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the book of tea(画慕)-及3何蛍

弌傍�� the book of tea(画慕) 忖方�� 耽匈4000忖

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difference in favorite vintage marks the separate idiosyncrasies of different 

periods   and     nationalities   of    Europe�察  �so    the   Tea´ideals    characterise    the 

various moods of Oriental culture。              The Cake´tea which was boiled�察�the 

Powdered´tea        which     was    whipped�察    �the   Leaf´tea    which     was    steeped�察�

mark   the   distinct   emotional   impulses   of   the   Tang�察       �the   Sung�察  �and   the 

Ming   dynasties   of   China。       If   we   were     inclined   to   borrow   the   much´ 

abused      terminology       of   art´classification�察     �we    might     designate     them 

respectively�察  �the   Classic�察  �the   Romantic�察  �and   the   Naturalistic   schools   of 

Tea。 

     The tea´plant�察�a native of southern China�察�was known from very early 



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times   to   Chinese   botany   and   medicine。       It   is   alluded   to   in   the   classics 

under the   various   names   of Tou�察�Tseh�察 �Chung�察  �Kha�察 �and   Ming�察 �and   was 

highly  prized   for   possessing   the      virtues   of   relieving   fatigue�察 �delighting 

the soul�察�strengthening the will�察�and repairing the eyesight。 It was not only 

administered as an internal dose�察�but   often applied externally in form  of 

paste to alleviate rheumatic pains。           The Taoists claimed it as an important 

ingredient of the elixir of immortality。           The Buddhists used it extensively 

to prevent drowsiness during their long hours of meditation。 

     By   the   fourth   and   fifth   centuries   Tea   became   a   favourite   beverage 

among the inhabitants of the Yangtse´Kiang valley。 It was about this time 

that   modern   ideograph   Cha   was   coined�察  �evidently   a   corruption   of   the 

classic Tou。 The poets of the southern dynasties have left some fragments 

of their fervent adoration of the ;froth of the liquid jade。; Then emperors 

used to bestow some rare preparation of the leaves on their high ministers 

as   a   reward   for  eminent   services。 Yet   the   method   of  drinking   tea   at   this 

stage was primitive in the extreme。             The leaves were steamed�察�crushed in 

a   mortar�察  �made   into   a   cake�察  �and   boiled   together   with   rice�察  �ginger�察  �salt�察�

orange peel�察�spices�察�milk�察�and sometimes with onions� �The custom obtains 

at the present day among the Thibetans and various Mongolian tribes�察�who 

make a curious   syrup of these   ingredients。             The use   of lemon slices by 

the   Russians�察  �who   learned   to   take   tea   from   the   Chinese   caravansaries�察�

points to the survival of the ancient method。 

     It needed the genius of the Tang dynasty to emancipate Tea from its 

crude state and lead to its final idealization。             With Luwuh in the middle 

of the eighth century we have our first apostle of tea。 He was born in an 

age    when    Buddhism�察      �Taoism�察   �and   Confucianism   were        seeking    mutual 

synthesis。 The pantheistic symbolism of the time was urging one to mirror 

the Universal in the Particular。          Luwuh�察�a poet�察�saw in the Tea´service the 

same     harmony      and    order   which     reigned    through     all  things。    In   his 

celebrated work�察�the ;Chaking; ��The Holy Scripture of Tea�� he formulated 

the Code of Tea。 He has since been worshipped as the tutelary god of the 

Chinese tea merchants。 

     The ;Chaking; consists of three volumes and ten chapters。 In the first 

chapter Luwuh treats   of the nature of   the tea´plant�察 �in the second of  the 



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implements   for   gathering   the   leaves�察  �in   the   third   of   the   selection   of   the 

leaves。     According        to  him    the  best   quality    of  the   leaves    must   have 

;creases like the leathern boot of Tartar horsemen�察�curl like the dewlap of 

a   mighty bullock�察�unfold like a mist   rising out of a   ravine�察�gleam like   a 

lake touched by a zephyr�察�and be wet and soft like fine earth newly swept 

by rain。; 

     The fourth chapter is devoted to the enumeration and description of the 

twenty´four       members       of  the   tea´equipage�察     �beginning     with    the   tripod 

brazier     and   ending    with    the  bamboo      cabinet    for   containing     all  these 

utensils。     Here     we   notice   Luwuh's      predilection     for  Taoist    symbolism。 

Also it is interesting to observe in this connection the influence of tea on 

Chinese   ceramics。         The   Celestial   porcelain�察  �as   is   well   known�察  �had   its 

origin in an attempt to reproduce the exquisite shade of jade�察�resulting�察�in 

the Tang dynasty�察�in the blue glaze of the south�察�and the white glaze of the 

north。     Luwuh considered the blue as the ideal colour for the tea´cup�察�as it 

lent additional greenness to the beverage�察�whereas the white made it look 

pinkish     and   distasteful。    It   was    because    he   used   cake´tea。     Later    on�察�

when      the tea masters of Sung took to the powdered tea�察�they preferred 

heavy   bowls      of   blue´black     and   dark   brown。     The     Mings�察    �with   their 

steeped tea�察�rejoiced in light ware of white porcelain。 

     In   the   fifth   chapter   Luwuh   describes   the   method   of   making   tea。   He 

eliminates      all  ingredients     except    salt。  He     dwells    also   on   the  much´ 

discussed   question   of   the   choice   of   water   and   the   degree   of   boiling   it。 

According to him�察�the mountain spring is the best�察�the river water and the 

spring water come next in the order of excellence。                 There are three stages 

of boiling�此�the first boil is        when the little bubbles like the eye of fishes 

swim on the surface�察�the second boil is when the bubbles are like crystal 

beads rolling in a fountain�察�the third boil is when the billows surge wildly 

in the kettle。     The Cake´tea is roasted before the fire until it becomes soft 

like a baby's arm and is shredded into powder between pieces of fine paper。 

Salt   is   put   in   the   first   boil�察  �the   tea   in   the   second。   At   the   third   boil�察  �a 

dipperful of cold water is poured into the kettle to settle the tea and revive 

the ;youth of the water。;           Then the beverage was poured into cups and 

drunk。      O nectar�      �The filmy leaflet hung like scaly clouds in a serene 



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sky   or   floated   like   waterlilies   on   emerald   streams。       It   was   of   such   a 

beverage   that      Lotung�察  �a   Tang   poet�察  �wrote�此   �The   first   cup   moistens   my 

lips    and   throat�察  �the   second    cup    breaks    my   loneliness�察    �the   third  cup 

searches my barren entrail but to find therein some five thousand volumes 

of   odd   ideographs。      The   fourth   cup   raises   a   slight   perspiration��all   the 

wrong   of   life   passes   away   through   my   pores。        At   the   fifth   cup   I   am 

purified�察  �the   sixth   cup   calls   me   to   the   realms   of   the   immortals。    The 

seventh cupah�察�but I could take no more�                �I only feel the breath of cool 

wind that rises in my sleeves。            Where is Horaisan�拭         �Let me ride on this 

sweet breeze and waft away thither。; 

     The remaining chapters of the ;Chaking; treat of the vulgarity of the 

ordinary methods of tea´drinking�察�a historical summary of illustrious tea´ 

drinkers�察�the famous tea plantations of              China�察�the possible variations of 

the    tea´service      and    illustrations    of   the   tea´utensils。       The     last   is 

unfortunately lost。 

     The   appearance   of   the   ;Chaking;   must   have   created           considerable 

sensation   at   the   time。    Luwuh   was   befriended   by   the   Emperor   Taisung 

��763´779���察     �and   his   fame    attracted    many     followers。     Some      exquisites 

were said to have been able to detect the tea made by Luwuh from that of 

his disciples。  One mandarin   has his name   immortalised by his   failure to 

appreciate the tea of this great master。 

     In the Sung dynasty the whipped tea came into fashion and created the 

second school of Tea。          The leaves were ground to fine powder in a small 

stone   mill�察  �and   the   preparation   was   whipped   in   hot   water   by   a   delicate 

whisk made of split bamboo。 The new process led to some change in the 

tea´equippage   of   Luwuh�察  �as   well   as   in   the   choice   of   leaves。     Salt   was 

discarded forever。         The enthusiasm of the Sung people for tea knew no 

bounds。      Epicures vied with each other in discovering new varieties�察�and 

regular tournaments were held to decide their superiority。                    The Emperor 

Kiasung   ��1101´1124���察  �who   was   too   great   an   artist   to   be   a   well´behaved 

monarch�察 �lavished   his        treasures   on   the   attainment   of   rare   species。   He 

himself wrote a dissertation on the twenty kinds of tea�察�among which he 

prizes the ;white tea; as of the rarest and finest quality。 

     The tea´ideal of the Sungs differed from the Tangs even as their notion 



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of life differed。     They sought to actualize what their predecessors tried to 

symbolise。      To the Neo´Confucian mind the cosmic law was not reflected 

in the phenomenal world�察�but the phenomenal world was the cosmic law 

itself。   Aeons      were   but   momentsNirvana   always   within   grasp。         The 

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