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II. The Schools of Tea.

Tea is a work of art and needs a master hand to bring out its noblest qualities. We have good and bad tea, as we have good and bad paintings--generally the latter. There is no single recipe for making the perfect tea, as there are no rules for
producing a Titian or a Sesson. Each preparation of the leaves has its individuality, its special affinity with water and heat, its own method of telling a story. The truly beautiful must always be in it. How much do we not suffer through the constant failure of society to recognise this simple and fundamental law of art and life; Lichilai, a Sung poet, has sadly remarked that there were three most deplorable things in the world: the spoiling of fine youths through false education, the degradation of fine art through vulgar admiration, and the utter waste of fine tea through incompetent manipulation.

茶是艺术，只有高手才能达到其至高境界。茶有好坏之分，就象画也有好坏之分一样，但一般坏的较多。如何制茶才恰到好处，并无一定之规，就像提香、雪村的画一样，手笔也不相同。 茶的品性不同，对水和热的嗜性有别，也各自流传下来不同的故事。 茶中必有至美。 然而，世人总是对艺术和生活中如此质朴的基本规律熟视无睹，令人痛心。宋朝诗人李之来曾感慨道：世间有三大悲，劣师教慧子，俗语赞名画，粗手沏精茶。

Like Art, Tea has its periods and its schools. Its evolution may be roughly divided into three main stages: the Boiled Tea, the Whipped Tea, and the Steeped Tea. We moderns belong to the last school. These several methods of appreciating the beverage are indicative of the spirit of the age in which they prevailed. For life is an expression, our unconscious actions the constant betrayal of our innermost thought. Confucius said that "man hideth not." Perhaps we reveal ourselves too much in small things because we have so little of the great to conceal. The tiny incidents of daily routine are as much a commentary of racial ideals as the highest flight of philosophy or poetry. Even as the difference in favorite vintage marks
the separate idiosyncrasies of different periods and nationalities of Europe, so the Tea-ideals characterise the various moods of Oriental culture. The Cake-tea which was boiled, the Powdered-tea which was whipped, the Leaf-tea which was steeped, mark the distinct emotional impulses of the Tang, the Sung, and the Ming dynasties of China. If we were inclined to borrow the much-abused terminology of art-classification, we might designate them respectively, the Classic, the Romantic, and the Naturalistic schools of Tea.

茶和艺术一样，也有时代和流派之分。它的发展可大致分为三个主要阶段：煮茶，抹茶和泡茶。我们处在最后的阶段。这几个流行的品茶方法代表了当时的时代精神。生活是一种表现，是无意识行为的表达，它总是暴露人们深处的思想活动。孔子曾经说过：“人无法隐藏自己（吾无乎隐尔）”。人们用太多的琐事来表现自己大概是因为人们并无大事相瞒吧。

但日常琐事是民族意识的脚注，也可以升华至哲理和诗意的志高境界。即使对佳酿美酒的不同品味，也可用来用来区分欧洲各时代和各民族的不同风格。同样的，各种茶思想也是以东方文化的不同思想为特征的。
煮茶块，抹茶粉，泡茶叶，这些方法代表了中国唐、宋、明朝时期不同的民间情怀。如果借用以被滥用的艺术术语来分类的话，可依次将茶归纳与，古典派，浪漫派和自然派。

The tea-plant, a native of southern China, was known from very early times to Chinese botany and medicine. It is alluded to in the classics under the various names of Tou, Tseh, Chung, Kha, and Ming, and was highly prized for possessing the
virtues of relieving fatigue, delighting the soul, strengthening the will, and repairing the eyesight. It was not only administered as an internal dose, but often applied externally in form of paste to alleviate rheumatic pains. The Taoists
claimed it as an important ingredient of the elixir of immortality. The Buddhists used it extensively to prevent drowsiness during their long hours of meditation.

茶树原产于中国的南方，很早就被认为是中草药。茶在古书中以荼（Tou），蔎（Tseh），荈（Chung），姹？（Kha），和 茗（Ming）等不同的字形出现，因为它具有解乏，提神、强心，明目等优良品性而享盛誉。茶不仅可以内服，也常做成糊膏外用来治疗风湿痛。道教徒说，茶是长生不老丹的重要成分。佛教徒普遍用茶来驱除久坐念经的困意。

By the fourth and fifth centuries Tea became a favourite beverage among the inhabitants of the Yangtse-Kiang valley. It was about this time that modern ideograph Cha was coined, evidently a corruption of the classic Tou. The poets of the southern dynasties have left some fragments of their fervent adoration of the "froth of the liquid jade." Then emperors used to bestow some rare preparation of the leaves on their high ministers as a reward for eminent services. Yet the method of drinking tea at this stage was primitive in the extreme. The leaves were steamed, crushed in a mortar, made into a cake, and boiled together with rice, ginger, salt, orange peel, spices, milk, and sometimes with onions! The custom obtains at the present day among the Thibetans and various Mongolian tribes, who make a curious syrup of these ingredients. The use of lemon slices by the Russians,
who learned to take tea from the Chinese caravansaries, points to the survival of the ancient method.

到第四、第五世纪时，茶已经成为长江流域里百姓喜爱的饮料。直到那时，“茶”这个现代的字符才开始成型， 很明显，它是有“荼”变形而成的。

南方诸国的诗人曾经留有很多脍炙人口的诗句来赞美“玉液的泡沫”。后来的皇帝常拿一些稀有的茶赐与大臣以奖励他们的忠良。但当时的饮茶方法还处在极为原始的阶段。茶叶是先被蒸过，再用臼研碎了，作成块状，和大米、姜、盐、橘皮、调味料、奶一起煮，有时甚至还加入葱！这种茶习俗仍然还在西藏、和蒙古的一些部落保留着，他们自这些成分中制造出的是奇异的茶浆。俄国人是从中国商队的人那里学会了喝茶，从他们以柠檬片入茶的习惯可以看出这是古代饮茶方法的残留。

It needed the genius of the Tang dynasty to emancipate Tea from its crude state and lead to its final idealization. With Luwuh in the middle of the eighth century we have our first apostle of tea. He was born in an age when Buddhism, Taoism, and Confucianism were seeking mutual synthesis. The pantheistic symbolism of the time was urging one to mirror the Universal in the Particular. Luwuh, a poet, saw in the Tea-service the same harmony and order which reigned through all things. In his celebrated work, the "Chaking" (The Holy Scripture of Tea) he formulated the Code of Tea. He has since been worshipped as the tutelary god of the Chinese tea merchants.

使茶道脱胎于原始阶段达到最终的完善，这要归功于唐代的智者。8世纪中叶出现了第一个茶文化的先驱，是陆羽。他出生在一个佛教、道教、孔教相互吸收渗透的时代。那是个泛神和崇拜各种神明象征性事物的时代，这有助于人们“大同归一”世界观的形成。诗人陆羽发现了这种贯穿于世界万物中的和谐及秩序也同样存在于茶道中。在著名的“茶圣”（茶经）一书中，他创立了“茶法 ”。从那时起，陆羽被奉为中国茶商的守护神。

The "Chaking" consists of three volumes and ten chapters. In the first chapter Luwuh treats of the nature of the tea-plant, in the second of the implements for gathering the leaves, in the third of the selection of the leaves. According to him the best quality of the leaves must have "creases like the leathern boot of Tartar horsemen, curl like the dewlap of a mighty bullock, unfold like a mist rising out of a ravine, gleam like a lake touched by a zephyr, and be wet and soft like fine earth newly swept by rain."

茶经共有3卷10章，第一张里陆羽论述了茶树的自然性状,第2张是茶叶的采集，第三张是茶叶的精选。
如他所述,最好的茶叶应该有像是塔塔尔骑手马靴上的皮纹一样的皱折，弯曲的要像肥壮牛犊颈下的赘肉，伸展要像深谷里弥漫出的薄雾，闪烁要像微风拂过的湖水，(网友mantou提供汉语原文：如胡人靴者蹙缩然，犎牛臆者廉檐然，浮云出山者轮菌然，轻飚拂水者涵澹然。）柔润要像雨后的良田

The fourth chapter is devoted to the enumeration and description of the twenty-four members of the tea-equipage, beginning with the tripod brazier and ending with the bamboo cabinet for containing all these utensils. Here we notice Luwuh's
predilection for Taoist symbolism. Also it is interesting to observe in this connection the influence of tea on Chinese ceramics. The Celestial porcelain, as is well known, had its origin in an attempt to reproduce the exquisite shade of jade, resulting, in the Tang dynasty, in the blue glaze of the south, and the white glaze of the north. Luwuh considered the blue as the ideal colour for the tea-cup, as it lent additional greenness to the beverage, whereas the white made it look pinkish and
distasteful. It was because he used cake-tea. Later on, when the tea masters of Sung took to the powdered tea, they preferred heavy bowls of blue-black and dark brown. The Mings, with their steeped tea, rejoiced in light ware of white porcelain.

第4章论述了24件茶具的组成和功用。从三脚铜鼎到用来容纳所有茶具的竹箱。可以看出，陆羽喜欢道教象征物（道教的信物？）。从中也可以看出茶对中国制陶业的影响，这也很有意思。

众所周知的中国瓷器始于唐代,意在模仿优美高雅的玉石，做出的瓷器有的具有南方的蓝色调，有的是北方的白色。陆羽认为蓝色的最适合做茶杯，因为可以给茶水增加绿色。而白色的却使茶显粉红色，不可口。之所以如此，是因为陆羽当时用的是块茶。后来，宋代的茶师们用粉茶的时候，喜欢使用深蓝和深褐色笨重的大碗。明代时泡茶，就喜欢用轻巧的白色瓷器。

In the fifth chapter Luwuh describes the method of making tea. He eliminates all ingredients except salt. He dwells also on the much-discussed question of the choice of water and the degree of boiling it. According to him, the mountain spring is the best, the river water and the spring water come next in the order of
excellence. There are three stages of boiling: the first boil is when the little bubbles like the eye of fishes swim on the surface; the second boil is when the bubbles are like crystal beads rolling in a fountain; the third boil is when the billows surge wildly in the kettle. The Cake-tea is roasted before the fire until it becomes soft like a baby's arm and is shredded into powder between pieces of fine paper. Salt is put in the first boil, the tea in the second. At the third boil, a dipperful of cold water is poured into the kettle to settle the tea and revive the "youth of the water." Then the beverage was poured into cups and drunk. O nectar! The filmy leaflet hung like scaly clouds in a serene sky or floated like
waterlilies on emerald streams. It was of such a beverage that Lotung, a Tang poet, wrote: "The first cup moistens my lips and throat, the second cup breaks my loneliness, the third cup searches my barren entrail but to find therein some five thousand volumes of odd ideographs. The fourth cup raises a slight perspiration,--all the wrong of life passes away through my pores. At the fifth cup I am purified; the sixth cup calls me to the realms of the immortals. The seventh cup--ah, but I
could take no more! I only feel the breath of cool wind that rises in my sleeves. Where is Horaisan? Let me ride on this sweet breeze and waft away thither."

在第5章里，陆羽论到了沏茶的方法。除了盐，他摒弃了所有其他成分。这一章着重地论述了水的选择和水的沸腾这些令人关注的问题。根据陆羽，山水是最好的。河水和井水次之（网友mantou提供汉语原文：用山水上，江水中，井水下）
。

水的沸腾分3个阶段：第一是像浮游于水面的鱼的眼睛；第二是像清泉里翻滚的水晶球；第三就是像巨浪在水壶里翻滚了（网友mantou提供原文：其沸如鱼目，微有声为一沸，缘边如涌泉连珠为二沸，腾波鼓浪为三沸）。

块茶要先用火烤软，软如婴儿的臂，再放在薄纸间研碎备用。水沸的第一阶段放入盐，第二阶段放入茶，至第三阶段要点入些许冷水，使茶叶沉底并使水重获新生。然后就可以倾茶入杯享用了。哦，甘美之露啊！片片茶叶就如蓝天悬挂的彩云又如绿溪漂浮的荷花。正如唐代诗人卢仝所赞：

一碗喉吻润。两碗破孤闷。
三碗搜枯肠，惟有文字五千卷。
四碗发轻汗，平生不平事，尽向毛孔散。
五碗肌骨清。六碗通仙灵。
七碗契不得，惟觉两腋习习轻风生。

The remaining chapters of the "Chaking" treat of the vulgarity of the ordinary methods of tea-drinking, a historical summary of illustrious tea-drinkers, the famous tea plantations of China, the possible variations of the tea-service and illustrations of the tea-utensils. The last is unfortunately lost. The appearance of the "Chaking" must have created considerable sensation at the time. Luwuh was befriended by the Emperor Taisung (763-779), and his fame attracted many followers. Some exquisites were said to have been able to detect the tea made by Luwuh from that of his disciples. One mandarin has his name immortalised by his failure to appreciate the tea of this great master. In the Sung dynasty the whipped tea came into fashion and created the second school of Tea. The leaves were ground to fine powder in a small stone mill, and the preparation was whipped in hot water by a delicate whisk made of split bamboo. The new process led to some change in the tea-equipage of Luwuh, as well as in the choice of leaves. Salt was discarded forever. The enthusiasm of the Sung people for tea knew no bounds. Epicures vied with each other in discovering new varieties, and regular tournaments were held to decide their
superiority. The Emperor Kiasung (1101-1124), who was too great an artist to be a well-behaved monarch, lavished his treasures on the attainment of rare species. He himself wrote a dissertation on the twenty kinds of tea, among which he prizes the "white tea" as of the rarest and finest quality.

茶经其他的章节记载了民间用茶方法，历史性的概述了爱茶名人、中国著名茶园，各种各样的饮茶法和茶具图。 最后一章不幸失传。

茶经问世在当时必定影响巨大，代宗？（Taisung， 763-779）皇帝把他作为挚友，其名声也吸引了众多的跟随者（弟子？）。据传，有些品茶能手甚至可以区别出陆羽和他的弟子沏的茶。有个官人曾因为不识陆羽大师的茶而留名后世。

抹茶自宋代开始流行，成了茶的第2流派。茶叶被放在小石磨中研成碎末然后再用竹片精制的竹帚打入热水中。
这种新方法使陆羽的茶具和茶叶的选择有所改变。盐被永远弃用。宋代人对茶喜爱至极，竞相探索发现新茶种，并在定期举行的茶会比赛中一决高下。

徽宗(Kiasung，1101-1124) 皇帝是个大艺术家，但不是个好君主，他滥用大量财宝来获取珍稀茶。 他自己著有一本研究20种茶的书，他赞赏其中的白茶认为是最珍稀最优秀的。

The tea-ideal of the Sungs differed from the Tangs even as their notion of life differed. They sought to actualize what their predecessors tried to symbolise. To the Neo-Confucian mind the cosmic law was not reflected in the phenomenal world, but the phenomenal world was the cosmic law itself. Aeons were but moments--Nirvana always within grasp. The Taoist conception that immortality lay in the eternal change permeated all their modes of thought. It was the process, not the deed, which was interesting. It was the completing, not the completion, which was really vital. Man came thus at once face to face with nature. A new meaning grew into the art of life. The tea began to be not a poetical pastime, but one of the methods of self-realisation. Wangyucheng eulogised tea as "flooding his soul like a direct appeal, that its delicate bitterness reminded him of the aftertaste of a good counsel." Sotumpa wrote of the strength of the immaculate purity in tea which defied corruption as a truly virtuous man.

宋代人的茶思想和唐代人有别，正如他们的生活理念也有不同。他们试图要实现祖先所要表达的东西
新儒家的观点认为，表象世界就是宇宙法则的本身，而不是宇宙法则的反映。 永生只不过是些瞬间，极乐世界（涅槃）随手可及。

道教认为，永生存在于永恒的变化中，这个观点贯穿于道教的所有思想。他们感兴趣的是事情的经过而不是事情的本身，真正至关重要的不是完成，而是完成的过程。 人就是这样直接与大自然互动（直面大自然）。生活的艺术又有了一个新的内涵。 这时，茶开始变成了一种自我实现的方式，而不是一种诗意的消遣。

王元之赞茶“可以无情的荡涤灵魂，其淡淡的苦涩让人无法忘记忠言的教诲”（outsider提供原句：沃心同直諫，苦口類嘉言）
苏东坡写道，茶至美的纯洁好似一个真正的道德卫士抵御着堕落的侵蚀

Among the Buddhists, the southern Zen sect, which incorporated so much of Taoist doctrines, formulated an elaborate ritual of tea. The monks gathered before the image of Bodhi Dharma and drank tea out of a single bowl with the profound formality of a holy sacrament. It was this Zen ritual which finally developed into the Tea-ceremony of Japan in the fifteenth century.

Unfortunately the sudden outburst of the Mongol tribes in the thirteenth century which resulted in the devastation and conquest of China under the barbaric rule of the Yuen Emperors, destroyed all the fruits of Sung culture. The native dynasty of
the Mings which attempted re-nationalisation in the middle of the fifteenth century was harassed by internal troubles, and China again fell under the alien rule of the Manchus in the seventeenth century.

佛教的南禅宗吸收了许多道教思想，制定了一套详尽的茶仪式。 僧侶们在菩提达摩像前聚集，馑守圣礼，他们用同一个碗饮茶。正是这禅宗的茶礼最后发展成为十五世纪日本的茶道。

不幸的是，十三世纪突然兴盛的蒙古族颠覆了中国，带来了野蛮的元朝帝国的统治，毁灭了宋朝文化的昌盛。
十五世纪中叶，大汉明朝曾致力于统一全中国，但内乱不断，十七世纪时，中国再度沦陷为满族的外邦统治之下。

Manners and customs changed to leave no vestige of the former times. The powdered tea is entirely forgotten. We find a Ming commentator at loss to recall the shape of the tea whisk mentioned in one of the Sung classics. Tea is now taken by steeping the leaves in hot water in a bowl or cup. The reason why the Western world is innocent of the older method of drinking tea is explained by the fact that Europe knew it only at the close of the Ming dynasty.

礼仪和习俗也变得全无以往时代的踪迹。粉茶被彻底遗忘了。据载，有一个明代评茶的人竟忘记了宋代名著里记载的茶帚是个什么样子。现在喝茶是要把茶叶浸在碗或杯的热水里的。西方世界不晓得老的饮茶方法是因为欧洲只是在明朝末期才知道茶。

To the latter-day Chinese tea is a delicious beverage, but not an ideal. The long woes of his country have robbed him of the zest for the meaning of life. He has become modern, that is to say, old and disenchanted. He has lost that sublime faith in illusions which constitutes the eternal youth and vigour of the poets and ancients. He is an eclectic and politely accepts the traditions of the universe.
He toys with Nature, but does not condescend to conquer or worship her. His Leaf-tea is often wonderful with its flower-like aroma, but the romance of the Tang and Sung ceremonials are not to be found in his cup.

对于后代中国人来说，茶是一种可口的饮品，而不是一种思想。中国漫长的苦难使人们丧失了对生活意义的追求，他们变成了现代人，或者说变得世故了，不迷信了。他们意识到古人和诗人的不朽的青春活力建立在虚幻上，并失去了对这种虚幻的敬仰。他们奉守中庸之道，不冒犯宇宙法则，与大自然共舞，而不是以卑者的身份来征服或崇拜大自然。虽然那时中国的叶茶常有令人赞叹的花香，但唐、宋茶礼的浪漫却在其茶杯中荡然无存。

Japan, which followed closely on the footsteps of Chinese civilisation, has known the tea in all its three stages. As early as the year 729 we read of the Emperor Shomu giving tea to one hundred monks at his palace in Nara. The leaves were probably imported by our ambassadors to the Tang Court and prepared in the way then in fashion. In 801 the monk Saicho brought back some seeds and planted them in Yeisan.

而紧步中国文明之后尘的日本，熟知中国茶和茶发展的三阶段。据记载，早在公元729年，圣武（Shomu）天皇就曾经在奈良皇宫向上百僧侣赐茶。当时的茶叶可能是由唐朝使节带回日本，以当时流行的方法炮制的。公元801年，Shomu道士将一些茶种带回日本种植在比叡山（Yeisan）。

Many tea-gardens are heard of in succeeding centuries, as well as the delight of the aristocracy and priesthood in the beverage. The Sung tea reached us in 1191 with the return of Yeisai-zenji, who went there to study the southern Zen school. The new seeds which he carried home were successfully planted in three places, one of which, the Uji district near Kioto, bears still the name of producing the best tea in the world. The southern Zen spread with marvelous rapidity, and with it the tea-ritual and the tea-ideal of the Sung. By the fifteenth century, under the patronage of the Shogun, Ashikaga-Voshinasa, the tea ceremony is fully constituted and made into an independent and secular performance.

据传说，从那以后的几百年间出现了许多茶园，茶也成了皇室和曾侣的喜好。Yeisai-zenji曾在中国学习南禅宗，他在1191年回日本时将宋代的茶引入日本。他带回的新茶种，分别种在3个地方，都很成功。Kioto附近的Uji便是其中之一，那里生产的茶至今仍然被誉为世界之最。随着南禅宗在日本的迅速传播，茶礼仪和茶思想也很快地在日本传开了。到了15世纪，由于Ashikaga-Voshinasa将军的努力，茶礼仪得到充分发展并独立出来成为一种民间活动。

Since then Teaism is fully established in Japan. The use of the steeped tea of the later China is comparatively recent among us, being only known since the middle of the seventeenth century. It has replaced the powdered tea in ordinary consumption, though the latter still continues to hold its place as the tea of teas.

从那时起，茶道在日本才算是完全建立起来了。中国后来的泡茶传入日本相对较晚，只不过是17世纪中叶的事情。虽然现在的日常消费中，粉茶已被泡茶完全取代，但其茶之王的地位依旧。

It is in the Japanese tea ceremony that we see the culmination of tea-ideals. Our successful resistance of the Mongol invasion in 1281 had enabled us to carry on the Sung movement so disastrously cut off in China itself through the nomadic inroad. Tea with us became more than an idealisation of the form of drinking; it is a religion of the art of life. The beverage grew to be an excuse for the worship of purity and refinement, a sacred function at which the host and guest joined to produce for that occasion the utmost beatitude of the mundane. The tea-room was an oasis in the dreary waste of existence where weary travellers could meet to drink from the common spring of art- appreciation. The ceremony was an improvised drama
whose plot was woven about the tea, the flowers, and the paintings. Not a colour to disturb the tone of the room, not a sound to mar the rhythm of things, not a gesture to obtrude on the harmony, not a word to break the unity of the surroundings, all movements to be performed simply and naturally--such were the aims of the tea-ceremony.

And strangely enough it was often successful.

A subtle philosophy lay behind it all. Teaism was Taoism in disguise.

是日本的茶礼仪让我们看到了茶思想的至高境界。
我们在1281年打败了蒙古的进犯，使我们能够将那在中国因为游牧族侵略而被毁的宋代茶道传下来。

茶对我们来说已经超出了饮品的概念，它成了对生活艺术的一种追求（信仰），
成了一种对纯洁和高雅的崇拜，一种为主宾相聚表达世间最美好祝愿的（圣洁）礼仪。
茶室好似荒凉世界里的一片（偶？）绿洲，疲惫的旅行者在那里相聚同饮一泉水共享茶艺术
这茶礼就是一幕即兴演出，剧情是诗，又如花似画.
茶室的格调无杂色的干扰，茶礼的韵律也不会被噪声打乱，没什么举止破坏和谐气氛，也没有语言破坏环境的统一。

奇妙的是，茶道常常会圆满成功。
所有这一切都蕴含着一个微妙的哲理。
茶道是道教的化身。