Tag Archives: the Way of Tea

喝茶慢的必要-许玉莲

喝茶慢的必要

许玉莲

2011.10月刊于中国《海峡茶道》杂志月刊专

谈到喝茶慢这个观念的时候,往往被讨论的是“这样喝茶很浪费时间”,我们要说,喝茶慢的“慢”并不是指时间的速度、进度的快慢、过程的长短,假使毫无节制、漫无目的泡,在茶席上爱喝多长久时间就喝多长久,那当然算浪费时间,不值得被推崇,又或以为把每一个泡茶动作比平常慢三拍就可以了,那也不对。

喝茶慢的“慢”代表一种细腻功夫:即使时代变得多么匆忙,大家生活得多么急促,喝茶时我们还是要能够运用时间,很有系统的安排出欣赏茶的时间,这个时间一定要花,有时它多,有时它少,我们都必须细心享用它消磨它,也唯有通过这样慢慢享用品尝,这杯茶才能为我们带来肉体及精神的受益。

1999年10月提出喝茶慢时就有人问为什么要“慢”?因为,我们认为茶是一个重要的饮品,它被我们喝进身体并深入影响我们将成为怎样的一个人,既然如此重要就必得购置一些制作工艺良好的茶叶。因为有了好茶叶,我们要忠实保留必然而且正确的茶叶滋味,所以要使用合乎逻辑和不破坏茶叶的茶法来冲泡。 因为要合乎逻辑和不破坏茶叶,所以要悉心地了解茶叶,用精准的方法把茶泡好。因为要把茶泡好,所以我们必须先要懂得享用茶的方法,要细细把茶喝好。因为要正确、精准、细细的态度把茶喝好,故此我们有必要知道什么时候要用什么装备,一一备好,连一分一秒都一一数过,慢慢把茶席做好,所以慢。

这种在泡茶过程中提炼出的一丝不苟的茶道精神,是希望踏踏实实专诚的泡茶、喝茶,不能把它视为多余或浪费,否则我们是没有办法安心享用它的。

如何才能做到“慢”?“慢”需要从决定做一场茶会、办一个茶席、或临时才知道下一刻有必要泡茶给大家品赏的这一刻马上开始做起,我们会先了解有些什么客人,他们从哪里来又要到哪里去?看看今天是个大太阳天还是雨天?他们刚吃过什么?这些微小的细节往往隐藏着应该泡什么茶来款待之的讯息。如果是预先安排好的茶会,当然会事先安排时间整理自身的整洁卫生以便适合泡茶,临时性的泡茶,一定也要争取机会先漱漱口清清口气,洗洗手清除异味与灰尘才入茶席。

茶席上备水煮水,倒水的功夫要练习到滴水不沾桌面,从不会有多余水滴流出壶外。摆放各种茶具时不可以草草了事,要轻轻的摆正在它们安身立命的位置,并且不发出任何不小心碰撞的声音。取拿茶叶识茶赏茶总是随时留意不让香气无故散失掉,茶量要取得刚好,茶叶不要有遗漏一颗在席上。泡茶奉茶时,心、眼、手的精神和感情要集中在同一个方向,手去到那里在做什么,心思和视线也必是同在一个所在。尝茶时要充分的深呼吸嗅闻茶香,把茶含在口腔里咀嚼一番才咽下,不要例行公事一口吞了就完了。

在有时间观念下训练出来的“慢”,不是散漫的“慢”,它包含了茶者极之纤细的考虑周到,整个过程分解得精细,而又心神俱在地操作熟练,因此让人感受到茶的丰盛,生活的精致。在“慢”中充满了激情的喝茶,我们将可从每一分每一秒每一香每一味获得更紧密更充实的内涵。

(20110909完稿)

 

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某某茶在奢侈品行列吗-20111123周三小方块-蔡荣章

某某茶在奢侈品行列吗

蔡荣章

20111123周三小方块 WEDNESDAY TEA CORNER

奢侈这个词给人的感觉是不好的,除了表示浪费外还带有炫耀的印象,但是在商品的分类上却有不同的意义,它代表着同类商品中价高的一级,而且高得跳出生活必需的范围而进入到了奢华的地步。这类的商品在自由与立足点平等的社会中是被允许,且有其需求的。这类商品出现在住宅、汽车、服饰,甚至于日常食用的鸡蛋中。

茶叶这几年在中国出现多起的特高价现象,每市斤(500g) 人民币一万、二万、三万,而且不只发生在某种茶类,绿茶发生过,普洱茶发生过,乌龙茶发生过,红茶发生过,这个现象引发了大家讨论茶是否可以进入奢侈品行列的兴趣。

茶之进入奢侈品行列当然不是全额进入,只是某些高端的商品项目进入,这些进入奢侈品行列的茶应该具备某些贵族相,如色香味俱佳、风格明显、合乎卫生,若属标示茶还得产区、品种、年份、季节准确,若属老茶还得品质佳、存放到位、年限可靠。

进入奢侈品行列还要有稳定的买卖市场,不能靠着市场的运作火红了一阵子,接着就沉寂了,随后又得靠某个机缘或另一次运作才再产生另一个贵族。奢侈品市场必须长期耕耘投资,在广大消费者建立地位、信心才行。这个印象建立后,这个茶贵族商品就可以一年又一年地卖这个价钱,成了奢侈品市场的一员。

茶商品的品质识别不易,要大家以奢侈品的价格正常地购买,这个信心必须大比例的建立在品牌上、建立在出品的厂商上。茶是文化性很强的一项商品,具备有进入奢侈品市场的优厚条件,起步之时不可不顾及基本条件而给人粗俗、奢侈、暴发戶的诟病。

 

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制茶、卖茶也要会泡茶喝茶-20111121周一喝茶慢-许玉莲

制茶、卖茶也要会泡茶喝茶

许玉莲

20111121周一喝茶慢MONDAY SLOW TEA

制茶与卖茶也要懂得泡茶喝茶吗,这常常是不懂、不愿也不喜欢的人问的问题,他们还加上一句“我会做茶就够了”,“我会卖茶就好了”。不会泡茶的人,当然没有可能把茶做好或卖好,制茶者不泡茶不喝茶,他永远不知道什么叫作好什么叫作坏,对茶叶了解只能流于表面而不能深透,比如有个茶叶即使投放量很多,泡出来味道还是淡然无味,亲自接触过泡过喝过后我们才知道原来鲜叶采得有点老了,真正明白茶叶的缺点在哪里,才能直接追到源头去改善制茶技术,不然制茶工序便变成刻板的规定而已。

懂得泡茶喝茶的卖茶者会把力气与心血投注在茶上,让喝茶者看到茶叶以茶叶应有价格感受茶之美喝到茶之真味。不懂泡茶喝茶,对茶的体会不深,往往将注意力转移到别方面,比如茶室的装修,他们会花好长时间述说一墙一木一水池价格若干、那块石头从哪里千方百计所购得、用于做茶席的原片树头多重多罕贵等,末了他们指挥几位小妹上阵泡茶,自己作观光客,小妹们打扮得装模作样在花费千万贯钱财设计的茶室里用花拳绣腿功夫泡茶,泡得难喝极了,这样卖茶多叫人恶心啊。

卖茶者要会泡茶喝茶,才有能力欣赏茶、给予茶足够的尊重,并找到货真价实的茶叶,监督茶叶品质,把好茶交到消费者手上。不泡茶不喝茶的卖茶者,可能会把只值五十元的茶用五百元买进来,导致消费者喝贵茶,他也有可能将一个值得三百元的茶泡得像只值三十元的味道,对不起茶叶之余也损失惨重,这样的卖茶者多了,将会造成茶叶市场不健康营运,使茶叶资讯以讹传讹,对茶文化发展并无益处。

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高校茶文化系要不要教茶艺歌舞-蔡荣章

高校茶文化系要不要教茶艺歌舞

蔡荣章

(2011.08月刊于中国《海峡茶道》杂志月刊专)

本文所说的茶艺歌舞是针对茶道表演而来的,我们认为有关茶的内容要超过60%才可以称作茶道表演,基于这个理念,我们先谈谈什么内容可以从茶道表演中删除。

有些编舞者认为直接伸手去提水壶泡茶太过简单,没有看头,所以在握住壶把之前要先来个“孔雀开屏” 的掌势。有人认为茶道是柔和的(谁知道) ,泡茶的每一个动作不可以直来直往,所以在打开壶盖放下壶盖时都要以弧形的路线前进,结果看到的尽是在茶具间画圈圈。尤有甚者,在动手泡茶之前、在冲水后等待浸泡的那段时间,会来一段双手或及于手臂的舞蹈,如宗教手印的演出。这些或许能加强主人想要述说的属于自己的茶道内涵,但由于离茶道的本体尚有一段距离,反而容易冲淡茶的浓度,反而容易降低茶道的俱足性。所以我们主张删除这些不重要的动作。

有些称作茶道表演的内容是经不起推敲的,如挂牌为唐代茶道但却不是唐代的泡茶方式,也不是那个时候存在的茶道思想,虽然穿了古代的服装。有些称作是现代茶法的表演,将第一泡说成为了卫生的理由必须先行倒掉,杯子必须在壶旁的茶船内侧身转动,称为烫杯,泡茶的功夫就从指头转动杯子的声音看出端倪的。这些茶道表演虽然不应该说成对或错,而只能说是好与坏,但其表演内涵的茶道占比一定是不足的。

有位从事茶叶买卖的业者表态怀疑,他说有次电视台到他店里采访,他就以老师教的那套较为平实、单纯的方式泡茶给他看,看到一半他就一副不满意的样子问道: 你会这样把壶在船缘上刮两圈、提着壶在每个杯子上点一点吗? 他回答说: 会,那位摄影记者就要他表演这一套,记者说这样比较有看头。这让我想起音乐厅的独唱会,这位记者一定会质疑: 那么有名的演唱家为什么连一点简单的舞步都不会,也舍不得配几盏灯光、僱用一些伴舞人员。他想到前几天在巨蛋球场的那场又唱又跳的音乐会,这时简直就要睡着了。

高校声乐系是不太安排娱乐性表演课程的,他们较注重声乐的基本功、音乐理论与思想的理解,天天练唱,天天练琴占去了大半的学习时间。数年下来,才有办法可以不要扩音器就可以让全音乐厅的人听清楚他的演唱,才有办法不依赖闪烁的灯光、伴舞的人员、以及亮丽的服饰与舞动的肢体就可以支撑100分钟高张力的独唱会会场。因为他要维护较高纯度的音乐,他尽量舍弃可能分散欣赏者注意力的项目。因为他是音乐家,他要以声音表达他的思想与美感境界,他不要因为自己功力的不足而必须借助太多其他的非声音媒介。

有些茶友会认为有了音乐相伴、增加一些肢体的舞动不是可以让茶道表演的气氛更加优美与有趣吗? 没错,但那是音乐与舞蹈在帮腔,观众或参与品茗者对茶的关注度是被分散的。如果有人解释为专心就不会被干扰,那又何必多此一举;如果有人认为配上这些元素会让茶道表演更有看头,那是因为茶道表演的内涵与张力不足; 如果有人认为配上这些元素可以增加更多的观众群,那又脱离了茶道表演的专业性与严肃性,要转移到茶艺歌舞的话题去了。

高职或高校的茶文化科系,其课程规划上应该以泡茶原理与实践作为核心的第一圈(茶汤是中心点) ,以茶叶制造、茶叶识别、茶会举办、品茗环境为第二圈,再佐以艺术,如书法、绘画、音乐、诗词等,与思想,如哲学、美学、宗教等课程为第三圈。如果行有余力,再加上美仪训练。要是将教学重心放在茶道表演或茶艺歌舞的创作、设计与实践上,将引导学生往表演效果努力,忽略了茶道的基本功力。这对茶文化長远发展是不利的。

(完稿于 2011.07.11)

 

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草庵式茶席的意义-20111116周三小方块-蔡荣章

草庵式茶席的意义

蔡荣章

20111116周三小方块 WEDNESDAY TEA CORNER

草庵式茶席是指简朴的茶道运行场所,不一定是茅草屋,而且这个茶席是作广义的解释,包括了简单的泡茶席以及含泡茶席在内的茶屋,这个茶屋可能还包含了茶庭。

为什么在草庵式茶席进行茶事活动会受到那么重视? 可能是茶天生带有的苦涩味与收敛性显现出适宜简朴的环境,可能是爱茶人受茶汤的启发而找出了一个与茶性相搭配的茶事场所,也可能与茶为伍的爱茶人其潜意识里就喜欢简朴的空寂环境。

简朴是好的,它不浪费你太多时间在装扮的部分,也可以藉空寂的环境帮自己潜沉下来。有些人在设计茶席时花太多的精力与财力在美化与出奇制胜上面,结果转移了茶席主人与茶会客人对茶道主题的注意力,这是舍本逐末的做法。即使生活的环境亦如此,住家是让自己休息、增补的地方,如果建设得太复杂,得花许多时间照料,如果装扮得太华丽,长时间待在里面也容易疲劳。对财富、名誉亦是如此,简朴才不致疲于奔命。

简朴与粗陋不同,简朴是精致的,即使看来随意仍然用心到位,即使家財万貫,才高八斗仍然平铺直叙。这样的简朴不太容易直接切入,经常必得从繁复处绕个弯才会到达。谈到哪位大茶人的茶屋是草庵式,哪位大事业家在山里盖了一间草寮居住,很多人会不以为有何了不起,他会说: 我从小就住那样的房子,以此论功力,我不输给他们。

草庵式不应该只是建筑型态的一种称呼,而还要是思想、行为上的一种习惯。只是为了让自己拥有简朴、空寂的形象,而花大把钱建构这样的茶席是没有意义的。从有入无易,从无入无难。 (2404)

泡坏了,不改茶的真面目-20111109周三小方块-蔡荣章

泡坏了,不改茶的真面目

蔡荣章

20111109周三小方块 WEDNESDAY TEA CORNER

把茶泡好本来就是泡茶人,尤其是茶人的责任,我们必须很忠实地表现该泡茶叶的本质,否则对不起茶叶,对不起做它的制茶师傅。前面所说的要忠实表现茶叶的本质当然是指表现它最好的状况,不能说成什么茶汤的状况都是该泡茶的品质。

但是现在我们要说说“不管泡成什么样的茶汤状况,都不能改变原本这泡茶叶的真面目” 。因为我就是我,泡得好是我原来就具备的条件,泡得不好是你的技术不佳,我还要告你侮辱了我呢。

谈这何用? 是要说到评茶师的能力,一位称职的评茶员必须能在没泡好的茶汤中认清楚这泡茶的真面目。为什么,因为这泡茶原本是极佳品质,只因为操作的人员没有泡好,就把它判定为中等茶,对吗? 你说这太苛求评茶人员了,没错,那如何让评茶员容易做到呢? 让他知道这泡茶是如何泡成的,诸如水质、水温、冲泡器、茶水比例、浸泡时间。有经验的评茶员可以依据这些因素推论该泡茶应有的品质,或是要求重新冲泡过。

一般茶友也可以依照这样的思路培养自己的评茶能力,这个能力的基础是对各项影响泡茶因素的理解,也就是上面所说的水质、水温、冲泡器、茶水比例、浸泡时间,以及对茶叶本身品质的认知。这个能力不只能用在评茶,赏茶、与茶为友时也很管用。到茶行买茶,看到店员在壶内放了1/4壶高档、轻发酵、紧结外形的时髦安溪铁观音,没温润泡,开水冲满壶后约50秒就将茶汤倒了出来,你喝了不要只嫌它味薄,而要从这样冲泡情况下的色香味反推到如果浸泡到1’30” 时会是什么样子。当然也可以因这时的味薄而要求更便宜的售价。 (2254)

新生命-20111107周一喝茶慢-许玉莲

 

現 代 茶 道 思 想 網 創 建 者蔡 榮 章 許 玉 蓮

新生命

许玉莲

20111107周一喝茶慢MONDAY SLOW TEA

茶叶的第一回生命:鲜叶,刚采下时充满丰沛水分,如果没有得到爱护与照顾,让叶子漫无目的一直晾着,她会不知不觉把水分消耗殆尽,最后只能变成失去生命的枯叶。

制茶,便是有计划性地延续叶子生命,并保留当时她最巅峰的色香味,人们要做的是必须细心将她的水分慢慢拿掉。如何让叶子在完美无瑕的情况下消失水分稳住叶子的最佳状态是制茶者之成为制茶者的使命,让叶子部分水分在制茶过程中消失其实是茶叶要成为茶叶的第一场圣战,她毫无保留将自己交给制茶者,冷热自知,有时她凯旋获得第二生命有时她不。

鲜叶的第二个生命:茶叶,什么时候会复活呢,当人们泡茶时她就复活,这是茶叶之所以成为茶叶的终极圣战,茶叶一定得被泡,泡了一定得被喝,这样茶叶才能活在人们的身体里灵魂底深处,这样她才知道人们是如何的深爱着她,没有被冲泡和喝过的茶叶是活不出生命的。

泡茶,是让水进入茶体,互相滋养与浸润,茶汁就会从茶体涌出并渗透水中与之交融,这时水不再是水,茶叶不再是茶叶,而脱胎换骨成新生命:茶汤。

有说何必麻烦,泡茶时只要能把茶味迫出来即可,比如壶小、茶多、水热都是能把茶味迫出来的手段。不,茶味是迫不出来的,壶小、茶多、水热这样仓促浮躁的情况,茶叶会泡不开,到时有的只是茶叶表层之味,此味是不足够强至渗透进水与水混为一体的,茶叶只会白白牺牲。

茶汤是水与茶叶密密实实地紧紧拥抱—-茶体要酥软酥软的摊开接受水的冲击,水要激情的流进、占据茶体,足够深切地震荡入茶心,茶叶才能释出芬芳的精华让人们享用她,茶汤是水与茶叶互相献祭献出自身宝贵生命而繁衍出的另一个生命体。

许玉莲

 

  (2424)

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

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:

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). (2409)

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

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

the path4

境界5 the state of being5

目的 a goal6

新生命的起点7  a new beginning7

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).

(2498)

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

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 :

1 Tea Guru1

泡茶师Tea brewing master2

泡茶师箴言3 Tea Brewing Masters’ Motto3

茶艺师Tea Art master4

茶道师5  Master of the Way of Tea5

泡好茶6 brew a good pot6

茶道 the Way of Tea7

茶汤 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:

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) (2256)

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

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 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:

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). (2440)

Beauty in Emptiness and Solitude-Rong-tsang Tsai

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 gurusMurata 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.

—–

以下为文内之编码 Coding in the text:

空寂之美1 beauty in emptiness and solitude1

茶道 the Way of Tea2

3 bitterness3

4 astringency4

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

茶禅一味‘oneness of Zen and Tea’6

《茶经》7 Classics of Tea7

精俭 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).

  (2324)