國際茶亭 December 2019

GLOBAL EA HUT Tea & Tao Magazine 國際茶亭 December 2019

茶 的 茶舞 台 Chaxi 席 The Stage for Tea GLOBAL EA HUT ContentsIssue 95 / December 2019 Tea & Tao Magazine Root樹根

This month we are going to walk the stages of tea, “chaxi.” This includes all the decorations, music and incense that surround a tea session and bring the oc- Love is casion to life in celebration of a unique moment in the world and in tea. And we will warm ourselves changing the world with some great shou puerh as we admire the flowers at our tea gathering. bowl by bowl 特稿文章 Features 33 茶席 53 17 Chaxi: The Stage for Tea By Shen Su (聖素) 33 The Art of Chaxi By Chen Yu Ting (陳郁婷) 37 Chaxi & Tea Life 43 By Ju Lizhi (琚利智) 43 Formal Chaxi for an Event By Shen Su (聖素) & Connor Goss 53 Arranging a Chaxi: The Beauty of Nature By Tsai Yizhe (蔡奕哲) 17 一期一會 世界唯一處覓得茶

Traditions

03 Tea of the Month “Root,” Shou Puerh, Bulang, Yunnan, China © 2019 by Global Tea Hut 61 TeaWayfarer All rights reserved. Mariana Rittenhouse, USA recycled & recyclable No part of this publication may be reproduced, stored in a retrieval sys- tem or transmitted in any form or by 樹 any means: electronic, mechanical, 布 photocopying, recording, or other- 朗 wise, without prior written permis- 山 根 Soy ink sion from the copyright owner. n December,From the weather is cool in Taiwan, especiallythe renew my Qigong editor practice and finish some of the many unfin- in the evenings. We tend to drink more aged puerh, ished books I have in various states of completion. And as the Five Element tea and also Cliff Tea and aged Taiwanese Universe does, the moment I made this decision, a small, but oolongs. This is also the time of year when all of this clean and beautiful house showed up and we signed a lease… Iyear’s cakes have arrived and cooled off after their processing, Now, we can stand back, catch our breath and allow Light allowing us to start to really get to know them. There are some Meets Life to unfold slowly and without any pressure. All the amazing and unique teas this year, as well as some everyday places we have looked at, and shown you in videos, are still on drinkers that are also clean and solid. We love when the com- the table, but there is no stress to make a decision right away. munity starts posting about these teas too and the legends of As I head into retreat and the Center decreases to a mini- the future are born. Speaking of legends, we dug into some mal staff, something also needs to change in Global Tea Hut. Inner Path recently, and the session was outstanding. How We have spent some months discussing many, many different many of you remember that special brick? At a glance, I would options, and many of you have weighed in with suggestions, say the Boundlessness red will be this year’s “cake to remem- which has been very helpful. In the end, we have decided to ber.” rock the boat as little as possible. Amongst the many radical There is so much going on for us, it is hard to summarize it changes, we have decided to just decrease the size of the maga- in this letter. When we found out we had to move by the end zine every month. Many of you even said that this change was of the year, we were overwhelmed. It was very hard to cancel welcome, as the magazine is hard to read in a month. You can the ten-day courses remaining this year, let alone to face the expect the same amazing translations, in-depth content unpar- prospect that we have no idea when courses will resume. And alleled in the English-speaking tea world (with almost twenty there is still an onslaught of emails regarding future courses issues that are the largest English publications on their topic) to face all the time. Also, the guests at our courses are our and same community, fellowship and, of course, amazing teas personal inspiration. It is easy to put in all the hours of work you have grown used to. Everything will be the same, only less to maintain the Center and this magazine when it is all sup- pages. This change need not be permanent, either. We may porting this free Center and you can sit back and experience go back up to sixty pages a month someday, but for now this the effects these courses are having on people—changing lives change is necessary for many reasons. is the fuel of this train. Without that, we would only have the This issue is a special deep dive into the stage on which we future possibility of Light Meets Life to drive our work. make our tea, called “chaxi (茶席).” We have some amazing Like good warriors of light and love, we got to work—hard articles on arranging your stage to have tea ceremony that we work! We started fundraising online, and I started traveling know you will love, along with some very special tea to share around looking for resources, while we also scouted around with our prayers of light and love as we move into this new for a possible location for Light Meets Life. An all that was chapter of our lives. Thank you so much for your continued on top of our normal heavy workload. After a few months of support, which is needed now more than ever! this rushing, I realized one day that we had lost sight of the fact that we are in this for the long run. Our aim is not just to create a free tea Center for Chajin now, but one that outlives us all and is used by future tea lovers who want to learn these brewing methods as well as our approach to tea. I realized we had to slow down and let Light Meets Life evolve organically, Wu De freely and in the best possible way. We owe it to future genera- tions of Chajin to choose the right place, not just what is most available now. As soon as I opened my heart to the possibility of slowing down and doing things right, which we would have done any- way had we not been forced to move, an unexpected, yet wel- come wave of vulnerability overcame me, and I realized that I –Further Reading– also need a breather. Light Meets Life will be a lot of work, and I need to catch my breath as we set out down this new road, which will be harder and more intense than any chapter in my This month, we recommend using the search life. The last seven years, I have traveled on average six months function on the archive (on our website). Try a year, often completing two magazines in the interims I am searching for “chaxi,” and you will find many home while also helping with ten-day courses. I am not as calm amazing articles on this month’s topic. This is a as I would like, and my practice has suffered. As hard as it is great idea in general, and we should all be search- to share with you all, I must admit I need a break to meditate, ing regularly!

2 of the

ver the course of this month, we will be drinking Inconsistency in raw material means that most shou is a beautiful and rich shou puerh from Bulang created from random leaves blended, that the fermen- Mountain (布朗山) in Yunnan. It is hard to tation process goes on to completion and that batches find clean shou puerh these days, but this is from a cer- are rarely passed on from year to year the way they once tified clean farm. We also had it piled skillfully without were. Since this method requires less skill, the knowl- over-fermenting the tea, which is so common for shou edge and acumen needed to create fine shou puerh is tea nowadays. This tea is rich and creamy and a beau- also dying. tiful, grounded, everyday tea for drinking through the It is hard to find a shou with good raw material, like cold season. It is warming and bright, with hints of cam- Root. Mostly, factories just blend whatever didn’t sell as phor and a centering flavor. This will be a staple for the sheng and fully ferment it by piling for forty-five to sixty community this year. days. For the same reason, it is also hard to find clean One of the reasons that shou puerh has fallen in qual- shou puerh as well. Maocha from good gardens and old ity over the last decade is the instability of the market trees is so expensive that no one wants to use it for shou and climate. Back in the day when maocha was not so puerh anymore. One of the ways around this is to use pricey, factories had access to a much higher degree of late-season, and therefore cheaper leaves, called “huang consistency. In most regions we travel to, farmers com- pian (黃片).” The Root has some later-season leaves from plain to us about the inconsistencies in the seasons and slightly older trees, though these larger leaves aren’t weather (rains, for example) and the challenges this quite large enough to be called “huang pian.” The addi- brings to the production of fine tea with annual consis- tion of some better tea mixed with younger-tree leaves tency. This means that even the same tea from the same makes this a nice blend, while still remaining affordable. trees has less consistency in quality, flavors and aromas It is also rare to find a shou these days that was in- that it once had when factories received similar maocha tentionally produced, meaning that a maker set out to back in the 1980s (there was never absolute consistency, create a nice shou puerh, as opposed to making shou as just a higher degree). Inconsistencies in the market are a byproduct of leftover and/or lower quality sheng. It is also influential, as prices can fluctuate greatly from year mostly made by so-called “boutique producers,” which to year, and this means that factories cannot use tea they are small labels that create small amounts of puerh—usu- did the previous year, as demand has taken it from them ally companies started by puerh lovers looking to share or driven the price beyond what they can spend. their passion with others. This shou is smooth and clean, The consistency in the golden age of shou throughout with a powerful and earthy energy. It’s an amazing tea the 1970s and 80s meant that the factories could create filled with earthy love and light that is great for drink- blends and then have the years they needed to perfect ing and aging. The old-growth material inside makes the the fermentation process through trial and error—fer- Qi wonderful. It brews up thick and rich, with a creamy, menting different blends to different degrees depending frothy goodness. The “piling flavor” is not quite gone yet, on what raw material was in the blend. It also meant that as that will take some years, but it is not too strong to they could continue the batch of microbes from year to enjoy the tea now. If you like the Root, you can also pick year, batch to batch—using slur, water or even leaves to up a cake on our website! They are going fast, though, so pass on the microbial colony from one batch to the next. you should do so soon!

3 Root Bulang, Yunnan, China 熟布 朗 Shou Puerh 普山 Bulang Aboriginals 洱 ~1,500-1,700 Meters 樹 根 Tea of the Month

A Deeper Session Further Exploration into Our Tea of the Month

ver the course of this month, In order to better understand tea oolong and puerh, as they traditionally we will be drinking the Root, processing, we also have to return to a have “finishing” steps that occur later 茶a beautiful shou puerh from review of oxidation and fermentation. and sometimes at a different location OBulang—perfect for the cold weather Oxidation is an enzymatic process: from where the tea is initially pro- most of us are facing. Ordinarily, we basically, cellular breakdown due, of cessed. In puerh, the tea is processed think of shou as everyday, lower qual- course, to the exposure to oxygen, like fully (dried) and then sent to a facto- ity tea. But shou can be produced with when a banana or apple turns brown ry to be blended, compressed or made skill and has its own standards of eval- on the counter. Fermentation is simi- into shou. And even back in the day uation. One cannot judge a shou with lar, but it is metabolic and involves the when the final steps were done at the the same criteria one uses to judge a presence of bacteria and other micro- farm, they were still done at a later date young or aged sheng. This month, we organisms, like the changes in yogurt, (sometimes months later), so the term will dive deeper into a conversation cheese or alcohol. Sugar is converted “maocha” was still relevant. In oolong, about quality in shou puerh, but as into acids, gases and alcohol. This dis- it refers to unroasted tea. The reason usual, we will first review some general tinction is important in understanding the finishing steps in these teas are puerh and shou information… tea, and especially shou puerh, because completed later is because the farm- Let’s start with the basics of puerh. many kinds of tea are withered (oxi- ers have to focus on finishing the har- To begin with, we have to start by di- dized) to change the chemistry of the vested tea on the day it is plucked or viding puerh into “sheng (生)” and tea and remove moisture from the brit- the quality will suffer. And since there “shou (熟).” “Sheng” means “raw” tle leaves before processing. But puerh is freshly picked tea coming in every puerh; it’s the greener, more astrin- is also fermented post-production, morning during the harvest season, gent kind of puerh, which can be en- which means it has a strong relation- they have little time to sleep, let alone joyed when it is young and fresh or ship to microorganisms—whether it is finish the tea, which can be done later. aged to ferment naturally over time. naturally fermented (aging) or artifi- These days, with regards to puerh, al- On the other hand, “shou,” which cially fermented in the factory, as with most all maocha is sent to be finished means “ripe,” is artificially fermented shou. Over time, puerh both oxidizes at factories that want control over the by humans, so it is darker to begin and ferments. These natural changes finishing steps like blending, choosing with. The words “sheng” and “shou” are more pronounced in sheng than sheng or shou and also deciding what are used in Chinese to discuss food shou. But we’ll get to the aging of shou size or shape to compress the tea into. as well, referring to “raw/uncooked” in a bit. But before we get to the factory, let’s versus “cooked” meals. The terms also Like many genres of tea, puerh understand what maocha is. describe the ripening of fruit. Under- starts with “maocha (毛茶),” which Puerh maocha is harvested, with- standing this distinction is important means “rough” or “unfinished” tea. ered out- and indoors depending on for exploring puerh, and specifically You’ll hear this term discussed most the place/tradition and the weather, shou puerh, more deeply. often with regards to the genres of fired (sha qing, 殺青) to arrest the oxi-

5/ Root, (Shu Gen, 樹根) dation of the withering and de-enzyme sheng puerh, which can then be en- If the tea is destined to be loose-leaf the tea, and rolled (rou nian, 揉捻) to joyed young or aged for later. The tea shou, then the tea will be stirred and shape the tea and further break down is steamed, compressed and dried on dried like this thoroughly. If the shou the cells. Puerh tea is then sun-dried, racks (often with fans, but tradition- is to be compressed, the second stage which is unique in tea. ally in the sun), before being wrapped of piling will be cut short while the tea The two defining steps that make individually in natural paper and then is still slightly damp. puerh unique are the firing and dry- often wrapped in stacks made of bam- Shou tea has to be compressed be- ing. The de-enzyming of tea is done to boo skin called a “tong (筒).” But if the fore it dries—right after the piling. stop the withering and also to remove tea is to be shou, it has a whole other Some factories do compress aged loose- green enzymes that make the tea bitter journey to travel. leaf shou later, but doing so always and astringent. Like most teas, puerh is Shou puerh is artificially fermented damages the quality of the tea. Once fired in a wok (often wood-fired), but by piling in a process called “wo dui shou tea dries, the leaves are tight and it is done at a lower temperature and (渥堆),” which is essentially compost- twisted from the heavy fermentation, for a shorter duration than most kinds ing: the tea is piled to about a meter, so getting them to stick in a cake at a of tea. This, along with the varietal of sprayed with water and usually cov- later date requires a much heavier, hot- puerh, is why young sheng is so bitter ered with a thermal blanket. The heat ter and deeper steaming than with oth- and astringent. Puerh is fired in this inside is why shou is sometimes called er puerh, which affects the quality of way to allow the heat-resistant spores “cooked” puerh. The pile is then stirred the tea, lending it boiled-tea flavors. It to survive the processing, since they regularly until the desired degree of is, therefore, always better to compress will be paramount in the post-pro- artificial fermentation is reached. To shou right after piling. If one wanted duction fermentation process. The fully ferment the tea takes between to use aged tea, it would be better to sun-drying is what also separates puerh forty-five and sixty days. With com- age the maocha as sheng and then pile/ from most kinds of tea, and it is done pression and drying, it’s three months. compress it later, when it has matured for the same reason, since sunlight and Shou piling actually happens in to the desired age. heat are just what the spores need to two phases: wet and dry. The first, start colonizing the tea again. wet-piling, is more a fermentation of After the maocha is dried, it leaves bacteria breaking down the cells of A Brief History of Shou the farm for the factory. However, it the puerh. This piling is much deep- is ideal to finish the tea at the source, er, usually a meter. During the second, Deciding when to begin the histo- since the water and micro-ecology will drier piling, the thermal blanket is re- ry of shou puerh depends on how we be unique for each place; but that rare- moved (if one was used) and the piles define shou. If shou is any artificially ly happens nowadays. The tea is then are thinned out (usually to around fermented puerh, then it is actually blended or left single-region and com- 20 cm). This is where the yeasts and old. Aboriginals have been artificial- pressed into various shapes of cakes as molds become more active in the tea. ly fermenting puerh tea for centuries.

6 Tea of the Month They roast it, bury it, stuff it in bam- out into browns, then auburn and ma- was inspired by the “traditional” wet boo, etc. Different tribes had different roon, with a golden ring at the edge. storage—shou puerh is, in fact, the ways of consuming puerh, but it was The tea will change beyond that, gain- wettest of wet storage. Wetter piles rare to drink it young and green. It ing depth in Qi and flavor, but those also work faster. Finally, the factories was considered astringent and “cold” changes will be for the next generation. in Yunnan added the thermal blanket in Traditional Chinese Medicine, and Of course, puerh can be enjoyed long to increase the speed and degree of fer- therefore, not so healthy for most before full maturity—even thirty-year- mentation. Chinese people who have “cold” con- old puerh is marvelous. Nonetheless, It may go without saying that the stitutions. Consequently, most tribes it is easy to understand why produc- puerh factories were not successful in developed their own ways of artificially ers, distributors and consumers would reproducing in a month what Nature fermenting, roasting or boiling puerh look for ways to speed up a process makes in seventy years. Like “tradi- to make it more palatable. For the sake that is measured in decades, or even tional” wet storage, the shou process of this discussion, however, we are go- generations. of artificially fermenting (piling/com- ing to restrict the term “shou” to its The process of speeding up fermen- posting) the tea reduces its quality in modern sense of piled puerh that has tation began long ago with wet storage. terms of flavor, and even more so in gone through wo dui. Puerh lovers, especially in Hong Kong, Qi, sacrificing much of the energy of Piled shou puerh is a modern sub- would carefully store their tea for a few the mountain and tree. What they genre, beginning in the 1960s. In years in warehouses near the sea or in were successful in achieving was add- most books and articles, you will find basements with very high humidity, ing complexity to puerh by creating a either the dates 1972, 1973 or 1974 occasionally rotating it to higher, drier sub-genre that needs to be understood listed as the beginning of shou puerh. warehouses. This “traditional storage” and evaluated on its own terms. You There was some confusion, but recent would greatly speed up the fermen- really cannot compare shou to sheng research into historical records has ver- tation process, decreasing the quality in any meaningful way, whether the ified that 1973 is the correct date. That of the tea, but allow people to enjoy sheng is young or aged. is the date the government licensed the it much sooner. In those days, the raw first commercial production of shou material used to make puerh was very puerh tea for sale, starting with the inexpensive (especially compared to Kunming factory. However, research these days), so they didn’t mind such A Dying Art and under-the-table batches were be- compromises. Factories wanted to ing produced as early as 1965 (per- speed this up even more, inspired by In recent years, much of the skill haps even earlier). It took the factories the artificial fermentation that was and craft that goes into making fine a number of years to demonstrate a already very established in the black shou puerh has been lost. Overall, the consistency, safety and quality that the tea industry of next-door Guangxi, puerh market has gone through many government would license (all factories which produces Liu Bao. Guangxi and changes over the last fifteen years. were state-run during the Communist Yunnan had already been exchanging Sheng puerh has also changed a Era, beginning in 1949). We actual- raw material and ideas for decades, so lot, which has affected shou puerh as ly have a ‘60s shou brick here at the it came as no surprise that research- well. As more and more tea lovers have Center. Most of the batches from that ers from factories in Yunnan would started consuming young, green sheng time were done for research, though it one day show up in Liu Bao to study puerh, the criteria for evaluating sheng is likely that the factories tried to mit- the artificial fermentation there. Of puerh has changed: Back in the day, all igate costs by selling some of this tea course, they had to adapt the process, sheng puerh was evaluated based on illegally as well. because the varietals, trees and leaves its candidacy for aging—its “age-abil- Sheng puerh takes seventy years to of Yunnan are different from Liu Bao ity,” in other words. But nowadays, reach full maturity. That number is not and other black teas, and also, perhaps more sheng is consumed young, which arbitrary. As sheng puerh ages further more importantly, the microbial ecol- means tea lovers now evaluate it on its and further, the aging process itself be- ogy is very different. The “microbial “drink-ability,” which, for us, is to say gins to slow down. The cells crumble terroir” is why various kinds of beer in the Ten Qualities of a Fine Tea. And onto one another and the fermentation Germany, wines in France or even Mao the two sets of criteria don’t always line therefore relaxes. Even a beginner can Tai alcohol in China are not reproduc- up, meaning that a tea that is great for tell the difference between a one- and ible elsewhere, despite many attempts long-term aging is not necessarily great three-year-old puerh, just as the differ- to forge famous examples. The same for drinking young, and vice versa. ence between five and ten years is ob- is true of cheeses, which will be very Many famous vintages of puerh, like vious. But the differences between ten, different when fermented in different Red Mark (紅印), were notoriously fifteen and twenty years become harder places, even if the milk and cultures are bitter when young. Usually, if a tea is to distinguish, requiring more experi- the same. to be aged long-term, it must be bit- ence with aged and aging puerh. Af- The main difference between the ter and astringent, strong and vibrant. ter that, even the experts have to start piling of shou and other black teas is If a runner is already weakening five gauging the tea in terms of decades. that the piles are deeper, wetter and kilometers into a forty-two kilome- At seventy years, the physical ap- hotter. The thicker, larger leaves of ter marathon, he probably won’t go pearance of the liquor will not change large-leaf Yunnanese puerh require a the distance. This has all resulted in anymore: black in the center, moving deeper pile, and the wetness perhaps great changes to puerh production,

7/ Root, (Shu Gen, 樹根) as producers move towards meeting a that happens slowly over time breaks gardens and older trees is so high, if a demand for drinkable young sheng tea. the cells down in a much more gentle, producer tried to create a shou tea from They have begun to process their puerh smooth and clean way, as opposed to this material, she would have to sell it more like green tea (or sometimes even piling and covering with a wet blan- for the same price as the sheng cake, oolong, which we call “poolong”). ket, which creates heat and moisture, which very few customers would pay. Such tea may taste nice now, as it is forcefully composting the tea in a short In fact, she may have to sell it for more, fresh, but isn’t worth taking up valu- period of time. Shou and sheng are ap- since, as we discussed with regards to able storage space. ples and oranges: you cannot use the shou processing, shou has an extra pil- The second influencing factor that same criteria to evaluate them, as they ing step in post-production and can has had a tremendous impact on sheng are very distinct categories of puerh therefore be even more expensive, as and shou production over the last de- tea. But, once again, all things equal, a result of the extra labor costs. Also, cade is that the cost of quality maocha sheng is better, which is why it is much there is a genuine loss of quality that from nice trees has skyrocketed. Old- more expensive than shou. The differ- happens through the piling, which is growth raw material is extremely rare ence in quality is reflected in the mar- hard to justify when the raw material is and expensive, so the overall cost of ket price, in other words. And that is so rare and expensive. cakes has gone through the roof, mak- as it should be. Sheng cakes are much The end result of all these changes ing it hard for tea lovers to age their more expensive than shou, especially if is that there is very little shou puerh in- own sheng. This change has also indi- the tea is from good trees. tentionally produced these days. Most rectly affected the production of shou, The quality of puerh tea is mea- shou is just a blend of plantation tea which is the main topic of our discus- sured differently from other genres of grown and produced cheaply. Even if sion. tea. Most tea is qualified by some ratio it does come from slightly better gar- As we discussed earlier, shou puerh between the terroir/garden/trees and dens, it is still often just the leftovers is never as good as sheng. All things the processing skills of the producer: of whatever sheng puerh didn’t sell that equal (the same raw material), the pil- leaves and processing, in other words. year or from the previous year. These ing of the tea leaves takes away some Puerh, on the other hand, is evaluat- trends have further widened the gap of the essence. Sheng will always be ed by the mountain and its reputation between the quality of sheng and shou. stronger, cleaner and more vibrant— (sometimes warranted, other times, Very few producers start out with a filled with the energy of the mountain partly hype), the kind of garden and desire to create a shou cake, let alone and forest the tea came from. Also, the age of the trees. Since the cost of the skills to execute—though there are natural fermentation and oxidation good maocha from nice mountains, exceptions, like our Tea of the Month.

The Processing The Processing of Maocha of Shou 分級 Plucking採摘 雲黯 Sorting 黑 剛 Piling渥堆 萎凋 Artificial Fermentation Withering 南勁 Drying乾燥 De-enzyming殺菁 茶 蒸菁 Steaming 揉捻 青 Rolling 翠轉 Compression壓製定型 明 晒干 Sun-drying 亮型 Packaging成品包裝

8 Tea of the Month The Gongfu of Shou

There are three main skills that The first and most important skill turies. In the ‘70s and ‘80s, factories go into the production of a fine shou needed to make any fine puerh tea had strains for certain blends/kinds of puerh, which are unfortunately becom- is selecting the leaves or “blending,” raw material, which were passed from ing rarer, as they aren’t passed down which means sourcing good quality, batch to batch, creating the ideal fer- within factories anymore, as lower clean, chemical-free tea from a nice mentation for each kind of tea. The costs and increased productivity have mountain, a good garden and the old- microbes can be added as a starter in become the aims of the larger factories, est trees possible. Finding organic shou three ways: Firstly, the producers can while smaller boutiques have focused puerh has also become more difficult, add “slur,” which is the dark water that their energies more and more on sheng as factories resort to using more plan- runs off the piles after they are sprayed, puerh production. To make a nice tation tea and/or blending lots of tea covered and fermented. This thick liq- shou puerh, the producer has to start together in the piling. Back in the day, uid is full of microbes. Secondly, they with that aim: evaluating shou based maocha was very cheap and also very can also add the microbe-dense balls, on its own terms, with heart and soul consistent, so the factories could really called “cha tou (茶頭),” that form at bent on creating the best possible tea focus on creating fine shou tea as a sep- the bottom of piles due to the heat within those parameters. This means arate endeavor from sheng, following and pressure. Traditionally, there were that rather than seeing shou puerh as its own criteria. They knew a lot more fewer cha tou due to more skillful stir- a second-class citizen, one needs to about which kinds of leaves, blended ring of the piles, but it is impossible stop comparing it to sheng puerh al- or not, result in nice, creamy, rich and to prevent them from forming at all, together. We know that we said over delicious shou puerh. Sourcing good and they make a great starter for fu- and over that; all things equal, sheng raw material forms the basis of all fine ture batches. Finally, microbes can is better tea, but in terms of trying to tea. be added as a starter by simply sav- create a beautiful shou, a comparison The second skill needed to create ing some of the wet leaves from one to sheng has no bearing. The produc- fine shou puerh is to add starters from batch and adding them to the next. er should instead be focused on what previous batches to the piling. This cre- The preservation of certain colonies makes a great shou tea, and on honing ates long-term bacteria strains, much of microbes for certain types/blends of the skills needed to create one, which like sourdough cultures, which can raw material (maocha), improving over we will explore in this section. potentially be passed down for cen- time, creates the best fermentation.

9/ Root, (Shu Gen, 樹根) 熟普洱製作功夫

After all, it is the microbes that are do- for forty-five to sixty days, no matter So, consistency in maocha year after ing all the work in making shou tea, what kind of leaves are used. However, year allowed early shou producers to and so a healthy colony will, of course, this is not ideal for fine shou. The best create better blends, add starter mate- result in a better tea. If the microbial shou teas are fermented more lightly rial from previous batches of the same colonies are off in any way, the tea will than this and are stopped intentional- blend and then skillfully experiment also have off flavors, as with any fer- ly at a precise degree of fermentation with the piling of the same tea year af- mented product in the world. that is ideal for the type of tea being ter year until they figured out the ideal The third skill needed to create piled. As we discussed earlier (more degree of artificial fermentation. Now- fine shou is theskillful piling process than once), shou is lower quality than adays these skills need to be adapted. itself. This starts with knowing how sheng (again, all things equal), because Without consistency, blending has much water to add, when to stir the the piling process alters the tea, and become a matter of utilizing a lot of ex- leaves and how often, as well as when some of the natural purity of the old perience cultivated over years together to add or remove the thermal blanket, trees and the mountain forest where with the opportunity and good for- depending on the ambient tempera- the tea grew is lost as a result of this tune to try many, many samples as po- ture. More importantly, skillful piling processing. Obviously, if the fermen- tentials for one’s blend. This all begins is about understanding the desired tation is done to a lesser degree, these with what we call “intentionally-pro- degree of fermentation relative to the changes are also less aggressive, pre- duced shou,” which is a tea that was leaves being piled. Different blends/ serving more of the natural essence of intended from the start to be a shou types of leaves need to be piled to a the tea. Knowing when and how to rather than being made from leftovers, different degree. Nowadays, as fewer stop the piling is a skill that requires a as the majority of shou puerh teas producers focus on shou puerh, these deep understanding of different types are. So, assuming the aim is to make skills are being lost (except the skill of of leaves, as well as knowledge and ex- a great shou that doesn’t cost as much recognizing when shou is completely perience with fermentation. As with all as sheng, the blender will need good fermented, though some factories have stages in tea production, piling should connections to lots and lots of sam- lost even that, going beyond the time enhance the tea and leave no trace, so ples of clean tea, knowing how to find the tea is as fermented as it can be). It the best piling should not result in a some affordable ways to include better is much easier to fully ferment the tea piling flavor. raw material, like using huang pian.

The piling of shou puerh is a long process of what is, essen- tially, composting the tea. We call it “artificial fermentation,” not because it is not natural (it is), but rather to distinguish it from the natural fermentation that occurs when sheng puerh is aged. In the 1960s and early ’70s when factories were adapting these techniques to puerh, they realized that the methods used in black teas like Liu Bao were not strong enough for the tough, thick leaves of Yunnan, so they changed the process, spraying more water and using thermal blankets to increase the heat to induce heavier fermentation. This can also introduce toxins, however, so the process should, ideally, be done with care.

10 Tea of the Month

A good shou producer is thinking sold these days. This meant that the tea piled unskillfully. Then, you age it for ahead and knows how to add deals to still had room to naturally ferment. It around ten to fifteen years. There is blends. Much of the same skills used in was worth storing these teas long-term, no point in going beyond this. Ten or properly blending sheng will come in in other words, as they would grow fifteen years is enough to mellow out handy when blending shou tea as well. and change over time—fermenting the tea, which means that it loses the After the blend is made, a produc- and oxidizing like a sheng, only to a pondy, “piling flavor (dui wei, 堆味)” er of good shou will have to know the lesser degree. And this is the main fac- it had when it was young. It will be- piling process from years of experience tor in storing shou puerh even today. come smoother, thicker, creamier and and know when to stop a given tea To properly store shou puerh, a gentler as well. The aggressive piling based on previous similar blends. If tea lover should learn to recognize of most shou puerh teas makes them possible, she could also add in starters the degree of fermentation used. Ide- rough, so mellowing them out will from previous batches that are similar ally, one would have access to fine result in a much more enjoyable tea as well. Alas, these techniques are hard- shou puerh, produced using the three liquor. ly ever used nowadays. skills we discussed earlier (like our Tea If you find intentionally-produced Like all things tea, quality is a coop- of the Month, for example), but that shou puerh that is artificially fermented eration of Heaven, Earth and Human. may not always be possible. Fully-fer- to a proper degree, then you will have To make fine tea, including shou, you mented puerh is often “pondy,” tasting found a candidate for long-term stor- need the right combination of weath- of ammonia or pond water due to the age. Such tea will grow finer and fin- er (a good year), a healthy ecology and long, aggressive piling process, which er over time—the older, the better, in trees, which create healthy leaves and results in the production of many gases fact. Our Tea of the Month fits into then the skill of people who love what as the tea is forcefully composted over this category, and so does Inner Path, they do and do it well. All of this is, forty-five to sixty days. Such tea is not which some of you will remember. (It really, what we call “terroir.” suitable for long-term storage. Since it would be great if everyone shared some was already artificially fermented to a more examples on the Global Tea Hut high degree, there isn’t much room for app this month!) Shou Storage it to change over the long haul. There Whichever kind of shou you are is little left in the leaves for natural fer- storing, it should be stored like all Many shou puerh teas from the mentation and oxidation slowly over other teas: in a cool, dark place that ’70s and ’80s would taste like an aged time, in other words. But that doesn’t is clean and free of aromas. For that sheng to the inexperienced puerh mean we shouldn’t age fully-fermented reason, the kitchen is always the worst drinker, because tea sellers knew that shou. place to store any tea, as the air is full many of their customers would age The best option for most of the of oils, spices and other smells. Find a the shou tea. Since the blends were fully-fermented shou teas is to mellow nice, quiet place that is consistent in intentionally produced using fine- them out. “Mellowing” is so relevant in temperature and is dark. Puerh needs quality raw material, and then artifi- today’s puerh world, full of such shou, some humidity and airflow, which cially fermented to a much lesser de- that it is even a criteria of all the shou most other teas do not. A fluctuating gree, the newly produced shou tea was tea reviews we conduct for various tea humidity that rises and drops season- still “green,” especially compared to all magazines. Of course, one should start ally is ideal, with a minimum of 60% the fully-fermented shou puerh teas with organic, clean shou, even if it is humidity, which is the low end for

11/ Root, (Shu Gen, 樹根) It takes a lot of skill to ferment shou puerh properly, and even the best shou produced nowadays is not made with anywhere near the care or skill that the old ones were. This mainly has to do with consistency of raw materials. Without access to the same maocha year after year, it is difficult to a) create a great blend for shou, b) experiment with each gen- eration to find the perfect degree of artificial fermentation and c) develop living micro-ecologies that can get stronger and then be handed down batch to batch. These days, we tend to think of shou puerh as dark, black and creamy, but in the old days, everyone felt that good shou was red and clear. Some foolish producers and vendors even thought these cakes were blends of shou and sheng leaves. There is a big difference between partially-fermented shou that is aged and new shou that is fully fermented. They both have dark liquor, but the flavors, aromas and energy are very different. From far left to right, we have a well-fermented new shou, an aged shou that was well fermented and a new, fully-fermented shou. puerh (this means indoor humidity, a whole cake up and store it in a jar for Guangzhou, Hong Kong or Taiwan, not based on an outdoor hygrometer). consumption, carefully closing up the for example. It is important to keep shou puerh tong to protect the six remaining cakes, Before 1985, the production and away from all other kinds of tea. The and so on, until the tea is gone… supply of all tea leaves in the Mainland strong piling/artificial fermentation was organized by the Tea Corpora- aromas of shou puerh are notorious- tion of China. There were production ly detrimental to all other kinds of More on the Skill of Piling schedules or sales targets for every tea tea, especially delicate teas like green, planter, producer and seller. Each and white, yellow or young sheng puerh. Historically, Yunnan big-leaf tea every process you can imagine about Shou should have a cabinet all to it- would firstly be sun-dried to make teas (including planting, processing, self, kept clean and apart from all other maocha. After processing, the maocha producing and selling, etc.) in the teas, though you can store both kinds would become what we call “Yunnan mainland of China was implemented of shou together—those you are stor- puerh tea.” If those puerh teas are not based on the annual production sched- ing long-term and those you are mel- being consumed immediately but be- ule set by the Tea Corporation of Chi- lowing out. ing stored for years, we would then na. The more puerh stored together, call them “aged teas.” Nowadays, tea During this period, Yunnan com- the better—a warehouse will pro- producers would often further process pressed puerh tea was commonly clas- duce way better tea than a few cakes maocha by the procedure of wo dui, sified into three categories: border-sale in a cabinet. Traditionally, we store all and we would also classify those teas tea, domestic market tea and export tea. puerh as at least a “tong (筒),” which is as puerh. If the tea leaves were sold as Border-sale teas were sold to the west- seven cakes wrapped in bamboo skin they were after being processed, they ern border areas of China, including and an extra cake left loose (eight cakes would be called “loose leaf puerh.” If Tibet, Qinghai, Gansu and Xinjiang, in total). The bamboo skin protects the the tea leaves were being further pro- etc.; domestic market teas were sold to seven cakes in the tong. The extra cake cessed and compressed into the form Sichuan, Hunan and Guangdong, etc.; is for tasting over time. Tea aged in a of a cake, a bowl or a brick, we would while export teas were mainly exported whole, unbroken cake is way better call them “compressed puerh tea.” Dif- to Europe. Most of the border-sale teas for the long run, and when it is time ferent kinds of Yunnan compressed and domestic market teas were sheng to drink a tea, breaking the cake up teas have different names in different puerh, while most of the teas exported completely and storing the pieces in a places. However, I believe what real- to Europe were shou puerh. jar for at least a month will result in a ly matters is that you understand the Tea retailers in the Guangdong much better liquor. After a long peri- classification of those teas. province found that sheng puerh teas od of storage, this is important, since Yunnan puerh tea is commonly must be aged for a long period of time the center of the cake has not been ex- classified into sheng tea, sub-cate- before they could be sold in the mar- posed to any oxygen throughout that gorized “dried-stored” and “wet/tra- ket. Therefore, the CNNP arranged for time. Breaking a cake up makes for a ditionally-stored” sheng puerh, and the staff members of the three state- more even, smoother tea. This is why the second main category, shou tea. owned tea producers in Yunnan (Kun- we need the “tester” cake: to determine Some people nowadays prefer to clas- ming, Xiaguan and Menghai) to learn when it is time to dig into a tea (when sify puerh tea by the location that the the production method of shou tea in it has aged enough). Then we can break teas were stored in: Yunnan, Malaysia, Guangdong.

12 Tea of the Month It was hoped that by learning the sumption in both the short term and tween rusty red and dark green. If wo dui technique from Guangdong the long term. It is therefore important a shou puerh is over-fermented to a tea producers, the time required to age to get your shou from reliable factories stage where it is almost carbonized, sheng puerh teas could be shortened. that have hygienic piling rooms and the liquor would then give a dark- However, all of the three tea produc- methods. brown color. The liquor would also be ers failed in their first attempt, bring- clear and transparent, and the brewed ing them back to Guangdong again in leaves would be soft and black. You 1971. This time, Xiaguan Tea Factory should note that this tea does not like succeeded in producing shou puerh Modern Shou to be steeped for too long. If a shou tea. However, as this factory was focus- puerh is so over-fermented that it is ing on producing border-sale big-leaf Before fermenting the puerh teas, carbonized, the liquor will be clear and sheng teas, it decided not to start the the factory needs to prepare the mao- yield a chestnut red color. The brewed production of shou puerh immediate- cha. The maocha could be wild arbor leaves are hard and black in color. This ly. Kunming Tea Factory was the first puerh, planted puerh or a mix of the tea, like the one we discussed above, runner-up to succeed in the produc- two, depending on the requirement of cannot be steeped for too long. Of tion of shou teas, and it became the customers. The tea leaves used are gen- course, this is all dependent on the first Yunnan tea factory to produce and erally thick and old unless otherwise right ratio of leaves to the size of your export shou tea bricks. That’s the rea- requested by the customer. The shou pot, as putting too much leaf in a pot son why the public wrongly assumed puerh teas produced could be classified would also result in a darker brew than Kunming Tea Factory to be the first into spring harvest, summer harvest what is ideal. Still, it is very rare indeed tea factory to learn the craft of shou and autumn harvest (also commonly to find an intentionally produced, tea production. called “gu hua cha, 穀花茶”), accord- properly fermented shou puerh these We have often heard our fellow tea ing to the season that the tea leaves days. lovers saying that some puerh teas were are being collected. For each harvest, All of the shou cakes we make are “mixed.” For example, they would say anywhere from six to fourteen tons of intentionally produced, and come a puerh was 30% sheng mixed with tea leaves would be fermented. Before from good blends with clean and 70% shou, while the other one was fermenting the maocha, the fermenta- quality resources, and our producers 20% sheng mixed with 80% shou. tion plant must be cleaned thoroughly. do their best to pile our teas to our This was not the case, at least not for The size of fermentation area depends specifications. Still, only one out of a the teas produced in Yunnan before on the amount of maocha being pro- few cakes are really piled to the perfect 2000. The truth is that the techni- cessed, while the thickness of maocha degree for the leaves. Mostly, they are cians responsible for the fermentation placed should not exceed two feet, re- over-fermented. We often have to pay process of shou teas would sometimes gardless of the amount of teas being extra to have the tea piled skillfully, as decide to dry the teas earlier, stopping fermented. the trend is just to fully ferment nowa- the fermentation sooner based on the Before the fermentation process days, and it is a challenge to even find types of leaves they were using and begins, the water content of the ma- someone who is willing and able to what their goals were in creating a shou ocha would generally be less than pile skillfully in any other way than full puerh. Some small tea factories in Yun- 10%. During the process, water is artificial fermentation. The skill is, as nan unwisely believed there was some added constantly to the teas, until the we mentioned earlier, a dying art. But truth in the myth, and they started water content level reaches 25%. On we do our best to get them to stop. The producing mixed teas (blends of sheng the other hand, the technicians would Root was piled just over thirty days, and shou) in the early 2000s. In fact, keep on turning the teas until their for example. The best advice we have the production method of shou puerh condition met the requirement of cus- for over-fermented shou teas, which was a secret between the tea producers tomers. After that, the teas would be will represent most of what you will in Yunnan, and only a handful of tech- flattened and dried. Generally speak- encounter in your tea journey, is that, nicians who were responsible for the ing, it takes three months to complete first, they are not good candidates for fermentation process would know the the fermentation process. So, how can long-term storage, and second, they tricks of the trade. In recent years, the you determine how well a shou puerh should be aged for ten to fifteen years representatives of tea companies from is fermented? to mellow out the heavy piling flavors other areas often requested to visit the A perfectly-fermented shou puerh (even seven years is really great for tea producers in Yunnan, and some of tea gives amber color in its liquor. The this). If you cannot wait, and need a them naively thought that they could liquor would be clear and transparent, tea to drink, at least let them sit for six master the craft in one visit. We should and you can steep the tea multiple months to a year to mellow out a bit. all be concerned about the conse- times. Brewed leaves are soft and give quences of letting those tea producers deep-red color. An under-fermented make shou puerh themselves. shou puerh tea gives a lighter amber Shou puerh is potentially unhealthy color in its liquor. Like a perfectly-fer- if the piling does not follow important mented shou puerh, the liquor is clear, guidelines. Like all fermentation, mi- transparent, and it allows you to steep Cha tou (茶頭) are balls that crotoxins may be produced, and these it a few times. The brewed leaves are form due to the heat at the bottom can be unhealthy for human con- soft and their color is somewhere be- of the piles of shou tea.

13/ Root, (Shu Gen, 樹根) 茶 頭

Tea of the Month

Brewing沖泡技巧 完成好Tips茶 This month, we are drinking a shou, which means that sidehandle or gong- fu are the methods for brewing this tea well. In fact, there really is not a better way of brewing this month’s tea. Many teas like this do not necessarily lean towards bowl tea or gongfu tea, but rather result in very different sessions depending on the brewing method. When prepared sidehandle, the Root is deep and grounding, meditative and soft, resulting in a beautiful day. Gongfu, on the other hand, is more expansive, and you notice many more subtleties in this blend than when it is in the bowl. There are actually many layers to this tea, flavors and aromas that are highlighted when this tea is brewed gongfu. When brewing fermented teas—including aged sheng and shou puerh, as well as all black teas, like Liu Bao, Liu An or Hunan teas—temperature becomes very important and makes the differ- ence between a great and mediocre tea. We find that the very dark and very light teas are the most temperature sensitive. In the case of dark teas, like Root, we want the water as hot as possible. This is tricky, because a full boil is not great for long periods of time. When water is at a full, rolling boil, which is called “dragon water” or “old man’s hair,” it starts to lose structure and becomes rough. We obviously want our tea to be smooth. This also effects patience, as a smooth and consistent temperature will result in more steepings, as the tea leaves release their essence slowly and steadily. For this reason, we want to bring the water to a boil as quickly as possible, which is called “martial heat.” In Chinese cooking, martial heat is often used with stir-fried greens. When done properly this creates amazing greens that are both cooked and somehow fresh and green at the same time, almost as if the veggies were tricked into being cooked. It is delicious. We want to achieve the same thing with the water we use for tea, especially dark teas like this month’s beautiful shou puerh. There are three main factors that will go into well-heated water for tea: first, the type of fire; second, the speed it takes to reach a boil; and, third, how the temperature is maintained. (This list is only about fire and does not include the materials used, like what type of kettle, which is also important). As for the fire, as we have so often discussed in these issues, we recommend charcoal, gas or infrared. Charcoal is ideal, adding depth and virtue to your tea. If you cannot use charcoal, then gas or infrared will do. But we need martial heat. The faster the water boils the better. This means that charcoal should flame and be lively and vibrant, boiling the water fast; the gas should be strong and focused on the bottom of the kettle; and the infrared should be high-wattage for fast boils. Finally, it is very important that we maintain temperatures. Different types of kettles hold temperature better or worse; for example, iron tetsubins hold temperature for a long time compared to ceramic ones, and there is a great variety in the types of clay as well. Charcoal, alcohol burners or infrared can all be used to maintain temperature, but you have to be careful about duration. For bowl tea, duration is hard to control, since we need so much more water. Traditionally, gong- fu tea involved a skill that has mostly been lost: boiling each steeping individually so that the water is always fresh. Using very small clay kettles and strong charcoal flames, each steeping could be ready just as the cups returned. This is another of the many “skills” that make this method “gongfu.”

Sidehandle Gongfu

Water : spring water or best bottled Try paying attention to Fire: coals, infrared or gas how fast you boil your water Heat: hot, fish-eye, roughly 95 °C for this tea. It will be much Brewing Methods: sidehandle or better if you can use gongfu (both are great; different, not better) “martial heat,” boil- Steeping: longer, flash, flash, then growing ing the water as fast (this the same for both methods) as possible with a Patience: fifteen to twenty steepings very strong flame.

15/ Root, (Shu Gen, 樹根)

茶 的 茶舞 席台

ChaxiThe Stage for Tea 茶人: Shen Su (聖素) 18 Chaxi Tea is a Way of Life 茶是一種生活方式

et us start by considering the decorate. Out of respect for ourselves, stagnating betrays an over-casual air, as term “chaxi (茶席),” as it lit- our environment and our guests, we if to say, “Well, if you’re here, I’m having L erally translates: “tea stage.” clean! After creating a tidy space, we tea anyway. Join me if you’d like, and Like in all tea practices, working with decorate in a way that’s appropriate if not, no worries.” By arranging a new your tea stage is an expression of your to the occasion—be it a party, wed- chaxi for each occasion, with your spe- state of mind, not to be confused with ding, birthday or other special event. cific guests in mind, you are developing an expression of your self. Though an In this way, we welcome our guests the respect that will lay the foundation aspect of yourself will inevitably come into a clean and especially-beautified for a successful chaxi practice to take root. through in the final expression, it is space that says: “I care about you and When you care about your guests, clean not the goal of a chaxi to express the this time we’re sharing together!” This your space and decorate it in their honor; self. We might simply say the goal of a is common practice around the world. then this love and care will come through chaxi is to create a harmonious setting Hosts clean and decorate before open- your chaxi, and the tea you serve, in a that honors the communion between ing their houses to guests. way that makes them feel like this occa- guest, host, and Nature in a chance Similarly, when we prepare for tea, sion is special, and like they are welcome encounter over tea. we first clear off and clean the table and loved. In this tradition of Cha Dao, we live and then decorate our tea stage. And a life of tea. And that includes all facets the desire to honor our guests and of our daily life beyond the tea ceremo- the occasion is where our chaxi prac- Keep Tea as the Focus ny itself. It’s about carrying the medi- tice begins. A well-thought-out, well- tative mind into all that we do, on and arranged chaxi says to your guests: I have seen beautifully decorated off the tea table. The closer an activity “You are important to me. This time chaxi at many tea events in which all of is to the tea table, the easier it is to un- and occasion are important to me. I my attention went straight to the ele- derstand its relationship to a tea prac- am honored to welcome you into my gant and flashy elements of the design. tice. The further away from preparing home.” This is why creating a chaxi The themes were obvious, but what tea we get, however, the more difficult for every tea session is so important. was missing was the guest of honor: it is to recognize the influence an activ- It demonstrates a heart of respect that Tea Herself! This is akin to hosting a ity has on our tea practice, like taking recognizes the uniqueness of the time party and paying so much attention to out the garbage, for example. But a tea you’ll have together. It also celebrates the surface-level details that amidst all practice is comprised of many skills, the occasion itself—the precious time the lights and banners and music, you like working with charcoal, fetching shared in sacred space, drinking tea. In forget to invite the guest of honor! A water, cleaning, arranging flowers and Cha Dao, this quality is called, “one well designed chaxi should always in- so on. And each of these can be further encounter, one chance,” which will be vite our attention towards the tea. refined as our understanding of Cha discussed at length further on in this Your design should have a clearly Dao moves from the gross to the sub- article. In this way, we treat every occa- defined subject and background. In tle. It is, therefore, easier in the begin- sion as special, and they certainly are! other words, it should be clear from ning to stay focused on the big picture, We need a chaxi, therefore, to welcome the beginning that tea is the subject. before zooming in on the details—to guests in a way that expresses our re- Every step in your design must stem start at the tea space, for example, be- spect for them and celebrates the fact from this understanding. All elements fore expanding into other areas of our that this will be the first and last time of your design should draw attention lives. We can consider our tea space as we drink tea together... towards the tea. That includes the run- a stage upon which to practice what ner, tea pillow, scoop and stick, and will eventually become a way of life. Tip for Honoring the Guests: One simple any other element or utensil used. Tea tip to begin setting the occasion apart is sits at the center of the chaxi, so the to avoid “sticky teaware!” By “sticky,” I elements should focus our attention mean teaware that you are reluctant to there. Remember, chaxi can be trans- Honoring the Guests move—teaware that has a tendency to lated as “tea stage.” And like in the- & the Occasion sit around and gather dust. This might ater, the backdrops, music, lights and be a heavy, clunky tea sink that is not other elements should draw the audi- As host, when you invite guests to convenient to move, or a piece of teaware ence’s attention to the star, not detract your house for a special occasion, the you always use when you lack creativity. from her performance. Otherwise, first thing you do is clean and then Sticky teaware that lingers on your table Tea becomes lost among the elements,

19/ Chaxi: The Stage for Tea Start your chaxi practice simply. The simplest chaxi are often the best. Here we have put two blue runners down, one plain and one with a wave pattern. We framed the bright pot with a little bonsai that leads the eyes to the pot, and from there to the cups. When the brewer sits down, she can ei- ther brew around the tree or move it to the empty side of the chaxi (the guests’ right). Sometimes it is nice to have el- ements that move once the session be- gins. This simple chaxi is easy, and can be done with either gongfu or bowl tea, depending on the occasion.

without the due respect She deserves. to choose a suitable tea, the appropri- Knowing which brewing method It is, after all, tea ceremony, so we ate brewing method, and design your you will use makes a big difference in must keep our priorities straight and chaxi accordingly. your chaxi design. Chaxi for gongfu remember for whom we are throwing It is important to focus first on tea, while not lacking in beauty, is of- the party! function and then form. A chaxi that ten more contained around the brewer. looks beautiful but doesn’t function It should be designed to make the best well is like a fine teapot that delights cup of tea possible, which facilitates Don’t Forget Function the eye but doesn’t handle nicely when the function of gongfu tea and means brewing tea. The ideal is almost always it will naturally be a more function-ori- In order to design a successful a chaxi that is functional and beautiful, ented arrangement. Traditionally, chaxi, you must understand the occa- like food that is both nutritious and gongfu tea was reserved for smaller par- sion. Who is attending your session delicious. In the beginning, focusing ties of up to five people, which meant a and how many guests there are. How on function first will be very helpful. smaller tea space. Therefore, additional are they feeling and what tea will suit Get the basics down and don’t let your elements quickly became unneces- them? What season is it? What’s the creativity get in the way of the session sary and only the essentials remained. weather like? What time of day is it? that’s trying to unfold. This is not to When designing a chaxi for gongfu tea, All of these questions and more should say don’t express yourself creatively, but stick with the necessary tools to brew go into designing your chaxi. Intuition rather remember that anything which the finest cup of tea possible, and then is also important, but in the begin- draws attention to you is drawing at- refine and highlight with decoration. ning, stick to the functional questions tention away from the guest of honor, Oftentimes, the essential elements first. When you understand the practi- which is worth repeating throughout themselves can be decorative, like a calities of the occasion, you will be able this discussion: Tea Herself! fine wastewater basin, for example.

20 Chaxi

This can, in fact, be the whole of a sim- medicine with sacred intention in cer- collecting the many bowls, and obstacles pler chaxi, where the teaware is in itself emony. It’s therefore easier to make the to your guests’ attention. When designing the decoration. mistake of letting aesthetics override a chaxi for bowl tea, I always sit at the function, but the function should be brewer’s seat first to see how it feels func- Tip for Keeping Tea as the Focus: Your well-integrated into the design of this tionally, and then stand back to see how design should be simple. Less is more! My kind of chaxi as well. it looks and feels from the guests’ perspec- teacher almost always takes something Bowl tea is appropriate for both tive. away from my “completed” chaxi. If large and small tea sessions, so utilizing adding an element to your design doesn’t space for function and form becomes absolutely offer an enhancement in form more of a challenge. A chaxi for ten What’s the Theme? and/or function, as well as draw atten- people is quite different than one for tion towards the subject, then it’s proba- three. Knowing how many guests there This is where your creativity can fi- bly superfluous. There are no neutral el- will be plays a large role in the func- nally come into play! What is it that ements in a chaxi. If you feel it’s neutral, tional elements that will guide in the you want to express? It helps to keep then it is most likely detracting from the arrangement of a chaxi for this kind of your themes general in the beginning subject. Remove it. Simplify. Do so until ceremony. and then work towards more refined, your chaxi expresses what it needs to with specific themes as you get better at ar- as few elements as possible. Tip to Not Forget Function: In general, ranging chaxi. Obvious themes can be keep chaxi for larger gatherings simpler based around certain events, like Chi- Chaxi for bowl tea, on the other and lower to the table, with fewer ele- nese New Year, anniversaries, birth- hand, while not lacking in function ments that might easily become obstacles days, etc. You could also theme your may appear to be more aesthetic in its when serving so many people—obstacles chaxi as an offering to your highest self, design, which is appropriate for the to the one brewing, who will have to or a friend or family member far away, purpose of the method: to share tea as navigate them when handing out and setting aside an extra bowl or cup of

21/ Chaxi: The Stage for Tea 新年快樂

tea for the person in mind. The possi- orange and red, and/or arranging the ated for them. Once the water for tea is bilities are limitless... elements in a tighter configuration. ready and the feeling is right, slowly and You can think about your chaxi as There are always seasonal elements, of- carefully add these other elements for the a mandala: a piece of art connecting ten just out your front door, that you actual brewing of tea to commence. Usu- this brief moment in time to the entire can bring into your design to bridge ally a cha tong (tea helper) will aid in universe. This can be achieved by using the boundary between inside and out- this process. This doesn’t mean the teapot symbolic elements in your design. For side, Nature and Tea. Flowers, green- cannot be used in the design of your chaxi example, a small statue of the Buddha, ery, rocks, moss, leaves and more can as a centerpiece; it will often be so. The a vajra (a symbol of spiritual power), all be brought inside to connect us to bowls will almost always come out after a red or gold runner or a sutra, just Nature. the water is ready, once your guests have to name a few, are powerful images, had some time to sit and appreciate the symbols and colors that express a lot Tip for Your Theme: In bowl tea, some tea stage; but they can also be used suc- of meaning. Use them wisely, for the elements like the bowls or teapot will cessfully in a stunning chaxi. right occasion and in conjunction with be used during the tea session but won’t tea—never at its expense! be part of your chaxi. It’s often better to There are many ways to theme your leave your chaxi as bare as possible for Start with Emptiness chaxi around Nature, the season or the when the guests arrive, suggesting the tea weather. For example, strive to make to them, inviting them onwards. This “Without anxious thought, doing comes your guests feel cool in the summer. A is like when the guest of honor makes a from being.” small water feature might be used to grand entrance at her party. By leaving –Wu De this end, or a blue runner that could the teaware off the stage until all the symbolize a cool river. In the cooler guests are seated, the tea will have a more Once you have a clean stage upon months, you can create a warm am- defined beginning. Let your guests sit at which to practice, the next most im- biance by using certain colors, like the table and enjoy what you have cre- portant step is being before doing.

22 Chaxi Remember, this is both the ending of easily connect to the spirit of what we Chabu (茶布) the last tea session and the beginning are doing, and also as with bowl tea, The chabu or tea runner/cloth will of the next. Expand your definition the spirit of chaxi lies in simplicity and often be one of the first elements we of the tea ceremony. You are always balance. With this as our foundation, look to. It will play a huge role in deter- drinking tea. By being present, you it will be easier to work towards more mining whether your chaxi will be rus- prepare yourself for the next moment elegant and refined chaxi layouts in the tic or elegant, simple or refined. Chabu and honor the last. future, just as we progress to the more can be made of cloth, bamboo, sticks How you act now will play a very refined and complex brewing method woven together, rattan, straw and/ influential role in the unfolding of the of gongfu tea after first brewing bowl or a variety of other materials. They tea ceremony. What you lay out on the tea for a long time. As we so often say can range greatly in shape, color and table will be a demonstration mani- around here, advanced techniques are pattern. One thing to consider before fest of your state of mind. This might basic techniques mastered! choosing your chabu is what type of sound a little extreme, but really, it’s a tea you will be brewing. For example, matter of heart. If we are to live a true if you brew a dark tea in a large compa- life of Tea and Zen, we must fervently ny, then a white or easily-stained cloth seek the balance that strives towards Elements of Chaxi should be avoided (unless you want perfection, and yet rains compassion- stains on it), since you will have to A discussion of the elements of ately on all shortcomings. Life is fleet- pour faster the more guests you have anything would not be complete with- ing, and this expression of beauty and in order to keep the liquor consistent. out due respect to Nature, for what are art on the table could very well be the When you choose a chabu, it will quite the elements if not aspects of Nature last mark you make on this Earth... literally lay the foundation for your tea Herself? Remember that when you are Take a few breaths, quiet the mind, ceremony, as upon it all other elements creating a chaxi for your tea ceremony and envision your chaxi. will find their place. (You could also that it is akin to building a temporary choose to use a piece of wood or stone, altar. A beautiful, well-designed chaxi something unique or even nothing.) honors Nature as we bring the ele- Arranging a Chaxi ments together in a balanced way for a brief period of time. Like an altar, the Tea Boat or Pillow (茶船 & 茶枕) “Instead of thinking through the question elements should be balanced and fo- With the chabu chosen, the next that life is confronting you with, sit qui- cus one’s attention towards the center, element will play the role of focus- etly and let your thoughts settle down. Al- where the god or goddess rests, or in ing our attention on the center of the low the answer to emerge spontaneously our case, where the Tea is made. stage. This is important to remember, from your intuition without unnecessary When crafting your chaxi, it is im- because if the other elements are out deliberation. Go straight to the solution.” portant to first consider the size of your of harmony with the theme of a chaxi, –Wu De tea space and the number of guests. A it can actually draw our attention away large tea space with many guests will from what’s most important—the tea! As with choosing a suitable tea for generally require a far different set of el- The boat or pillow will act as a surface each ceremony, the design of our chaxi ements than that of a smaller tea space between the base of your teapot and should strike a balance between certain with less guests. It is so important that the chabu. Usually we use a boat in practical factors and our intuition. It your chaxi function well for the occa- gongfu tea as it catches water that is is always helpful to consider details, sion, just as a teapot should primarily showered over the pot, whereas a pil- such as the time of day, the weather, function well and then delight the eye. low is anything to rest your teapot on, the season, the number of guests, bowl A beautiful teapot that doesn’t do its more often used in bowl tea. tea or gongfu tea, etc. In fact, in the “job” ends up a display piece, and that It is probably important to remem- beginning, most of us will lean towards is a shame. No matter how beautiful ber here that in gongfu tea, function using these details to design our tea the teaware, it must work well first... plays more of an important role than stage. But it’s just as important to be- Clearly, the ideal is a teapot or chaxi form, which doesn’t mean we rule gin an internal dialogue with your tea, that both functions well and stirs the out form and beauty from gongfu the space, the tea utensils and the spir- aesthetic spirit in all of us! Just as the tea sessions. Likewise, bowl tea, while it of the Leaf. There is then less “me” ideal for food should be that it is nutri- seemingly more designed with form in the design and more tea spirit, as it tious and delicious, but nutrition must in mind, still must consider function. should be. come first. They obviously overlap; we might say You may think yourself limited by Another important initial decision that in both gongfu and bowl tea, we having a small selection of tea stage will be whether to create a rustic or el- start with function and work towards elements, but this is actually a good egant chaxi. This distinction is a good form, but with bowl tea, form is of- place to start. Having less to work with generality to begin with, as most all ten more pronounced. This has to do is actually an advantage in the begin- chaxi will either be refined or simple with the aim of both brewing meth- ning, just as it is advantageous to start (wabi). At this point, the theme of our ods, which is refinement of the tea and with bowl tea, requiring only leaves tea stage starts to unfold as we envision brewing the best cup possible in gong- and hot water in a bowl. With less our chaxi. Here are the main elements fu, and ceremony that facilitates med- parameters to consider, we can more we’ll use to create our arrangements: itative space in the case of bowl tea.

24 Chaxi Since this element should focus our bers is a general shift away from scoops only for the cleansing in the begin- attention on the center of the stage, and sticks, unless they are very suited ning. For the rest of the ceremony, it it should therefore contrast the chabu, to the theme and don’t constrict move- is generally kept out of sight under while remaining in harmony with the ment or get in the way. That being said, the table or off to the side. Unlike the theme and overall feeling. Sometimes, these will still be important elements other elements, where having a greater the simplest rattan trivet is enough to for most people as they are extreme- variety to choose from offers versatil- find that balance. Other times, a very ly practical and can fill space nicely ity, only one Jianshui is necessary for elegant, shallow dish is just the right on a large chabu. Definitely don’t feel all practical purposes. While its role is touch. A noteworthy exception here is forced to use them both. Sometimes, mainly functional, don’t hesitate to use when you don’t use a chabu. One such the scoop or dish used to hold the tea is a beautiful Jianshui in your chaxi if you example would be a larger, flat piece of all you will need. As we add more ele- have one. Otherwise, any large, open wood, upon which you wouldn’t need ments to our chaxi, the choice becomes bowl will do. the addition of a pillow. increasingly difficult. We need to take In gongfu tea, the Jianshui is usual- into account all the other elements to ly present on the tea table, as we warm “The value of a piece of teaware is reflect- find balance. In fact, great skill and the pot and cups at each infusion, so ed in the tea it makes and the state of aesthetic appreciation are required to it’s very important to have nearby. Be- mind it brings to the space.” create a chaxi that values emptiness as cause it’s on display, a smaller, more –Rikyu much as form. More is definitely not refined Jianshui is nice to have. This always better. could mean a larger wastewater basin One more element you will want is needed off to the side to pour off the Tea Utensils (茶具) to consider is the wastewater basin, or water from the smaller one. Scoops and sticks are often used to- Jianshui (建水). This is the vessel into In this tradition, we find the art gether. The scoop is to display the tea, which discarded water goes. Out of re- of chaxi useful in our ceremonial ap- and the stick can then guide the loose spect, we clean our tea and teaware be- proach to tea. A functional and aes- leaf into the pot and sometimes act fore our guests. It is therefore essential thetic chaxi is a great way to welcome as a spout cleaner should some leaves to have a Jianshui. and honor your guests to the tea space, clog it up. One major difference I’ve In bowl tea, we almost never dis- and definitely influences everyone’s noticed at the Center over the years as play the Jianshui for the entire dura- experience. We are fortunate to have we serve more people in larger num- tion of the tea ceremony, but rather this luxury to use as yet another tool

25/ Chaxi: The Stage for Tea towards cultivating a life of Tea. In that Finish your chaxi in a timely, calm in another direction. It is succinctly light, we craft our chaxi and invite you fashion. Obviously, do not rush such the things in the tea space and noth- to join us for tea! The chaxi draws you an endeavor, but also don’t get caught ing more. And yet, arranging chaxi is in and makes you feel at home, filling up thinking too much. Stay centered, rich with opportunities for insight and you with peace. find your breath throughout, and work self-cultivation. single-mindedly. When the tea begins, One of our personal favorites of everything is perfect just as it is. But the great legacy of tea sayings that has The Final Touch each time, ask yourself, is this your best been handed down over generations effort? is “Ichigo ichie,” which is Japanese for During the process of arranging the How you finish anything is how “one encounter, one chance.” Any dis- elements, I always sit down a number you start the next thing. Just as we cussion of chaxi would be remiss with- of times and get a feel for how every- started by cleaning our stage, so too out an exploration of this poignant ex- thing is unfolding. I put myself in the we end by cleaning. Gratefully, clear pression, as it speaks to the underlying guest’s position and contemplate how everything away. Do yourself and your spirit of a great chaxi and the session they might experience this chaxi. There guests a favor and make a new chaxi that will take place upon it. comes a point at which you either feel for every occasion! Be diligent! In do- Before the session begins, this ex- satisfied or not. Feeling satisfied is easy ing so, your actions will be in harmony pression asks us to remember that to understand, just as when you level a with the fact that this very encounter this tea session we are preparing for scroll or hang a picture in the perfect will only happen but once in our lives. is unique and pregnant with possi- spot—everything just clicks into place bilities. It reminds us to treat it with and you know it’s in harmony. This the same respect and attention we happens when you are calm, respectful would give to a once-in-a-lifetime and heartfelt. When you feel unsatis- One Encounter, meeting with someone very import- fied, however, you can take something One Chance (一期一會) ant, which it surely is. Like that same away, add something or change every- empty page that was the beginning thing! When my teacher corrects and As with all things Tea, chaxi is like of all great works of literature, mu- adjusts my chaxi, he takes something a luminous stone, simple in appear- sic and art alike, a clean and clear tea away or has me start over. Simplicity is ance from one angle, but concealing space waits for us to impress upon it the hardest thing to achieve. flashes of brilliant colors when turned our intention for the next session.

26 Chaxi And the chaxi represents those impres- all moments. It’s so important, such Nothing is guaranteed in this life— sions put on the paper like musical a crucial part of making the most of it’s all a gift! We have no rights to it; we notes, quietly awaiting someone to sit our brief time here for our own hap- didn’t earn it and we don’t get to keep down and play. piness and the benefit of others, to it as long as we want to. We don’t even The energy and intention we put cultivate as deep and experiential an get to know when our lease is up. It has into these moments will greatly de- understanding of this truth as we can. been granted us through some extraor- termine the outcome of this meeting. Arranging chaxi is a time for reflection dinary fate, and everything can change This intention and the state of mind and intentional practice. in a flash. Not long ago, somewhere in with which we carry it out are just as Anything at all that instills in me Japan a man was sitting drinking tea important as our intention and state of a sense of the uniqueness of this mo- quietly in his house, and a huge wave mind when the session begins. Don’t ment in time is worth contemplating. of water fell on his head. The floor my rush to set up a tea session in order to I might reflect on the emotions I expe- tea table and I are sitting on might get to the point where the tea drinking rienced the day before, or something crumble beneath us in an instant. We begins! After all, if the instruments are that had seemed important once that just never know. not in tune or the stage is improperly has now passed away. I might notice As we travel along this journey with set, it doesn’t matter one bit how well that new smudge on the floor or the Tea, many of you will have noticed the music is played later on, it’s going way the sunlight has changed since that the tea is never the same, although to be disharmonious. Spring. The subtler the better, but even it is sitting there in its jar on the shelf Once the session has begun, Ichi- more superficial changes such as a new where we left it last. Even more obvi- go Ichie reminds us to cherish this freckle or haircut are worth acknowl- ously within each session, we will never moment, taking nothing for granted. edging. drink that same sip of tea we drank the Even if (Especially if!) you and I drink At the end of the day though, there sip before. Tea is an expression of the tea together every day, even if it’s the is something refreshing and complete inexpressible and ungraspable beauty “same” room, the “same” time, the in emptying the table, cleaning it and of change in this way, teaching us to let “same” tea, this saying reminds us that, laying out something wholly different go of our desires to keep and possess, in fact, nothing and nobody are ever than before. The more you practice our desires for whatever we love in life the same. We are always sitting down chaxi, the more you will begin to feel to remain the same forever, allowing to tea for the first and last time togeth- the way the energy you created at first the beauty to slip through our fingers er. The whole Universe is changing ev- slowly drains away the longer it sits, (and our cups) freely, without attach- ery second, and so are we. until like a flower it wilts and withers, ments, and find the greater beauty in This is much easier to realize when instilling lifelessness into the space. that very transience. Like our daily my guest is the cause of a special occa- Make sure to pay attention to this and guest, each sip is different. sion—such as my teacher or a dear old change and clean the space before this friend I haven’t seen for many years. happens, or your tea will be stale and “The Philosophy of Tea is not mere aes- It is more difficult when the guest is lifeless as well! theticism... for it expresses conjointly a roommate or neighbor or weekly Beyond the tea space, my chaxi with ethics and religion our whole point tea-friend, and perhaps most difficult practice reminds me that each moment of view about Man and Nature. It is hy- when the guest is my own higher-self of my life is a unique gift, no matter giene, for it enforces cleanliness; it is eco- alone. But the more difficult it is to the form, and encourages me to respect nomics, for it shows comfort in simplicity muster the spirit of “one encounter and cherish them all. Over the years, rather than in the complex and costly; it one chance,” the more important it is I have cultivated greater appreciation is moral geometry, inasmuch as it defines to practice doing so! Invite your high- and respect for all the moments of my our sense of proportion to the universe.” er self to tea; invite more presence and life through practicing my chaxi. –Kakuzo Okakura, “Book of Tea” awareness to join you when you drink After several years of putting Ichigo tea—and in life—by spending more ichie into practice through my chaxi, I time setting up a nice chaxi as though have made huge strides towards appre- you yourself were the dignified guest. ciating the never-ending uniqueness of Are Presence and Awareness not roy- the moments and people in my life and alty? continue to improve. Of course, every Ideally, in the true spirit of Ichigo moment of a tea session (and life) is ichie, the chaxi should be changed be- an opportunity to practice this. But I fore each and every session of tea. In have found that in setting up the chaxi this way I pay homage to the transient for a given session, an opportunity to Remember that tea is always nature of this tea and this tea session, explicitly practice is created. Creating the subject of every chaxi. It is and recognize that it will never happen that space cultivates awareness and at- therefore important that the flow- again in exactly the same way. Even if I tention towards finding that truth in ers do not overpower the tea. They make tea for you every single day, and other moments throughout my day. should lead the eye to the tea, as even if we drink “the same” tea, what Personally, I really need this time of in- opposed to distracting from it. a loss it would be if I took even one tentional practice each day; otherwise I Flowers for tea should be more of those sessions for granted! And it’s will miss many of those opportunities simple, wild and free, as they ap- the same with all days, all meetings, the day presents me with. pear in the fields.

27/ Chaxi: The Stage for Tea

Chaxi Valiant Steed Tethered to a Thatch Hut

Great performances can occur A harmonious tea stage and the ele- You will also want to consider other upon a stage, and great tales can be ments therein is a topic we’ve covered factors, such as the weather, the time told and brought to life before your in articles before, and yet, like any of day, the season of the year and so very eyes. Upon the stage for tea, how- good chaxi, the closer you look, the on. As you quest to answer these ques- ever, the performance is a little differ- more details reveal themselves to you. tions and more, you will find yourself ent and perhaps simpler than most. And so, we take a further look into an- well on the path towards a fine tea ses- There is only one star on this stage, other aspect of designing a balanced sion. The more you put into preparing and her name is Tea—though She may and harmonious stage for tea! for your tea gatherings, the more your play many different roles, from white As always, it is perhaps most im- guests will get out of the experience. to black and everywhere in between. portant to consider your guests and the At this point, you might want to During this simple performance, occasion before starting to build your ask yourself a new question: should which we might call a ceremony, when stage for tea. Remember, it is about your chaxi be rustic or elegant? The the elements of the stage come togeth- choosing a tea and designing a chaxi elements of a chaxi—such as runners, er in harmony, a very simple setting on that is suitable for your guests and the scoops, plates, lid rests, coasters, etc.— the outside can aid in a very significant occasion, not about choosing based can quite easily be categorized as either inner experience for the participants on what you want. It is, therefore, im- rustic or elegant, humdrum or refined. in the ceremony. A harmonious chaxi portant to know your teas and the ele- It’s a simple division that opens up an (tea stage) is just one of the factors that ments of your tea stage. We specifically entire new approach to designing your goes into transforming something very addressed the elements of chaxi back tea stage. There are so many possibili- simple, like drinking tea, into some- in our January 2016 issue. You can ties in each of these kinds of chaxi, let thing extraordinary, like a tea ceremo- ask yourself: Who is coming for tea, alone the myriad combinations of the ny; the difference can be profound. and what does the occasion call for? two that you can create. 侘

29/ Chaxi: The Stage for Tea 寂 駿馬拴在茅草屋上

Rustic Chaxi: The Hut ural world can be repurposed towards petals, small statues and even water designing your tea stage. A simple walk features, and more aesthetic and styl- What makes a chaxi rustic? What outside can offer countless options, or ish elements to really highlight a spe- comes to mind immediately for me is simply drinking tea outside in a nat- cific theme. For these designs, I find something more earthy, elements that ural landscape is itself a form of this myself reaching for beautiful cloth express natural colors you might find rustic art. The stage is already natural- runners, porcelain plates, celadon tea while walking amidst a forest in any ly designed for you—all you need to pillows, metal tea sticks and glazed or season, like dark shades of green and do is make time to drink tea! What a refined scoops made from all types of brown or autumn hues of gold and red. great opportunity as well to learn from different materials. Because the Cen- Rustic designs tend to be more imper- Nature. ter is abundant in teapots and bowls, I fect, with asymmetric, frayed or weath- choose from many, like a more stylized ered edges and boundaries, incorporat- sidehandle teapot or our pure white ing elements such as leaves, rocks or tea bowls with tiny black speckles. flat pieces of driftwood. When I decide Elegant Chaxi: The Steed The elegant chaxi has to be designed to design a rustic-themed chaxi, I find more carefully, with even more atten- myself reaching for elements made We might now consider objects tion to detail, because each element from bamboo, wood, rattan, woven with the complete opposite charac- can have so much strength of style. As straw, and other tea things that are teristics of the rustic chaxi—those full always, less is more, and one refined less glossy and more matte. Rusticity of luster and glaze, vibrant colors and piece of teaware says a lot more than is probably an easier theme of chaxi to patterns, and metal utensils of bronze, too many, which can cause dishar- work with in the beginning, especially copper, silver and gold! Here we have mony, competition for attention, and when so many elements from the nat- a greater range of uses for flowers and imbalance—unless perfectly arranged!

To the left is the Vimalakirti chaxi discussed above and later in this issue on pp. 45-46. It is a rustic chaxi with deep symbolism and a strong theme. Rustic chaxi can be very simple, but that doesn’t mean they aren’t filled with mean- ing. A good chaxi is an outward-facing “V” towards your guests, meaning that the guests should be able to read into it, finding far more and deeper meanings than you intended. A good chaxi is suggestive, in other words. Above is a very elegant chaxi, including a silver sidehandle. Some occasions call for more elegance. Usually, such occasions would be bet- ter served with gongfu tea, but we chose this chaxi to show that there are always exceptions to the rule. Think about what occasions this chaxi could be for and what types of tea would go with it. That is a good exercise for all the chaxi in this issue, in fact, and will help you in your practice.

30 Chaxi Tethered Together 拴在ㄧ起

Of course, too much of anything is ements represent the thatched hut and also out of balance. Too much elegance the valiant steed, and ask yourself if is showy and distracting, whereas too you have brought them into harmony. much run-of-the-mill is dull and with- They should complement each other out definition. One must strive to find like the black-and-white circles of the the middle way, properly defining the taichi symbol, which represents Yin tea at the center of the stage, and in and Yang, not too much of one or the this case, expressing a theme of ele- other, and placed just so… gance or rusticity. Remember, there are no neutral elements in the design of your chaxi. If it doesn’t create harmony and redirect out attention towards the center of the stage, either reposition it or remove it altogether. And so, the question to ask yourself, in the form of a metaphor, is what elements play the role of the thatched hut and the valiant steed in your layout? As you can already imagine, the thatched hut represents the rustic aspects of your design, and the valiant steed the ele- gant ones. Many tea stages incorporate both aspects to varying degrees. A rus- tic-themed chaxi should incorporate some small elegant detail to achieve overall balance and harmony, and vice versa for an elegant-themed chaxi. It is the silver lining, the golden thread within the thatched roof, that feels har- monious, like a single, beautiful flower along an overgrown forest path. The path is naturally chaotic and messy, but the flower isn’t out of place. It is momentarily captivating, making you feel as though you’re going the right way. It didn’t draw you off the path, but shifted your state of mind towards presence and kept you along your way. Sometimes a single element can One of the most important achieve this balance all on its own, like ways to arrange a chaxi is to the golden-rimmed teapot or the pink use something that adds a slight flower shown in the pictures. Other bit of elegance to a simple, rus- times you will need to mix and match tic chaxi. In this case, we have a 茅 elegant and rustic elements to find an simple duanni pot and zisha/por- overall balance. (In the chaxi shown celain boat with a simple runner here, the flower is literally tethered to twirled to provide slight elegance. the simple bowl of tea and rustic pot.) The real gold rim on the cups also As you consider all the factors of a adds some elegant radiance to the tea gathering and start to lay out the chaxi. This pairing of some trea- elements upon your stage—be it inside sure or preciousness in a field of or outside, on a table or in a pagoda, simplicity is what Rikyu called near a pond or beside an old tree—al- “the first grass poking through the 屋 ways take a step back and feel where snowswept field,” suggesting more the balance lies. Take note of which el- to come...

31/ Chaxi: The Stage for Tea 駿 馬 The Art of Chaxi 茶人: Chen Yu Ting (陳郁婷)

Many of the runners we use in the Center were sewn by Yu Ting and her chaxi have always been inspirational for us. Every time we go to Master Tsai’s for tea, we are always impressed by both student and teacher’s aesthetics (Yu Ting is Master Tsai’s student). It was only natural, then, for us to ask her to contribute to this issue. She has broken down the process of arranging a chaxi into very simple terms that we think will be inspirational and informative for many of you to begin or deepen your tea practice.

eople and tea drinking go back Below, I will introduce five ele- a long way, whether we look at ments of a chaxi: people, subject, time, the Chinese customs of steep- location and objects. By considering Ping and whisking tea during the Tang these five elements all together, we can chaxi 茶藝術 and Song Dynasties, or the English tra- start to plan the design of our . dition of afternoon tea. The arranging of the chaxi, then, is a social and cul- 茶 People tural activity, with tea as its medium. If Host or guests? Tea host or tea drinkers? Attending to the guests, or taking we look at the literal sense, chaxi refers care of the logistics of water? In other words, are you hosting guests or to the surroundings that set the stage friends, are they Chajin or new to tea, etc. (Here, I choose not to use the for a tea session; this could include a commonly used “tea host” to designate the main tea brewer in a chaxi, as harmonious layout of the tabletop “tea host” can designate many different roles, which we won’t elaborate on and the surrounding space, as well as here.) the seating placement of the people attending the tea session. It is often 茶 Subject (Theme) translated as “tea stage”—in Chinese, What is the purpose of this tea session? Is it to try a new tea that has just when the attendees at a tea session have become available? Or to mark the opening of an art exhibition? drunk a round of tea, we can reorder the characters from the word “chaxi 茶 Time (茶席),” saying that they have “drunk What is the season? What time will the session start? How long will it last? a stage of tea (he le yi xi cha, 喝了一席 茶).” This term also lends all the poetry of a playwright and all the feelings of 茶 Location (Space) participation an audience feels when Natural or man-made environment? Indoors or outdoors? Compact or watching theater. Beyond that, there spacious? are the subtler and deeper connections between theater—an equally ancient 茶 Objects/Teaware art form—and tea, which can also lead What sort of tea will you choose? How about teaware? What materials will to transcendence as well. you select—pottery, porcelain, glass, metal, lacquerware, wood…?

33 34 Chaxi All that is needed for a simple chaxi Teaware must be kept clean and you can add things like a tea cloth/run- is tea, a teapot, cups and hot water. For should be adapted to the time and ner, small objects for people to pick up most day’s chaxi, however, there are place—for example, using pottery ves- and toy with or flower arrangements. many other things to add to the list of sels on cool winter days and glass ones Once we are comfortable arranging items we must prepare, such as a tea- in the heat of the summer. Aside from a chaxi, we can add more elements, boat or pillow, a pitcher if you need the teaware, don’t forget that the host such as tea snacks, calligraphy, incense, it, tea spoon, tea utensils, saucers and attendees must also be in harmony music or dance performances, and so or coasters, a tea towel and a waste- with the chaxi itself, and vice versa, to on. Thus, we can plan a unique tea water basin. When preparing a chaxi, create a sense of wholeness. gathering, inviting more tea compan- it’s certainly not the case that more We must remind ourselves of this: ions to attend and arranging a program abundant or more expensive para- I am an inseparable part of the chaxi. of activities, adding to the richness of phernalia is necessarily better. What’s Every time I arrange a chaxi, it is a rep- life. important is to find a balance between resentation of my current intentions and Drinking tea alone is a solitary joy, elegance, taste and abundance; to desired theme, including questions such while tea sessions are made for the joy bring a feeling of comfort and safety as: What sequence do I want to follow for to be shared. They were born out of to the participants. The planned lines today’s tea session? How will I act toward our basic needs for life (quenching our of movement should be smooth and the participants? What sort of frame of thirst and detoxifying the body), and fluid, with the brewer laying out the mind should I cultivate? What sort of later became an expression of an ele- teaware easily according to the intend- atmosphere do I want to create? All of vated lifestyle, aesthetic beauty and re- ed pattern. The handling of teaware this will be reflected in the design and fined self-restraint, before finally evolv- and implements should never cause layout of the chaxi. ing into a distillation of all that we find the participants to feel uneasy, uncom- Once you have done all this to the meaningful in life. So, let’s lay out our fortable or inconvenienced. Also, we best of your ability, if you still have chaxi and enjoy some tea together! mustn’t forget to practice our tea serv- some energy left over, don’t forget to ing skills in order to increase our famil- add a touch of beauty to draw the gaze iarity with the teaware and the ritual. of the participants. To this purpose,

35/ The Art of Chaxi 36 Chaxi & Tea Life 茶人: Ju Lizhi (琚利智)

As we travel this tea journey, we are constantly meeting with serendipity. The tea world is vast, but often feels small. You often meet people you feel you have known forever, and others with stroies that somehow parallel your own in amazing ways. Many of you may not know this, but Wu De’s book has been translated to Chinese and is quite popular in mainland China. Ms. Ju amazingly found tea through Wu De’s book. Then, looking for a teacher, she found Master Tsai, a dear tea brother. Then, in full circle, she met Wu De on our annual trip. When she heard that we were making this issue, she was excited to contribute. She is an amazing author in her own right, as you will soon see. Wu De said that this is one of his favorite Global Tea Hut articles, full of life, poetry and tea spirit. He and Ms. Ju are lifelong tea friends now. Tea truly connects us across time and space, from America to China, we are one big tea family, finding each other through our love for the Leaf.

grew up in a true “Jiang Zhe” (the Chinese translation). This was the small amount of tea leaves into a glass. household—my mother is from first tea book that I read in earnest. At Next, he picked up the water that had Jiangsu Province, and my father is the time, the thing that most piqued been set to boil beside him and poured Ifrom Zhejiang. Zhejiang Province is an my curiosity was that this book was it in. We watched the leaves tumbling abundant producer of green tea and has written by a Chajin from the United around in the glass, first floating near a long history of tea culture. Although States. It was this same curiosity that the surface before mysteriously sink- the senior members of our family were led me to dive headlong into the Way ing to the bottom, one by one, as if in the habit of drinking tea every day, I of Tea; I stayed up all night reading they had reached some kind of final didn’t absorb any of their influence in until I had devoured the whole book destination. My grandpa picked up this respect. As a child I was mystified in one sitting. When I finished it, I the glass and blew gently on the tea. by these green leaves with their aroma didn’t run straight to a tea shop to buy Perhaps he noticed my curious, puz- of stir-fried melon seeds—what special some tea and experience its wonder for zled expression, because he put down charm did they hold that could refresh myself; instead, I just sat there on a the glass that he had just brought to someone so thoroughly, or keep them chair in my studio, lost in thought, for his lips and pushed it towards me. Nei- awake all night, so that everyone was quite some time. ther of us said a word; I simply copied so cautious and serious about drinking The first image that came to my my grandpa, picking up the glass with a cup of tea? Yet, perhaps thanks to mind was a childhood memory of the four fingers and gently blowing on the experiencing life’s ups and downs as I first time I drank tea, when I was vis- tea, with some of its leaves still floating grew up, during my university years I iting the family home in Jiangsu with around. My face was instantly envel- fell in love with this “mysterious leaf.” my maternal grandfather. It was win- oped by a cloud of warm steam and I remember the day in 2013 when an tertime, and the charcoal briquettes a fragrance that reminded me of stir- auntie of mine who was a keen tea were blazing in the stove. I remember fried broad beans. Since ancient times, drinker gave me a book called The climbing onto the bench seat and cu- Tea has been celebrated for Her ability Way of Tea (喝茶是修行) by Wu De riously watching my grandpa put a to transport us.

37

Chaxi

Awaking from this reverie, I sud- needed to ask myself first. What was The study of life—this was my new denly understood how the experience I hoping to achieve through my tea understanding of tea after learning of drinking tea can truly bring you to practice—to soothe the frazzled nerves more about it. I recall that after study- tears and can re-awaken the connec- that come with the life of a busy home- ing tea with Master Yu Ting at the tion with one’s nearest and dearest, no maker? To be entranced by the beauti- Long Cui Fang (櫳翠坊ˇ) tea space in matter how faint the memory or how ful teaware and flowered cloth of the Taipei, I brought back a Long Cui tea- great the distance between you. An old tea table? Or simply to brew the per- pot which I was quite enchanted with. dining table, a grandfather and grand- fect cup of tea? It was while muddling As soon as I got home, I eagerly un- daughter, a glass: this is my purest un- along on this path of self-driven explo- wrapped it, only to notice that the edge derstanding of chaxi. The true beauty ration that I came upon a teacher who of its lid was “mysteriously” missing a of the chaxi lies in genuine emotional would help guide my way—Master piece the shape of a crescent moon. At connection. A book, a Taipei after- Tsai Yizhe. From Nature Herself to the this I gave a small laugh, and gladly ac- noon, a painting: these were the begin- cup of pure tea I hold in my hand, he cepted it the way it was. Perhaps this nings of my life of Tea. helped me understand clearly that tea was an expression of the same wisdom When I started my tea practice, practice is not simply a course of study as the old saying “the moon may shine I didn’t go down the usual route of in knowledge; rather, tea practice is an bright or dim, and ever will wax and finding a Cha Dao teacher. This was embodiment of our love for life in all wane”—the nature of a situation de- because I had a few questions that I its beauty. pends on how you see it. So, this little

39/ Chaxi & Tea Life pot has accompanied me in the drink- I remember visiting the wild tea beautiful, indescribably wonderful. It’s ing of many a tea and has appeared in garden at Tongmu Guan on Mount just like the abstract images of wom- many of my chaxi photographs. Some- Wuyi with my teacher at the begin- en in Picasso’s paintings; they are not one once asked me, “Why do you still ning of the year. As we drove through depicted with breathtaking beauty, but use this broken pot in your photos?” I the great valley, the road we traveled they truly transport the viewer into the gently replied, “You may see it as dam- on seemed like a scar that Pan Gu, the feeling and spirit of the time. In art, aged, but I really love this pot—so it’s legendary creator of the universe, acci- we often pursue this sort of spirit, the perfect!” Although “perfect” is perhaps dentally left there when he was making power to move people; only things a bit of a stretch, it’s certainly true that the world. If a girl’s face had a scar like with spirit, with life, with emotion, when my little pot was part of a chaxi, this, imagine the horror-movie shiv- have the ability to touch the heart. no one saw it as damaged because of er it might bring. Yet, out here amid That wild scene that we witnessed at its crescent-shaped birthmark; on the Nature, the insignificance of human Tongmu Guan left a profound im- contrary, they were full of admiration. activity lends the whole landscape an pression on me. For our chaxi there, The beauty of a chaxi comes from love; air of reverence. This mountain valley we may not have had an abundance of love makes everything perfect and em- is home to countless life forms, earning tea implements all within easy reach, braces all. Love is the true spirit of tea: Tongmu Guan its reputation as “a par- but what we did have was the yew trees the reason to practice and the reason to adise for birds, a kingdom of snakes.” standing between the mountains, full share it as well. The feeling of life here is exquisitely of tenacious life clinging to the Earth.

40 Chaxi Even after the Thunder God’s caress, its own harmonious beauty. There is a the green moss, nourished by moist duality to everything in life; this is the mountain mists and the lush foliage yin and yang spoken of in Daoist phi- of the wildflowers with their small losophy. Hence the line “there is room yellow blossoms, nestled between the for both yin and yang”; both spring wild tea plants, thrived and grew to from the boundless fountain of life. the sun. It was a wonderful setting. The beauty of a chaxi lies not in restric- Wood chips from the thunder-split tion or conformity, but in manifesting yew trees formed a mat, and the shale what is in the heart. from the hillsides formed a makeshift fort for the moss and yellow flowers. In the wild tea garden, with the yew trees standing guard, we were deeply moved by all these incarnations of na- ture. The most powerful chaxi are full of life’s energy. Beauty does not have a definition; it has a unique randomness, a sponta- neous, as-you-please quality. It can be found in crashing ocean waves and in the sparkle of a dewdrop in the light of dawn. After obtaining my little red clay stove, I quickly fell in love with out- door tea sessions. My studio is located in the outskirts of Shanghai, quite far from the city; although it doesn’t have any green hillsides nearby, it is next to Dianshan Lake, known as the source 用 of Shanghai’s water. When I have some 美 free time, I take my charcoal stove to the lakeside and set up a chaxi however 自 the whim takes me. The mossy rocks of the lakeshore become unique pot 然 stands, the dry twigs beneath the trees make excellent fuel; sometimes I’ll find 裝 an empty mussel shell by the lakeside, which makes for the most elegant of 飾 flower vases. I savor the fragrance of the tea in the company of the water birds; 好的 together we appreciate the sunset, feel- ing it deep in our hearts. Although 生 there may be no musical instruments to provide a melodic accompaniment 活 to the moment, the friendly songs of the water birds have their own wild charm; a light breeze ruffles the curtain 帶 of night as it falls across the land. This gentle chaxi is filled with a spirit of easy 來 spontaneity. 生喜 “Water to purify the heart; objects to conjure a feeling.” I prefer to see the aesthetics of the chaxi as a fluid art, 悅 without any specific constraints; it sim- ply gives silently to the time and place. It’s just like the white space between black ink strokes in Chinese calligra- phy, or the Venus de Milo statue, that embodiment of beauty in Western art with her broken-off arms—something 活 that seems damaged can also contain

41/ Chaxi & Tea Life

Formal Chaxi 正 for an Event 在 茶人: Shen Su & Connor Goss 式聚 會 上 分 茶享 茶 席

ea gatherings are quite popular to one such gathering. We are often own chaxi which played a large role in in Taiwan. They take many dif- more than happy to attend so that we this tea gathering. It required a lot of ferent forms, sometimes high- can support our friends and to simply time and effort to design and prepare Tlighting brewing methods specific to share our love of tea with more people. our chaxi for this event. one country or region, and other times At this particular gathering, we bringing people together from differ- had to brew a form of gongfu tea us- ent tea cultures around the world to ing aroma cups, which is a not a com- share in the universal language of tea. mon brewing method for us. However, Designing a Chaxi This gives tea participants the chance the brewing methods in our tradition to demonstrate their brewing skills in more than prepare us to adapt to oth- We always teach an entire class on a fixed period of time in front of an er methods. When you understand chaxi in our 10-day courses at our tea audience so that they can share their one of the primary “functions” of tea, center. It includes the main principles love of tea in a formal and public set- which is to connect, and you serve tea to design a tea stage and practical tips ting. Such gatherings often include with your heart, then adapting to the for starting a chaxi practice at home. periods of time to talk about the theme core of any brewing method becomes The first principle is to honor the guest of your chaxi (tea stage) and the efforts possible. Nonetheless, we had to prac- and the occasion. Honoring the occa- that went into designing it for these tice the form for at least a month in ad- sion in some cases might simply mean special occasions. We are occasionally vance, and more time would have been considering the time of day, the weath- invited to these gatherings by long- better! While the brewing method was er and the season. Considering these time tea friends who help to organize fixed, we were given the freedom to practical factors helps us to narrow these events. Recently we were invited use our own teaware and to design our down what kind of brewing method

43 and tea to use for the occasion. For designing tea stages based on our per- elements. Though the aesthetic quality example, if I’m going to drink tea in sonal preferences and what we want. of a tea stage is important, we are here the evening when it’s cold in winter, It’s not about what we want, but rather to drink tea after all. Simplicity is a key I would be more likely to choose a how we can be of most service to tea feature. Furthermore, it must be func- warming and relaxing tea, perhaps a and our guests. tional above all else and not get lost in nice shou puerh. I wouldn’t choose a Because the occasion for this tea the aesthetic of the design. Don’t lose young sheng puerh or lightly oxidized gathering was quite different from function in the form, in other words. oolong that is cooling in nature and our usual situation where guests come Finally, a theme must be chosen to energizing, because it wouldn’t suit to our center for tea, we had to think work with so that all elements can be the time of day, weather, or season. and design differently. Since there is brought together in a harmonious, One must also reflect on and hon- a time limit for each participant, the beautiful, and functional way. I often or the guests, perhaps by asking who chaxi not only has to be suitable for the try to use the minimum number of they are, how many are attending, and aroma-cup brewing method, but it has elements that still expresses the theme what their relationship to tea is, if any be set up and taken down in an effi- clearly; this is a very challenging bal- at all? By asking these practical ques- cient and organized manner, meaning ance to achieve! Not too much and tions before designing your chaxi, you it can’t be too complicated or contain not too little. More often than not, we are already well on your way towards too many props and other elements, make the mistake of adding too many satisfying the first principle ofchaxi lest you take too much time setting elements, which distracts, clutters, and design and creating a tea stage that will up or cleaning up. Like all good tea often impedes functionality and breaks honor your guests and the occasion. As stages, the focus must be on the tea, the rule of simplicity that governs chaxi an aside, this will also prevent us from not the extravagance or clutter of the and all of Cha Dao.

44 Chaxi As lovers of tea, we often treat these ample. In general, though, it’s wise to ly respected by Zen practitioners for gatherings as opportunities to express honor the guest and occasion, use the his attainment in the world and his a deeper meaning of tea because we elements of chaxi to focus attention on influence on the tea ceremony. In the are given the time and space to do so. the tea, maintain functionality over Vimalakirti sutra, he describes a small It’s suitable for the occasion, in other form and choose a theme to help guide ten-foot-square hut that could mag- words, to put more thought into the your decisions, applying simplicity ically expand to host thousands of design of our stage for this special throughout. guests, where he often gave discours- event. We often think of Buddhist es on Buddhism and shared tea. As a connections to tea or origin stories of result of the popularity of this sutra, tea, not so esoteric that no one un- many tea rooms were modeled after derstands, but also not so simple that My Theme: Vimalakirti & his simple hut, especially in Japanese it’s too obvious. So, all of this must be His Thatched Hut culture. The tea ceremony practiced in navigated very carefully. Like all fine these small thatched tea huts offered art, a well-designed chaxi will still the Vimalakirti was a famous lay-dis- temporary ordination for laypeople mind rather than excite it. There are ciple of the Buddha. He represented who lived everyday lives but nonethe- exceptions to this, however, and some- the ideal layperson, attaining full en- less created time and space to prac- times there might be an occasion that lightenment while living in the world tice the ideals of Buddhism and Zen calls for an exciting and bright chaxi, as a wealthy townsman, fully engaged through the service of tea. In modern like at Chinese New Year, for one ex- in everyday affairs. He was especial- times, the tea ceremony has broken

45/ Formal Chaxi for an Event all cultural boundaries, being shared thatched hut by cutting the natural fi- the Vimalakirti statue, freeing up the among people around the world. As bers of a broom and gluing them onto center to brew tea, and symbolizing a simple metaphor, Vimalakirti’s ten- a cardboard frame that rested on four the magic of his dynamic hut. It took foot-square room represents a small small bamboo pillars. The roof was also the woodworker over two weeks to and simple thatched tea hut in which decorated with some moss and dried complete the statue. We also made our we can all share tea together regardless tea leaves that I’d saved from a visit to own coasters for the aroma cups out of of how many people there are, where a tea farm some time ago. This gave cut tatami, cardboard and craft paper we come from, or who we are. it a realistic feel and added an extra and framed them with natural rattan. The story of Vimalakirti is well layer of tea-depth. In the beginning, We maintained an earthy color theme known in Buddhism, Zen and tea, es- before brewing tea, the gongfu teapot throughout, with green and light pecially in Eastern cultures, so it was was placed inside the hut and perched brown runners, a bamboo scoop that a suitable theme to try and represent on a beautiful piece of wood. In order matched the hut, a dark green pitch- at this tea gathering. It took some cre- to brew tea, however, the hut would er and brown tea jar and a cream-col- ative thinking and craftsmanship to have to be moved off to one side. We ored tablecloth that highlighted all come up with the necessary elements commissioned a local woodworker the main elements. When looking at to express this theme. Eventually, we to carve a small statue of Vimalakirti the chaxi, all attention was directed decided to make a miniature thatched that would also fit nicely inside the right at the middle with the teapot hut that could be placed at the cen- thatched hut, so that when the hut was and thatched hut. (In another version ter of the tea stage. We created the repositioned, it would be placed over Vimalakirti could start in the center.)

46 Chaxi

Even spatially, the hut occupied the glued thatched roofing to my clothes to wear because literally everything is most vertical space, creating a sort of and sprinkled leaves all over myself… on display when you’re brewing tea in pyramidal focal point, letting everyone Pathetic jokes aside, we just wore com- front of an audience like this. Details, know that we’re clearly here to brew tea, fortable tea clothes that supported the details, details... the details matter to but also wondering how it was going to general color theme. In fact, I tried on the person of tea, and these tea gath- function, what the hut symbolized and multiple shirts to see how it influenced erings are a great place to practice that perhaps who the little wooden statue the point of view of the guest. I was attention. As you can imagine, how- was if they didn’t already know. It was originally going to wear a long-sleeved ever, these kinds of details can get out a good balance that kept focus on the green shirt, but it actually blended in of hand if we don’t have our priorities tea and also left room for curiosity and too much and blurred the focus, where- straight. I’m far more concerned about contemplation. It’s always important as when I wore a simpler cream-col- what water I can use, what teaware to as a guest to contemplate and appreci- ored shirt, it brought more attention bring and how to brew properly than ate the tea stage that was designed for to the center of the stage. The color of I am about how my hair looks and if you. Let it calm and still your mind, my shift became the background upon my shoes match my outfit. Everything preparing you for tea. Once we started which the subject was highlighted. Tea matters, even one’s hair and shoes, but brewing tea and finally had a chance clothes should never bring attention to in the right order… to explain our theme, everything was you, but should complement the chaxi. clear. We were quite happy with the fi- It’s difficult to codify what that means, nal design, and it was well received at and it’s a sensitive subject, but in gen- The Final Stage the tea gathering. eral, neutral, simple, harmonious and Believe it or not, what we wear respectable are good qualities to aim Though these tea gatherings some- while brewing tea should also harmo- for in your choice of clothing for tea. times result in glamorous, extreme, nize with the theme of the chaxi. I also We even had to consider what shoes and overly complex chaxi designs,

47/ Formal Chaxi for an Event I’m always humbled at the lengths to mance for days, weeks, or even months when in actuality, those guests are serv- which tea lovers go to design a really in advance when the performance it- ing you—because without them, how nice chaxi for tea. The Taiwanese and self may only last minutes. In this way, can you practice serving anyone? It’s Japanese in particular have an amaz- we start to realize that the preparation a shift in perspective onto the idea of ing talent for incorporating lush green for the activity is as much the activity service. The service of making a chaxi plants, wood, and water features into as the final performance itself. In the for this gathering was the gathering their designs that make you feel like same way a great master serves a cup of serving me the time and space to prac- you are drinking tea in a rainforest. tea; it didn’t just take a few minutes; it tice the art of chaxi making. Next time Not to the mention the other design took a lifetime of cultivation to make you are preparing a chaxi to serve tea, features that people incorporate, like that cup of tea before you. I’m sure you can ask yourself, “who is serving bonsai, hanging scrolls, candles and some of the other participants spent whom?” While you may not require light fixtures and so many other natu- even longer on their tea stages than we three weeks to prepare your next chaxi, ral elements that are combined in won- did at this gathering. It was an honor perhaps you might give it some more derful ways to express a theme, all in to witness their efforts take shape in thought and time and feel how the the name of serving tea. I found myself the form of a beautiful and harmo- process of making the chaxi is also the putting more time and effort into this nious stage, all with the intention to chaxi itself, which was one the most particular chaxi than ever before. It re- make a fine cup of tea to share. important lessons I experienced at this ally expanded my idea of what it takes In one sense, I was designing the tea gathering. to make a truly well-thought-out stage stage, but in another sense, the process upon which to brew tea. It took over of creation was re-designing my under- three weeks to complete everything, standing of chaxi. This is a common only to have it used for thirty minutes lesson in tea, because you might feel Shen Su or so; it was like preparing for a perfor- like you are serving tea to your guests,

48 Chaxi n September, we had the won- draw together the parallels between tea derful opportunity to participate and Buddhism. Between the conscious in a tea gathering here in Taiwan dedication of Chajin to learn, preserve Iwhere we were given a space to create and pass on the teachings, similarly to a chaxi and serve tea. I had previously how Buddhism or any practice or spir- attended the tea gathering several years itual tradition has been handed down ago, helping cha tong for Shen Su; the generations. This also connected however, this time destiny unfolded so with my desire to honor the brewing that I would be serving tea as well. I methods that I know intimately and surrendered my expectations to serving carry with me, moment to moment. tea in a particular way, resting in the In the end, the chaxi I created com- occasion that allowed me to share tea municated these ideas in a way that I with people who I probably would not hope was understood, or at least the have met had it not been for the tea meaning glimpsed, as ultimately, we gathering. cannot impose our own interpretation The greatest question in making of a chaxi theme onto our guests. The any chaxi is to consider what the pur- perspective of our guests will be radi- pose of this occasion is to share tea cally different to ours, or anyone else, together. Perhaps it is a formal tea drawing from the wellspring of their ceremony or an informal meeting of own lived experience. All that I can friends who have not seen each other do is attempt to create a stage for tea in a long time. Whatever the purpose that honors the occasion, tea and my is will inform the rest of the process guests. What I intend to express may of making a chaxi, manifesting one’s be understood, and it may not. Often vision into reality, or at the very least times the impressions of a chaxi from attempting to create a chaxi that re- guests after a tea ceremony far tran- sembles that vision, that expresses its scend what I had sought to manifest essence. The main purpose of the tea and express. My ability to create chaxi gathering was to show up and share is still limited by my ability to get out tea. While we were not able to make of my own way, out of the often lin- tea in a way that I am used to brew- ear, constricted ways of thinking that ing, instead it was done in the spirit of hinder the free flow of energy and cre- the Taiwanese brewing methods, I did ativity. This means that sometimes the want to honor and share this tradition chaxi that I create harmonize with the and its brewing methods as much as occasion and spirit of tea, and other possible, if not in the actual brewing times I am unable to see beyond my methods, then at least in spirit, and in ways of interacting with the world and the chaxi itself. There were many pos- create a chaxi that does come alive. The sible paths I could take to achieve this, difference between the two can be felt and in the beginning, it was rather immediately, and sometimes it can be daunting! How do I choose a suitable the exact same chaxi, with maybe a few chaxi that will be easily understood by elements changed or moved around, the other guests at the tea gathering, and then all the elements harmonize while also honoring the brewing meth- together to express a living truth. ods of this tradition? The chaxi I designed had its roots This challenge of choosing an ap- in the spirit of tea, and the power that propriate theme was a wonderful, in- can be found in tradition and spiritu- sightful opportunity to move beyond al practice. We practice the brewing my conventional, often routine way of methods passed down through the thinking and making a chaxi. Instead, generations who have come before us, being given the invitation to explore preserving the wisdom to hand down different ways of creating a chaxi that to future generations. These brewing could be understood easily by the methods help to connect us to this guests, all the while transcending the present moment, bringing stillness to human boundaries created from lan- our hearts and connecting us to the guage and culture. Eventually, the in- future Buddha that we can become ternal dust settled for a moment, and when we rest in a calm, purified heart. a clear, bright idea shined forth. How As we purify our heart, we can see better to honor tea and its incredibly things more clearly, and our inner, in- vast and deep relationship with hu- herent state of awakening shines forth, mans and spiritual practice than to through our heart and tea.

50 Chaxi

I also wanted to communicate how Amitabha and Maitreya, as they rep- beyond the human-imposed borders in tea ceremony we rest in the Pure resent clearly the underlying threads and boundaries, and simply creating a Land, in heaven, in our higher selves. of my chaxi. The Medicine Buddha space to share the spirit of tea. I left As in the practice of Cha Dao, we are represents the power of tradition, and feeling more deeply inspired that tea all purified, temporarily ordained as how these brewing methods have been connects us all, regardless of our per- monks and nuns. As the bowls come passed down through countless gen- ceived differences, and that even if in and out, we find ourselves mov- erations for us to cherish and carry someone practices different brewing ing closer to seeing things clearly and forward for future generations, gifting methods, we can easily sit down for tea resting in the way things are, without those who come after us the healing together, quickly becoming brothers expectations. This is why I choose that can be found in tea. The Medicine and sisters as the kettle boils and the to have the three Buddhas sitting on Buddha also represents the purity that steam rises. clouds in the Pure Land. In choosing we find in tea ceremony, cultivating lighter, pure colors that represent pu- ourselves and washing the debris from rity I can express this in a way that can our hearts so that we can be noble, up- easily be understood, without any un- right beings. This leans into Amitabha Connor Goss derstanding around Buddhism or spir- who represents our inherent purity, the itual practice. This feeling of harmony light that shines brightly when we slow is then strengthened by placing the our racing minds and hearts to rest in three Buddhas on white clouds. Even this moment. Maitreya represents the if one does not have an understanding inner state of awakening that manifests of Buddhism or the Pure Land, one when our heart is purified, the mind can still feel into the quality of mind calm, and our vision clear—this is our that the elements invoke as these are inherent Buddha Nature. universal qualities not constrained The tea gathering was a wonderful to a particular culture or religion. opportunity to explore the world of I choose to use Medicine Buddha, chaxi, finding ways of communicating

51/ Formal Chaxi for an Event 天 堂

52 Arranging a Chaxi The Beauty of Nature

茶人: Tsai Yizhe (蔡奕哲)

We are once again so honored to have Master Tsai bless our magazine with his insight and wis- dom. He offers a philosophy that, like all things Tea and Zen, is lofty, deep and worth contem- plating over a lifetime and beyond, while at the same time remaining practical and applicable in our day-to-day tea practice. This article not only captures the spirit of chaxi, but of Cha Dao.

ecently while sharing tea with Ever since my student days, I have the word translate to “tea” and “woven some friends, I noticed that loved the atmosphere of a tea session. mat.” During the Tang Dynasty (618– even some of my friends who During my Zen studies, we often used 907), people would sit on a mat on the Rwere usually only interested in fine to drink a cup of tea to refresh and floor; at banquets mats served as seat- dining, alcohol and coffee have also clear the mind. Sometimes, watching ing and also as a space to lay out the started talking about tea. This trend the elegant poise and easy, unhurried food. The Book of Songs: Daya (“Major seems to be growing more and more movements of the host at the tea ta- Odes”) mentions “arranging a banquet prominent. I’m surrounded by a circle ble, I would think to myself, “Ah! with four bamboo mats,” while the of good friends who are enamored of Drinking tea really is the best choice. Analects of Confucius: Xiang Dang (“In modern aesthetics; in the past, their If it weren’t for tea, how else would the Village”) contains the line, “When conversations all revolved around I be able to enjoy and participate in the ruler would send a gift of food, he things like fancy meals, travel, whiskey such an atmosphere?” Today, however, would always straighten his mat and sit and red wine. Now, to my surprise, when watching a tea performance, al- down to taste it first.” When it appears their thoughts have turned Eastward, though I appreciate it, in the end it’s in these excerpts, the word xi, literally and they have begun enthusiastically really just derivative; it’s not real life. “mat,” is used to refer to the banquet as exploring things like calligraphy and Sitting down to a chaxi is like entering an event, or to seating. traditional ink painting, chaxi and a friend’s home; you can experience a What, then, is the definition of a the beauty of a quiet life. Many of my genuine intimacy with the “perform- chaxi? These days, everyone has their friends now post photos of their chaxi er.” Drinking the tea is akin to eating own definition. Personally, I think of on social media; I’ve seen a bunch of a friend’s home-cooked meal, prepared the chaxi as the “tea space” which the chaxi that proclaim themselves to be for you with care; your senses are par- tea host sets up for serving tea, a space art, a study in aesthetics. Yet, though ticularly attuned to the flavors and tex- to facilitate the enjoyment of the tea, they are rich in variety, I can’t help hav- tures, and you get the feeling that the to create a sense of beauty and a cer- ing some mixed feelings about them. love and energy that went into making tain artistic mood. When arranging a Of course, there’s nothing inherently the meal travels through your body to chaxi, we seek to create a lively, elegant good or bad about this; after all, no your heart and soul. It’s really a differ- and moving artistic tableau. There are single person can lay claim to the defi- ent experience. two main techniques involved in ar- nition of “beauty.” That said, I feel that To help everyone better understand ranging a chaxi: setting the scene and if art simply comes down to an arrange- chaxi, I spent a few days gathering setting the mood. A visually pleas- ment of colors, if a chaxi is reduced to some information. In fact, there are ing scene is the backbone of a chaxi, a display of originality in the shapes no clear instances of the word chaxi while the artistic mood is its soul. If of the teaware, without true creativity, (茶席) in our earliest historical books, you focus purely on the visual/aes- without life, without soul, then what nor does it appear in the dictionary. thetic aspect, the chaxi will feel rigid real meaning does a chaxi have? In a literal sense, the two characters in and lack a certain intangible spirit.

53

Chaxi

春 On the other hand, if you focus purely clear-headed state. From the arrange- stage the main characters. A chaxi with on the mood, it can make the chaxi so ment of a chaxi, you can get to know only primary elements and no second- lofty as to be inaccessible and difficult the tea host’s sense of aesthetics; in ary ones will appear crude and simplis- for people to understand or connect the planned lines of movement and tic, while one with only supporting with. A chaxi without a sense of beauty whether or not the motions are fluid, characters and no leading actors will cannot be called art, but a chaxi with- you can observe the tea host’s consid- seem loose and incohesive. out spirit is no more than a rigid tab- eration for the participants, how much It’s also important to have a sense of leau, lacking that special something. they value or feel close to their guests, balance. Achieving balance and harmo- Every item that is used in setting up whether there’s any sense of pressure ny in a chaxi means that the placement a chaxi, the overall aesthetic and coor- on the guests. In my opinion, a grace- of all the teaware and decorative items, dination of items, how well-integrated ful bearing should be an expression of whether in terms of horizontal, vertical the chaxi is—these things should all be one’s approach to life. The inner and or diagonal planes, should have a sense consistent. To achieve this, we must outer self should be consistent; we of order and balance. The overall effect first decide on a theme for the chaxi, must not be two-faced, showing one should be one of visual harmony, sym- and the arrangement should follow side when performing on the “stage” metry or balance between light and the theme; otherwise the overall ef- but a completely different side when heavy. If the layout of these physical el- fect won’t be very moving. A careless out of the spotlight. ements does not achieve this harmony, arrangement won’t have the power to For a chaxi to be successful, we it will inevitably make the participants convey the intended idea, and without must first establish the primary and feel unsettled. this, it’s impossible to create a chaxi secondary elements. The theme must What’s more, making clever use of with beauty and feeling. A chaxi is a be prominent and shouldn’t be too both echoes and contrasts in your chaxi sort of microcosm of our approach bland or uninteresting; secondary ele- will make the whole tableau more viv- to life; over the course of a chaxi, the ments that are not central to the theme id and thought-provoking to the par- distance between people diminish- must content themselves with being ticipants. It can not only bring out the es, all the while maintaining a sober, supporting players, and not try to up- theme more clearly, but also enhance

55/ Arranging a Chaxi: The Beauty of Nature 夏

the visual picture. Making good and flexi- ble use of these techniques requires careful thought. Below I will give a brief overview of what to consider, and what to avoid when setting up a chaxi. Then we will go on to discuss some of them in more detail. 茶席的元素 Elements to consider when arranging a chaxi: 1. “Weight”: balance between light and heavy 2. Color scheme 3. Harmony 4. Empty space

Things to avoid when arranging a chaxi: 1. A “top-heavy” or unbalanced composition 2. Unnecessary repetition 3. Placing items facing the wrong way on the tea table 4. Letting supporting elements overwhelm the main element/theme 5. Overdoing it with superfluous details

56 Chaxi

秋

These sets of recommendations for express these qualities of beauty and our mind may respond with images of what to do and what not to do are not “life,” they will naturally take on an spring, a tranquil lake or a grassy green separate from each other; they must artistic flavor, infusing our daily lives. field. When we see the color brown, we be applied in tandem when arranging In terms of the use of color schemes might think of autumn, or vast, hazy a chaxi. Only by using both together in a chaxi, the usual approach is to use landscapes. Red often makes us think can we create the desired aesthetic and a single colorway, choosing a cloth ta- of summer, or a festive atmosphere, mood, can we touch people’s hearts ble runner that echoes the color of the while white carries associations with and make our chaxi a pursuit of life tea. For example, we might choose a winter, or purity… These are the types and beauty, bringing our participants green cloth for high mountain tea, a of images and associations that colors the sense of delight that comes from a red cloth for red tea, an orange cloth can produce. In addition to the color simple, elegant arrangement. When we for Baihao Oolong (白毫烏龍), and a scheme, a chaxi also aims to convey talk about beauty in the context of a brown cloth for Tieguanyin or puerh. a simple artistic concept or mood; it chaxi, the emphasis is on the elegance An alternate approach is to choose a might make people feel peaceful like of simplicity, rather than on gorgeous contrasting color to set off the color of a wide green field, or free like a white embellishments. When we talk about the tea, such as by choosing a purple cloud floating in the sky. For example, a sense of “life,” this refers to the prin- cloth for Baihao Oolong. you might embody this by choosing a ciple that all the ornaments in a chaxi Further, we must be clear about green tea runner and pairing it with a should be things that are readily avail- the choices we make: does the chaxi white teapot, pitcher and cups to cre- able for everyday use. A diverse array make use of warm and/or cold colors, ate a springy feeling, recalling a poetic of chaxi arrangements can be created complementary colors, bright or subtle landscape of riverbanks turning green without buying extra things especially colors? Color is a wonderful medium at the touch of the first spring breeze. for the purpose. A set of tea imple- for expressing the feeling and style of a When appreciating classical Chi- ments can be adapted into many dif- chaxi: it can give rise to mental images, nese paintings, we can observe that ferent forms, expanding the concept of associations and ideas. If coordinated the artists don’t tend to emphasize a chaxi to include endless possibilities. well, color can used to great effect. For distinctive personal characteris- If our chaxi can often be adapted to example, when we see the color green, tics much when depicting people.

57/ Arranging a Chaxi: The Beauty of Nature 冬

The figures are usually so small that for imagination and beauty to expand. There’s a poem by Yuan Dynasty tea one barely notices them amid the When writing about the appreciation and Zen master Shiwu Qinggong (石 landscape; the emphasis is on the nat- of poetry, late-Tang Dynasty poet Si 屋清珙) that portrays just this kind of ural scenery. We must learn from this Kongtu (司空圖) also made an allu- expansive chaxi: approach when establishing the aes- sion to this idea, writing of “the shape thetic of our chaxi; it’s important not outside the shape, the scene outside The breeze sets the tea steam adrift to over-emphasize the ego, buying all the scene, the meaning outside the over the bamboo couch; sorts of dazzling eye-candy to fill up meaning, the flavor outside the flavor.” The stream flows by, our tea table and make ourselves look This world is a noisy place, and our and petals alight good. Doing so will create a lot of pres- hearts are restless. The secret to calm- on the crystal pond. sure for our participants. ing our bodies and spirits lies in two How can we live The use of blank space is also an words: “kuan (宽),” which can mean through thirty-six thousand days, important technique employed by “broad,” “expansive” or “open-mind- If we do not still our body and mind the artists behind many well-regarded ed,” and “dan (淡),” which can mean for a moment? historical paintings. In an essay en- “mild,” “calm” or “weak (as in weak titled Painting a Fish Trap, the early tea).” Without expansiveness of heart Ming Dynasty (1368–1644) paint- Qing Dynasty (1644–1911) painter and mind, how can we roll with what er and calligrapher Dong Qichang Da Zhongguang (笪重光) wrote that life brings? Without calm and simplic- (董其昌) wrote the following in On “emptiness and substance give birth to ity, how can we attune ourselves to Painting: “Of the six skills of a paint- one another. There is no painting in the beauty in everyday situations? The er, the first is to achieve a vivid and which every spot is filled with clever more we open our hearts, the wider distinct spirit. This spirit cannot be detail.” In a chaxi, blank space acts as a the path beneath our feet, the calmer learned, but is something that an art- bridge, connecting and unifying all the the scenes we see will appear, and the ist is born with, bestowed by Nature. elements, and as a window, framing more beautiful life will be. Tranquil- Of course, there are also things that our view of the mood and aesthetic of ity makes for an elegant life; open- can be learned: read ten thousand the chaxi. It provides a boundless space heartedness makes for a bigger life. books and walk ten thousand miles,

58 Chaxi and thus you will clear the dust and nected to Nature. I chose to become our chaxi and show our esteem for the impurities from your mind. The hills involved in the world of natural eco- scholarly flavor of thechaxi of old, we and vales will naturally arise with- arboreal tea firstly because of its neces- must look to Nature for our inspira- in you, forming a landscape. Then, sity for health, and secondly because tion. every stroke you write will con- ancient tea texts do not mention any Finally, once we have finished lay- vey the spirit of Nature’s real land- use of pesticide or fertilizer. Besides ing out our chaxi, whether simple or scapes.” The phrase “clear the dust this, drinking living or eco-arboreal elaborate, we should always seek a and impurities from your mind tea over a long period has the benefit sense of elegance in the setting and a (胸中脱去塵濁 ,自然丘壑內營)” is of sharpening our senses. When we return to Nature. We can use five cri- very insightful; it applies not only to drink tea that’s free of packaging, we teria to evaluate the chaxi: it should painting, but even more so to the art of naturally tend to put more into expe- be complete, rational, well-integrated, chaxi. The famous tea-loving Emperor riencing it with our senses. In the past, convenient and have a natural beau- Huizong of the Song Dynasty (960– the overly fancy packaging designs that ty. If you apply these criteria one by 1279) advocated four categories for we were faced with were a sort of as- one and your chaxi meets all of them, evaluating paintings: “divine,” “care- sault on the mind and senses; but now, then in principle it can be considered free” (also translated as “untrammeled” we are more attuned to everything a good chaxi. And of course, we must or “unaffected”), “wonderful” and “ca- that surrounds us, to all life’s sublime not forget that to realize a truly suc- pable.” Leaving aside the “capable” for details: the beauty of a gentle breeze; cessful chaxi with genuine warmth, the a moment, we can use these first three the beauty of the clouds at dawn’s first key lies in sharing the beauty of Nature as a foundation to discuss three class- light; the beauty of a desolate, melan- and the selfless love from deep within es of chaxi. Below is an adaption of an choly landscape; the beauty of a field our hearts. ancient artist’s concept of these classes. in springtime… As the saying goes, “May we Adapted in this way, they can apply to There are two paintings by Ming have quiet years and a peaceful life.” tea as well as art: Dynasty artist Tang Yin (唐寅) enti- (A quote by author Hu Lanchang, tled Tea-Drinking Paintings, both of 胡蘭成, upon his marriage to author 1. The artistic mood of tea corre- which portray scenes of literati drink- Zhang Ailing, 張爱玲.) Nothing in sponds to the shapes of the teaware, ing tea in thatched huts amid the this life is permanent, so a single chaxi embodying the lofty mysteries of Na- pines. The paintings depict a host who needn’t be an earth-shaking affair! It’s ture, combining thought and spirit to is well-versed in the art of tea manag- enough to fully savor each second and create new meanings and forms, their ing the proceedings, along with a ser- minute as it comes, and to truly enjoy subtleties combining with transfor- vant boy who has been enlisted to help every moment that we spend on tea! mative powers. Before one pours the fetch water, brew the tea and serve it to tea this spirit has already begun to the guests. The guests sit calmly oppo- soar, infusing into the tea. This is why site, curls of tea steam wafting through we call it “divine tea.” the air. Sipping a wonderful tea like this, experiencing the true taste of 2. The most unrivaled tea is that tranquility, is surely one of life’s great- which eschews any rigid rules of Cha est pleasures. In these moments, our Dao and disdains minute thorough- surroundings, from the Heaven-sent ness in tea gatherings. The teaware is beauty of the natural environment to simple, yet its forms are complete and the human-made scene that we create attain naturalness. It cannot be imi- ourselves, serve to bring a sense of ele- tated, as it exceeds all expectations. gance and tranquility to the experience This is why we call it “carefree tea.” of drinking tea. Thus, the beauty of the surroundings and the moving ex- 3. Tea is brewed by people, and each perience of drinking tea can lift our person has their own individual na- minds and spirits to a higher state. ture. The mind transmits its intention Tang Dynasty painter Zhang Zao to the hands, pouring out its hidden (張璪), known for his “broken ink” secrets. Just like the skilled Butcher style of landscape painting, once said: Ding who cut up the beast with prac- “Take Nature as your teacher from ticed meditation, the heart moves the without, and use your heart’s inspira- tools, and the flavor of the tea is mi- tion from within.” This is how he ex- As Master Tsai mentions in raculously subtle. This is why we call pressed his theory of artistic creation, this article, it is unnecessary to it “wonderful tea.” and it very much resonates with me. go out and buy things to make We need both the external element of chaxi. Some of our favorite chaxi I have been making ongoing efforts careful study of Nature and the inter- items are old pieces of wood we toward the conservation of our tea nal element of our own appreciation found by the side of the road, riv- mountains and environmental protec- and understanding in order to create a er stones, like on the first page of tion in general. I feel very deeply that truly great work of art. So, to put this this article and hollowed gourds the essence of a chaxi is intimately con- principle in practice in the aesthetics of as flower vases.

59/ Arranging a Chaxi: The Beauty of Nature

TeaWayfarer Each month, we introduce one of the Global Tea Hut members to you in order to help you get to know more people in this growing international community. It’s also to pay homage to the many manifestations that all this wonderful spirit and Tea are becoming as the Tea is drunk and becomes human. The energy of Tea fuels some great work in this world, and we are so honored to share glimpses of such beautiful people and their Tea. This month, we would like to introduce Mariana Rittenhouse.

think my tea story is a love story. And no, not in the way you’re thinking—it’s a love story because ultimately, Tea I has taught me how to love. I was an introverted little girl who grew up in Hong Kong, a city teeming with tea. I was the type of child who hung out with grandparents or family friends more than other kids my age. Some of my earliest memories are of me going to a British next-door neighbor’s house to have afternoon tea with her after school each day. I loved the ritual of it and the connection it brought about and to this day am still an afternoon tea fanatic. My mom used to take me to tea shops when I was little, and I would marvel in awe at all the ceramics. She told me she would buy me any tea set I wanted, but I couldn’t choose one. They all looked so different and no one could really tell me the differences between them or why I would want one over the other. This curiosity about tea followed me into my adult life. I worked in the natural foods industry and at all the trade shows I would visit the tea companies and learn as much as I could. My family would buy me all sorts of tea and tea gadgets for Christmas and my birthday each year, but the funny thing was I would never use them or drink any of the tea. I unwittingly became a tea hoarder! Not being able to get rid of any of these things because I knew there was something special there, but 茶人: Mariana Rittenhouse, USA also not interested in drinking any of the tea or using any of the wares they got me. The day I got rid of all of the tea memora- bilia was also the day I decided my “love” for tea was nothing mind and beginner’s heart. Tea taught me how to be in commu- more than an egoic attempt to attach tea to my identity. After nity with others, how to seek solace in lineage and surrender to all, if I really loved tea, I had no excuse to not be fully engaged teachings from time immemorial. Tea taught me to love nature with the gifts I’d received over the years. I said goodbye and on a cellular level, especially trees. I remember one tea ceremo- moved on. ny a while back when I looked outside the window to the trees A couple of years later my ears perked up when I heard on my land and thought for the first time ever, “I understand about a retreat in Italy where someone was serving tea cere- why someone would sacrifice their life for that of a tree.” These mony. “Tea ceremony?” I thought, “What do they mean?” Yes, little pieces of wisdom that come from the leaf herself, or from there were tea ceremonies I had gone to in Asia growing up, but Wu and the Global Tea Hut community, continue to flow into the way they described this sounded completely different, in- my cup and life and for that I am so grateful. No matter what volving meditation, silence and plant medicine. I knew I had to is going on in my life, I know I can sit down, put the kettle on, go and see for myself… I was so excited, I felt like I was about and Tea will help peel back the layers around my heart so I can to find what I had been looking for ever since I was a child. I reconnect to myself and the neutrality of Universal Flow. From emailed the retreat producer asking if I could attend every tea this place, with tea in my belly and my heart, it is easy to trust, ceremony during the retreat and packed my bags. accept and love in this chaotic world that we live in. I fell in love with Tea in Italy. Not tea the plant, but Tea the I am not a perfect person by any means. It is not always being. The beautiful energy of Tea that has taught me so much easy for me to show love for others in my day-to-day life or to in terms of how to be a better human. It was not easy to find be my higher self. Tea has become one of the main ways I can her, but most things worth looking for never are. After Italy show people that I love and care for them. Be it a stranger, a I begin a daily tea practice and never looked back. About six lover or my own mother, tea is the great connector of my heart months in I got my first lesson: Tea taught me how to listen. and yours. Love is not a feeling, it is an action, and to actively How to get out of my own way and be present to what is going love someone is to serve them. So, every day I wake up, and I on inside. She taught me how to come back to my beginner’s serve tea…

61/ TeaWayfarer Inside the Hut

Coming Soon to Global Tea Hut Magazine

茶主题: Zen & Tea 茶主题:Gong Ting Puerh 茶主题:Chajin & Teahouses 茶主题:Food & Tea

We need your help to get to a place where we Wu De has published a new book called “Fall- can build your permanent Center, Light Meets Life. en Leaves.” We are super excited. We think you are all (And we do hope that you feel that our Center is yours, going to love reading it, especially while you drink tea not ours.) If everyone in this community donates, we alone or share tea with friends. Right now you can can together create the most gorgeous Tea Center ever. purchase a limited-edition, hardcover, full-color and Obviously, not all of us have a lot of money to give, but signed edition from our website, on the “teaware” page. we can all do our part. Each of us is also connected Otherwise, you can get your paperback copy at Ama- to a larger community of people who can share in the zon or other online retailers. All the proceeds from this building of this project. As a global community, we can new book will help us build our Center, Light Meets do this for us and for future tea lovers! Life. This is another great way to help!

Let us know if you have any advice for the changes coming this next year. It really means more than ever that you continue to help and support us through these big changes. Center News It is Light Meets Life time!!! We have launched a giant, worldwide fundraiser to make We have some of the best teas we have ever had the move this very year. This will be our perma- for a Light Meets Life fundraiser this year. We figured nent Center, offering tea courses for the rest of we had to get some excellent teas, since this year we are our lives and beyond, serving future generations trying to build a new Center. Don’t miss out! of tea lovers. Visit www.lightmeetslife.org now!

Wu De will once again be doing a retreat at the It may seem daunting, but together we can Esalen Institute in Big Sur, California from Feb. 16th raise the funds we need to move into a new Cen- through the 20th of 2020. We are very excited to once ter—your new Center. If you have any experi- again be drinking tea and meditating on such sacred ence dealing with fundraisers of this nature and land. Come and join us! want to get involved, please email us and let us know your ideas.

The Center will be closed indefinitely for ob- vious reasons. There will be no courses, though if all goes according to plan, we hope to restart November Affirmation in 2020 or perhaps 2021 with an even better I am beautiful and more varied schedule than ever before. Help us make this happen! Do I see the beauty in my being? Do I recognize that my ability to see beauty around me is bound We have moved to a new house, closed up in my inner beauty? I acknowledge the miracle Morning Dew and the Tea Sage Hut, and are that is this life. I see the beauty within and without taking a much-needed breather for this coming and take the time to surrender to it. year before building Light Meets Life. 茶 席

www.globalteahut.org GLOBAL EA HUT The most decorated tea magazine in the world! Tea & Tao Magazine Sharing rare organic teas, a magazine full of tea his- tory, lore, translations, processing techniques and heritage, as well as the spiritual aspects of Cha Dao. And through it all, we make friends with fellow tea lovers from around the world.