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N-中外文对照类Chinese-Foreign Languages

茶道与抽象艺术-蔡荣章

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：

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) (2045)

第二章- 茶叶精制、加工、包装 Chapter Two-Tea Refining, Added Processing, and Packaging-蔡荣章Rong-tsang Tsai

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中英文”茶学术语”Chinese-English Tea Studies Terminology

蔡荣章Rong-tsang Tsai 编著Editor

第二章- 茶叶精制、加工、包装 Chapter Two-Tea Refining, Added

（201002.台北陆羽茶艺股份有限公司。ISBN978-957-9690-06-5）

第二章-茶叶精制、加工、包装

Chapter Two-Tea Refining, Added Processing, and Packaging

2.1.精制Refining

2.2.稳定质量stabilize quality

2.3.筛分screening

2.4.剪切cutting

2.5.拔梗de-stemming

2.6.整形shaping

2.7.风选winnowing

2.8.拼配blending

2.9.覆火re-drying

茶叶的”精制 Refining “除了美化外形，还可”稳定质量stabilize quality”。包括”筛分screening”、”剪切cutting”、”拔梗de-stemming”、”整形shaping”、”风选winnowing”、”拼配blending”、”覆火re-drying”。

2.10.正茶primary tea product

2.11.副茶tea byproduct

2.12.茶枝tea stem

2.13.茶角tea fannings

2.14.茶末tea dust

茶厂还有”正茶primary tea product”、”副茶tea byproduct”的分类法。副茶还分成”茶枝tea stem”、”茶角tea fannings”与”茶末tea dust”。

2.15.枝叶连理stem and leaf joint

2.16.枝叶分离stem and leaf disjoint

有些成品茶讲求枝、叶不分离，泡开后一朵朵如原来长在树上一般，称为”枝叶连理stem and leaf joint” ；有些成品茶则要枝、叶分离，以利干燥，称为”枝叶分离stem and leaf disjoint”。芽茶类的茶，「枝叶连理」 stem and leaf joint “是常态。

2.17.叶基leaf base

2.18.梗部stem

叶茶类的茶之所以要将枝叶分离，是避免”叶基 leaf base “与”梗部 stem “连接的地方干燥不易。

2.19.枝叶分离点stem and leaf separation point

对枝叶分离的茶，我们还要进一步观察”枝叶分离点 stem and leaf separation point ” ，判断是否破坏了叶子的完整度。

2.20.加工Added Processing

2.21.焙火roasting

2.22.熏花scenting

2.23.调味spicing

2.24.陈放aging

茶的加工Added Processing “包括焙火roasting、熏花scenting、调味spicing、陈放aging。

2.25.焙火roasting

2.26.温暖warn influence

2.27.熟香ripe scent

2.28.寒性cool influence

3.29.熟火乌龙Roast Oolong

“焙火” roasting “是以烘焙的方式将茶变得”温暖 warm “且具”熟香 ripe scent “。茶属”寒性cool”的食物，制作时焙点火可以使它变得”温暖warm”一些，如”熟火乌龙” Roast Oolong”。

2.30.炭焙charcoal roasting

2.31.机焙machine roasting

焙火因使用的方式分成”炭焙 charcoal roasting “与”机焙 machine roasting “。

2.32.陈放aging

2.33.陈香 aged scent

2.34.老茶old tea

2.35.陈茶stored tea

“陈放aging”良好的茶、茶汤呈现一种”陈香 aged scent “的风味。陈放五年八年后就是老茶 old tea “。至于”陈茶aged tea “，只表明是旧茶，质量是提升还是下降就不得而知了。

2.36.茶干的光泽度 dry tea luster degree

陈放会影响”茶干的光泽度 dry tea luster degree ” ，陈放愈久光泽度愈差。

2.37.渥堆piling

2.38.渥堆”发热generate heating

2.39.微生物的生长microbe growth

2.40.降解degradation

茶的”渥堆piling”会”发热generate heat” ，且带动”微生物的生长microbe growth” ，造成许多茶成分的”降解degradation”。

2.41.成品茶tea product

完成全部制造过程，品质达到一定稳定度的茶称为成品茶tea product。

2.42.熏花scenting

2.43.七分茶三分花seven parts tea and three parts fragrance

“熏花scenting “是将花香加到茶里，增进茶的风味。但还是要以茶为主，所谓”七分茶三分花seven parts tea and three parts flower”。

2.44.调味spicing

2.45.掺和blending blended”

2.46.肉桂cinnamon

2.47.菊花chrysanthemum

2.48.桂花osmanthus

调味spicing是将其他食物与茶”掺和blending”在一起以增进其风味。肉桂cinnamon与菊花chrysanthemum 都是掺和blending blended”的材料，桂花osmanthus则兼具熏花与调味的功能。

2.49.喉韵aftertaste

2.50.回甘sweet aftertaste

茶汤喝下后，在口腔与喉头上遗留的香与味称为”喉韵aftertaste” ，也称为”回甘sweet aftertaste”。

2.51.紧压茶compressing tea

2.52.圆饼状round compress shape

2.53.方砖形square compress shape

2.54.碗状bowl compress shape

2.55.球状ball compress shape

2.56.柱状roll compress shape

紧压茶compressed tea”的形状有”圆饼状round compress shape”、”方砖形square compress shape”、”碗状bowl compress shape”、”球状ball compress shape”、”柱状roll compress shape”等。

4.57.饼状disk shape

4.58.碗状bowl shape

4.59.砖形brick shape

4.60.球形ball shape

紧压茶包括”饼状 disk shape “、”碗状 bowl shape “、”砖形 brick shape “、”球形 ball shape ” 等等。

2.61.清炒stir fry

2.62.红烧stew

没焙火的茶喝来有如”清炒stir fry”的菜，焙火的茶喝来有如”红烧stew”的菜。

2.63.厚重醇和rich mellow

渥堆让茶叶变得”厚重醇和rich mellow”。

2.64.小袋茶tea bag

2.65.碎形小袋茶shredded-tea bag

2.66.立体袋茶triangular tea bag

2.67.原片小袋茶whole-leaf tea bag

包装成”一人泡一次”的”过滤性”茶包，称为”小袋茶tea bag”。若包装的是碎形茶，称为碎形”小袋茶shredded-tea bag”。将小袋茶的外型设计成立体状，有利茶叶舒展，称”立体袋茶triangular tea bag”。小袋茶内装的是未经剪切的原型茶，称为”原片袋茶whole-leaf tea bag”。

2.68.茶tea leaf

2.69.茶汤tea liquid

2.70.饮料茶tea beverage

将茶tea leaf”浸泡成茶汤tea liquid”。用以直接饮用的茶称为饮料茶tea beverage”。

2.71.储存storage

2.72.无杂味no odors

2.73.不透光opaque

2.74.储存方法stored method

茶叶应储存storage”在”无杂味no orders”、”不透光opaque”、且干燥度良好的地方或容器内。茶叶在消费者手中的”储存方法stored method”决定了质量的稳定性与是否往优质的方向迈进。

2.75.包装Packaging

2.76.真空包装vacuum packaging

2.77.充氮包装nitrogen packaging

为减少成品茶的质量变化，包装Packaging”时可以采取真空包装vacuum packaging”或充氮包装nitrogen packaging”的方式。

2.78.冷冻保存freezer storage

维持成品茶的原样，最有效的方法是”冷冻保存freezer storage”。

2.79.商品名称product name

2.80.茶名解说tea name description

2.81.茶性解说tea character description

包装上除”商品名称product name”外，应标示”茶名解说tea name description”与”茶性解说tea character description”。

2.82.老茶old tea

2.83.醇和mild

5.84.陈香aged scent

2.85.短期陈放short-term aging

2.86.中期陈放medium-term aging

2.87.长期陈放long-term aging

有人喜欢”老茶aged tea” ，茶性变得”醇和mild” ，而且带有一股”陈香aged scent”。存放一年者属”短期陈放short-term aging” ，三、五年者属”中期陈放medium-term aging” ，十年以上者称”长期陈放long-term aging”。

2.88.斗茶tea competition

2.89.茶商品比赛tea product competition

2.90.制茶比赛tea production competition

“斗茶tea competition”在中国宋代是一种泡茶比赛，现代的”茶比赛tea competition” 还包括”茶商品比赛tea product competition”与”制茶比赛tea production competition”。

*说明 : 将茶学专用术语整理、翻译及审定，是当前在学校或国际间推动茶文化工作时很重要的茶学材料。我们只是逐步完成初学茶道者所应用的部分，尚需继续完备。此书于2005年初开始收编茶学术语，进行整理、修编、审定以及翻译工作，编著：蔡荣章，英文翻译：Steven R.Jones, 校勘：蔡晓晓，于201002出版发行。Editor:Rong-tsang Tsai , English Translator:Steven R.Jones

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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：

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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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：

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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-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：

(2414)

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：

(2205)

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。

—–

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：

(2191)

Beauty in Emptiness and Solitude-Rong-tsang Tsai

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茶道空寂之美Beauty in Emptiness and Solitude

蔡荣章Rong-tsang Tsai

(2007.08《茶艺》月刊社论Published in “Tea Art”monthly magazine)

Beauty in art has many and varied manifestations. It brings delight, excites our senses, causes solemn grief, induces sorrow, triggers a train of philosophical thoughts, and calms our anxiety (not without a hint of melancholy). What we are going to talk about is this kind of calmness accompanied by melancholy, known as beauty in emptiness and solitude1. This is unique to the Way of Tea2 in the realm of art.

Where does this feeling of emptiness and solitude originate from? To answer this, we will have to go back to the basics, namely, the compounds of tea. Caffeine and catechins are mainly responsible for the bitterness3 and astringency4 that have come to characterize tea. The absence of these two properties would result in flatness, yielding a forgettable drink that is a far cry from the exceptional beverage which has captured the palettes of the world since time immemorial. The right mix of bitterness, astringency and aroma is the signature of premium tea. The ability in camouflaging the sharp bitterness and astringency while retaining tea’s natural allure is the key to the beverage of a lifetime.

Such teas calm our nerves and soothe our souls. With each sip, our blood pressure lowers slightly, our muscle relaxes, our attention focuses better, and our emotions settle down. This state of tranquility is physically ideal for the manifestation of beauty in emptiness and solitude. For those who have some idea about this state, and the practice of self-cultivation, such melancholy-infused beauty readily enters our consciousness. This could be the reason why throughout history, tea aficionados, especially literati and artists, have left behind a vast volume of work on beauty in emptiness and solitude as induced by tea drinking. As such, this particular state has become an integral part of the tea culture. This is further reflected in the environment in which tea is enjoyed, as illustrated by the term ‘thatched-hut tea ceremony setting’5. And, incorporating the essence of Zen practices, the idea of so-called ‘oneness of Zen and Tea’6 emerges.

The tie between Tea and Zen is strong. The fact that both value emptiness and solitude is, to us, a key contributing factor. This particular state of being is no stranger to the students of Zen; it is a state they have to embrace and enter into. Meanwhile, it is also the path through which the beauty of tea can be experienced and appreciated. To this end, we consider the idea of conviction and simplicity described by Lu Yu in The Classics of Tea7a means to experience the state of emptiness and solitude. In Japan, the spirit of emptiness and solitude advocated by Zen masters and Lu Yu’s proposition of conviction and simplicity8 was captured by great tea gurus9 Murata Shuko, Takeno Joo and Sen no Rikyu, among others in the practice of the Way of Tea. What we are doing is to expound on the idea of emptiness and solitude in art, tea and Zen practices, from the aesthetics’ point of view.

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以下为文内之编码 Coding in the text:

空寂之美1 beauty in emptiness and solitude1

茶道2 the Way of Tea2

苦3 bitterness3

涩4 astringency4

草庵茶席5 ‘thatched-hut tea ceremony setting’5

茶禅一味6 ‘oneness of Zen and Tea’6

《茶经》7 Classics of Tea7

精俭8 conviction and simplicity8

大茶人9 great tea gurus9

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).

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茶道空寂之美-蔡荣章

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茶道空寂之美-Beauty in Emptiness and Solitude

蔡荣章-Rong-tsang Tsai

(2007.08《茶艺》月刊社论)

艺术上所说的美有很多种类型，一种是接触后让人欢娱，一种是接触后让人兴奋，一种是让人感到悲壮，一种是让人兴起哀伤之情，一种是激起人绵延不断的哲思，一种是让人沉静，并多少带点凄凉感…。最后的这种沉静，并或多或少的凄凉味就是本文所要谈论的空寂之美1，这是茶道2在艺术领域上很特殊的一种特质。

茶道的艺术领域爲何存在此空寂的原素，我们认爲与茶的基本成分有关，那就是构成茶主味「苦3」与「涩4」的咖啡因与儿茶素，拿掉了这两项成分，茶几乎不成其爲茶了，茶的傲世功能也将消失殆尽。制作精良的茶，苦涩等味与香气搭配得恰到好处，不但隐藏了苦涩的锐气，而且形成非常让人喜欢且耐人追寻的茶味，这样的香与味可以让人喜欢一辈子。

这样的茶喝进肚子里，血压开始微幅下降，肌肉开始放松，注意力开始凝聚，让喝它的人逐渐沉静下来。这样的生理状况是空寂之美呈现的良好环境，只要有点空寂概念与修养，这样带点凄凉味的美之意象，就容易步上意识舞台。或许因爲如此，自古爱喝茶的人，尤其是文人、艺术家们，记录了许多茶在空寂之美的文献，于是空寂逐渐形成了茶的人文成分；茶人们更将之表现在品茗环境上，而逐渐有了草庵茶席5的称呼，还将之与禅结合，而有了茶禅一味6的说法。

茶道与禅学自古连结得很密切，我们认爲其中的原因就是彼此在空寂境界上的一致性。空寂的状况是修禅的人必须学会进入的境界；空寂的状况是茶人们体会、享受茶境之美的一条道路。陆羽在《茶经》7上强调的「精俭」8也被我们认爲是他体悟茶境空寂的一种方式，而禅学上的空寂与陆羽茶学上的精俭在日本珠光、绍鸥、利休等大茶人9的茶道上都表现得非常具体，我们现在是从美学的角度再度将艺术、茶道与禅学在空寂特质上作番描述。

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以下为文内之编码 Coding in the text:

空寂之美1 beauty in emptiness and solitude1

茶道2 the Way of Tea2

苦3 bitterness3

涩4 astringency4

草庵茶席5 ‘thatched-hut tea ceremony setting’5

茶禅一味6 ‘oneness of Zen and Tea’6

《茶经》7 Classics of Tea7

精俭8 conviction and simplicity8

大茶人9 great tea gurus9

说明：

(2206)

There is always Bitterness and Astringency in Tea-Rong-tsang Tsai

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茶，永远有其苦涩的一面-There is always Bitterness and Astringency in Tea

蔡荣章-Rong–tsang Tsai

(2004.04《茶艺》月刊社论Published in “Tea Art”monthly magazine)

Much of the colour, aroma, taste and appearance of tea have been discussed. Technology has certainly contributed to the scientific study and analysis of this world-loved beverage. We have compared the differences among tea leaves with the help of images. Now, we will be focusing on one of its intrinsic properties, bitterness and astringency1. We would also be looking into another unique ‘character’ of tea, namely the state of emptiness and solitude, in another chapter.

What captivates tea drinkers the world over could be its aroma, mellow sweetness 2and the unique flavour each type of tealeaves offers. Bitterness, in this case, has always taken a back seat – more often than not, it is merely described as what comes ‘before mellow sweetness sets in’. It is, therefore, no surprise that tea is also compared to the hardship before one enjoys the fruit of labour.

Bitterness and astringency are, in actual fact, key properties and distinct tastes of tea. The source of aroma, taste and characteristics of tea can all be traced to its intrinsic bitterness and astringency. As to the bitterness and astringency being pronounced or subtle, it is all in the species and processing methods. Such aroma and flavour built on tea’s intrinsic bitterness and astringency explain the beverage’s refreshing appeal. Fashion comes and goes; tea, however, is a life-long affair – the more you get to know it, the more you will be hooked by its uniqueness.

The aroma of tea is exquisite and fascinating, the sweetness alluring. And yet, tea has never been taken as a drink for glamorous occasions, for the simple reason that its bitterness and astringency tones it down, balancing what may have made it emotionally overpowering. With the note of bitterness and astringency, tea is tamed to a beverage demonstrating the qualities of Conviction and Simplicity3, emptiness and solitude 4, and purity and harmony.5 Do not belittle this seemingly subdued base note; as it goes, this bitterness and astringency may generate an unending chain of reaction, resulting in tremendous force and impact. The preoccupation could become so intense that it may lead to self-destruction, be it out of one’s conviction or circumstances. Sen no Rikyu,Tea Guru6 of Japan, for example, was ordered to end his life with ritual suicide, or seppuku, out of his strong belief in the ideologies of tea ceremony. Several advocates of such ideologies after him followed the same sad path. Meanwhile, Tang poet Lu Tong suffered similar fate when his conviction was proved too strong for some people’s liking; he was killed in a political tussle. It seems that tea has never been a ‘pleasure’ drink – tea is always sipped with calmness, with style and at times, with courage.

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以下为文內之编码Coding in the text:

苦涩味1 bitterness and astringency1

甘2 mellow sweetness 2

精俭3 Conviction and Simplicity3

空寂4 emptiness and solitude 4

清和5 purity and harmony5

茶人6 Tea Guru6

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Introduction：

茶，永远有其苦涩的一面-蔡荣章

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茶，永远有其苦涩的一面-There is always Bitterness and Astringency in Tea

蔡荣章-Rong-tsang Tsai

(2004.04《茶艺》月刊社论Published in “Tea Art”monthly magazine)

茶的色、香、味、形受到很多人的谈论，茶叶科技人士更是以化学的方式分析得非常透彻。我们曾从形象的差异，藉助各种图像来比较各类茶的不同风格；在此，我们要从人文面，提出茶叶先天就具有的一种特殊性格，那就是它的苦涩味1。另外还有一种独特性格是要另外找时间说的「空寂」境界。

喝茶，一般人喜欢它的香、喜欢它的甘2、喜欢不同茶叶的独特风味；如果说到苦，都说它是先苦后甘，以苦味消退后，甘味显露的现象激励人们辛勤工作以求得甜美的成果。但是苦、涩一直是茶叶很重要的成分与滋味，茶的各种香、味与特质都建构在这个基础之上，只是有些茶因为品种、制法的关系，苦味或涩感会显得特别的重或特别的轻。也就是这样的香、味结构，茶汤让人喝来不觉得腻，而且可以持续一辈子，甚至随着年岁的增长，更加深刻体会它的风骨。

茶的香是光彩、艷丽的，茶的甘是诱惑迷人的，但是自古人们就未曾将茶归属于华丽的饮料，因为苦涩的味道与其进入体内以后产生的效应将亮丽的一面压制了下来，而且发挥了统合的力量，使得茶自古就被认定为精俭3、空寂4、清和5之物。这个苦、涩基调尚能相互激荡，扩大其能量至千万倍，达到为「情」不惜摧毁自己的地步，这个情可能是自己的理念，可能是自身的境界。日本茶人6千利休不就为了坚持自己的茶道思想而被迫切腹自杀，紧跟着还有数位具有同样理念的茶人以同样的方式以身相殉。中国唐朝七碗茶诗的作者卢仝也因太有自己的主张而在一次政争中被杀。饮茶好像不曾被列为「饮酒作乐」的范畴，茶人们喝得很冷静、喝得很有个性，也喝得很勇敢。

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以下为文內之编码Coding in the text:

苦涩味1 bitterness and astringency1

甘2 mellow sweetness 2

精俭3 Conviction and Simplicity3

空寂4 emptiness and solitude 4

清和5 purity and harmony5

茶人6 Tea Guru6

说明：

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