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| Zhu Quan's Manual of Tea Tea Song Performance Themes My Performances My Repertoire | 首頁 |
| Guqin and Tea 1 | 琴與茶 |
| Playing qin at a teahouse2 |
Today there is a revival of interest in appreciating the high quality of a great variety of Chinese teas; this interest is marked by the growing number of new Chinese tea museums and sightseeing spots.3 Associated with this is the renewed interest in the Way of the Tea.4 Likewise there is a revival of interest in the guqin ("old qin") and in particular in the Way of the Qin.5 This program can provide music that will help listeners experience such a Way, while associated commentary can explore the significance of attitudes towards both qin and tea. This exploration reveals that just as for proper appreciation of what tea meant to connoisseurs one must use certain basic materials and present it in certain ways, for proper appreciation of qin music and what it meant to connoisseurs one must do the same. With regard to the qin this program argues that a crucial factor is the use of silk strings. To the traditional ear, playing qin with the modern non-silk strings is like drinking instant tea: the subtle flavors simply are not there.6
Another connection between tea and the qin is the fact that Zhu Quan, compiler of the first important surviving book of qin melodies, Shen Qi Mi Pu (1425), 15 years later published a Manual of Tea.7 This seems to have been the first book from the Ming dynasty about tea, and some commentary suggests that it was the first one to give details about tea infused directly from tea leaves, as today, instead of the powdered or brick forms popular earlier.8
Internet searches such as "tea guqin" (without quotes) or "琴與茶" (qin and tea) yield thousands of results, with much commentary showing the natural association of qin and tea. Indeed, today it is expected that when one visits a qin friend tea will be served. In some cases the serving of tea may become almost ceremonial.9 Correspondingly, there are some aspects of qin play which also might be considered ritualistic or ceremonial.10
Given all this, it may come as something of a surprise to find out that there are very few references to tea in qin melodies: only one surviving qin melody (a version of Xue Chuang Ye Hua11) has the word "tea" a section title, and only one other (Cha Ge [Tea Song]12) has it in the title. This latter melody pairs guqin tablature to lyrics by the Tang dynasty poet and tea lover Lu Tong (790–835), but it has survived only in a handbook published in 1616. The tablature is written using a very odd tuning; and there does not seem to be any information about whether the melody ever existed independently from this guqin setting, which was probably never widely played.
Tea was apparently drunk in China from the most ancient times, the most common legend saying that its benefits were first promoted by (legendary) emperor Shen Nong.13 This legend sometimes says this happened in the Mengshan region west of Chengdu in Sichuan province;14 Mengshan tea is mentioned in a well-known poem by Bai Juyi.
Today tea is considered both relaxing and stimulating,15 but until about the 4th C. CE it was largely considered medicinal. By the Tang dynasty it was finding wider use. Then in the 8th century, about 50 years before the aforesaid Lu Tong, Lu Yu took the first formal step in the development of Chinese tea culture by writing his Classic of Tea.16
At the time Lu Yu was writing his Tea Classic tea was formed into blocks. By several centuries later, during the Song dynasty, tea blocks had given way to powdered tea. The main work on this is said to be the Treatise on Tea by Song emperor Huizong.17 Huizong was also important in the world of art and the guqin (details).
It was also during the Song dynasty that tea really came into its own as a social phenomenon. Thus, a primary reason for the lack of tea themes in qin melodies may simply stem from the conservative attitude of literati towards "new" qin melody titles: many new melodies appeared during or after the Song dynasty, but their names reflect very few new themes. Even qin melodies surviving from Ming and Qing dynasty handbooks often have names that connect to people and themes from the Tang dynasty or earlier; "tea" not being a theme of sufficient importance in ancient times, perhaps it was thought there was no need for melodies with such a title.
A program on qin and tea could take place in a concert hall, but more relevant would be to hold it in an environment where both tea and the music can be appreciated. For the latter the most important factor is quiet. As mentioned above, only a few qin melodies actually mention tea; the ones I know are:
However, for this event the melodies themselves need not refer specifically to tea; nor would there necessarily be conversation: with the right presentation the subtle beauty of the tea and music would be self-explanatory. If there is talk it could be recitation of or references to poetry;18 there could also be showing and/or discussion of relevant art.19 There might also be some discussion of what is meant when speaking of the Way of the Qin and the Way of Tea. Although the actual qin music might naturally focus on melodies that deal with subjects that one might discuss while drinking tea, this could thus include pretty much any qin melody.20
1.
Guqin and Tea 琴與茶
There are a number of books in English available on tea and the Way of Tea. These include:
The present website has a brief mention of the emergence of tea culture in the article by James Watt. As for tea ceremonies, see below.
Tea lovers also known for their connection to qin include:
As this page is further developed more of such connections will be found and mentioned. (Old names for tea, including 荼 tu [苦荼], 茗 ming, 磚/甎 zhuan [brick or brick tea], 檟 jia and 蔎 she must also be considered along with 茶 cha.)
2.
Playing qin at a teahouse
(For Art and Qin see below)
In October of 2006 I also performed at the
Wisteria Tea House (Ziteng Lu) in Taipei, for a qin class taught by Yuan Chung-Ping (袁中平 Yuan Zhongping); it is located at No 1, Lane 16, Sinsheng South Road, Section 3 (紫藤廬，台北市新生南路三段16巷1號 02－2363 7375).
3.
Chinese tea museums and sightseeing spots
There is an increasing number of tea museums, and this list is certainly not complete:
The precise English name of the Lu Yu Tea Musuem said to have opened in 長興 Changxing in 2008 is unclear, as is the Chinese name (see above): I have so far seen (陸羽)大唐貢茶院 (Lu Yu) Tang Dynasty Imperial Tea Factory (or Great Tang Dynasty Tribute Tea Museum, said to be the original site of a factory supervised by Lu Yu); and 陸羽閣 Lu Yu Pavilion.
4.
Way of Tea (茶道 Cha Dao)
5.
Way of the Qin (琴道 Qin Dao)
6.
Tea and silk string guqin
It should be emphasized here that extolling the virtues of Chinese teas is not intended as a criticism of, or even a comment on, teas such as British milk tea, American iced tea, Indian masala tea, and so forth, any more than extolling the virtues of silk string qin should be seen as a criticism of, or even a comment on, music instruments such as piano, guitar, metal string or any other forms of qin.
7.
朱權 Zhu Quan and his Tea Manual (茶譜 Cha Pu, 1439 or 1440;
sample page)
8.
Importance of Zhu Quan for the development of tea culture
9.
Tea Ceremony?
10.
Qin rituals?
11.
Mention of tea in the section title of a qin melody
12.
Tea Song (茶歌 Cha Ge)
13.
Origin of Chinese tea drinking
14.
Mengshan Tea 蒙山茶
15.
Tea: both relaxing and stimulating
16.
Lu Yu and the Classic of Tea (陸羽，茶經)
ICTCL (186, 270, 843) mentions Lu Yu's friendship with
Li Ye, work with
Jiaoran and others, and his autobiography. See also his reported
question to Zhang Zhihe.
The Wikipedia pages on the
Classic of Tea
(茶經 31686.170) and on the
Tea Classics have further information; the latter page includes the Tea Manual of Zhu Quan (mentioned above) and the Continuation of the Classic of Tea (below).
Lu Tingcan and The Sequel to the Classic of Tea (陸廷燦，續茶經)
Lu Tingcan's Sequel is dated 1734. A translation by Jiang Yi and Jiang Xin, together with their translation of the Classic of Tea, has been published by the Library of Chinese Classics, Hunan People's Publishing House, 2 vols., 2009).
17.
Treatise on Tea by Song emperor Huizong (宋徽宗：大觀茶論, 1107)
18.
Poetry with qin and tea (for art see below; for the Lu Tong poem used as qin melody lyrics see the
separate page.
Tentative translation:
陸游：雨晴
More poems by
Lu You that mention both qin and tea include:
Many websites list 茶聯 tea couplets such as these latter two (presumably copying each other); none seems to give the full poem.
Footnotes (Shorthand references are explained on a
separate page)
The present page is the focus of my effort to find specific historical, aesthetic and philosophical connections between qin and tea. Although an internet search for "guqin and tea" (without quotes) or 琴與茶 both give many results, there is little specific information there on guqin and tea. As for online information about Chinese tea in general, the Wikipedia pages such as Chinese tea,
History of tea in China, Chinese tea culture and
Tea classics, plus Chinese Wiki pages such as 茶葉,
中國茶文化, and
茶道 (the latter mostly concerning Japan) are useful beginning points. The
website of the National Museum of Tea in Hangzhou (home of the Chinese International Tea Culture Institute) also has useful information. The Cha Dao website includes a useful list of webpages that concern tea. And Tea Arts, a blog in Chinese and English by Steven R. Jones in Taiwan has a particularly useful page called
Tea Terms 2010. My thanks to Steven for his advice on tea and tea culture.
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The above image is from a photo taken 23 May 2008 at the 千禧茗茶 Qianxi Mingcha Teahouse in Qingdao, during a solo performance to benefit Sichuan earthquake victims (part of the
2008 Marco Polo tour).
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The only museum on the following list that I have personally seen is the first one. I would be happy to hear from people who have visited these or others. I would be particularly interested to hear of a museum trying to provide evidence that might counter what seems to be the prevailing modern attitude that tea before about 1500 didn't taste good enough that we should try to re-create its flavors.
杭州龍井路 #88 Longjing Road, Hangzhou.
浙江，長興 (present title unclear - see below)
Fujian (see further).
Hong Kong Park, Hong Kong
Taipei county, Taiwan
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31686.155 says only 茶技 tea skills, with reference to 封氏聞見記，飲茶 Record of Feng Family Knowledge, Drinking Tea, a book compiled in the Tang dynasty by 封演 Feng Yan. This term was used more commonly in Japan, related to the development of their tea ceremony. The rituals surrounding tea in the present day seem to be at least in part inspired by the popularity of the Japanese tea ceremony. Similarly the Japanese also developed Way of Incense (45496.xxx 12/432xxx 香道 xiang dao), with formal events centered around identifying and appreciating various scents; this seems to have at least in part inspired a revival of interest in this amongst Chinese.
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21570.70 makes reference to a chapter called Qin Dao in the
Xin Lun by 桓譚 Huan Tan (ca. 43 BCE - 28 CE). The best account in English of the Way of the Qin is Lore of the Chinese
Lute by
R. H. van Gulik.
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The famous qin player Gong Yi as reported in the Shanghai Daily to have said, "Guqin is not soda, but a cup of green tea" Although a traditionalist might well feel that soda is to green tea as metal string qin is to silk string qin, probably a better comparison is to say that instant tea is to green tea as metal string qin is to silk string qin. This statement should also be qualified by "all other things being appropriate". Thus, to appreciate silk strings one must have an appropriately peaceful and quiet environment, just as to appreciate good tea one must have good water, clean cups, and so forth.
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Although the influence of Zhu Quan (1378 - 1448) on tea culture is said to be very important, it is difficult to compare this with his work with guqin. His tea manual is discussed in some detail on a
separate page. His
bio page shows a statue of him at 武夷山 Wuyi Shan in Fujian (regarding which see
Record of Wuyi Shan).
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A paragraph in my page on Zhu Quan's Tea Manual has my analysis of Zhu Quan's potential importance in the development of tea and tea culture.
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The preparing of Chinese tea, while sometimes elaborate, never had the formality developed in Japan for their tea ceremony
(Wiki). Instead there are modern ceremonies appearing, such as the Wu-Wo Tea Ceremony
(Wiki) developed at the 陸羽茶藝中心 Lu-Yu Tea Culture Institute, Taiwan (see account).
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The repeated playing of a melody in order to center oneself (see under Xianweng Cao), though not actually a ritual, serves a similar function. Likewise are such rules that before play one should put on clean clothing, brush the teeth, and so forth.
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The 1549 version of the last section of the melody 雪窗夜話 Xue Chuang Ye Hua (Evening Talk by a Snowy Window) calls the last section
Heating the cauldron and boiling tea.
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This melody, now discussed on a
separate page, survives only in Lixing Yuanya (1618).
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This external site says Emperor Shen Nong introduced the benefits of tea at 蒙山 Mengshan (see next footnote).
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Mengshan (Mount Meng) is in 名山縣 Mingshan county, west of Chengdu in Sichuan province (near Qionglai). Meng Peak Sweet Dew Tea (Wiki) is grown here.
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Tea has both caffeine, which stimulates, and other substances (e.g. tannin) which relax. According to various sources (e.g. Evans, Tea in China, pp.149-50, The Tea-Strength Fallacy) the first two minutes of infusion brings out the caffeine. If you use a lot of tea leaves but infuse it quickly it is stimulating; if you infuse it for several minutes, throw away the water, then infuse again it is relaxing. This theory, which online sources copy unquestioningly, has not been scientifically confirmed; some say the decaffeination process takes much longer.
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Lu Yu (733 - ca.804; Bio/1305;
a2tea.com;
Wiki/中文) had the style name 鴻漸 Hongjian, but he had a number of other names as well, including 茶宇翁 Chayuweng (Old Man of the Tea World), 竟陵子 Jinglingzi (Scholar of Jingling), 陸疾 Lu Ji (Suffering Lu), 桑苧翁 Sangzhuweng (Old Man of Mulberries and Hemp) and 季疵 Jici. Born in 復州 Fuzhou in modern Hubei province, he is said to have been an orphan, adopted by the Chan monk 智積 Zhiji of 龍蓋寺 Longgai Monastery. However, he refused to become a monk and when assigned menial work fled to become a street entertainer. Soon, however, he was noticed by the local governor of Jingling, 李齊物 Li Qiwu, who sponsored his education. He then developed his tea skills as a disciple of 鄒夫子 Zou Fuzi on 火門山 Huomen mountain northwest of 竟陵 Jingling (now 天門 Tianmen in central Hubei province). In 752 he returned to Jingling, where he was befriended by the new governor, 崔國輔 Cui Goufu. Around 755 because of the An Lushan disturbances he fled south, ending up in 湖州 Huzhou, Zhejiang province, where at the 妙西 Miaoxi Temple he became a friend of the monk
Jiaoran. They traveled together investigating tea, then he eventually settled as a hermit in nearby 顧渚山 Guzhu Mountain near 苕溪 Tiaoxi, an area named after a stream passing through modern 吳興 Wuxing and 長興 Changxing. Here he began work on his Tea Classic, the first edition of which has been dated to about 766. He continued to work on this book here and then back in Huzhou, where he built a new home 青塘別業 Qingtang Bieye and continued his project with sponsorship from 颜真卿 Yan Zhenqing, whose library gave Lu Yu access to much historical information. He then wrote a number of other books in addition to revised editions of the Classic of Tea.
(There is now a museum here.)
Lu Tingcan (42620.113; Bio/1317; not 陸延燦 Lu Yancan), style name 秋昭 Qiuzhao, lived in the early Qing dynasty. He wrote at least one poem that mentions qin and tea. The book includes an extensive 茶之略 Outline of (writings about) Tea. Note that although this list does not include Zhu Quan's Cha Pu, in his chapter on 茶之具 Implements for Teas he does quote Zhu Quan on Cha Zao.
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This treatise by the Song Huizong emperor (r. 1101-1126) is discussed in Wikipedia; see:
Treatise on Tea
(中文). Powdered tea effectly disappeared from China, but is still drunk in Japan; the Japanese tea ceremony uses powdered tea. It might thus be argued that Huizong's influence on tea was stronger in Japan than in China. (Japanese refer ot this powdered tea as
抹茶 matcha (Wiki.)
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A preliminary search has turned up several poems that mention both qin and tea:
兀兀寄形群動內，陶陶任性一生間。
自拋官後春多醉，不讀書來老更閒。
琴裡知聞唯淥水，茶中故舊是蒙山。
窮通行止長相伴，誰道吾今無往還？
Interminably we devote our bodies to human activities, (yet) are determined to enjoy things our whole life.
After we cast aside official rank and constantly get drunk, we do not read books in order always to be more at leisure.
With the qin I know how to listen attentively to Green Water, while with tea for a long time it has been that of Mengshan.
Failure and success, going and stopping: these always accompany each other; and who (but qin and tea) are what come to me now and do not leave?
車馬長安道，誰知大隱心。
蠻僧留古鏡，蜀客寄新琴。
曬藥竹齋暖，搗茶松院深。
思君一相訪，殘雪似山陰。
閒曳枯筇自在行，曲廊小閣賞新晴。
幽禽葉底吟風久，殘雨枝間照日明。
茶映盞毫新乳上，琴橫薦石細泉鳴。
亦知老健終難恃，且復蕭然得此生。
百錢買菅席，錦茵亦何加；
疋布縫麤裘，安用狐腋奢。
昨者南山僧，松肪寄一車，
可以照讀書，堅坐待朝霞。
顧影為發笑，山童雙髻丫。
一掬琴高魚，聊用薦夜茶。
天恐紅塵著腳深，不教經歲去山林。
欲酬清淨三生願，先洗功名萬裡心。
石鼎颼飀閒煮茗，玉徽零落自修琴。
晚來剩有華胥興，臥看西窗一炷沈。
桑苧家傳舊有經，彈琴喜傍武夷君；
輕濤松下烹溪月，含露梅邊煮嶺雲。
醒睡功資宵判牘，清神雅助畫論文；
春雷催茁仙岩筍，雀尖龍團取次分。
流鶯婉語喜相，喚鵯鵊催明守。
此窗半醉半醒，春夢破多愁多。
病壯心降壑源㝎壓杯中物賀若元非日下雙詩....
(缺 [incomplete: 43 characters; copied from Qinshu Daquan,
Folio 19, #124;
喜智 Xi Zhi: Happy Wisdom 3980.xxx; 鵯鵊 beijia 48032.1)
竹露松風蕉雨，茶煙琴韻書聲。
Water on bamboo, wind in the pines, rain on banana leaves;
Vapor from the tea, sounds of qin, sounds of reading aloud.
(This extract has also become an expression for an elegant scholarly gathering)
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| 19. Art with qin and tea (for poetry see above) | Tea boy |
There are many classical paintings which show tea being brewed while qin is being played (or contemplated); see. e.g.,
More to be added. It might also be noted that Watt's comment on the Tang Yin painting suggests that it conveys a certain amount of posturing, with something self-conscious about brewing tea here in the garden.
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20.
Program: tea and guqin
Although I have performed in tea houses, I have not yet done a specific program centered on tea and tea culture. As such a program develops further, more direct connections will be added between qin and tea. I have not yet been able to see a copy of Zhu Quan's Manual of Tea (Cha Pu); it is possible that an interesting program could be done putting commentary or practices from this manual together with melodies from his qin handbook.
Meanwhile, here are some melodies which might have some particular relevance:
The last three of these melodies I play according to the qin handbook Shen Qi Mi Pu (1425), compiled by Zhu Quan; any other melodies from this handbook could thus also naturally be included.
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