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Home , Shen Kuo, Su Shi, Tea classics, Wen Zhengming, Wen Zhenheng

Classics A Required Taste

Tea Culture Among 16th Century Literary Circles as Seen Through the of Zhengming 一 個 茶人: Michelle Huang 必 修 Some of the authors we are translating in this issue are very 品 well known to Chinese scholars and laymen alike. And even 味 if these specific authors weren’t known to a Chinese reader, 文 they at least would have studied enough Chinese history to contextualize these works in the : its culture, 徵 art and . Also, we only got to read parts of Wen’s 明 “Superfluous Things,” those having to do with tea, so this -ar 的 ticle on his life and times by our local historian, Michelle, who has contributed to many past issues of Global 畫 Tea Hut, can help us all to construct a bit of Ming in our imaginations and thereby enrich our reading of the texts.

en Zhengming 文徵明 tivity for literary figures since the dawn most other gentlemen to work on his W (1470–1559) was a of civilization, the booming economy art and tea-related research. He wrote a famous artist in the late and the increasing availability of pub- systematic commentary on an existing Ming Dynasty in , which was lic transportation since the 15th centu- work, the Record of Tea by a hot spot for literary figures. He came ry in China made it easier for people (1012–1067),3 which was titled Com- from a family of generations of officials to travel longer distances. As a result, mentary on the Record of Dragon Tea and grew up with another popular lit- high-end restaurants and taverns began Cakes.4 erary figure, Tang Yin,1 who became a to emerge all over China. In addition, One of ’s works is high-ranking official when he was 28. many high officials and aristocrats in a hand scroll depicting a trip to Mount Wen had a bumpy journey pursuing southern China built gardens stretch- Hui, a mountain whose water was re- officialdom, as he lacked the requisite ing hundreds of acres to receive their nowned as the finest for brewing tea. talent for essay-writing. He made nu- friends and to avoid having to mingle In the year 1518, when Wen was 49 merous attempts at sitting the official with the common people. One of the years old, he traveled to Mount Hui national examinations that were held most prestigious gardens in Suzhou, with several officials, including Wang every three years, and failed nine times! the Humble Administrator’s Garden, Chong, Wang Shou,5 Cai Yu and Despite his attempts, Wen failed to ob- owned by Wang Xianchen,2 was made three others. and Wang tain an official title for several decades. famous by Wen Zhengming’s writing Shou were two brothers who often He eventually obtained a petty title and paintings. Apparently, Wen often frequented the Humble Administra- through connections when he was 53, stayed at the poshest gardens in - tor’s Garden, although they were of no only to resign 3 years later, finding the zhou as their owners’ honored guest. immediate relation to the owner. Like world of officialdom too hostile. Nev- Wen was so prudent (and probably Wen, Wang Chong had not had much ertheless, he was popular among high even intolerant of alcohol) that he re- luck forging a career as an official, society and his and paint- fused to drink more than six cups of and he also excelled in calligraphy. In ings were very highly sought-after. wine at any given party. So, he pre- fact, Wen Zhengming, Wang Chong In the 15th and 16th centuries, of- ferred to go to tea-drinking literary and Zhu Yunming6 were the three ficials often held literary gatherings gatherings to avoid the pressure to im- most famous calligraphers in Suzhou where they would drink wine, compose bibe. In one of his poems, he said “I during the 15th and 16th centuries. poems, and sometimes even paint and do not drink wine, but I do get drunk Wen Zhengming and Wang Chong write calligraphy together. Although on tea.” Partly because he had never had been planning to take a trip to visiting learned friends and drinking held an official title before the age of Mount Hui to taste the famously wine together had been a common ac- 53, he had much more free time than pure and sweet spring water for years.

39 惠 山 茶 會 圖

Notes

1) Tang Yin (唐寅, 1470–1524) was one surviving record of the garden’s name was Above: “Tea Gathering at Mount of the most popular literary figures in the found in Wen’s letter to the owner in 1517 Hui,” 1518. Wen is reminiscing on one Ming Dynasty. He passed the local official thanking him for a lovely summer. The of his favorite trips, tasting the most examination when he was 16 and earned garden lost part of its original site to a mu- famous tea with the best spring water the title of champion (jieyuan, 解元) in the seum, so it is now only 560 acres in size. from Mount Hui. One can only imagine provincial exam when he was 28. 3) Cai Xiang’s (蔡襄, 1012–1067) Record the pristine Nature, clear, sweet water However, his lower-class upbringing and of Tea (茶錄) is one of the most important and gorgeously vibrant tea produced by great sense of humor made it difficult for writings on tea from the . a world relatively free of pollution. See- him to excel in high society. So he stopped ing a depiction of ancient Chajin enjoy- 4) Wen’s commentary is called Longcha Lu pursuing officialdom and instead traveled ing outdoors inspires us to head out Kao (龍茶錄考) in Chinese. extensively, visiting powerful people and to the mountains and make some tea. It producing many paintings and works of 5) The two brothers were Wang Chong also should inspire us to want to pro- calligraphy. There are many comedic short (王寵, 1494–1533) and Wang Shou (王守). tect the environment and revolutionize stories centered around Tang Yin fre- how we live and produce commodities quenting brothels that poke fun at other 6) (祝允明, 1460–1526) was so that we too can one day drink from officials and moralists. a prodigy who passed the local official ex- amination when he was 17 and the provin- famous rivers, wells and springs! 2) The Humble Administrator’s Gar- cial one when he was 32, but he never got den (Zhuo Zhengyuan, 拙政園), whose into the national level after that. He was name literally means “the garden of those famous for his “crazy” running script that who are awkward in politics,” is a now a would look like incomprehensible scribble UNESCO world heritage site. The earliest to most Chinese.

40 Classics of Tea

Even though it was only 60 kilometers After Cai’s written passage re- artisans but not good painters. He be- (40 miles) from Wen’s home in Su- ports the factual information about lieved that there were three different zhou to Mt. Hui, it would have taken the whole event, the is then kinds of perspective in painting. A them weeks just to walk to the foot- revealed to the viewers bit by bit. We good painter will internalize the pan- hills surrounding the mountain. They first see a big boulder at the very begin- orama and then transform the entire arranged to visit Cai Yu’s teacher, who ning, followed by a dense for- experience into an overall impression, lived near the mountain. The traveling est with several tall pine trees. Among which he then embodies in a coher- party came prepared with their favorite the thick forest, two gentlemen are ent painting. Therefore, those who tea and all the cauldrons, teapots and talking and enjoying nature. Then, made structurally correct drawings of utensils they would need to savor the two more gentlemen are sitting and architecture to the point that even the best brew of their lives. The hand scroll chatting around a well, below a hut. To mortise system under the roof was de- depicting this expedition begins with the left of the hut, two servants, most- picted faithfully might have excellent an inscription written by Cai Yu about ly obscured by a pine tree, are brewing fine motor skills, but they could not the details of the trip: “On the day of tea while another gentleman watches. be classified as good painters. Chinese the Qingming Festival, the seven of us In front of the crouching servant and literary figures who enjoyed painting stopped at a pavilion with two springs the low orange table stands a type were clearly conscious that they paint- on the hills of Mt. Hui, and poured of portable stove, which was called a ed to express their sentiments, emo- the spring water into Wang’s cauldron. “gentleman of principle”8 at the time. tions and perceptions rather than to We made the thrice-boiled hot water It has a big teardrop-shaped opening record what they saw with their phys- and enjoyed the tea...”7 In the passage, in the front panel for coal and a wa- ical eyes. “thrice-boiled” hot water refers to the ter kettle on the top. There are several With this ideology in mind, we can proper boiling technique, where the other objects such as water jars, a box now come back to view this painted water must be boiled until the bubbles (probably full of other smaller utensils) hand scroll from the beginning again. roar and splash everywhere. This tech- and several tea bowls on the table. The preface written by Cai Yu tells nique had been described in almost all At this point, most modern viewers us clearly that this painting is about articles on tea since the Tea Sutra by Lu might be wondering why Wen did not Wen and his friends’ trip to Mt. Hui Yu (733–804). portray all seven gentlemen who were to enjoy the best spring water in Chi- In Chinese hand scrolls, which are on the trip, nor depict all the utensils na. This is the only clear piece of in- in a long horizontal format, there can needed for brewing tea. It may come as formation in the hand scroll—the rest be writing both before and after the a surprise, then, that the ancient Chi- of the content can be understood as painting section. Hand scrolls are so nese, especially literary figures, were symbols or suggestions. All elements named because they are usually rolled not given to thinking so literally. In in the painting signify certain things up and stored away, and when they are the eleventh century, a controversial that happened on their journey. For occasionally taken out for viewing, they but respected poet, essayist, painter example, the boulder at the beginning are unrolled and held in the hands to and calligrapher, Su ,9 wrote a man- of the painting signifies Mt. Hui, the admire them. Hand scrolls are viewed ifesto on scholarly painting, claiming gentlemen signify the group of seven from right to left, similar to the tradi- that realism in paintings was over-rat- friends, and the objects on the table tional Chinese writing system where ed, superficial and irrelevant. The only signify all the necessary utensils for the vertical lines of text are also read real reason for painting was to convey brewing tea. This is why the rock, from right to left. Just as we now scroll the painter’s personal impression of trees, hut and people are not painted to up and down on computers, ancient the subject. In addition, he clarified scale: perspective was irrelevant in Chi- Chinese “scrolled” right and left when that since scholars had spent decades nese paintings where the subjects were they read calligraphy, letters and hand maneuvering ink while writing poetry intended as symbols, not realistic de- scrolls (flat-bound books appeared and calligraphy, without any colored pictions. Not only was the number of after the ninth century). In addition, pigments, monochrome ink alone was gentlemen “incorrect,” but all the gen- most hand scrolls were kept in a box sufficient to convey the essence of their tlemen also look so generic that none after being rolled up. It took time to visions. of them are identifiable as any specif- open the box, take out the hand scroll, , a statesman and con- ic person. Since Cai wrote down the untie the silk string and then unroll temporary of , also made a sim- names of all seven men in the traveling the scroll itself. As a result, viewing a ilar yet much more specific comment. party, there was no need to add any Chinese hand scroll painting is almost Shen Kuo was a genius—a spectacular individual attributes in the painting. like an art installation in that a tempo- Chinese mathematician, astronomer, By the same token, Cai specified the ral element forms part of the viewing physicist, meteorologist, civil engineer, purpose of the trip in his writing, so experience. A hanging scroll, on the hydraulic engineer, art critic, inventor, there was no point in displaying all the other hand, is vertical and can be hung , zoologist, botanist, archae- paraphernalia for tea making on that on the wall for public exhibition. As ologist, pharmacologist, cartographer, tiny table. Furthermore, since it takes a rule of thumb, most Chinese hand agronomist, ethnographer, encyclope- time to unfold the scroll, the tempo- scroll paintings are private, for person- dist, general, diplomat, poet and mu- ral element at the time of viewing lent al use, while hanging scrolls are mostly sician.10 Shen thought that those who a visceral quality to the of for public viewing, even though they painted architecture faithfully, using the painting. At the end of the paint- might not be hung all the time. rulers and accurate perspective, were ing (toward the left end of the scroll),

41/ A Required Taste Notes

Above: “Pastoral by Mr. Chen 7) Cai Yu (蔡羽, 1470–1541), similarly of Shen Kuo’s great achievements: he was Meigong (陳眉公先生田園歌).” Dates to Wen Zhengming, also tried repeated- the first person in the world to describe unknown, but judging by the dates ly and only passed the provincial official the magnetic needle , he figured of the three people who wrote the in- examination when he was sixty-four, then out arithmetic series of second order, the- scriptions, it’s from the first half of the retired three years later. Wen did not keep orized that both the and were 17th century. The second inscription is company exclusively with late bloomers, spherical, explained the scientific reason written by and the first however—it was simply an indication of behind lunar and solar eclipses, observed section is written by his cousin, Wen the fierceness of competition. Cai’s in- that the pole star was in fact a circumpo- Congjian. The last section is written by scription reads: “正德十三年二月十九,是 lar star that moves, found out about mag- Lu Guangming, the grandson of the Mr. 日清明,衡山偕九逵,履約,履吉,潘和甫,湯 netism on earth, proposed the first solar Lu (Wen Zhengming’s student) who 子重及其徒子朋游惠山,舉王氏鼎立二泉 calendar in China, reported sightings of visited Wen during tea picking time, 亭下,七人者環亭坐,注泉于鼎,三沸而三 UFOs, observed and explained the reso- which Wen immortalized in his paint- 啜之...” nance phenomenon, made concave mir- rors that could reflect the whole image of a ing titled “Tasting Tea.” The painting 8) For more detail on the “gentleman of person in a small piece of metal, and more. above is actually a great example of the principle,” (kujiejun, 苦節君), see the ap- He was also very practical: he invented Ming literati tea circle. The theme of pendix of Gu Yuanqing’s (顧元慶) Tea and improved many techniques in civil en- the inscriptions, of Nature and water, Manual (Chapu, 茶譜). gineering such as for maps and is probably referencing another famous building dams; he also theorized about literati, . They are idyllic odes 9) Su Shi 蘇軾 (1037–1101) was the most and the shifting geo- to a “perfect life” in the countryside. influential literary figure in the Song Dy- graphical climate, helped civilians to drill nasty (960–1273) because he was highly for and refine for fuel, devel- eloquent and so talented in writing, callig- oped techniques in and raphy and painting. , and improved techniques. Furthermore, he was also a 10) Shen Kuo (沈刮, 1031–1095) has been great critic in aesthetics, philosophy, de- lauded by (1900–1995), a liberation, history, , arts and crafts, fellow of the Royal Society who specialized painting, politics, and so on. He had suf- in Chinese history of , as China’s fered poor health since childhood, which version of Leonardo da Vinci—but five also led him to study in depth centuries earlier! Here are a tiny fraction (like many healers who started this way).

42 Classics of Tea

water and a friend came to visit me!”14 Then, he wrote “In the year 1531, tea farmers are busy in the mountains. Lu Shidao came to visit me, so I got some spring water and brewed some tea for us. What a lovely visit!”15 The paint- ing is minimalistic to the point that it is almost devoid of any specificity. There are two huts under some trees. Two gentlemen are sitting inside of the bigger hut while a servant is brewing tea in the adjacent smaller hut. Again, the servant, who is almost blocked by the tree trunk, is tending the kettle on the stove. The layout of the tea huts is in accordance with Gao Lian’s descrip- tion in his Eight Notes on Healthy Liv- ing.16 Gao said that “the smaller hut for brewing tea should be built right next to the study. Inside the brewing room, there should be one tea stove… The young servant should only take care of this room, in case guests stay for the entire day or the master decides to stay up late during cold winter nights.” In the lower left corner, above the stone “East Garden,” 1527. East Garden (Dongyuan, 東園) was the estate bestowed bridge, another gentleman is arriving. by the first Ming emperor on one of his most important generals, Da (徐達, The style of painting reflects Wen’s 1332–1385). It is now a municipal garden called “Egret Island Park” boasting well- personality: plain, without much em- preserved traditional architecture over 1,523 acres of natural habitat. bellishment, and straight to the point. No wonder Wen loved tea rather than wine: tea is such a cultured, acquired some of the participants wrote a series tea. These moments remind me of Tao taste, whereas wine is much more im- of poems on points of interest and how Gu,11 who once brewed tea with snow, posing, pungent and overwhelming. they felt about the trip in general. In out of poverty. I, however, would not Three years later, when Wen was addition to the original members of mind being ‘tea sick,’ like the famous 64, (the same age that a young Paul the party, some privileged viewers from tea lover Lu Tong.”12 Even though it McCartney sang of wondering if his later generations who lived decades or was easier to travel in the 16th century darling would still love him by then!), centuries afterwards could make com- than it had been before, traveling must he was so content with tea that he ments, too. It was like a Medieval Chi- still have been a big event in their lives composed another painting on tea nese version of Facebook—friends, or for these scholars to keep talking about with a long inscription: Ten Odes of friends of friends, could keep com- one trip for decades afterward. Tea Utensils (see cover of this issue). In menting on one “post!” Indeed, hand As much as Wen enjoyed tea, not the passage he tells how, due to an un- scrolls were like a form of social media many of Wen’s paintings on the sub- fortunate aliment, he had to miss the for the officials who composed paint- ject of tea survived. Years after he went yearly tea tastings at the neighboring ings and poems together at literary to Mt. Hui, Wen finally obtained a tea farms. But then, he was blessed by gatherings. After the parties had fin- position as a petty official, yet he had his great friends who shared three new ished, the paintings could be shown to resign only three years later due teas of the year with him. He was so to other friends who might be invited to constant bullying from younger exhilarated that he composed his ten to continue adding more comments to and higher-ranking officials. About poems in response to the existing Ten the scrolls. a decade later, when he was 61 years Odes of Tea Utensils by two famous Years after the visit to Mt. Hui, Wen old, he painted a hanging scroll titled ninth century poets and tea aficiona- Zhengming composed a poem entitled Tasting Tea. The inscription on the dos, Pi Rixiu and Lu Guimeng.17 The Brewing Tea, reminiscing about the scroll reads: “The deepest forest on ten tea-related subjects are as follows: trip he took with the Wang brothers the jade-colored mountain is so clean shallow valleys for planting tea, tea a decade prior. “I still remember the and refreshing that it is devoid of even people,18 bamboo shoot tea, baskets taste of spring water in Mt. Hui so the most minute speck of dust. All the for picking tea leaves, tea huts, tea dearly in my heart. So whenever I am windows in the house face the beauti- stoves, roasting pits, tea cauldrons, free, I brew tea myself. Even when it is ful waterfall. Right after the solar term tea bowls, and brewing tea. By now, I freezing cold after the snow, I sit on the guyu,13 tea business has good pros- think viewers may not be too surprised bench after dark, sipping pects. I just boiled my first cauldron of to learn that this painting is virtually

43/ A Required Taste a direct copy of the one he did three years prior. It is true that Wen’s tea hut was not likely to have changed much 徐達東園 within three years, and it was certainly not unusual to copy one’s own paint- ing. Interestingly, ancient Chinese art- Notes ists did not have a problem with em- ploying other people’s painting styles. 11) Tao Gu (陶穀, 903–970) held different such good friends that they traveled to- The act of “copying” was considered official posts in four different dynasties gether often. Whenever they were not an emulation of the other artist, as well during his lifetime. Unfortunately, con- traveling together, they sent poems back as an exhibition of one’s own penman- ventional Chinese moral values made him and forth to each other, responding to the ship. The more styles an artist mas- a laughing stock for his lack of integrity. previous poem with the same format or tered, and the wider his repertoire, the He collected tales and gossip about tea in meter and rhyme. Lu loved tea so much better an artist he was considered. In high society in a volume called Records that he retired early and moved to Guzhu ancient China, the concept of plagia- of Various Tea Varieties (Chuaming Lu, (顧渚) in Province (浙江) so that rism did not really apply to paintings. 荈茗錄). he could have a tea plantation of his own— Of course, it would have been a huge this was unusual, as most Chinese moved scandal if one were to plagiarize any 12) Lu Tong (盧仝, 795–835) indulged back to their hometowns after retiring. serious writing, such as to claim an en- in tea so much that he got the nickname tire political essay written by someone “tea addict” or “crazy for tea.” He was once 18) These “tea people” included all people else as your own, or to hire someone to so impressed by a tea from Meng Jianyi write your political examination essay in the tea business, such as tea farmers, (孟諫議) that he drank seven bowls of that pickers and sellers. Legend has it that one for you. As early as the sixth century delicious tea in a row. He then composed BCE, Confucius himself, arguably the day Pi and Lu went to a tea plantation area a long poem to thank Meng and share his during the tea picking season. They went most influential philosopher, educator, wonderful experience. Later, this Song of historian and statesman, told his stu- into a store wanting to taste the new tea of Seven Bowls of Tea became a favorite allu- the year. The store owner knew they were dents that he never said anything origi- sion for tea lovers. nal—he merely retold what he had read not locals from their accents and was not before.19 For Chinese literary figures, sure if they know how expensive the fa- 13) Guyu (穀雨) or “Grain Rain” is the mous Russet Bamboo tea was. The Russet embedding allusions in obscure ways is solar term after which farmers plant seed- the art in all genres and forms. Again, Bamboo tea was a tribute tea which was lings of various grains, since it is usually supposed to be exclusively for imperial this concept is very different from the followed by the spring rain season. Most modern concept of copyright—the be- enjoyment. But since they looked like lit- tea farmers start to pick tea leaves at this erary people, the store owner invited them lief that one must give proper credit to time of the year. the original creator. It is not unlike the to compose some poetry about tea if they wanted to. When Pi composed a poem on way things operated in Western classi- 14) In Chinese, the inscription reads: “碧 cal music circles for several centuries the spot, the clever store owner asked him 山深處絕纖埃，面面軒窗對水開。穀雨 to sign the poem. When the owner saw the (and even now): no one was criticized 乍過茶事好，鼎湯初沸有朋來.” for performing music written by com- autograph, he was thrilled—he had hit the posers rather than by the player him or jackpot to come across a poet whose work 20 15) Lu Shidao (陸師道, 1517–1573) was was so highly sought after. To make things herself. Wen’s student. Two years later, Wen painted his even better, Lu also composed another Hu River Thatch-Roofed Hut for Shen poem. The happy store owner ordered a 21 16) Gao Lian (高濂, 1573–1620) was from feast for them to go with the fabulous and Tianmin. In the inscription, Wen the gentry class and had only been an offi- compliments Shen for being such a rare Russet Bamboo tea, even before the cial for a short time. He studied too hard emperor could enjoy it! Those two poems true gentleman. Even though Shen had when he was young and had had eye prob- already moved to the city, he still used were the ones on “tea people” that Pi and lems ever since, so he became interested Lu wrote for their Ten Odes. the style name “Hu River” to remind in medicine and healthy living. He also himself where he was from. In the pas- wrote several books on gardening and the 19) Confucius (551–479 BCE), the Ana- sage, Wen gives a short account of the leisurely lifestyle of a country esquire. He lects (7:1) “述而不作.” history of Hu River, in which he traces was also a playwright. His Eight Notes on the name back to the first century. He Healthy Living gave advice on eight aspects 20) Since Wen was such a famous painter then pays homage to the villa, and to of life: how to live a peaceful life, optimal and calligrapher, the possibility remains Shen, with a poem. Apparently, Shen routine in different seasons, models for a that one or both of these versions of his was not from a well-respected family leisurely daily life, exercises for a healthy painting may be copies by other artists. and did not hold any titles. So, Wen life, how to eat a healthy diet, how to live needed to do a little research about in high society, formulas for herbal medi- Shen’s ancestry in order to compose cines, and fairies and immortals. 21) Shen Tianmin (沈天民) invited Wen the poem in a way that honored him. to his mansion as a guest, so Wen paint- Even though the title of this painting 17) Pi Rixiu (皮日休, 834–883) and Lu ed his Hu River Thatch-Roofed Hut (Huxi is not directly related to tea per se, Guimeng (陸龜蒙, unknown–881) were Caotang, 滸溪草堂) as a token of thanks.

44 Classics of Tea we can see the exact same twin huts at with a huge variety of seafood, vege- the beginning of the painting: a small- tables and fruits. Hence, it is not sur- er one for brewing tea next to a bigger prising that the southern Chinese lite- one where the master would receive rati had a long tradition of luxurious his guests. To the left of the main hut, and leisurely lifestyles. Among the rich two gentlemen have just disembarked and famous, simply showing off one’s from a boat and are walking toward wealth was not viewed favorably—so Shen’s villa. This implies that Shen some aristocrats and tycoons would lived beside a lake with his own private befriend officials and literary figures, dock. There are other houses scattered in the hope that some of their culture around the lake with bridges for easy and elegance would “rub off.” Wen’s access. In Wen’s mind, the best attri- paintings and writings on the subject bute of a grandiose chateau was its sim- of tea, whether depicting his travels to ple thatch-roofed hut where unlimited Mt. Hui with friends in search of the fine tea was served upon request. That perfect spring water, drinking tea with is why Wen did not paint a grand es- his student at his own house, tasting tate, even though this scroll was meant the newest teas of the year while he to be a flattering painting of Shen’s was ill, or painting tea huts as a gift in mansion. Instead, Wen chose to paint return for long stays in splendid villas two simple huts in one quarter of the on vast estates, provide us with a fas- scroll to exemplify Shen’s loftiness and cinating window into 16th century tea humble nature and elaborate the spec- culture in Chinese high society. tacular, almost fantastical environment in the remaining three-quarters of the painting. In this way, Shen’s wealth was alluded to by the stunningly beautiful lake and the impeccable location of his abode. This pattern, with some minor variations, can also be seen in two of Wen’s other paintings. East Garden22 was painted when Wen was 57 years 文 old, shortly after he quit his petty of- ficial post, while The True Connois- Notes seur’s Studio was painted for his friend Hua Xia,23 an influential connoisseur 22) The East Garden (Dongyuan, 東園) and antique collector, when Wen was was the estate bestowed by the first Ming 震 87 years old. Even though these three emperor on one of his most important paintings are in hand scroll format, generals, Xu Da (徐達, 1332–1385). It is they might well have been hung on the now a municipal garden named Egret Is- wall for display, especially the one of land Park, boasting well-preserved tradi- Shen Tianmin’s estate. tional architecture in 1,523 acres of natu- 亨 Since the illiterate first emperor of ral habitat. the Ming Dynasty issued a decree to abolish sumptuous pressed tea cakes 23) Hua Xia (華夏, unknown–1647) spe- in 1391, loose leaf tea became ever cialized in ancient calligraphy and named more popular, and the gap between his studio “The True Connoisseur’s Stu- the elite and the common people start- dio” (Zhenshang Zhai, 真賞齋). th 真 ed to diminish. In the 15 century, with the rise of the merchant class, the ease of long-distance travel and the popularization of mass-produced printed materials, news traveled faster, 賞 demand for tea increased and people could easily travel to tea plantations to taste famous teas for themselves. pointed out in his Classic of Tea that tea grows naturally in the south. So south- 齋 ern Chinese had already enjoyed the privilege of drinking fine teas for over a millennium. In addition, the fertile land of the south provided local people

45/ A Required Taste “True Connoisseur’s Studio,” 1557. Two years before Wen passed away, he painted this handscroll for a famous connois- seur. Again, Wen portrayed the main characters in a simple hut. However, the clues that reveal the identity of the host as the connoisseur who commissioned the work lie in all the artifacts stored in the adjacent room.

A closeup of the middle section of “Hu River Thatch-Roofed Hut,” 1536. This is another idyllic scene for drink- ing tea and watching the river go by.

The same painting as above, “Hu River Thatched Hut” in its entirety. Wen painted this representation of a villa as a gift for the owner on his visit. For Chinese viewers, a true likeness of the villa was essentially irrelevant since Wen embodied the owner’s loftiness with a seemingly meager tea hut. Full painting of “Brewing Tea,” a section of which is shown on the cover of this issue. It is by Wen Zhengming. From the collection of the National Museum in Taipei. “Sipping Tea” by Tang Yin (唐寅, 1470–1524), also of the Ming Dynasty, from the collection of the Beijing Palace Museum.

“Tea Competition” is painted by an unknown artist, probably reproduced from a painting by Liu Song Nian. In the Song Dynasty, it was popular to have tea competitions, especially amongst roadside tea vendors. Ap- parently, this trend continued into the Ming Dynasty as well.

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