現代茶道思想網建立者：蔡榮章.許玉蓮。現代茶道思想網收錄蔡榮章、許玉蓮自1970年代末至今原創文稿及圖。一切版權屬作者所有，侵權必究。本網任何部分內容未經作者授權，不得以任何方式（包括文本、音頻、視頻等電子產品）抄襲、轉載、改造、翻印、錄音、出版。（The Way of Tea : a Contemporary Perspective. All rights reserved.）
Foreword
: On‘Sans Self Tea Gathering: An Artistic Manifestation of the
Way of Tea in the form of Tea Gathering’by
RongTsang Tsai
Hooi Yoke
Lien
‘Sans Self Tea Gathering: An Artistic Manifestation of the
Way of Tea in the form of Tea Gathering’is, literally, a new chapter in
the research of the Way of Tea. It bypasses perplexing questions such as ‘What is the Way of Tea? And what is Tea Art?’, ‘Should a tea brewing personnel
be described as a server or a master of tea?’, or ‘As for tea professionals with a
rich knowledge of the Way of Tea, who put it into practice through various
activities, should they be referred to as tea experts or tea gurus?’ Instead, the author cuts
through these conundrums and presents a complete and comprehensive system —
his very own work of tea gathering — that leads readers right into the inner
substance. This artistic manifestation in the form of tea gathering raises the
status of a tea brewing personnel (in this case, the author himself) to that of
an artist of the Way of Tea.
An artist of the Way of Tea, or tea artist in short, is a
term impregnated with the author’s insight and aspiration. It seeks to clarify what is the essence of
tea, the Way of Tea and the art of it; and in turn, to better equip tea artists
with the qualities and efforts required of them.
We maintain that a work of art manifesting the Way of Tea
should have the following four conditions: a) It is built on an academic basis;
b) Its inner substance is supported by feeling and belief; c) It can be
presented in a certain format; and d) It appeals to the masses, who in turn adopt
the practice. In this case, Sans Self Tea Gathering fits the
bill perfectly.
A) Sans Self Tea Gathering is built on an academic basis:
The best illustration is the content of this book . Chapters 2 through 10
explain to readers a well thought-out system in a scientific manner. It discusses in great length the 5W’s and 1H (i.e. the ‘what’, ‘when’, ‘where’, ‘who’, ‘why’ and ‘how’) before, during and after the tea
gathering. Practical in approach, it is packed with details realised by such meticulous
thinking to an extent that the procedure can be duplicated without the guidance
of an instructor or trainer. There are
plenty of issues addressed and points covered, for example, ‘When should one wipe clean the used teacups?’， ‘Could we ask to find out what
is the tea being served? Is it acceptable to commend someone for a good brew?’, ‘Could we do something as remedy
for poorly brewed infusion?’， ‘What should we do if a small bug crawls out of somewhere?’，or ‘How to address the need of
public toilet and hygiene in an outdoor venue?’, just to name a few. The book, which provides all the
answers the readers need to know about Sans Self Tea Gathering, is clearly
academic in approach.
B) Sans Self Tea Gathering’s inner
substance is supported by feeling and belief:
Chapter 1 illustrates the basic format of the tea gathering. The author explains that this particular
format is an externalisation of what people feel for and believe in. It
embraces seven principles, namely, an absence of hierarchy; not expecting reciprocity;
setting aside personal preference; making an effort to achieve progressive
improvement; following a pre-determined procedure; promoting mutual understanding
and appreciation of the beauty of collective rhythm; and imposing no
restriction as to the schools of thought or regional practices.
C) Sans Self Tea Gathering can be presented in a certain
format: Dismantling the barriers of languages,
colours, tea ware, sound, choice of tea, brewing methods, regional practices
and ethnic origins, Sans Self Tea Gathering is accomplished upon a single belief
— namely ,‘brewing, serving and taking tea’. This means that
whatever people do at the tea gathering would reflect what they actually feel.
Take the principle of‘an absence of hierarchy’ as an example. To realise this, seats are determined by
random drawing of lots; one cannot choose the place to sit, the person to serve tea to, or the kind of
tea to take. Where words do not suffice
to explain the concept, it is more than compensated for by the carefully
devised format of Sans Self Tea Gathering. By participating, everyone can
experience the essence of the Way of Tea with its externalised representation.
Chapter 1 clearly describes the simple yet impactful features of Sans Self Tea
Gathering: a) participants are seated in a circle – everyone brews, serves and
takes tea; b) seats are determined by drawing lots; c) tea is served in one
direction (to one’s left or right); d) participants
bring along their tea ware, tealeaves and water for brewing; e) the number of
cups and brewing, and the way of serving are agreed upon beforehand, and the
event flow is pre-determined; and, f) no talking is required throughout the tea
gathering.
D) Sans Self Tea Gathering appeals to the masses, who in turn adopt the
practice: Chapter 11 (‘Promoting Sans Self Tea Gathering and its Meaning’), Chapter 12 (‘A Brief History of Sans Self Tea Gathering’) and {0>第十四章 无我茶会解说稿<}0{>Chapter
13 (‘The Presenter’s Script for Sans Self Tea Gathering’) cover the history of its development since
its inception in 1990 and the 15 international Sans Self Tea Gatherings
organised to date. The
person-in-charge of each country/territory’s event
automatically become part of the pool of organising members. They take turn to organise
Sans Self Tea Gatherings of various natures on a voluntary basis. These
countries/territories include Taiwan, Hong Kong, China, Japan, Korea, the
United States of America, France, Italy, Malaysia, Singapore, the United
Kingdom and Brunei, among others. As far
as administration is concerned, it realises the spirit of ‘nothingness’ — as such, there is no centralised
management body or headquarters; no application or validation required; and no
unnecessary formalities. Everyone involved in organising Sans Self Tea
Gathering is guided by the same belief. This emphasis on resetting to ‘a state of nothingness before
rebuilding something’ has been a major influence on
tea brewing personnel’s interpretation of the Way of
Tea worldwide for almost two decades.
The book was written based on the author’s original guide on Sans Self Tea Gathering. Also included
in this new edition are 17 articles representing the core values of Sans Self
Tea Gathering (The titles of the articles are: ‘Why is
tea served in one direction at the Sans Self Tea Gathering?’, ‘Sans Self Tea Gathering requires full
participation of all’, ‘Feeling free and easy at the
Tea Gathering’, ‘The true meaning of setting aside
personal preference’, ‘The artistic manifestation of
the Way of Tea as expressed by Sans Self Tea Gathering’, ‘The question on Sans Self Tea
Gathering with the most wrong answers’, ‘Balancing “Freedom” and “Confinement” at the Sans Self Tea Gathering’, ‘Sans Self Tea Gathering at a glance’, ‘Does Sans Self Tea Gathering add yet
another barrier to the Way of Tea?’, ‘Is Sans Self Tea Gathering a “freewheeling” or a “disciplined” occasion?’, ‘Does Sans Self Tea Gathering serve a
purpose?’, ‘Changing of its name in English to
Sans Self Tea Gathering (Spring, 2012)’, ‘A dialogue between the teacher and his students’, ‘Sans Self Tea Gathering is more than a
form of tea gathering’, ‘Some people say that Sans Self
Tea Gathering is beautiful’, ‘The birth of Sans Self Tea Gathering’, ‘ From tea for one to Sans Self Tea
Gathering’ and ‘Making, brewing and taking tea in a
Land of Nothingness’) . These were penned by the author in
a clear, succinct and unequivocal manner based on 25 years of experience working
on Sans Self Tea Gathering. The concept
has been perfected over time. In his
article‘Why is tea served in one direction at the Sans Self Tea
Gathering?’, the author points out that engrossing in social
interaction would
distract
our attention from tea, and reminds us not to be too mindful of which fellow participants have brewed the tea we are taking. Meanwhile, the author makes it clear in
the article ‘The artistic manifestation of the Way
of Tea as expressed by Sans Self Tea Gathering’that while
the tea gathering is a total experience, one should not place too much emphasis
on the event at the expense
of the tea infusion. As such, the concept of the ‘Quintessential Way of Tea’ has been proposed. This helps bringing our focus back to the tea
infusion, which is at the core
of this artistic
manifestation of the Way of Tea. The tea gathering will not be mistaken
as an art of tea
drinking environment, tea brewing or
even moral enlightenment. You may say, ‘Well, ain’t I making tea just the same?’ True, but the pre-requisite is a realisation
that tea, the infusion, is at the heart of the Way of Tea.
To be a form of artistic expression that survives the test
of time, tea gatherings would have to generate collective understanding,
achieve mutual acceptance, and bring about common feeling among people of different
countries, speaking different languages, from different social backgrounds and
embracing different cultures. These tea gatherings need to be fully incorporated
into the lifestyle of the local communities.
Proprietorship is not recommended in order for Sans Self Tea Gathering
to continue its evolution. Artistically-oriented with a solid academic
basis,‘Sans Self Tea Gathering: An Artistic Manifestation of the
Way of Tea in the form of Tea Gathering’is poised to become a research
tour de force on the Way of Tea.
When Sans Self
Tea Gathering was conceptualised in 1990, there
was a need to communicate its seven unique features to English-speaking
audiences. This was crucial for articulating ideas related to the aesthetics
and the arts. I was hoping to get someone to deliver this in a
clear and concise manner while adding a
literary flavour to the English translation. Thanks to Professor Hooi Yoke
Lien, I found the person in Kuala Lumpur-based translator Ms Katharine Yip, who was an
arts graduate of the University of Hong
Kong and held a master’s degree in public relations from the University of
Stirling, Scotland. When Professor Hooi and I started a portal on the contemporary view of tea (http://contemporaryteathinker.com) in 2011, we sought
Katharine’s help in translating some of
my articles. Her translation, including “There is always Bitterness in Tea”, “The Beauty in Emptiness and Solitude” and “The Pure Abstract Aestheticism in Tea Drinking”, assured me
that things were in good hands. I felt relieved that my thoughts on the Way of Tea would be communicated appropriately. Katharine went on to translate “180 Entries of Sans Self Tea Gathering” and some
additional text in 2011, which effectively marked the beginning of the
Chinese-English bilingual edition of “Sans Self Tea Gathering”.
I was hesitant about naming it “Wu Wo Tea
Ceremony” as the term “Wu Wo” might puzzle English speakers. Katharine
addressed the issue by coining the name “Sans
Self Tea Gathering”. Sans, an archaic French word meaning “without”, was popularised by some famous literary works, including William
Shakespeare’s comedy “As You Like It”. Meanwhile, replacing “Tea Ceremony” with “Tea Gathering” was to better reflect the
nature of the activity. In the
spring of 2012 the name “Sans Self Tea
Gathering” was adopted.
There were hurdles
along the way. Manuscript verification of the
Chinese-English edition proved to be more complicated than was thought. We had talked to several
publishers but to no avail. Understanding my frustration, Professor Hooi took the initiative to approach Malaysia’s
Wood Talk Publisher. Besides, she stepped
into the role of managing editor, and proofread the bilingual text along with Katharine.
To celebrate the launch of this new edition, Professor Hooi invited
accomplished Malaysian singer Ms Yudi Yap to compose and perform the anthem of Sans
Self Tea Gathering, the sheet music of which was printed on the back cover of the book. An icon in the
Malaysian music scene, Yudi is a
songwriter, lyricist and singer with her music career stretched all the way
back to 1987. Professor Hooi was
determined to have Sans Self Tea Gathering’s Seven Unique Features and
Principles incorporated into the lyrics, a task she assigned to me. A song
would be a great way to open up a new dimension, but creating music for such lyrics was a challenge. We were glad
that Yudi accepted the invitation. Professor Hooi took her through the format and practice until she
warmed to it. It was a pleasant surprise
when Yudi shared the audio
tape with us — her melodious rendition not just transported us to but also guided us through a Sans Self Tea
Gathering with ease and
poise.
The book launch and song release was to be held at multiple locations in 2020. Unfortunately, COVID-19 disrupted
the editorial work and song production. Recording was eventually completed in
November, 2020. Officially launched on 1 December, 2020, “Anthem of Sans Self
Tea Gathering 2020” was released online for free; there is no album planned for
now.
As the bilingual text was being reviewed, Wood Talk
Publisher’s President Mr
Chen Lin Loong brought up the topic of overseas book sales. Oblivious to
business dealings, Professor Hooi nevertheless volunteered to take charge of
this. I was not entirely sure
whether it was Sans Self Tea
Gathering or the decade-long publishing process that had inspired her launch
into uncharted waters. To begin with, Professor Hooi is not easily discouraged
by challenges. She would squint at the small screen of her laptop, navigating
the technological maze and posting articles online at our website’s fledgling
stage. Today, contemporaryteathinker.com
is a treasure trove of the Way of Tea. The Chinese-English
edition of “Sans Self Tea Gathering” forged over twelve years is due in no small part to Professor Hooi’s
patience and perseverance. Indeed, her intuition about life’s true delights and
the unwavering pursuit of them is admirable.
The bilingual edition of “Sans
Self Tea Gathering” launched
in September 2022 is in English and simplified Chinese; it is hoped that a
bilingual edition in English and traditional Chinese would be published in
future. Over the years, Sans Self Tea
Gathering has gained a
following among tea aficionados in, among other regions and countries, China,
the United States, South Korea, Japan, Italy, Malaysia, Singapore and France.
With the book now available in English (in addition to the Japanese and Korean
editions published earlier), it is possible for us to get closer and build more bridges.
The book is by far the most comprehensive written work on Sans Self Tea
Gathering since its creation in 1990.
Back then, I envisaged a school of thought pertaining to the Way of Tea.
Sure enough, it has
developed into a mode of thinking and action more than a mere form of tea gathering. I hope you will get a copy and share a good
read with us.
译文是“Negative as
its connotation may seem, the term Land of Nothingness could be understood
differently. It may refer, figuratively, to a place devoid of any interference
— a condition that renders it conducive to unadulterated development and the
realisation of growth to come.”
将无何有之乡译为 ‘Land of Nothingness’ 是要点出‘无’的境界， 并呼应无我茶会 ‘有’(being) 与‘无’(nothing) 循环不息的特质。
‘Nothingness’ 一字在英语中带有负面含义。例如，剑桥词典将之解释为 “a state where nothing is present, or where nothing exists that is
important or gives meaning to life” （意即一切都不存在的状态，或没有任何重要或赋予生命意义的事物）。
要让英文版读者走进《庄子・逍遥游》的语境，我决定以 “Negative as its connotation may seem, the term Land of Nothingness
could be understood differently” 作为本条开端。这有别于原文的安排，用意在于提醒英译本读者即使The Land of Nothingness 有其负面含义， 此词在《无我茶会》内的解读和他们所认知的或熟悉的有明显差别。
下接 “It may refer, figuratively, to
a place devoid of any interference” ，借此解释The Land of Nothingness在这语境中是指一个没有任何干扰的地方，再来就是按原文翻译成 “– a condition that renders it conducive to unadulterated development
and the realisation of growth to come” 以带出“这世间本无可以阻挠你的事务，是可以自由发展的”的意思。
It has been more than ten years since I began learning about tea from Master Tsai. Although I have never attended
his classes, I have gained an understanding of the Way of Tea and an insight
into the aspiration of a genuine tea master through his writings.
Translating Master Tsai’s tea articles is a
decade-long journey of discovery. Feeling inadequate at the start, I have become more confident about the subject matter as time passes.
Translators don’t always get to
explore the thinking behind the source text. Following the author’s writing footprints over time is one of my most cherished experiences. I was engaged to translate a
book on Sans Self Tea Gathering after completing some translation
assignments on Master Tsai’s thoughts
and opinions.
Master Tsai is committed to nurturing and promoting Sans Self Tea Gathering, a unique manifestation of the Way of Tea he has created. There is a
detailed account of this in the book, which has been translated into several languages to help spread the concept and format internationally.
A favourite
beverage enjoyed the world over, tea is infused with
symbolism. It may mean different things to people from different cultural
backgrounds. Conveying the author’s intended meaning in
another language is a challenge; when done
correctly, it will
communicate the same message and deliver the same reading
experience to non-Chinese speakers.
Having said that, concepts such as “an unending cycle of being and nothing”,
practices such as offering tea in one direction “to eliminate the expectation of
reciprocity” and the unique perspective
of tea
being in the “Land of Nothingness” are
rooted in Eastern philosophies; they may not readily resonate with English-speaking readers. My priority was to carry
these concepts, practices and perspectives across linguistic and cultural divides.
Take the opening sentence of Segment 173 “The Land of
Nothingness: where tea is produced, brewed and taken” as an example.
“无何有之乡是说这世间本无可以阻挠你的事务，是可以自由发展的。” was translated as “Negative
as its connotation may seem, the term Land of Nothingness could be understood
differently. It may refer, figuratively, to a place devoid of any interference
— a condition that renders it conducive to unadulterated development and the
realisation of growth to come.”
The phrase “无何有之乡” (literally “The Land with Complete Absence of Everything”) traces its
origin to “Zhuangzi·Free and Easy Wandering” by Chinese
philosopher Zhuang Zhou. Master Tsai has used it to describe
an environment in which unhindered development is possible with the absence of
intervention. More specifically, this condition benefits tea throughout its
life cycle.
“无何有之乡” was translated as “Land of Nothingness” to create a link to the concept of “an unending cycle
of being and nothing” inherent in Sans Self Tea Gathering. However, the word “nothingness” may have a negative
connotation. For example, the Cambridge Dictionary defines it as “a state where nothing
is present, or where nothing exists that is important or gives meaning to life”.
To put the author’s intended meaning into perspective, the segment
begins with “Negative as its connotation may seem, the term Land of
Nothingness could be understood differently. It may refer, figuratively, to a
place devoid of any interference – ” . The use of explicitation is a means
to address possible differences in understanding and underline the context that will connect the readers with the author.
Translating “Sans Self Tea Gathering”
is an opportunity hard to come by. I sincerely hope that the English
translation will help Sans Self Tea Gathering transcend borders, cultures and
languages.
