Through frequent reading of books on tea culture and history, as well as tea poetry and paintings, I have accumulated a deep understanding of what it means to be a “tea person.”
Ancient tea aficionados had several characteristics, the most important of which was a profound knowledge of tea culture. Chinese tea culture has a long and rich history, dating back to the Tang Dynasty when Lu Yu (733-804), the Sage of Tea, wrote “The Classic of Tea.” A little later, Liu Zhenliang, a courtier in the Tang Dynasty, was knowledgeable about tea and its consumption, proposing that tea possesses “ten virtues”: “Tea disperses melancholy, drives away drowsiness, nurtures vitality, dispels illness, facilitates etiquette and benevolence, expresses respect, allows one to savor flavors, nourishes the body, enables the pursuit of Dao, and elevates one's aspirations.”
The tea culture theories of Lu Yu and Liu Zhenliang were enriched and developed by generations of tea enthusiasts, forming a comprehensive Chinese tea culture that encompasses knowledge of tea, water selection, tea brewing, tasting, and the choice of tea utensils, as well as the appreciation of tea poetry, literature, calligraphy, paintings, and seals.
Xu Cishu was a scholar and tea aficionado from the Ming Dynasty whose work “The Tea Manual” has been passed down. He described the setting for tea drinking: “Playing music while viewing paintings, clear windows and clean desks. Sunny weather, light shade, light drizzle, small bridges and painted boats, dense forests and tall bamboo.” This description creates a distinctively Chinese tea ambiance that is different from those of Japan and Korea. The atmosphere is important in tea drinking. In a small environment surrounded by green bamboo and flowing water, evaluating tea and Teapots, discussing poetry and painting, playing music and singing are all essential parts of a tea enthusiast's activities.
Throughout history, tea enthusiasts not only chose their tea, water, utensils, and companions but also had unique tastes and aesthetic standards for their tea-drinking environments. In his poem “Hearing That Official Cui Stayed at the Ba'en Temple in Guan Kou,” Cen Shen of the Tang Dynasty wrote: “I hear you sought out a wild temple, staying in Zhi Gong's quarters. Cold moonlight bathes the deep temple halls, clouds gather along the winding corridors. Lamp lit, the pine forest is quiet, the smell of tea wafts through the wooden door. Though I cannot join you, my longing grows deeper.”
Guan Kou is located in Sichuan's Dujiangyan. Ba'en Temple is one of the oldest Buddhist temples in Suzhou. On his way to take up office in Guan Kou, Official Cui stayed overnight at Ba'en Temple, where Zhi Gong once resided. Zhi Gong, also known as Dun, was a famous Buddhist scholar of the Eastern Jin Dynasty and the forefather of Buddhist tea. During his travels teaching Buddhism, he stayed at Ba'en Temple. The poem describes the environment for burning firewood and brewing tea: a bright moon, deep temple halls, a quiet pine forest, and misty corridors.
Zhu Quan, the seventeenth son of the Ming Dynasty's founder Zhu Yuanzhang, spent his later years living in the mountains, studying music and delving into the art of tea. In “The Tea Book,” he proposed this view: “Living outside the mundane world, separate from the stream of society, untouched by secular customs; meeting among springs and stones, dwelling beneath pines and bamboo, or facing the clear moon and gentle breeze, or sitting by bright windows and serene chambers.” These lines paint a picture of the setting for tea gatherings: accompanied by springs, stones, pines, and bamboo, with clean windows and fresh air, under a bright moon and gentle breeze.
When someone obtains fine tea, they must share it, a virtue and custom among tea enthusiasts. Topics during tea tasting naturally include tea evaluation, water discussion, and Teapot appreciation, as well as the candid conversation of scholars about worldly matters. Sharing among tea enthusiasts is often depicted in tea poetry.
In his poem “Cheng Prefect of Shu State Sent Me Bird Beak Tea, To Which I Respond in Eight Stanzas,” Xue Neng of the Tang Dynasty wrote: “Bird beak tea, plucked whole, its essence surpasses Mo Ye. Brewed just after drinking wine, its flavor surpasses all teas. … Having received it, I set aside Daoist elixirs, carrying it to the monastery. Suddenly, my cup seems shallow, and I fear the next delivery will be delayed. I am deeply grateful for your kindness, this gift rivals cinnabar.” Bird beak tea is produced in Chaozhou, Guangdong, later known as Phoenix Water Fairy. Named for its bud shape resembling a bird's beak, the poet writes that upon receiving the bird beak tea, he even put aside elixirs and rushed to the temple to drink it with monk friends.
Su Shi's “Three Poems Gifted to Master Bao Anjing With Tea” can be seen as three diary entries, telling a complete story. One day, Su Dongpo visited a temple and coincidentally encountered an old friend brewing Rizhu tea (also known as Rizhu tea, produced on Rizhu Ridge in Kuaiji Mountain, Shaoxing, Zhejiang—the site where King Goujian of Yue cast swords). After drinking it, Su Dongpo praised its color and taste, believing he would not be sleepy that night and would be inspired to write poetry. The next day, the monk gifted him some Jian tea (produced in Fujian's Jianzhou) from his jar. Su Dongpo, upon receiving the gift, planned to use it to stay alert on future boat trips and thought of another tea enthusiast, Master Bao. Three days later, Master Bao was drunk, and the poet generously transferred the gift to help sober him up, reminding him not to drink the tea cold but to enjoy it hot.
A shared interest and temperament bring tea enthusiasts together as close friends who find joy in sharing fragrant tea.
Tea enthusiasts also often possess compassionate and broad-hearted benevolence. While enjoying the aroma of tea, they see the hardships faced by tea farmers. Li Ying of the Tang Dynasty, in his poem “Song of the Tribute Tea Mountain,” described the hardships of tea farmers who worked day and night making tea during the early spring of March, while the officials collecting tribute tea acted arrogantly, merely so the emperor could drink Mingqian tea at the Qingming Banquet. Such poetry, which delves into the social contradictions and expresses concern for the difficulties faced by tea farmers, is rare and valuable.
The poet hopes that the “official” overseeing the production of tribute tea can advise the emperor to improve the miserable situation of the tea farmers. But can relying on loyal ministers and good emperors really change the plight of the tea farmers? This is a limitation of the poem.
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