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

Sans Self Tea Gathering: The Basic Model无我茶会基本架构-Rong-tsang Tsai蔡荣章

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 aSans 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 expected 5

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 Wu-Wo Tea Ceremony 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 Wu-Wo Tea Ceremony, 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 Wu-Wo Tea Ceremony, 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).

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无我茶会基本架构-蔡荣章

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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。

无我茶会基本架构 Sans Self Tea Gathering: The Basic Model

蔡荣章-Rong-tsang Tsai

ISBN978-957-9690-08-9《无我茶会180条》1999.9第一版 2010.9第二版 -台北陆羽茶艺股份有限公司-English Translator : Katherine Yip英语翻译：叶德明

无我茶会 1 是一种茶会形式，大家自备茶具，席地围成圈圈泡茶，倘若约定每人泡茶四杯，泡好茶就把三杯奉给左邻或右邻的三位茶侣，一杯留给自己，这样每人就都有四杯茶可喝。喝完约定的泡数，如泡三道茶，收拾好自己的茶具，结束茶会。

座次到了会场才临时抽签决定。茶会进行的程序、方法已经写在事先发给大家的「公告事项」2 内，所以茶会进行间并没有指挥与司仪，一切依排定的程序进行，大家也都安安静静地泡茶。茶具的种类与泡茶的方式不受任何流派与地域的限制。

喝完最后一道茶，可以安排五分钟以内的音乐欣赏，烘托茶味并回味茶会情境.也可以在茶会结束后进行其他活动。

以上就是无我茶会的基本形式，现将上面的叙述整理成条文：

1.围成圈圈，人人泡茶，人人奉茶，人人喝茶。

2.抽签决定座位。

3.依同一方向奉茶（向左或向右）。

4.自备茶具、茶叶与泡茶用水。

5.事先约定泡茶杯数、泡茶次数、奉茶方法，并排定会程。

6.席间不语。

无我茶会为什么要有上述的这些特殊做法呢？因为它包含了无我茶会的七大精神 3 ：

一.抽签决定座位——无尊卑之分 4

茶会开始之前，要到会场安排座位，标示座次。与会人员到达后，抽号码签，然后依抽到的号码就坐。事先谁也不知道会坐在谁的旁边，谁也不知道会奉茶给谁喝。不但无尊卑之分，而且没有找座位的烦恼，就如同我们的出生，如果可以挑选自己的父母，烦恼可就大了，不是吗？

在亲子一同参加的茶会场合，抽签的结果，小朋友不一定奉茶给自己的爸爸妈妈，爸爸妈妈也不一定倒茶给自己的孩子喝，呈现出一幅「老吾老以及人之老，幼吾幼以及人之幼」的大同景象。

二.依同一方向奉茶——无报偿之心 5

泡完茶，大家依同一方向奉茶，如今天约定泡四杯，三杯奉给左邻的三位茶侣，最后一杯留给自己，那就依约定把茶奉出去。第一道是端着杯子出去奉茶，第二道以后是把泡好的茶盛在茶盅 6 内，端出去倒在自己奉出去的杯内，意思是被奉者可以喝到您泡的数道茶汤。

奉茶的方式也可以改为奉给右边第二、第四、第六位茶侣；也可以约定为：奉给左边第五、第十、第十五位茶侣，后者在大型茶会时可将交叉奉茶的幅度扩大。

同一方向奉茶是一种“无所为而为”的奉茶方式，我奉茶给他，并不因为他奉茶给我，这是无我茶会想要提醒大家「放淡报偿之心」的一种做法。「奉茶」本来就是茶道 7 很好的一种作为，若能再忘掉报偿，那就更无牵挂了。

在以盲友为主的茶会，可以做这样的建议：每人奉茶给左右两位茶友与自己一杯，这时的「互助」取代了「报偿」，无需离座就可以完成奉茶的动作。

三.接纳、欣赏各种茶——无好恶之心 8

无我茶会的茶是自己带来的，而且在公告事项上是注明“种类不拘”，因此，每人喝到的数杯茶可能都是不一样的茶。茶道要求人们以超然的心情，接纳、欣赏各种茶，不要有好恶之心，因为好恶之心是不好的，会把很多“福气”排除在外，您不喜欢的东西往往并不是坏的东西，只是您不喜欢它而已，所以无我茶会提醒人们放淡好恶之心，广结善缘。

从绿茶、乌龙茶到红茶，各种茶有各自不同的色香味与个性，我们应该尊重它们，并以它们的立场冲泡它、表现它、欣赏它。

四.努力把茶泡好——求精进之心 9

每一个人喝到的数杯茶不一定都泡得很好，往往会喝到一杯泡得又苦又涩或淡而无味的茶，这时可能会有两种情绪反应：「哪一个人泡的？那么难喝。」或「泡坏了，我可要小心。」茶道上当然尊崇后者的态度，因为「泡好茶」10 是茶道最基本的要求，茶都泡不好，遑论其他大道理，有如学音乐，连琴都没能弹好，还谈什么以音乐表达某种境界？学美术，连彩笔都应用得不好，还谈什么以线条、色彩表现艺术的境界？所以无我茶会开始泡茶后就不准说话了，以便专心把茶泡好。

无我茶会奉茶时会为自己留一杯茶，就是便于了解自己的茶泡好了没有，有何缺失下一道赶紧补救。把茶泡坏了，对不起别人，对不起自己，也对不起茶。长辈常告诉我们：把一件事情做好是为人最重要的修养。

五.无需指挥与司仪——遵守公共约定 11

无我茶会是依事先排定的程序与约定的做法进行，会场上不再有人指挥。例如排定八点半布置会场，负责排放座位号码牌的茶友就要开始到场工作，九点报到，负责抽签的茶友就要将号码签准备好让与会的茶友抽签。抽完签的人依号码就坐，将茶具摆放出来，然后起身与其他茶友联谊，并参观别人带来的茶具。九点半开始泡茶，大家自动回到自己座位，负责报到抽签等工作的茶友这时也归队。泡完第一道茶，起来依约定的奉茶方式奉茶，自己被奉的数杯茶到齐之后开始喝茶。看大家大致喝完了第一道茶，开始冲泡第二道，泡妥第二道茶，持茶盅出去奉第二道茶，接着喝第二道茶……，喝完最后一道茶，若排定有品茗后音乐欣赏，则静坐原地，聆听音乐，回味回味刚才的情境。音乐结束后，将自己用过的杯子用茶巾 12 或纸巾擦拭一下，持奉茶盘 13 出去收回自己的杯子。不用清理茶渣，将自己的茶具收拾妥当，结束茶会。这期间没有人指挥，大家一个程序一个程序地依计划进行。

事先都已经排妥，并约定好了，为什么还要指挥？经常参加无我茶会，就可以养成遵守公共约定的习惯。

六.席间不语——培养默契，体现群体律动之美 14

“茶具观摩与联谊”15 时间一过，开始泡茶后就不可以说话了。等待茶叶浸泡期间，让自己沉静下来，体会一下自己存在于这个空间的感觉，体会一下自己与大地、与周遭事物结合的感觉。奉茶间，大家在一片宁静的气氛下，您奉茶给我，我奉茶给他，彼此间有如一条无形的丝带牵引着，展现一波波律动之美。这时的话语是多余的，甚至连「请喝茶」、「谢谢」的声音都是不必要的，大家照面时只要鞠个躬，微微一笑就够了。

这一节的「无声」、「默契」与上一节的「无需指挥」，让茶会的进行有如宇宙的运转、季节的更替那般自然，那么不露刀斧味。

七.泡茶方式不拘——无流派与地域之分 16

无我茶会的泡茶方式是不受限制的，这包括因流派、地域而造成茶具、茶叶的差异，如茶具可以是壶，可以是盖碗 17，茶叶可以是叶形茶 18，可以是粉末茶 19，以及泡茶方法、风格等都不受任何限制。

茶具不同、茶叶不同、服装不同、语言不同、国度地域不同，但大家在同一茶会方式下努力把自己带来的茶泡好，泡好了茶，恭恭敬敬地把茶奉给抽签遇到的认识或不认识的朋友。

茶具、泡法不拘，又要接纳、欣赏各种茶，这不表示怎么泡都可以了吗？但是无我茶会有「求精进之心」一条，当您选定了茶席与泡茶的方式，就要把茶席布置得您当时所能的最好，将茶泡到您当时可能的最好。

服装不拘、也不要求与会者执行过多礼貌，但在「求精进之心」的原则下，两者都要做出合符当时情景的需要。

以下是中英茶学术语对照：

无我茶会 1 Wu-Wo Tea Ceremony 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

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)

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The Three Concepts of Tea Brewing-Rong-tsang Tsai

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泡茶三观念The Three Concepts of Tea Brewing

蔡荣章Rong-tsang Tsai

(2005.10刊于《说茶》，北京燕山出版社，Published in“About Tea” ISBN 7-5402-1663-8 )

A perpetual argument on tea brewing will be: is there a standard pertaining to the ‘condition’ of an infusion in relation to how it is being brewed？Will each brewing give infusion of different conditions? Could brewing techniques change the original quality of a certain tea? And the list goes on. Besides, it is essential to define the ‘strength’ 1 of tea infusion 2, the proper attitude towards ‘brewing a good pot’ 3, and the difference between ‘savouring’ 4 and ‘appraising’ 5 tea.

1. Are there standards regarding the ‘strength’ and ‘quality’ of the tea infusion?

The term ‘strength’ is general. It refers to the ‘impact’ 6 of tea infusion in our mouth, regardless of its taste and quality. It should not be defined as the sum total of water-soluble substances 7 , for the fact that some of the components are more powerful and readily sensed – this is to say, the sum of water-soluble substances of a certain tea may not be as much as another; and yet, their impact could be the same. Meanwhile, strength is not the same as ‘stimulation’ 8 , as some teas impress with their pronounced bitterness and astringency 9 , while others capture our attention with their texture 10 or aromatic intensity 11 . As such, we will only define the ‘strength’ based on the ‘impact’ an infusion has in our mouth. We will stay with this for the convenience of discussion on issues relating to different rounds of brewing.

Quality refers to the judgement of a tea as being good or bad – a judgement made on a calm, objective and scientific stance. Besides good components, quality also implies the right combination that gives rise to a taste well-received by most people and approved by experts. It is impossible to achieve consistent quality for each brewing – we can, however, achieve more or less the same strength by way of brewing techniques.

Given the same ‘batch’ of tea leaves, is there any standard pertaining to the tea infusion concerned? Will people have very different views as to the taste of the infusion from the same ‘batch’ of tea leaves? Even if there is difference, it could only be relative. How do we prove this？If we use the same ‘batch’ of tea leaves to brew tea of different strength with water of varying temperature, and offered these brews to a considerable sample of people, their preference would fall within a certain range. If this sample of people has substantial knowledge of tea, the one or few cups with the highest preference represent what we call the standard. There may not be only one single preference, but the preferences are always within a certain range. We do not rule out individual preferences; but we must attain the standard first before we try catering to unique personal taste.

Some people may say, the quality of tea is determined by the tea leaves; tea brewing can do very little to alter its intrinsic quality. This may be true with ‘tea products’ 12 , but not with tea brewing. Take for instance ‘premium tea’ 13 brewed during a competition – it may be utterly undrinkable. Again, some may point out that given the same method of brewing, we will be able to distinguish between the good and bad among different cups of tea. This is true in the sense that tea appraisers could make still out the good from the bad with ultra strong infusion. And yet, what we are concerned here is not tea appraisal, but tea brewing.

The absence of standard pertaining to the strength and quality of tea infusion will imply that any way of brewing will do!

2. Should we go for consistent strength for each brewing?

As we mentioned in the last section, standard strength refers to the best condition of the tea infusion for each brewing. The best condition is reflected by the preference of the majority of tea drinkers, and this can be simply expressed by the standard strength; as such, we should try maintaining the same consistency in between rounds of brewing. Quality will diminish with each brewing, until the time we discard the brewed tea leaves and replace them with fresh ones.

Some may think that consistency is not essential, as infusion of different strength and style highlight various appeal of a certain tea. This may seem reasonable; but then again, is this not advocating ‘freehand’ brewing, that is, the lack of any standard practice? You may raise objection and say, should there not be more than one type of ‘strength’ or ‘style’ people prefer? This is correct, insofar as it falls within what we describe as the ‘standard strength’ – surely, it should not be a case of ‘to each his own liking’ or ‘being different for difference’s sake’.

The ‘pursuit of the best’ (not necessarily only one) is what we have been advocating and working towards. Life is multi-faceted; but it does not mean that we have to experience and realize each and every aspect. The same goes with tea brewing. What we should avoid is brewing a pot that is too strong, too weak or too bitter. What we aspire to is brewing a good pot/cup in an effortless manner.

3. What exactly does it mean by brewing a good pot?

It means that each brewing gives infusion that is of the best condition of the tea leaves at the time. In terms of quality, the fourth brewing will be inferior to the first or the second brewing; and yet, we should aim at the best condition at the time.

Often, we say that a skilful brewer could make tea worth more than its monetary value. For instance, using tea leaves of $ 100/catty, he will produce infusion that appears to be made with tea leaves of $ 150/catty. By the same token, a poor brewer will not do justice to premium tea. Even if he makes tea with tea leaves of $ 200/catty, the infusion may be inferior to that made with tea leaves of $ 50/catty. This goes to illustrate how important the brewing technique is, not that it can change the quality of tea leaves. Given the same technique, a person can brew a good pot/cup out of tea leaves worth of $ 50/catty or $ 100/catty; and yet, the infusion of the latter should be superior to the former.

The essence of brewing well is to brew the best possible tea with existing conditions, even if it is the fifth brewing, or with tea leaves that are distinctly bitter and astringent. Brewing well is also the foundation to the Way of Tea. We would not be able to appreciate the more subtle side of things, such as the artistic and spiritual aspects, if we fail to brew a good pot. It is with incessant practice that a tea aficionados could explore on a higher level and achieve more extensive realization in order to open up new fronts in pursuing the Way of Tea.

以下为文內之编码Coding in the text:

浓度1 strength 1

茶汤2 tea infusion 2

「泡好」茶3 brewing a good pot 3

品茗4 savouring tea 4

评茶5 appraising tea 5

打击6 ‘impact’ 6

水可溶物7 water-soluble substances 7

刺激性8 ‘stimulation’ 8

苦涩味9 bitterness and astringency 9

稠度10 texture 10

气味11 aromatic intensity 11

茶制品12 tea products 12

特等茶13 premium tea 13

Introduction：

(2245)

泡茶三观念-蔡荣章

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泡茶三观念The Three Concepts of Tea Brewing

蔡荣章Rong-tsang Tsai

2005.10刊于《说茶》，北京燕山出版社，ISBN 7-5402-1663-8

泡茶时经常发生的争论是：茶要泡到怎样的状况有一定的标准吗？一壶茶之数泡间，可以泡出不同状况的茶汤吗？泡茶技术可以改变茶的原来质量吗？……除了这些问题，我们还要对茶汤2「浓度」1 有个定义，对「泡好」茶3有个正确的态度，对「品茗」4与「评茶」5的意义有所区别。

１.茶汤「浓度」与「质量」有一定的标准吗？

这里所说的「浓度」是概括性的，指茶汤喝进口内，给予口腔的「打击」6程度，不意味是「好」或「坏」的味道，也无论「质量」的高低。也不能以「水可溶物7的总和」来代替，因为或许有某些成分增加了口腔的感觉，因此虽然水可溶物的总和不如别种茶，但给予口腔的打击程度却是相等；也不能以「刺激性」8 来代替，因为有些茶汤以强劲的味道，如苦涩味9引起注意，有些茶汤则以稠度10或气味11让人警觉，但这些茶汤只要给予口腔的打击程度相当，我们就说它们的「浓度」差不多。因为只有作此解释，谈论泡茶时「各次茶汤间」的问题才有通俗的名称可用。

至于「质量」，是以冷静、客观、而且科学性的态度，评判茶汤「好坏」的用语，不只包括好的成分，而且要有恰当的组合，造成的口味还要是绝大多数人喜欢，专家认可者。泡茶时数道茶汤的「质量」是无法一致的，我们讲究泡茶的技艺只是要求数道茶汤间「浓度」的接近。

同样的一堆茶，泡出的茶汤有一定的标准吗？会不会你说东边的那杯茶汤好喝，他说西边的那杯茶汤好喝？不会差那么远的，有可能只是偏东或偏西。何以证明？我们把同一堆茶泡成不同浓度、而且以不同温度的水泡出许多杯茶汤，让许多人去品评，喜好度一定集中在某一区域内，如果这些人对各类茶都有一定程度的认识，那得票数最高的一杯或数杯就是我们所说的「标准」。「标准」不定于一，但总在一定的范围内。我们也不排斥少数人的独特喜好，但泡茶时只要有能力达到「标准」，就有能力满足这些特殊的要求。

有人说，茶的好坏已是定局，只有茶的好坏而没有所谓泡茶的好坏。这个说法就「茶制品」12而言是有道理的，但对「泡茶」而言就不适用了，比赛的「特等茶」13可以泡得没人要喝的。就这一点而言，也有人会提出异议：不论怎么泡，只要在同一泡法下，我总可以在数杯茶汤中找出好坏。这话说得没错，即使是超浓的泡法，有经验的评茶专家依然可以分辨出优劣与质量特性。但现在我们不是在谈论「评茶」，而是在讨论如何「泡茶」。

如果说茶汤的浓度与质量没有一定的标准，那不就怎么泡都对了！

２.数泡茶间的浓度应力求一致吗？

依上面提到的所谓「标准」，是指茶汤在每一泡时的最佳状况，因为只有最佳状况才会获得最多数人的喜爱，而「最佳状况」可以简单地用「标准浓度」来表达，所以数泡茶间的浓度应力求一致。至于「质量」，在第一泡或前面数泡后一定往下滑落，直到我们认为应该换茶了。

有人认为不一定要「要求一致」，泡出各种不同的浓度与风格正可欣赏该种茶不同的滋味。这话初听之下似乎有理，但仔细思考一下，这样做不就成了「随意泡」？那还何必讲求章法？你或许又要提出异议：让人喜欢的不会只是一个浓度与风格吧？没错，但是这个范围还是包括在我们所说的「标准浓度」之内，所以不能将之解释为「都可以」，或「故意泡成各种状况」。

「追求最好的」（不是单一的）一直是我们鼓励与努力的，人生有各种不同的层面，但实际生活上是不需要每一层面去体会、去实践的，泡茶也是如此，太浓的、太淡的、太苦涩的，能避免就尽量避免，随手泡壶（杯）好茶，才符合我们的希望。

３.「泡好」茶的真义

泡好茶的意义就是将每一道茶都泡出当时茶叶最佳状况的茶汤，第四道的茶汤质量一定不如第一泡的茶汤质量，但是我们要将每一道都泡得最好。

我们常说：会泡茶的人可以将一百元一斤的茶泡出一百五十元的价值，同样的，不会泡茶的人，可以把一斤两百元的茶泡得五十不值。这只是说明泡茶技术的重要，并不是说泡茶技术可以改变茶叶的质量。同样的技术，可以将五十元的茶泡好，当然也可以将一百元的茶泡好，得出来的茶汤应该是一百元的胜于五十元。

「泡好」茶的真义在于：就现有的条件将茶泡出最佳的茶汤，即使已经泡至第五道，或是原本苦涩味就偏重的茶。「泡好」茶也是茶道的基础，如果茶都泡不好，如何讲求茶道的艺术与精神？再进一步说，不断地练习泡茶，才能使茶人在意志与思想上进入更高的茶道境界，或是体悟、创造出新的层面。

以下为文內之编码Coding in the text:

浓度1 strength 1

茶汤2 tea infusion 2

「泡好」茶3 brewing a good pot 3

品茗4 savouring tea 4

评茶5 appraising tea 5

打击6 ‘impact’ 6

水可溶物7 water-soluble substances 7

刺激性8 ‘stimulation’ 8

苦涩味9 bitterness and astringency 9

稠度10 texture 10

气味11 aromatic intensity 11

茶制品12 tea products 12

特等茶13 premium tea 13

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) (2070)

The Way of Tea and Abstract Art-Rong-tsang Tsai

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茶道与抽象艺术The Way of Tea and Abstract Art

蔡荣章-Rong-tsang Tsai

2002.07《茶艺》月刊社论Published in “Tea Art”monthly magazine

We are no strangers to familiar sights and sounds around us; but when it comes to sights and sounds we are not familiar with, or are unsure of, we’ll be at a lost. With the Way of Tea 1, there are more of the ‘unfamiliar’ than the ‘familiar’ if what we encounter in our daily lives is a guide. It could be easier for us to appreciate the Way of Tea if we have some knowledge of Abstract Art.

The Way of Tea is a cultural behavior externalized by the act of tea brewing and drinking. This is not to say that tea brewing and drinking is not figurative enough; through tea brewing and drinking, aficionados express abstract concepts. However, both the ‘senders’ and ‘recipients’ of the conceptual messages must have an understanding of the abstract.

It is not enough to only appreciate what is figurative as in representational art, such as a person, a tiger, a street, a church, a musical piece based upon birds chirping, or a familiar folk song. When a canvas shows nothing but lines and planes of colour, or a sculpture that looks like nothing we know of, or a musical rendition of simply sounds, that is abstract. And if these images and sounds reflect exactly what their creators want to express in terms of the aesthetics and concepts, they are what we call the ‘Abstract Art’.

Understanding and application of the abstract in art must be taught. Many a time, during school outings, teachers will direct students’ attention to the ‘Lion Head Hill’ (because it looks like a crouching lion), or the mountain ridge that resembles a Buddha lying down with the face of the ‘Goddess of Mercy’. Rocky outcrops not readily recognizable in terms of physical likeness are simply ignored. Musical appreciation is approached in a similar manner – we are encouraged to find out if the music sounds like children crying, or festivities and celebrations. With such training, people will consider a painting or a piece of music incomprehensible because they see or hear nothing familiar in it. This springs from a lack of understanding towards the ‘abstract’. If we are aware of the impact of the abstract on art, thoughts and the aesthetics, we will understand how much we have lost by not being able to appreciate the abstract – without us know, we are turning our life of vibrant colours into something monochromatic.

This brings us back to tea, where exposure to abstract concepts, paintings, sculptures and pure music, among others, is a pre-requisite. Only by liberating ourselves from what is recognizable can we fully appreciate the colour, aroma, flavor, appearance and style of tea – and this will also make it possible for us to master the spirit of ‘modesty and self-restraint 2’, ‘purity and harmony 3’ and ‘emptiness and solitude 4’. When the need arises, we will be able to externalize the ideas by way of tea brewing 5 and tea gatherings 6.

以下为文內之编码Coding in the text:

茶道1 the Way of Tea 1

精俭2 modesty and self-restraint 2

清和3 purity and harmony 3

空寂4 emptiness and solitude 4

泡茶5 tea brewing 5

茶会6 tea gatherings 6.

Introduction：

茶道与抽象艺术-蔡荣章

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茶道与抽象艺术The Way of Tea and Abstract Art

蔡荣章-Rong-tsang Tsai

2002.07《茶艺》月刊社论Published in “Tea Art”monthly magazine

日常生活中熟悉的事物与声音，我们一看一听就知道那是什么，如果遇到不曾认识的形象或音响，我们就不容易理解了。茶道1就是包含了许多一般人日常生活中不熟悉的项目，如果我们理解何谓抽象艺术，就比较容易知道茶道在说些什么了。

茶道是以泡茶、喝茶为载体所呈现的文化性行为，并不是说「泡茶」、「喝茶」不够具象，而是说茶者是借着有形、具象的泡茶、喝茶行为来表达一些抽象的意念，而这些意念要透过泡茶、喝茶来传达，必须授受双方对「抽象」都有所认知。

我们不能只会欣赏具象的美感，如对象是一个人、一只老虎、一条街道、一间教堂、一段描写鸟叫的乐器声音、一首耳熟能详的民歌。当一幅画只是一些线条与色块的组合、一件雕塑只是一个不明事物的形象、一段音乐只是一些声音的呈现，这就进入了抽象的领域，若这些抽象的图像与声音都完善地表达了作者所要述说的美感与意念，那就是所谓的「抽象艺术」。

对抽象艺术的理解与应用是必须教育的，我们常看到老师带领同学到校外教学，望着群山解释着第一座像狮子蹲坐着，所以叫狮头山，隔壁的山脊像一尊佛像侧卧着，前端是头部，脸部是不是很像观音？接下来的山头说不上像什么，就略掉不说了。听音乐的时候，也是要大家追思曲子像不像孩子哭泣的声音？像不像过年热闹的锣鼓声，这样的教育方式，等到人们看不出画家在画哪件自己熟知的事物、音乐家在演奏哪种自己熟悉的声音或调子，就说看不懂或听不懂了，这就是对「抽象」不了解的结果，但抽象占了艺术、思想、美学的一大部分，缺少了这部分的理解与享受，人生会从彩色的变为黑白的。

所以在茶道的进修上，必须对抽象的概念、抽象的绘画、雕塑、纯音乐等方面多多接触；对茶之色香味形与风格的欣赏也要超越具像事物的羁绊，如此才容易操控茶道诸如精俭2、清和3、空寂4的精神，并于需要的时候，借着泡茶5与茶会6的形式将之表现出来。

以下为文內之编码Coding in the text:

茶道1 the Way of Tea 1

精俭2 modesty and self-restraint 2

清和3 purity and harmony 3

空寂4 emptiness and solitude 4

泡茶5 tea brewing 5

茶会6 tea gatherings 6.

说明：

Controversy about the Schools pertaining to the Way of Tea-Rong-tsang Tsai

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「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

Does China have its own ‘Way of Tea 1’? Are there different ‘schools 2’ pertaining to the ‘Way of Tea’? These are among the most asked questions. We would like to talk about the different ‘schools’ when it comes to the ‘Way of Tea’ and how these have come about. Further still, as for the different schools of thoughts in art (such as classicism, impressionism, cubism, surrealism), it is interesting to find out if the artists or scholars had come up with the name first (before the emergence of the works and ideology) or the other way around.

At an exhibition on the different ‘schools’ pertaining to the Way of Tea held during the annual programme of Taiwan’s Chinese Tea Federation 2001, 15 so-called ‘schools’ were invited to demonstrate tea-brewing and sampling. This is a very meaningful and inspiring, albeit controversial event.

First of all, what qualifies a certain practice as a school of thought? There are two simple answers to this: in the first instance, it is one if you think so – it is a matter of putting up a name (and whether the others think so is another matter altogether); in the second instance, there must be certain conditions, such as a complete and individual way of thinking and practice (again, whether this is adopted by the others is a different issue).

The next question is, will it require the society’s recognition? To some, a school of thought pertaining to the Way of Tea must be identified with – that is, there must be a certain number of followers to its ideology and methods. An individual or entity naming it so would be too hasty, wouldn’t it？ On the other hand, some people think that establishing such a school of thought and practice is different from it being identified with; as such, we will risk making pre-mature judgement by denying others’ right. Time and wisdom would be a better judge for the matter.

Furthermore, how does these ‘schools’ come about? Would it be a simple act of putting up a name under the bandwagon of a ‘school’, or would it be necessary for it to survive the test of time and secure a certain number of supports? Or, would it be necessary for it to be established or screened by a public body? To us, we think one that has been formed out of an individual initiative is just as fine as one that has been formed and evolved over time. For the former, there would be a conducive environment for growth; as for the latter, recognition will be strong as it is given when the thoughts and practices are well in place.

Lastly, should we encourage formation of different ‘schools’ of the Way of Tea? Sure, we would say. This will fuel the vibrant development of the tea culture. Given the support of a sound basis in thinking and theories, which grows naturally into a unique style, this is encouraged – as long as it is not just for the sake of a name. Even if there was no intention for such a ‘school’ to be formed, the natural development of a certain style will justify its status as a ‘school’. We will go so far as to say, this is the healthier way of development. Looking back at the history of art, impressionism, cubism and the like are grown out of this natural emergence of a style, rather than names declared by artists.

以下为文內之编码Coding in the text:

茶道1 Way of Tea 1

流派2 schools 2

Introduction：

(2224)

The word “Way” may refer to a method, a path, a state of being, a goal, and the starting point of a new life-Rong-tsang Tsai

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道是方法.道是路.道是境界.道是目的.道是新生命的起点-The word “Way”may refer to a method, a path, a state of being, a goal, and the starting point of a new life

蔡荣章-Rong-tsang Tsai

(2001.08《茶艺》月刊社论Published in “Tea Art”monthly magazine)

As the tea culture continues to develop, argument centering around the use of the words “art” and “way” is not uncommon. The terms may be used interchangeably; however, they do differ in their respective emphasis – a focus on the tangible forms would point to the term “the art of tea, or tea art”1, and a wider definition encompassing the intangible aspects would warrant the use of the term “the way of tea”2. Here’s more to the latter.

Some have questioned this author why “Lu Yu” the place was named a “Tea Art Centre” when it first opened in Taipei(1980). The fact is, it began as a retail outlet for tea drinking, tea leaves and tea ware; hence, the tangible aspects, and as such, the use of the term “Tea Art”. True, the term “The Way of Tea” (pronounced as chadao in Mandarin) in the like of Lu Yu: House for the Way of Tea, would have given the name a much wider perspective, covering the thoughts, the aesthetics and the practices associated with tea. And yet, some people tend to equate this particular term with its ceremonial manifestations, referring solely to the brewing, and the rites and rituals during a tea making and drinking session. Advocates of this interpretation describe the visually-presented ceremonies as Chadao (also known as tea ceremonies in some cultures (such as Sado in Japan) to highlight the strictly codified procedure involved), and the term pronounced as wu chadao, referring to the ’non-tea’ aspect of it to illustrate the non-visual presentation.

We prefer a more comprehensive definition to the term the Way of Tea. First, the term refers to the way3 in which a pot of tea is to be prepared and appreciated. Next, it is the path4 to tea; in the manner one can tour a city by various routes. Third, it points to the state of being5, such as the state of tea brewing, tea infusion, tea drinking, and the ambience – this embodies the good and the bad, the favorable and the unfavorable. Fourth, it is a goal6 as tea leads to tranquility and calm, enabling one to experience solitude and silence, delight, excitement, and even fame and gain. Fifth, it conjures up a new beginning7 – because of the term, our attention has been directed to understand, accept and appreciate the Way of Tea. The concept has brought about such changes in us, both physical and spiritual, as if the world of new experience has endowed upon us a new life.

Essentially, there is nothing good or bad about the Way of Tea. The reason behind this discussion is simple: by zooming in on to the very concept, which is exclusive to more advanced and sophisticated societies, it also highlights the proactive attitude towards better quality of our life.

—–

以下为文內之编码Coding in the text:

茶艺1 the art of tea, or tea art1

茶道2 the way of tea2

方法3 the way3

路4 the path4

境界5 the state of being5

目的6 a goal6

新生命的起点7 a new beginning7

Introduction：

(2326)

道是方法.道是路.道是境界.道是目的.道是新生命的起点-蔡荣章

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道是方法.道是路.道是境界.道是目的.道是新生命的起点-The word “Way”may refer to a method, a path, a state of being, a goal, and the starting point of a new life

蔡荣章-Rong-tsang Tsai

(2001.08《茶艺》月刊社论Published in “Tea Art”monthly magazine)

在发展茶文化时，大家经常争论着是用「茶艺」好呢，还是用「茶道」？事实上，这两个名词可以通用，但如果另有强调之处，则偏重有形者时称「茶艺」1，强调包含了无形的部分时称「茶道」2。现在就「道」的含义提出分析，以便了解「茶道」的全貌。

有人问作者在台北1980年成立「陆羽茶艺中心」时，为什么用的是「茶艺」这两字？因为成立之初，它是以品茗、茶叶、茶具销售为主的门市，都是属于比较有形的部分，所以用「茶艺」。如果用「茶道」，它给人的认知是更为辽阔的，包含了许多思想、美学、与行为规范的部分。但是有人在说到「茶道」时，却很局限于泡茶、饮茶间的仪式化过程，看得到这样的进行仪式就称之为有茶道，看不到就称之为无茶道，这是不对的。

我们比较喜欢把「茶道」作为广义的解释，首先，它指出的是「方法」3，泡好一壶茶、欣赏一壶茶、体会茶境界的方法。其次，「道」是「路」4，茶道可以有许多方式、风格的呈现，就像游览一个城市有许多不同的路线。第三，道是「境界」5，包括泡茶的境界、茶汤的境界、泡与饮间的境界、泡饮与环境间的境界，这境界包含了美与丑、善与恶。第四，道是「目的」6，茶道让您平静、让您空寂、让您愉悦、让您兴奋、让您得名取利。第五，茶道是新生命的起点7，因为有了「茶道」这名词，您认识了它，接纳了它，并亲身体会，于是肉体与精神起了变化；在茶道的领域里，每天、或每一阶段中也可能接受不同的课程，新的刺激带来了新的生命。

「道」的本身并无好坏，然而我们提出道、提出「茶道」，必定是有所为而为，除了别有用心外，应是好的、积极的才是。在落后的生活圈里是不会提出「茶道」两字的，所以茶道最后一个意义应该是向善的，让大家生活得更好的。

—–

以下为文內之编码Coding in the text:

茶艺1 the art of tea, or tea art1

茶道2 the way of tea2

方法3 the way3

路4 the path4

境界5 the state of being5

目的6 a goal6

新生命的起点7 a new beginning7

说明：

The Tea Brewing Master’s Motto- Rong-tsang Tsai

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泡茶师箴言-The Tea Brewing Master’s Motto

蔡荣章-Rong-tsang Tsai

(2001.12《茶艺》月刊社论Published in “Tea Art”monthly magazine)

In the tea fraternity, we have an Assessment Examination for Tea Brewing Masters . This tests one’s theoretical knowledge and brewing technique. Successful candidates will be awarded the Certificate of a Tea Brewing Master. The process is not unlike that of Fine Arts students graduated from higher education institutions, in that a fine art certificate does not necessarily translate into a future career as a painter. However, training in the basics and perseverance in subsequent, long-term practice are equally important to aspired tea gurus1 and renowned painters. Training and creativity matter the same in every way.

Mr Chen Wenqing, the newly-appointed President of the Tea Brewing Masters Association (back in 2002), came up with the idea of an ornamental flag for tea brewers. According to him, imprinted on this flag would be advice and practice to be observed by a tea brewing master2. Mr Chen then approached me to pen those words, and hence, the birth of the Tea Brewing Masters’ Motto3.

Technique and knowledge is the mainstay of a tea brewing Master’s test, and the mission is to obtain the Certificate. Brewing a good pot remains the basic requirement. The nature of this test puts equal emphasis on both fundamental training and tea education. However, critics have it that the term ‘tea brewing master’ refers predominantly to the technique of tea brewing, which does not cover the broad spectrum of a Tea Master’s specialty. As such, the term should be revised to ‘Tea Art master’4 or ‘Master of the Way of Tea’5. Personally, I hope these critics could ponder upon the fundamental value of tea brewing – how could we even talk about The Art or the Way of Tea when we couldn’t even brew a good pot6? This is not unlike learners of music – how can they express the beauty of art by way of sound when they couldn’t even play a piece of music without mistake?

Brewing on a regular basis is a prerequisite in terms of training. Just like an athlete who undergoes physical training day after day, it doesn’t matter whether he/she is into track or field events. It is almost impossible for a person to bring out the best in sports when he/she starts puffing and panting after running a few laps around the track or doing a few routines in the field. By the same token, how would one be able to bring out the essence in the Way of Tea7 without even the basic skill in brewing a decent pot of tea?

From the basic training in brewing one gets to understand the world and the aesthetics embraced by the Way of Tea. This includes external manifestation such as action and movement, as well the environment; and the intrinsic, such as the emotional state and the tea infusion It would be impossible to imagine or even transcend the intangible elements without brewing as the means, or the bridge. Think of a person with the look and attire of an artist, but not the artistic skill because of a lack in practice. Could he be considered an artist?

Let us take this a step further. To bring out the realm and beauty of the Way of Tea, we will need the orchestration of various elements, such as the act of brewing, the environment, the tea infusion8, the experience of participants, and the extent to which they enjoy this. Like the tune for music, and art pieces for fine arts, we will need a means to communicate the intangible across – otherwise, it will only exist in our own consciousness.

In view of all the above, I have come up with the Tea Brewing Master’s Motto, as follows:

Brewing a good pot is the physical training of a Tea Brewing Master, the pursuit of the Way of Tea, and the essence to experiencing the World of Tea.9

—–

以下为文內之编码 Coding in the tex :

茶人1 Tea Guru1

泡茶师2 Tea brewing master2

泡茶师箴言3 Tea Brewing Masters’ Motto3

茶艺师4 Tea Art master4

茶道师5 Master of the Way of Tea5

泡好茶6 brew a good pot6

茶道7 the Way of Tea7

茶汤8 tea infusion8

泡好茶是茶人体能之训练，茶道追求之途径，茶境感悟之本体9

Brewing a good pot is the physical training of a Tea Brewing Master, the pursuit of theWay of Tea, and the essence to experiencing the World of Tea9

Introduction：

泡茶师箴言-蔡荣章

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泡茶师箴言-The Tea Brewing Master’s Motto

蔡荣章-Rong-tsang Tsai

(2001.12《茶艺》月刊社论Published in “Tea Art”monthly magazine)

茶道界有所谓的「泡茶师检定考试」，包括学科与泡茶测验，两项都通过，就授予「泡茶师证书」。这有如美术系毕业后给予美术系的毕业证书一样，并不代表以后是不是成为著名的画家。但是成为茶人1或著名画家之前的基础训练以及以后不断的练习是同等重要的，不能将技巧训练与艺术创作视为两回事。

新任泡茶师联会会长陈文庆先生，计划在新年度(2002年)印制一面泡茶师2们使用的小旗子，上面印上一段泡茶师在茶道上应有的认知或修为，于是向作者索稿，因而有了「泡茶师箴言」3产生。

泡茶师是以通过泡茶「技艺」与「学识」测验，取得泡茶师证书为要件，也就是以能泡好一壶茶为基本要求，在性质上是属于偏重「基础训练」与「茶学教育」的，但也因此有人批评「泡茶师」的名称好像只重泡茶技术，应该改为「茶艺师」4或「茶道师」5才好。但说这些话的人应该注意到「泡好茶」6的重要性，如果连茶都泡不好，如何能谈到茶道的境界?就像学音乐的人，琴都弹不好，如何要以声音来表达艺术的境界?

不断地练习泡茶，就如运动员每天做着体能的基本训练，不论所从事的是球类还是田径，否则一上场，跑不了两下子就气喘如牛，如何表现运动之美?泡茶时，一出手就把茶泡坏了，怎样表现茶道7的风范？

从泡茶的基本训练中，还可以逐步体认茶道所讲求的意境与美感，包括泡茶动作、环境等外在的形式，与内心、茶汤等内在的精神状态。没有「泡茶」做桥梁，凭空想与超越是无法获得的，这又有如不勤练作画，只从意识与外表装扮成艺术家的模样一般。

再进一步来思考，「茶道」的境界与美感也要依赖泡茶的动作、环境、与泡出来的茶汤8、参与者的体会、享受到的状况来表现。这又如同音乐要有乐声、美术要有作品一样，否则只能存在于自己的意识之中。

综上所述，拟就了「泡茶师箴言」如下：

「泡好茶是茶人体能之训练，茶道追求之途径，茶境感悟之本体。」9

—–

以下为文內之编码 Coding in the tex :

茶人1 Tea Guru1

泡茶师2 Tea brewing master2

泡茶师箴言3 Tea Brewing Masters’ Motto3

茶艺师4 Tea Art master4

茶道师5 Master of the Way of Tea5

泡好茶6 brew a good pot6

茶道7 the Way of Tea7

茶汤8 tea infusion8

泡好茶是茶人体能之训练，茶道追求之途径，茶境感悟之本体9

Brewing a good pot is the physical training of a Tea Brewing Master, the pursuit of theWay of Tea, and the essence to experiencing the World of Tea9

说明：

The Pure Abstract Aestheticism in Tea Drinking-Rong-tsang Tsai

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茶道上纯品茗的抽象之美-The Pure Abstract Aestheticism in Tea Drinking

蔡荣章-Rong-tsang Tsai

(2005.01《茶艺》月刊社论Published in “Tea Art”monthly magazine)

Definition of the Way of Tea1 can be narrowed down to the essential, namely the tea infusion2. It is all in the infusion, if I may put it this way – its colour, aroma, flavour, nature and appeal epitomize the tea experience. This may be enhanced by the visual enjoyment of the tea-brewing process, and the sensual enjoyment of the brew itself. Such is the world of tea in the realm of pure, abstract aesthetics.

Since the Way of Tea began to capture massive attention on both sides of the Strait of China and Taiwan in the wake of the 1980’s, we have been hammering home the importance of perfecting the technique in tea brewing, or simply, ‘brewing a good pot’3. As it goes, tea brewing (and drinking) is the very foundation of the Way of Tea. Should this foundation fail to provide a strong foothold, what is built on it – including but not limited to the art and the thoughts – can at best be crude.

The problem with the idea above is that it may draw the conclusion, if not criticism, that brewing is merely the means to an end, and a medium through which the art and the thoughts are expressed. As such, in the ‘Motto of a Tea Brewing Master’4, we have qualified the idea – that “Brewing a good pot is physical training for the tea brewer and a path to pursue the Way of Tea” – with the following: that tea brewing is “the essence to the understanding of the realm of tea in a physical manner”.

In actual fact, the beauty and realm of the Way of Tea5 can be appreciated by way of brewing and drinking. Nothing is required besides the tea, utensils, technique and experience; the setting, attire and music are all extras that we can do without. If brewing (and whisking, in the case of matcha) is a reflection of both the aesthetics and the realm of tea in the visual form, then drinking is the realization of both in terms of aroma, taste and its nature. Appreciating tea without being distracted by the external environment enables us to focus on what matters the most. This kind of pureness is what we describe as the ‘Pure Abstract Aestheticism in Tea Drinking’6.

This description, however, should not be taken at face value – the pureness is certainly not exclusive to the experience of drinking alone. Brewing is not highlighted simply because it is perceived by some as more of an action anchored to the material world rather than an experience rooted in the abstract domain. However, the inclusion of brewing must be clearly communicated when we elaborate on the Way of Tea.

The same emphasis on pureness also applies to music. Whereas ‘absolute’ music is born of pure delight in combining musical tones, and is thus free from association outside of itself; ‘programme’ music, in contrast, refers to its reference to some external ideas of non-musical sources, such as seasons, nature and fate. On the ground of pure abstract appreciation, ‘absolute’ music is preferred. As for the Way of Tea, there is a wide, wide world in the tea infusion alone. The tea ceremony and its setting would lead to another story.

When a delegation of Korean Tea Guru visited us on March 14, 2005, I raised the idea that the beauty and realm of the Way of Tea is all in the tea infusion. Master Xuanfeng responded by describing this mode of thinking as the ‘Pure’ Way of Tea7.

—–

以下为文內之编码Coding in the text:

茶道1 the Way of Tea1

茶汤2 tea infusion2

把茶泡好3 brewing a good pot3

泡茶师箴言4 Motto of a Tea Brewing Master4

茶道之美、茶道之境5 the beauty and realm of the Way of Tea5

纯品茗的抽象之美6 Pure Abstract Aestheticism in Tea Drinking6

纯茶道7 the ‘Pure’ Way of Tea7

Introduction：

茶道上纯品茗的抽象之美-蔡荣章

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茶道上纯品茗的抽象之美-The Pure Abstract Aestheticism in Tea Drinking

蔡荣章-Rong-tsang Tsai

(2005.01《茶艺》月刊社论Published in “Tea Art”monthly magazine)

谈「茶道」1，是可以把范围缩小到「茶汤」2本身的，茶汤所表现的各种风情已足以传达茶道的大部分境界，如茶汤的色、香、味以及茶性、风格等等，当然如果再包括一些泡茶的动作与品饮的感受就更清楚地衬托了。这样的茶汤世界是较为抽象的纯艺术境界。

自从1980年代初期，茶道在台湾海峡两岸兴起之后，我们在茶学讲座上就一直强调「把茶泡好」3的重要性，因为茶道是建构在泡茶(含品饮)的基础之上，如果基础不稳固，建构在上面的茶艺术与茶思想是粗糙的。

上面这段话很容易让人误将「泡茶」只当作手段，或只是表现茶艺术、茶思想的媒体。所以后来在提出「泡茶师箴言」4的时候，我们在「泡好茶是茶人体能之训练、是茶道追求的途径」之后，又提出了「是茶境体悟之本体」。

事实上，茶道之美、茶道之境5都可以在泡茶、品饮之间求得的，除了茶、器与技术、经验之外，可以无需额外的东西，无需茶席的布置、无需服饰的搭配、无需佐以什么音乐。茶的冲泡(含抹茶的搅击)表现了看得到的美感与境界，茶的品饮表现了看不到的香、味与茶性的美感与境界。屏除了繁复的环境景物与声响，反而更能专心于「茶」的本身。这样的「单纯」性，我们称之为「纯品茗的抽象之美」6。

上述的「单纯」尚包含了泡茶与品饮，有人会认为「泡茶」不够抽象，所以在谈论这个理念之时，我们只用了「纯品茗的抽象之美」。但在宣导这个理念之时，我们必须把「泡茶」也加进来，让茶汤变得更完整一些。

音乐也谈「纯音乐」，指纯就乐声来欣赏者；相对的是「标题音乐」，则是以乐声来表现如春天、流水、命运等具象之事物。就音乐的抽象性，纯音乐是强于标题音乐的。反观茶道，仅就茶汤的品饮，已足以悠游于茶界，若加上茶席的茶道表演，那就是要说一段故事了。

上述提到「茶道的美感与思想境界可以单纯从茶汤获得」的这个观念，在一次韩国茶人组团来访的时候（2005年3月14日）提出与大家分享，玄锋法师当场就称呼这样的茶道思想模式为「纯茶道」7。

—–

以下为文内之编码 Coding in the text:

茶道1 the Way of Tea1

茶汤2 tea infusion2

把茶泡好3 brewing a good pot3

泡茶师箴言4 Motto of a Tea Brewing Master4

茶道之美、茶道之境5 the beauty and realm of the Way of Tea5

纯品茗的抽象之美6 Pure Abstract Aestheticism in Tea Drinking6

纯茶道7 the ‘Pure’ Way of Tea7

说明：

(2266)

What we mean by Brewing a Good Pot-Rong-tsang Tsai

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泡好茶的涵义-What we mean by Brewing a Good Pot

蔡荣章-Rong-tsang Tsai

(2002.01《茶艺》月刊社论Published in “Tea Art”monthly magazine)

If I say, to get the most out of life you’ve got to drink good tea, listen to good music and wear good clothes, what do you think? Is this your cup of tea? To some, a little difference in the tea leaves will not make or break a cup, and clothes being branded or not does not affect its fundamental function of providing protection and warmth. We look at this differently, though.

In the last chapter, the Tea Brewing Master’s1 Motto, we brought up the idea of brewing a good pot2. You may wonder what that exactly means. Would it mean brewing tea with masterful (good) technique, or brewing tea of premium (good) quality? We think both apply; and yet, in the context of the Tea Brewing Master’s Motto, it may be more of the former – brewing a good pot is the physical training of a Tea Brewer, the pursuit of the Way of Tea, and the essence to experiencing the World of Tea. However, when taking it out form this particular context, the understanding of it as ‘brewing tea of premium quality’ is also relevant.

Good tea, in general, refers to tea that is appealing in terms of colour, aroma and taste. Its tea infusion3 has a certain character that makes it a delight to drink. Tea drinker will be delighted by the pleasant feeling of satisfaction when they put their cups down. This is translated into health-enhancing benefits, an edge over mediocre tea that promises very little other than being a thirst-quencher. On the scientific ground, the so-called good tea is rich in compounds which are simply better and more appreciated. The combination of these compounds makes it a delight and adds to its rich flavor and content. As such, the impact is so much more enjoyable both physically and psychologically. This is similar to clothes – a fabulously-designed and well-tailored dress made of premium materials will work wonders on our physical well-being because of the feel-good elements it brings, as compared to a poorly-made dress of sub-standard fabric and sloppy tailoring.

The above proposition is a possible subject of ridicule on two grounds. First, what is the definition of ‘good’? Second, will this lead to extravagance? To begin with, we must listen to experts as to how good the tea leaves or clothes are – this requires us to put aside our personal preference and prejudices. For things that are ‘good’, they are usually higher-priced, and this calls for a balance between one’s own income and level of awareness. It will not lead to extravagance as long as we do not go beyond our means.

—–

以下为文內之编码Coding in the text:

泡茶师 1 Tea Brewing Master1

泡好茶2 brewing a good pot2

茶汤3 tea infusion3

Introduction：

(2036)

泡好茶的涵义-蔡荣章

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泡好茶的涵义-What we mean by Brewing a Good Pot

蔡荣章-Rong-tsang Tsai

(2002.01《茶艺》月刊社论Published in “Tea Art”monthly magazine)

喝好的茶比较有益、听好的音乐比较有益、穿好的衣服比较有益，这样的观念不知道大家能不能接受？有人说好茶与差一点的茶，其所含的成分不会差太多，名牌衣服与杂牌衣服的蔽体与保暖功能也不会差太多，但是我们有不同的看法。

我们曾经谈过「泡茶师1箴言」，提到「泡好茶」2的重要，相信有人会质疑「泡好茶」作如何解释，是「泡好」茶？还是泡「好茶」？我们认为两个说法都没有错，当然以「泡茶师箴言」的角度看，应该是前者的意思：「泡好」茶是茶人体能的训练，「泡好」茶是茶道追求的途径，「泡好」茶是茶境感悟的本体。但若单独来看，泡「好茶」也有其道理。

所谓「好茶」，一定是色香味俱佳，甚至有其独特的风格，这样的茶汤3，喝来一定让人神清气爽，这精神的愉悦就有益身体健康，比起普普通通的茶、喝来没有什么特殊喜悦的茶要「补」得多，再说得科技一点，所谓的好茶一定是含有品质较佳的成分、一定是含有较为人喜欢的成分，而且这些成分的组合是令人高兴的、含量是丰富的。这样美好的成分喝到肚子里一定比喝那些品质不佳的茶有益得多。这种现象不只发生在茶，即使穿衣服也如此，穿件质料好、设计优美、制作精良的衣服，一定比穿质料不好、样式不美、制作粗劣的衣服要有益健康，也是包含精神的愉快与肉体的舒适在内。

以上这个说法可能遭受的反对有两方面：一是「好」的定义何在？一是会不会造成奢糜的风气？茶叶的好、衣服的好，我们要尊重专家，消费者的好恶、个人的偏见应设法排除。真正的「好」，价格一定较高，这会与个人的收入与认知程度取得协调，只要不造成好高骛远的风气，自然不会造成奢糜。

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以下为文內之编码Coding in the text:

泡茶师 1 Tea Brewing Master1

泡好茶 2 brewing a good pot2

茶汤 3 tea infusion3

说明：

(2025)