fori took the opportunity to show off his knowledge during his visit to Zen Master Jiashan. His intention was as clear as bright daylight to the senior monk, who nonetheless recognized Fori’s potential. And yet, Jiashan thought that what Fori had demonstrated was knowledge of but not passion and enjoyment in Zen, and commented, “To me, you are more of a rower than a wave frolicker.” In the pursuit of the Way of Tea, we have a lot of such examples. These people soak up knowledge single-mindedly in order to flaunt in front of the others and for self-indulgence. Taking and making tea will then become a means without any affection and feeling. Such approach is no different from that of a boatman of rowboat shuttling between two jetties – he may literally be surrounded by water all the time; and yet, he feels nothing for it. He is only a rower and doesn’t really take a dip. Should he do, he will become a wave-frolicker and enjoy the water.

 

以下为文內之编码Coding in the text:
是「撑船汉」还是「弄潮人」?1 Are they Rowers or Wave Frolickers?
1
Introduction:
The aesthetics, character and the state of mind created are not to be undermined in the understanding and enjoyment of tea; and yet, they are the hardest to express. Writings on thoughts pertaining to tea, regardless of the languages used, remain scarce. We have attempted to express them in Chinese, with accompanying English translation(Translator:Katherine Yip.2010.01), to elaborate our thoughts as they are. What we want is to share with fellow tea drinkers something more than just the drinking of it. This is, in our opinion, an important contemporary task in promoting the tea culture (Coding in the text is for cross-referencing of academic tea term.)

 

  (1986)

是「撑船汉」还是「弄潮人」-蔡荣章

是「撑船汉」还是「弄潮人」1 Are they Rowers or Wave Frolickers?

蔡荣章Rong-tsang Tsai

(2001.07《茶艺》月刊社论The Editorial of “Tea Culture Monthly”)

很多人质疑:为什么初学茶道就要考试,害得茶友紧张兮兮,甚至于望而怯步?但是如果不以泡茶考试逼大家,很多同学毕业后仍然不曾私下泡茶,甚至于还不太敢喝茶。如果是这样,你说茶道教学有何意思?这样的学茶方式,与茶为伍的时间与质量都不会太好的,过一阵子见面,他又学插花去了。
茶道教室上,我们经常提醒茶友们要「泡茶」、要「喝茶」、要「爱茶」,不能只「学茶」,若学了一肚子的茶知识,但不敢喝茶,喝了茶就睡不着觉;或不喜欢泡茶,只待别人奉茶过来,甚至认为泡茶乃仆人的工作;或喝茶只为防癌、只为瘦身、只为时尚、只为生意,并不是喜爱它。这样的喝茶态度是肤浅的,是短暂的,哪天念头一转,又把学茶的心事丢了。真正的茶人是要与茶谈恋爱,要与茶生活在一起的,这时的泡茶、洗壶、洗杯不但不觉辛苦,还甘之如饴呢!这里所说的不是对茶的贪婪,而是与之产生感情后,相互依存的那种感觉。喝茶、欣赏茶、享用茶是如此,研究茶的历史,研究茶的制造、艺术、思想亦复如此,而且这两个领域是一体的两面,缺一都达不到上述的境界。
杭州佛日禅师年轻时气盛,到处寻法挑战,曾经说过:「如有人夺得我机者,即吾师矣。」有次参谒夹山和尚,声东击西,总要显露自己一些才气,夹山亦体悟到他的可造,但总觉得是「知之」,而非「好之」、「乐之」的境界,于是说了一句:「看君只是撑船汉,终归不是弄潮人。」茶道界也经常见到这样的例子,将充实茶道知识当作唯一目标,作为向别人显耀与自我陶醉的项目,喝茶、泡茶也只是手段而已,这样缺乏喜爱、缺乏感情的「学茶」就如同渡口上的船夫,虽然天天与水为伍,但不见得喜欢水,只堪被称为「撑船汉」,但如果这位船夫在撑完船后还会经常下水玩一玩,那就可以从撑船汉变为「弄潮人」了。

以下为文內之编码Coding in the text:
是「撑船汉」还是「弄潮人」1Are they Rowers or Wave Frolickers?1

说明:
茶的“美”、茶的“性” 、茶的“境”是认识茶、享受茶的重要途径,但这部分不容易表述。有关茶道思想方面的文章,无论那种语文,都颇缺乏,现在我们试着用华文描述,再请专人译成 英文,使我们想要表达的尽量以其原始面貌呈现,让各地的读者能一起共享喝茶的乐趣。我们也认为这是当代很重要的茶文化推广工作。本茶道术语翻译及审定工作 始于2010.01月,一直持续进行中。英文翻译:Katharine Yip。(文內之编码系方便中英对照之茶道术语)

(1977)

The Land of Nothingness in the World of Tea -Rong-tsang Tsai

茶道里的无何有之乡 The Land of Nothingness in the World of Tea

蔡荣章Rong-tsang Tsai

(2003.12《茶艺》月刊社论The Editorial of “Tea Culture Monthly”)

Over the long course of history, the Way of Tea has incorporated ideas and teachings of Confucianism, Buddhism and Taoism, among others. Once incorporated, it is hard to distinguish where these ideas have particular influence upon. At the most, we can talk about some kind of reference or do a simple comparison, under a certain situation. At this juncture, I would like to illustrate how the idea of ‘Land of Nothingness’1., brought up by the sage Chuang Tzu when he soared to beyond the cloud for a glimpse of the Universe, exists in the microcosm of a teapot and a tea cup.

I came across the phrase ‘Land of Nothingness’ while I was copying the text of ‘Chuang Tzu’. I pondered upon this: where would this fit in the domain of the Way of Tea?

The ‘water shack’2. came to my mind, as it is where water for tea brewing is prepared. Having undergone special treatment to minimize minerals, impurities and odour, the water is ‘free’ from ‘interference’ to ‘express’ its unique characteristics. Such an environment for tea brewing may be described as the ‘Land of Nothingness’.

How about displaying the phrase ‘Land of Nothingness’ at the cupboard where teapots are displayed? Indeed, good teapots can be likened to the land of nothingness when the Way of Tea is concerned. By ‘good’ teapots, I mean pots that have no off-putting odour, and are free from both toxic and non-toxic impurities. For clay and ceramic teapots, they must have a high degree of sintering 3. for fast heat dissipation 4. and low water absorption 5.. This way, tea brewing is given the space to ‘freely express’ itself without ‘interference’. Isn’t this another ‘Land of Nothingness’ for a good brew?

As I passed by the Practice Area for Tea Brewing, I saw several fellow tea drinkers concentrating in their preparation for the tea brewing masters Accreditation Examination 6. and the practical examination of the Tea Art Seminar. Without disturbing them, I pasted the writing: ‘Land of Nothingness’ on the wall. One of them took a glance of the paper, pondered upon it, and then continued to sample 7. the tea he has brewed. True, practicing brewing is all about appreciating a good cup of tea, and to experience the Way of Tea. Whether it is to get ready for the Tea brewing masters accreditation, or to sit for the practical examination of Tea Art Seminar, the process sharpens one’s ability in navigating the amazing world of tea, and in enjoying the tranquility and enrichment embodied by the Way of Tea. Any interference from an intention to outdo others or excel in the business world will turn tea brewing practice into painstaking chore. I wish this reminder of ‘Land of Nothingness’ will dispel any unnecessary ‘interference’ in the practice area.

The great eagle traverses the boundless sky which is its ‘Land of Nothingness’. The ocean provides it with food, the mountain its habitat, and the rain and storm cleanse and maintain the ecological balance of its environment. To stay free and easy in the ‘Land of Nothingness’, the giant bird must not indulge in the ocean, become lost in the dense mountainous forest and be threatened by the gale and downpour.

以下为文内之编码Coding in the text:
1.‘Land of Nothingness’「无何有之乡」
2.‘water shack’「水屋」
3. degree of sintering 烧结程度
4. heat dissipation 散热
5. water absorption 吸水率
6. Tea brewing masters Accreditation Examination 泡茶师检定考试
7. sample试饮

Introduction:
The aesthetics, character and the state of mind created are not to be undermined in the understanding and enjoyment of tea; and yet, they are the hardest to express. Writings on the thoughts pertaining to tea, regardless of languages used, remain scarce. We have attempted to express them in Chinese, with accompanying English translation(Translator:Katherine Yip.2010.01), to elaborate our thoughts as they are. What we want is to share the knowledge of tea alongside tea drinking. This is, in our opinion, an important contemporary task in promoting the tea culture (Coding in the text is for cross-referencing of the academic terms of tea).

 

  (2145)

茶道里的无何有之乡-蔡荣章

茶道里的无何有之乡 The Land of Nothingness in the World of Tea

蔡荣章Rong-tsang Tsai

(2003.12《茶艺》月刊社论The Editorial of “Tea Culture Monthly”)

茶道在历史的长河中融合了儒释道等各种思想学说,但融入后就不好分析了,只能在遇到某些状况时,说说彼此的相关性,做做比较罢了。现在说说庄子在跳脱到云层外,看宇宙时提出的「无何有之乡」1.的境界,在一壶一杯的小世界里可以得到印证。

练习写字时从《庄子》一书中抄下了「无何有之乡」的句子,端详、思虑了许久,应该把它安在茶道园地的哪个区块才好呢?

首先想到的是称为「水屋」2.的地方,那里是提供泡茶用水的处所,水都经过降低矿物质、杂质与异味的处理,让茶有个无干扰,可以自由发展的释出空间,对茶而言,这样的环境正可说是茶的无何有之乡了。

接着把「无何有之乡」试着挂在陈放茶壶的壁橱前,想了一想,好的茶壶不也是茶道上的无何有之乡?这里所说的「好」是指壶身无异味、不释出有毒或无毒的杂质,而且如果是陶瓷器的话,烧结程度3.要高,如此散热4.速度快,吸水率5.低,提供了泡茶又一个「无干扰,可以自由发展的释出空间」,不也正是茶的另一处无何有之乡?

走到泡茶练习区,几位茶友正在为泡茶师检定考试6.与茶艺讲座的术科考试勤练泡茶,大家聚精会神。在不惊扰大家的情况下将「无何有之乡」的字条浮贴墙角,一位茶友放下茶壶望了一眼,思虑片刻后继续低下头去试饮7.他泡出来的茶汤。是的,练习泡茶不就是为了欣赏一杯好茶,并从中体会茶道的境界?考泡茶师也好,通过茶艺讲座的术科考试也罢,不外都是在磨练自己更有能力悠游于林林总总的茶界,享受茶道的清净与丰盛,如果有了「争奇斗艳」、「逐鹿商场」的干扰,泡茶演练或是茶道修习都将变成劳累的苦差事,所以就将这张「无何有之乡」的字条作为驱除干扰的符咒,贴在茶道练习场吧。

大鹏鸟翱翔于宽阔的天际,那是无何有之乡,另有大海让它觅食,高山让它栖息,暴风雨则用以清除腐朽、维持生态平衡。要悠游于无何有之乡,就必须不沉溺于大海,迷失于丛林,不畏狂风暴雨所袭击。

以下为文内之编码Coding in the text:
1.「无何有之乡」‘Land of Nothingness’
2.「水屋」‘water shack’
3. 烧结程度degree of sintering
4. 散热heat dissipation
5. 吸水率water absorption
6. 泡茶师检定考试Tea brewing masters Accreditation Examination
7. 试饮sample

说明:
茶的“美”、茶的“性” 、茶的“境”是认识茶、享受茶的重要途径,但这部分不容易表述。有关茶道思想方面的文章,无论那种语文,都颇缺乏,现在我们试着用华文描述,再请专人译成 英文,使我们想要表达的尽量以其原始面貌呈现,让各地的读者能一起共享喝茶的乐趣。我们也认为这是当代很重要的茶文化推广工作。本茶道术语翻译及审定工作始于2010.01月,一直持续进行中。英文翻译:Katharine Yip。(文内之编码系方便中英对照之茶道术语)

 

  (2218)

Sans Self Tea Gathering: The Basic Model – Rong-tsang Tsai

2012春,无我茶会英译更名为“Sans Self Tea Gathering”

蔡荣章Rong-tsang Tsai

无我茶会于1990初创建。茶会的意义着重于对“无”的体悟,无我应被解释为“懂得无的我”。在未发现适当用语之时,暂时英译为“Wu-Wo Tea Ceremony”。

2012年春,我们决定将无我茶会的英译定为“Sans Self Tea Gathering”。sans 一词取自于莎士比亚剧作《皆大欢喜》,原为法文,是“无”的意思,gathering取其聚会之意,这样比较接近创建者对“无我茶会”的诠释。

Changing of Name in English (Spring, 2012)
Wu-Wo Tea Ceremony is now ‘Sans Self Tea Gathering’

When the concept and format was established in 1990, it was temporarily called the Wu-Wo Tea Ceremony in English, given the fact that it was organized to celebrate the realization of ‘Wu’, literally ‘no’, ‘the absence of’ or ‘void’. ‘Wo’, on the other hand, is ‘I’, ‘me’ or ‘self’. ‘Wu-Wo’ is thus best understood as ‘I who understand the idea of nothingness’. The term has been used ever since, before a more appropriate one comes along.
In spring, 2012, we coined the term “Sans Self Tea Gathering” which we thought is closer to the intention of the founders of this activity. Sans, an archaic French word meaning ‘without’, has been made popular by some of the greatest literary works through the ages, including William Shakespeare’s comedy “As You Like It”. To call it a tea gathering, instead of a tea ceremony, is to better reflect its nature. (English Translator : Katherine Yip英语翻译:叶德明)

无我茶会基本架构 Sans Self Tea Gathering: The Basic Model
蔡荣章 Rong-tsang Tsai
(《无我茶会180条》1999.9第一版,2010.9第二版)
(“Sans Self Tea Gathering 180,” First edition: 1999.9, Second edition: 2010.9)

Sans Self Tea Gathering 1 is a form of tea gathering that requires participants to bring along their own tea wares. Sitting in a circle, each participant is to brew four cups of tea, three of which will be offered to fellow tea drinkers on the right or left, saving the remaining to oneself. As such, each person will be drinking four cups of tea. After the agreed rounds of brewing, everyone will pack up – this is when the ceremony comes to an end.
Seats will be determined by random drawing upon arrival. Each participant would have known the procedure and the way the ceremony is to be conducted, having received notification 2 from the organizer beforehand. There is no event director or master of ceremonies during the congregation – everything will follow the pre-agreed arrangement. Quietly, each participant brews tea; there is no restriction as to the school or regional practices imposed on the style of the equipage and brewing technique.
After the last round of tea is taken, the organizer has the option of arranging a 5-minute session of music appreciation, to let the flavor settle in, or induce reflection on the tea ceremony. Other activities can also be arranged when the tea ceremony is over.
Such is the basic model of a Sans Self Tea Gathering. Here is a summary of the above:
1. Sitting in circle, everyone brews, serves and drinks tea.
2. Seats are determined by random drawing.
3. Tea is to be served to the person sitting next to you (on the left or right, in one direction).
4. Tea wares, tea leaves and water for brewing are to be brought along by the participants.
5. Number of cups and brewing, and the way to serve tea is agreed upon beforehand; the event flow is also pre-determined.
6. No talking is allowed throughout the ceremony.
Why is Sans Self Tea Gathering conducted in such an unusual way? In essence, it represents the seven principles 3 the ceremony embraces:
A. Seats determined by random drawing – an absence of hierarchy 4
Before the ceremony begins, participants will have to take a seat. Each of them has to draw a number and be seated accordingly. There is no pre-determined seating; no one knows whom will they be seating next to, and serving tea to, until they are seated. There is no hierarchical differentiation and no difficulty in finding a seat – just the way we were born. Don’t you think things will be made difficult if we can choose the family to born into?
The same goes with tea gatherings for parents and their children. The nature of random drawing is as such that children may not be serving tea to their own parents, and parents may not be offering tea to their own children. This is perhaps the perfect picture of the famous saying: “Respect the elderly as you would your parents, care for the young as you would your children”.
B. Tea offered in one direction–no action of reciprocity is expected5
When the tea is brewed, it is offered to the next person(s) in the same direction. If the number of cups agreed for the day is four, and three of them will be offered to fellow tea drinkers on the left and the last one for oneself, it will be done exactly that way.
Tea is offered in cups during the first round; whereas, tea brewed during the second round will be poured into tea pitcher 6, which will then be poured into the cups you have offered. This means that person(s) being offered will be able to enjoy several rounds of your brew.
Alternative arrangements can be made. For example, one may be serving tea to the second, fourth and sixth fellow tea drinkers on the right, or the fifth, tenth and fifteenth fellow tea drinkers on the left, as long as the arrangement is made known before the ceremony begins. In sizable tea gatherings, the reach of tea serving can be extended.
A uni-directional flow of tea serving realizes the spirit of “expecting no reciprocity” – to put it simply, it is the appreciation of “doing something for nothing”, when a person doesn’t expect to be offered tea in return when he offers his. “Serving tea” is a laudable act in the Way of Tea 7. The experience is made even purer if we don’t have to worry about reciprocating.
For the sight-challenged, a person may serve tea to a fellow drinker on each side, while reserving one himself – this will save them the inconvenience of moving around to offer tea. In this circumstance, the spirit of mutual-help takes the place of reciprocity.
C. Accepting and appreciating tea of all kinds – setting aside personal preferences 8
Each attendant of the Sans Self Tea Gathering will have to bring along their own tea. As highlighted in the notification, any type of tea is welcome. This way, a participant may get to sample a different tea in each cup offered. As advocated by the Way of Tea, a person is to accept and appreciate tea without letting personal preferences get in the way. As it goes, preference rules out things you don’t like, which could be something intrinsically wonderful. By rejecting, we could be depriving ourselves of the blessings in life. What Sans Self Tea Gathering reminds us is exactly this – we have to set aside personal likes and dislikes in order to develop amicable relationships and cultivate goodwill, wherever we go.
From green tea, oolong tea to black tea, each has its unique color, aroma and taste. As tea drinkers, it is important for us to brew, present and enjoy each accordingly.
D. Making an effort to brew well–it is about getting better each time 9
There is no guarantee that each cup is masterfully brewed – chances are that a person will be served tea that is downright bitter and astringent, or bland and tasteless. When this is the case, there could be two types of emotional response: “Who made this? It is awful.” Or “I’ve messed up. Got to be careful.” As far as the Way of Tea goes, the latter attitude is encouraged, for the simple fact that “brewing a good pot”10 is basic. What is there to be explored if we can’t even brew our tea well? This is not unlike the study of music and art. It is pointless to talk about a certain realm induced by music when a person can’t even play the piano well; likewise, a person can’t possibly be elaborating on the use of lines and colours in bringing out a certain artistic mood if he hasn’t mastered the use of brushes. This is why no one is allowed to talk once the Sans Self Tea Gathering begins; there is only one mission – to brew a good pot.
When serving tea at the Sans Self Tea Gathering, we always reserve one for ourselves. This will enable us to assess the brewing, and make quick adjustment to improve during the next round. A bad brew is a disgrace to ourselves, disservice to the others, and yes, to the tea brewed. Just as our seniors keep reminding us, doing one’s task well is the single most important element in a person’s self-cultivation.
E. There is no event director or master of ceremonies – everything goes as agreed 11
The Sans Self Tea Gathering goes by pre-determined schedule and pre-agreed arrangement; there is no event director at the venue. If according to the schedule, venue set-up begins at 8.30, participants responsible for placing the seat number tag would be there on the dot. Participants responsible for drawing would have prepared the lots for fellow drinkers who begin arriving at 9, as scheduled. Seats will be taken according to the drawn lots. Participants will then lay out their tea wares, and socialize with fellow tea drinkers and admire others’ equipage. Brewing begins at 9.30, and that’s when everyone goes back to their seats, including those who were busy with drawing for seats a while ago. Tea will be served according to the agreed way after the first round of brewing. When a person has been offered the agreed number of cups, he may begin drinking. Tea from the second brewing will be served with a tea pitcher, followed by drinking, and so on. When the agreed rounds of serving and drinking have been made, participants may stay in their original places to enjoy music (if it has been arranged), while relishing the unique tea experience. At the end of the music session, participants will wipe clean the tea cups they have used with tea towel 12 or paper towel, and bring along a tea tray 13 to collect their own cups. Participants are not expected to dispose of tea residue. The Tea Ceremony is over when all tea wares have been packed. There is nobody directing or conducting the event flow – nevertheless, it goes like clockwork.
When everything is pre-arranged and pre-agreed, what’s the point of having someone there directing? For regular participants of the Sans Self Tea Gathering, following agreed rules is like second nature.
F. Observing silence during the Ceremony – appreciating mutual-understanding and the beauty of collective rhythm 14
When the “Tea ware appreciation and Socialization” 15time is up, everyone will stop talking and concentrate on brewing. In the course of brewing, participants will calm down, feel their own existence in this space, and appreciate their oneness with the world around. When tea is served, it is done in peace and silence. As participants offer tea to each other, they seem to have been strung by an invisible silk ribbon that moves rhythmically along with the gentle act of tea serving. In moments like these, words would be superfluous. There is no need for verbal expressions like “thank you” and “have some tea, please” – a slight bow, and a smile, will suffice.
The ideas of “silence” and “mutual-understanding” described here, as well as “the absence of directing” elaborated in the previous section, are pivotal to the success of a Sans Self Tea Gathering – only by keeping intervention to the minimum will it happen in as natural a way as the system of the universe, and the cycle of seasons.
G. To each his own – there is no restriction as to the school or regional practice in brewing 16
At a Sans Self Tea Gathering, the method of brewing is subject to no restriction, and this applies to differences in tea ware and tea leaves preferred by tea drinkers as influenced by certain schools, styles or regional background. The choice between teapots and lidded cups 17, preference with tea leaves 18or powdered tea 19, and that of the method and style of brewing are not matters of concern.
Regardless of such differences as in equipage, tea leaves, attire, language and places of origin, the Tea Ceremony calls for an effort in brewing a good pot and sharing it with fellow drinkers, be they new or old acquaintances, as determined by random drawing.
You may wonder, if there is no restriction whatsoever as to the tea ware and brewing method, and participants are required to accept and appreciate teas that come their way, does it mean that brewing will become a matter of chance? Make no mistake; Sans Self Tea Gathering does observe the principle of “Making an effort to brew well”. Once you have decided on the tea presentation setting and brewing method, you will have to come up with the best possible setting and brew at the time of the congregation.
Meanwhile, it is true that there is no special requirement as to the attire and protocol; and yet, with the same principle of “getting better each time”, they should be appropriate for the occasion.
以下是中英茶学术语对照:
无我茶会 1 Sans Self Tea Gathering 1
「公告事项」2 notification 2
七大精神 3 seven principles 3
无尊卑之分 4 an absence of hierarchy 4
无报偿之心 5 no action of reciprocity is expected 5
茶盅 6 tea pitcher 6
茶道 7 Way of Tea 7
无好恶之心 8 setting aside personal preferences 8
求精进之心 9 it is about getting better each time 9
「泡好茶」10 brewing a good pot10
遵守公共约定 11 everything goes as agreed 11
茶巾 12 tea towel 12
奉茶盘 13 tea tray 13
培养默契,体现群体律动之美 14 appreciating mutual-understanding and the beauty of collective rhythm 14
茶具观摩与联谊15 Tea ware appreciation and Socialization 15
无流派与地域之分 16 there is no restriction as to the school or regional practice in brewing 16
盖碗 17 lidded cups 17
叶形茶 18 tea leaves 18
粉末茶 19 powdered tea 19

Introduction:
The aesthetics, character and the state of mind created are not to be undermined in the understanding and enjoyment of tea; and yet, they are the hardest to express. Writings on the thoughts pertaining to tea, regardless of languages used, remain scarce. We have attempted to express them in Chinese, with accompanying English translation(Translator:Katherine Yip.2010.01), to elaborate our thoughts as they are. What we want is to share the knowledge of tea alongside tea drinking. This is, in our opinion, an important contemporary task in promoting the tea culture (Coding in the text is for cross-referencing of the academic terms of tea).

  (1891)

How much is Tea Culture worth-Rong-tsang Tsai

茶的文化性值多少钱 How much is Tea Culture worth

蔡荣章-Rong-tsang Tsai

(2002.04茶艺》月刊社论Published in “Tea Art”monthly magazine)

Unlike paintings and music, tea is where its cultural value rests. With paintings and music, the cultural value lies not in the materials, but in the final products. To put it simply, while the worth of tea incorporates its cultural value; paint brushes, colours, and musical instruments and the like, don’t. This concept is what we will be exploring in this chapter.

In the foreword of the Souvenir Programme of the Inaugural Conference on the Study of Tea and the 25th Tea Brewing Masters Certificate Presentation Ceremony, President of the Ten Ren and Tianfu Tea Group, Mr Lee Rie-ho brought up the idea of a 20% value  –  that for tea, the cultural elements account for some 20% of the price of the merchandize. The significance of this is not so much the percentage but rather directing our attention to this issue using a concrete number.

Among the many agricultural products, tea is high on its cultural and artistic content. Its flavor4, aroma2, taste3, appearance1 and appeal is refined5, rich and diversified6 while the brewing (in the wider definition of the term) and enjoyment of tea easily gives rise to a second, and a third layer of sensory, aesthetic and creative stimulation. With the former, it is the tea itself, including the tea trees, soil, climate and production method; whereas in the latter, it is the brewing technique, the environment, the experience of drinking and the interaction.

Some people think that in the case of the ‘latter’, those are added values derived from the merchandize; and hence, should not be taken into consideration when it comes to pricing.  However, we must be mindful that what brings about these benefits is generations of tea gurus7 praising tea itself as superior to man’s work on it. Paintings, for instance, are more of man’s creativity rather than the brushes, the colours and the equipment – in this case, man’s input is thousands of times more in terms of value. What’s more, man’s tribute paid to tea has ‘continuously enriched’ and ‘successfully popularized’ the flavor, aroma, taste, appearance and appeal, which incorporate such elements as the tea trees, soil, climate and production methods. For the two benefits of ‘continuous enrichment’ and ‘successful popularization’ alone, ‘Tea’, or ‘its Masters’, will have to pay the price – as 20%, or even 30%, of the cost.

The above derivative costs have to be borne by the producers and consumers, and be reflected in the prices, the same way as the cost of planting, fertilizing and employment of good tea makers are paid for. The fact is. the tea market can hardly be supported by the compliment of tea gurus/consumers alone.

以下为文內之编码Coding in the text:

1 appearance1

2 aroma2

3 taste3

风味4 flavor4

细致5 refined5

丰富与多样化6 rich and diversified6

茶人7 tea gurus7

Introduction

The aesthetics, character and the state of mind created are not to be undermined in the understanding and enjoyment of tea; and yet, they are the hardest to express.  Writings on thoughts pertaining to tea, regardless of the languages used, remain scarce.   We have attempted to express them in Chinese, with accompanying English translation(Translator:Katherine Yip.2010.01), to elaborate our thoughts as they are. What we want is to share with fellow tea drinkers something more than just the drinking of it. This is, in our opinion, an important contemporary task in promoting the tea culture (Coding in the text is for cross-referencing of academic tea terms). (1803)

茶的文化性值多少钱-蔡荣章

茶的文化性值多少钱How much is Tea Culture worth

蔡荣章Rong-tsang Tsai

(2002.04《茶艺》月刊社论Published in “Tea Art”monthly magazine)

茶的文化性值多少钱

茶的文化性价值挂靠在「成品茶」的身上,但绘画与音乐的文化性价值挂靠在「作品」上,这是两者不同的地方。所以成品茶的价格包含了文化价值的部分,而绘画原料与乐器并没有包含其完成后的绘画作品与音乐作品的文化价值。这个观念是我们在此所要讨论的。

由于茶叶的价格包含了茶道艺术的部分,也就是包含了泡茶、奉茶、品茗的部分,所以我们试图提出一个数字来表达这个观念。我们认为中档茶价,其文化性价值占有茶价的百分之二十,而高档茶价,其文化性价值可以占到茶价的百分之五十。这个具体数字的意义不在于「占比」的多少,而是让大家正视这个问题,而且以数字化来说明。

茶在农产品中是属于文化、艺术性较强的一种,这显现在它的1、香2、味3、形、风味4上之细致5丰富与多样化6,而且在冲泡(含广义之调理)与享用时足以再产生第二次、第三次的意境、美感、思想性创作与价值。前者是茶制品的本身,包括茶树、地理、气候与制造技术,后者是冲泡技术、周遭环境、品饮体悟与人际互动产生的文化与艺术。

有人认为「后者」是商品以外衍生出来的附加价值,不能加价于商品的本身,但我们必须正视:茶之所以能达到后半段的效益,是历代茶人7歌颂「茶」胜于「人」的结果,不像绘画、音乐等,人们关注的是作者的艺术性,而且胜于颜料、器材本身数千倍,甚至数千万倍。再进一步说,人们对茶的歌颂,也促使融合茶树、地理、气候、技术在内的色、香、味、形、风格等因素的「日益丰盛」与「广为人知」,仅为了达到这些商品内涵的市场价值,茶的生产与营销者就理应支付这百分之二十或百分之五十的成本。

上述说的这些衍生性成本必须由产、销双方支付,从现在茶的已有产销状况下,是要从茶制造的卫生安全上、从茶叶营销员的素质上、从营销地点的选择上、从茶文化活动的推动上来着手,最后才可以让这些成本合理地显现在茶价上。如果只依赖末端消费者(喝茶人)的自然饮后赞叹,只依赖茶文化工作者的呐喊,支持文化性〝茶〞商品的市场力度是不够的。(2012.12.23修订)

以下为文内之编码Coding in the text:

1 appearance

2 aroma

3 taste

风味4 flavor

细致5 refined

丰富与多样化6 rich and diversified

茶人7 tea gurus

说明:

茶的“美”、茶的“性”、茶的“境”是认识茶、享受茶的重要途径,但这部分不容易表述。有关茶道思想方面的文章,无论那种语文,都颇缺乏,现在我们试着用华文描述,再请专人译成英文,使我们想要表达的尽量以其原始面貌呈现,让各地的读者能一起共享喝茶的乐趣。我们也认为这是当代很重要的茶文化推广工作。本茶道术语翻译及审定工作始于2010.01月,一直持续进行中。英文翻译:Katharine Yip。(文内之编码系方便中英对照之茶道术语)

 

  (1781)

茶席风格的表现-蔡荣章

茶席1风格的表现 On the Style of Tea Presentation Setting 1

蔡荣章-Rong-tsang Tsai

(2001.01《茶艺》月刊社论Published in “Tea Art”monthly magazine)

泡茶表演的时候是不是一定要穿中式服装、奏中式音乐?茶艺馆是不是要装潢成中式的建筑模样?这些问题在茶道教室内经常被提及。我们推动的是现代的茶文化,现代的「中式」也没有一定的规范,而且我们希望茶道走入世界,因此更不应该有任何地域与族群的色彩。所以我们接受以现代的手法来表现茶道。

在规划茶艺展的时候,也会有茶友2提出茶席设计的问题:一定要是中国传统式的风格吗?还是可以用现代感的方式表现?他所说的中国传统式大概是指传统式的室内装潢与家具,以及插花3、焚香4、挂画5等的结合吧。我们的回答是:不一定,可以用很现代化的手法,甚至于超现实主义的风格,也不一定要有所谓插花、挂画、焚香、点茶6四艺7的结合;司茶者、与会人员也不一定非穿中国式服装不可。问题的重心只在于茶席是否能有自我圆满的风格表现,而且力求高强度的艺术性。当然抓住所要上演的茶叶特性是很重要的,你总不可以弃置「主人」(茶)于一旁而只顾表现你的空间设计工夫;人的服装与举止这时也要在同一「作品」之下求得协调。

只要达成所设定的茶席风格及艺术层次即可,没有非中国传统装潢不可,非配中国传统书画与中国传统插花形式不可,只要运用得宜,古今中外的交互应用是被允许的。但是站在艺术、文化、历史的角度来看,我们不希望只是以现成(含古老)的器物与形式加以组合,而是鼓励全新的设计与创作。虽然说「组合」也是再一次地创作,但总没有重新设计来得有「历史文化的增添性」。

以此推论,你也会想到「泡茶方式不拘」,只要舞台与演员、戏码搭配得起来即可。但「把茶泡好」8是基本的原则,不能「只要有气氛」,「随兴」就好;空间的设计也不能毫无主题的强行堆砌。美好的、艺术性高的才是茶者9应该追求的目标。

以下为文內之编码Coding in the text:

茶席1  Tea Presentation Setting 1

茶友2 tea drinker 2

插花3 flower arrangement 3

焚香4 burning of incense 4

挂画5 hanging scrolls 5

点茶6 tea brewing6

四艺7 four arts of living7

「把茶泡好」8 Brewing a good pot 8

茶者9 tea aficionados 9

说明:

茶的“美”、茶的“性” 、茶的“境”是认识茶、享受茶的重要途径,但这部分不容易表述。有关茶道思想方面的文章,无论那种语文,都颇缺乏,现在我们试着用华文描述,再请专人译成 英文,使我们想要表达的尽量以其原始面貌呈现,让各地的读者能一起共享喝茶的乐趣。我们也认为这是当代很重要的茶文化推广工作。本茶道术语翻译及审定工作 始于2010.01月,一直持续进行中。英文翻译:Katharine Yip。(文內之编码系方便中英对照之茶道术语)

  (2423)

On the Style of Tea Presentation Setting-Rong-tsang Tsai

茶席1风格的表现 On the Style of Tea Presentation Setting 1

蔡荣章-Rong-tsang Tsai

(2001.01《茶艺》月刊社论Published in “Tea Art”monthly magazine)

Is Chinese costume and Chinese music indispensable in a tea brewing demonstration? Is Chinese interior décor the norm for dressing up tea houses? These are some of the most frequently asked questions during our lectures on the Way of Tea. If modern tea culture is what we are promoting, then there is no standardization pertaining to the modern Chinese style. It is, instead, our wish to introduce the Way of Tea to the world. For this matter, geographic and ethnic flavours are not prerequisites. As such, we accept a modern approach to promoting the Way of Tea.

A fellow tea drinker 2 once raised the issue about tea presentation setting when we were planning a tea art exhibition: Are we to follow traditional Chinese style? Or do we have the freedom to use a modern way of presenting? What he meant by ‘traditional Chinese style’ would probably include typical Chinese interior décor and furniture, together with flower arrangement 3, burning of incense 4 and hanging scrolls 5, among others. Our answer to this is, it is not necessary. There is nothing to stop us from using a modern, even surreal, approach. The combination of the four arts of living7– namely flower arrangement, painting hanging, incense burning and tea brewing6 – are not something down in the rule book. Chinese costume, be it for the tea servers or team members of the organizer, is not compulsory. The most important point is, the tea presentation setting must have a self-fulfilled style, and attain a high level of artistic accomplishment. Of course, one has to fully understand the characteristics of the tea leaves to be presented. Tea is the protagonist in this and it will not be right if we just show off our skill in dressing up the space without paying attention to the tea. For that matter, costume and demeanor will have to be in harmony with the presentation.

There is no fixed rule about pairing –Chinese décor does not necessary call for Chinese paintings and calligraphy, or Chinese-style flower arrangement. The aim is to successfully create the style and reach the artistic level desired. Mixing and matching of styles that transcends temporal boundaries and geographic divides is acceptable, so long as it is done is an appropriate manner. However, from the artistic, cultural and historical points of view, we would like more than a combination of existing (including old and new) objects and style, and encourage brand new design and creation. Although the setting is supposed to be a unique combination, which in itself is a form of creation, it does not ‘add to our historical and cultural values’ the way a new design does.

By the same token, there is no restriction as to the method of brewing. As in a drama production, the perfect match of the stage setting, cast and script is the formula to success. Brewing a good pot 8 is the basic principle – we cannot simply put ambience on top of everything else, or leave everything to whims and fancies. As far as the space is concerned, the design must have a theme to hold everything together. What tea aficionados 9 are after is something beautiful and artistically-appreciated.

以下为文內之编码Coding in the text:

茶席1  Tea Presentation Setting 1

茶友2 tea drinker 2

插花3 flower arrangement 3

焚香4 burning of incense 4

挂画5 hanging scrolls 5

点茶6 tea brewing6

四艺7 four arts of living7

「把茶泡好」8 Brewing a good pot 8

茶者9 tea aficionados 9

Introduction:

The aesthetics, character and the state of mind created are not to be undermined in the understanding and enjoyment of tea; and yet, they are the hardest to express.  Writings on the thoughts pertaining to tea, regardless of languages used, remain scarce.   We have attempted to express them in Chinese, with accompanying English translation(Translator:Katherine Yip.2010.01), to elaborate our thoughts as they are. What we want is to share the knowledge of tea alongside tea drinking.  This is, in our opinion, an important contemporary task in promoting the tea culture (Coding in the text is for cross-referencing of the academic terms of tea).

 

  (2355)

「茶道流派」的争议-蔡荣章

「茶道流派」的争议Controversy about the Schools pertaining to the Way of Tea

蔡荣章-Rong-tsang Tsai

(2002.02《茶艺》月刊社论Published in “Tea Art”monthly magazine)

中国有没有「茶道1」?有没有茶道流派2?这是最常被问起的话题之一。所以现在我们来谈谈何谓茶道流派?茶道流派如何产生?艺术上的所谓古典主义、印象派、立体派、超现实主义等是由艺术家或学者取得名称后才开始的,还是先有作品与思想,随后才定的称呼呢?

台湾的中华茶联在2001年的年会活动上举办了一场茶道流派展,邀请了十五个「流派」一起展示他们的泡茶、品茗方式。这是一场很有意思、引发很多联想、带动很多议题的事件。

首先是「怎样才可以称为流派?」有两个简答法;一是自己认为是「流派」就是流派,只要取个名称即可,(别人认不认可是另外一回事),二是必须要有一些条件,如有完整且独立的茶道思想与做法,(别人认不认可也是另外一回事)。

其次是「需要社会的认可吗?」有人认为一个茶道流派的成立必须要有别人的认可,也就是要有一定数量的人跟随它的理念与方式,否则只是个人或单位订个名称就成,那不太草率了?但有人认为流派之成立是一回事,大家认不认可又是另一回事,成立就让它成立,慢慢地再由时间与众人的智慧来评判,太快下断语也有危险。

再者是「流派如何产生?」是自己取个名称,标示出是「流派」即可?还是要历经时代的考验,有一定群众基础者?还是由某一个公众团体甄选产生?我们认为自主性的成立与自然形成皆可,前者的方式可以培养良好的生长环境,后者的方式是已看到长成与茁壮后才加以追认。

还有的问题是「要不要鼓励流派的产生?」我们的答案是赞成。因为那也是茶文化蓬勃发展的现象之一,只是不要为流派而流派,应该要有充分的思想与理论基础,自然形成了独特的风格。即使原先并无形成流派的打算,只是风格自然形成,我们也承认它是流派。甚至于我们要说,流派的产生应该是循此途径才健康,历史上所谓的「印象派」、「立体派」,都不是艺术家先定下「名称」而达成的。

以下为文內之编码Coding in the text:

茶道1 Way of Tea 1

流派2 schools 2

说明:

茶的“美”、茶的“性” 、茶的“境”是认识茶、享受茶的重要途径,但这部分不容易表述。有关茶道思想方面的文章,无论那种语文,都颇缺乏,现在我们试着用华文描述,再请专人译成 英文,使我们想要表达的尽量以其原始面貌呈现,让各地的读者能一起共享喝茶的乐趣。我们也认为这是当代很重要的茶文化推广工作。本茶道术语翻译及审定工作 始于2010.01月,一直持续进行中。英文翻译:Katharine Yip。(文內之编码系方便中英对照之茶道术语)

 

  (1948)