另移瓮内，百日始佳，半年更妙。四时皆用此法。春雨味更鲜浓，雪色尤为洁白，居卤斥之
地， 之东，日日天泉作供，不但自受用，亦不但供宾客，并及其妻孥，真无量快活也。
（
天气上为云，地气下为雨；雨出天气，云出地气，色变虫生，正所以攘地浊，以现天清
也。诸泉日久作变，变则化，化则去泥纯水，本色本味，和盘托出，毋自倾弃，以失性真。
（月枢笔记）
贮水瓮，须置阴庭，覆以纱帛，使承星露，则英花不散，灵气常存。假令压以木石，封
以纸箬，暴以日中，则外耗其神，内闭其气，水神敝矣。（茶解）
茶记言养水，置石子于瓮，不惟益水，而白石清泉，会心不远。然石子须取深溪水中，
表里莹彻者佳
瓮中，徙倚其侧，应接不暇，非但益水，亦且娱神。（茗笈）
仁智者性，山水乐深，载 清 ，以涤烦襟。（茗笈）
【评】曰∶得泉寻茗，得茗寻泉，如选俦觅偶，事主相夫，两家仔细，万一失所，此身
已矣。
七、候火
其火用炭，曾经燔炙为腻脂所及，及膏木败器不用，古人识劳新之味，信哉。（茶传）
火必以坚木炭为上，然本性未尽，尚有余烟，烟气入汤，汤必无用。故先烧令红，去其
烟焰，兼取性力猛识，水乃易沸，既红之后，方授水器，乃急扇之，愈速愈妙，毋令手停，
停过之汤，宁叶而再烹也。（茶疏）
炉火通红，茶铫始上。扇起要轻疾，待汤有声，稍稍疾重，斯则文武火候也。若过乎文，
则水性柔，柔则水为茶降，
若过于武，则水性烈，烈则茶为水制，皆不足于中和，非茶家之
要旨。（茶录）
苏 仙芽传，载汤十六；云调茶在汤之淑慝。而汤最忌烟，燃柴一枝，浓烟满室，安有
汤耶？又安有茶耶？可谓确论。田子 以松实、松枝为雅者，乃一时兴到之语，不知大谬茶
政。
（
【评】曰∶好茶好水，固不容易，火候一着，更是烦难，如媒妁一般，谋合二姓，济则
皆同其利，败则咸受其害。李陵传云∶媒 其短。孟康曰∶媒酒酵也。 ，酒曲也。谓酿成
其罪也。师古曰∶齐人名曲饼，亦曰媒妁，君子司火，有要有伦，得心应手，存乎其人。
八、定汤
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。巳上水
老，不可食也。凡酌置诸碗，令沫饽。沫饽，汤之花也。花之薄者为沫，浓者为饽；细轻者
为华，如枣花漂漂然于环池之上；又如回潭曲渚，青萍之始生；又如晴天爽朗，有浮云鳞然。
其沫者，若绿钱浮于渭水；又台菊英堕于尊俎之中。饽者，以滓煮之及沸，则重华累沫，皓
皓然若积雪耳。（茶传）
水入铫，便须急煮，候有松声，即去盖，以消息其老嫩，蟹眼之后，水有微涛，是为当
时。
大涛鼎沸，旋至无声，是为过时。过时老汤，决不堪用。（茶疏）
沸速则鲜嫩，风逸沸迟，即老熟昏钝。（茶疏）
汤有三大辩∶一曰形辩，二曰声辩，三曰捷辩。形为内辩，声为外辩，气为捷辩。如虾
眼蟹眼，鱼目连珠，皆为萌汤。直至涌沸，如腾波鼓浪，水气全消，方是纯熟。如初声、转
声、振声、骇声，皆为萌汤。直至无声，方为纯熟。如气浮一缕、二缕、三缕及缕乱不分，
氤氲乱绕，皆为萌汤。直至气直冲贯，方是纯熟。蔡君谟因古人制茶，碾磨作饼，则见沸而
茶神便发，此用嫩而不用老也。今时制茶，不暇罗碾，仍俱全体，汤须纯熟，元神始发也。
（茶录）
余友李南金云∶茶经以鱼目涌泉连珠，为煮水之节。然近世瀹茶，鲜以鼎 ，用瓶煮水，
难以候视，则当以声辩一沸、二沸、三沸之节。又陆氏之法，以未就茶 ，故以第二沸为合
量而下，未若以令汤就茶瓯瀹之，则当用背二涉三之际为合量，乃为声辩之。诗云∶砌虫唧
唧万蝉催，忽有千车捆载来，听得松风并涧水，急呼缥色绿磁杯，其论固已精矣。然瀹茶之
法，汤欲嫩而不欲老，盖汤嫩则茶味甘，老则过苦矣。若声如松风涧水而遽瀹之，岂不过于
老而苦哉。惟移瓶去火，少待其沸止而瀹之，然后汤适中而茶味甘，此南金之所以未讲者也
。
（林玉露罗硕，字大经着）
李南金谓当用背二涉三之际为合量，此真赏鉴家言。而罗 林惧汤老，欲于松风涧水后，
移瓶去火，少待沸止而瀹之，此语亦未中 。殊不知汤既老矣，去火何救哉。（茶解）
【评】曰∶茶经定汤三沸；茶录酌沸三辩。通人尚嫩，伯渊贵老， 林别出手眼，高君
因以驳之，各有同异。各取死机，三沸而往，三辩随之，老去嫩来，无有终时。
又评∶定汤谈说似易，措制便难。急即鼎沸，怠则瓦解。须具燮阴阳，调鼎鼐，山心水
味始
九、点瀹
未曾汲水，先备茶具。必洁必燥，瀹时壶盖必仰，置磁盂，勿覆案上，漆气食气，皆能
败茶。（茶疏）
茶注宜小不宜大，小则香气氤氲，大则易于散漫。若自斟酌，愈小愈佳，容水半升者，
量投
投茶有序，无失其宜。先茶后汤曰下投；汤半下茶，复以汤满曰中投；先汤后茶曰上投
。春秋中投，夏上投，冬下投。（茶录）
握茶手中，俟汤入壶，随手投茶，定其浮沉。然后泻以供客，则乳嫩清滑，馥郁鼻端，
病可令起，疲可令爽。（茶疏）
酾不宜早，饮不宜迟。酾早则茶神未发，饮迟则妙馥先消。（茶录）
一壶之茶，只堪再巡。初巡鲜美，再巡甘醇，三巡意欲尽矣。余尝与客戏论，初巡为婷
婷袅袅十三余；再巡为碧玉破瓜年；三巡以来，绿叶成阴矣。所以茶注宜小，小则再巡已终。
宁
终南僧亮公，从天池来，饷余佳茗，授余烹点法甚细。余尝受法于阳羡士人，大率先火
候，次汤候，所谓蟹眼鱼目，参沸沫浮沉法皆同。而僧所烹点，绝味清乳，是具入清净味中
三昧者。要之此一味，非眠云 石人，未易领略。余方避俗，雅意栖禅、安知不因是悟入赵
州耶。（茶寮记陆树声，字与吉着）
凡事俱可委人，第责成效而已。惟瀹茗须躬自执劳，瀹茗而不躬执，欲汤之良，无有是
处。（茗笈）
【评】曰∶法四气三投，度众寡器宇，此点瀹之尝则。因人以节缓急，随时而制适宜，
此又点瀹之变通。还得具有独闻之聪，独见之断，乃可以尽人之性，尽茗之性，尽水火之性，
正
十、辩器
以生铁为之，洪州以磁，莱州以石。瓷与石皆雅器也，性非坚实，难可
持久。用银为之至洁，但涉于侈丽，雅则雅矣，洁亦洁矣，若用之恒，而卒归于银也。（茶
传）
山林逸士，水铫用银，尚不易得，何况 乎。若用之恒，而卒归于铁也。（茶笺）
贵则金银，贱恶铜铁，则磁瓶有足取焉。幽人逸士，品色尤宜。然慎勿与夸珍炫豪者道。
（仙牙传苏 ）
金乃水母，锡备刚柔，味不咸涩，作铫最良。制必穿心，令火易透。（茶录）
茶壶往时尚龚春，近日时大彬所制，大为时人所重，盖是粗砂，正取砂无土气耳。（茶疏）
茶注茶铫茶瓯，最宜荡涤燥洁。修事甫毕，余沥残叶，必尽去之。如或少存，夺香败味，
每
（茶疏）
茶具涤毕，覆于竹架，俟其自干为佳。其拭巾只宜拭外，切忌拭内，盖布 虽洁，一经
人手
茶瓯以白磁为上，蓝者次之。（茶录）
人各手执一瓯，毋劳传送，再巡之后，清水涤之。（茶疏）
茶盒以贮茶，用锡为之，从大坛中分出，若用尽时再取。（茶录）
茶炉或瓦或竹，大小与汤铫称。（茶解）
宜铁，炉宜铜，瓦竹易坏，汤铫宜锡与砂，瓯则但取圆洁白磁而已。然宜小，必用柴
汝宣成，贫士何所取办哉。（茶笈）
【评】曰∶付授当器，区别得宜，各称其用，各适其性而已。亦不必强以务饰，亦不必
矫以
十一、申忌
采茶制茶，最忌手污膻气，口臭涕唾，及妇女月信，痴蠢酒徒。盖酒与茶，性不相入，
故制茶时，少有沾染，便无用矣。（茶解）
茶之性淫，易于染着，无论腥秽，及有气息之物不宜近，即名花异香，亦不宜近。
茶性畏纸，纸于水中成受水气多，纸裹一夕，随纸作气尽矣。虽再焙之，少顷即润。雁宕诸
山，首坐此病，纸帖贻远，安得复佳。（茶疏）
吴兴姚叔度言茶叶多焙一次，则香味随减一次，余验之良然。但于始焙极燥，多用炭箬，
如法封固，即梅雨连旬，燥固自若，唯开坛频取，所以生润，不得不再焙耳。自四五月，至
八月，极宜致谨。九月以后，天气渐肃，便可解严矣。虽然，能不弛懈，尤妙，尤妙。（茶
笺）不宜用恶木敝器，铜匙铜铫，木桶柴薪麸炭，粗童恶婢，不洁巾 ，及各色果实香药。
（茶录）
不宜近阴室、厨房、市喧、小子啼、野性人、童奴相哄、酷热斋头。（茶疏）
【评】曰∶茗犹人也。超然物外者，不为习所染，否则习于善则善，习于恶则恶矣。圣
人致
十二、防滥茶性俭，不宜广，则其味黯淡，且如一满碗，啜半而味寡，况其广乎？夫珍
鲜馥烈者，其碗数三；次之者，碗数五；若坐客数至五行三碗，至七行五碗；若六人以下，
不约碗数，但阙一人而已，其隽永补所阙人。（茶传）
按经云∶第二沸，留热以贮之，以备育华救沸之用者，名曰隽永。五人则行三碗，七人
则行五碗，若遇六人，但阙其一，正得五人，即行三碗，以隽永补所阙人，故不必别约碗数
也。（茶笺）
饮茶以客少为贵，客众则喧，喧则雅趣乏矣。独啜曰幽，二客曰胜，三四曰趣，五六曰
泛，七八曰施。（茶录）
煎茶烧香，总是清事。不妨躬自执劳，对客谈谐，岂能亲莅，宜两童司之，器必晨涤，
手令
三人以上，止 一炉；如五六人，盒饭两鼎；炉用一童，汤方调适，若令兼作，恐有参
差。（茶疏）
煮茶而饮非其人，犹汲乳泉，以灌蒿莸。饮者一吸而尽，不暇辩味，俗莫甚焉。（短剧）
若巨器屡巡，满中泻饮，待停少温，或求浓苦，何异农匠作劳，但资口腹，何论品赏，
何知风味乎？（茶疏）
【评】曰∶客有霞气，人如玉姿，不泛不施，我辈是宜。其或客乍倾盖，朋偶消烦，宾
待解
十三、戒淆
茶有九难∶一曰造，二曰别，三曰器，四曰火，五曰水，六曰炙，七曰末，八曰煮，九
曰饮。阴采夜焙，非造也；嚼味嗅香，非别也；膻鼎腥瓯，非器也；膏薪庖炭，非火也；飞
湍壅潦，非水也；外熟内生，非炙也；碧粉漂尘，非末也；操艰扰遽，非煮也；夏兴冬废，
非饮也。（茶传）
茶用葱姜枣橘皮，茱萸薄荷等，煮之百沸，或扬令滑，或煮去沫，斯沟渎间弃水耳。（
茶传）
茶有真香，而入贡者，微以龙脑和膏，欲助其香；建安民间试茶，皆不入香，恐夺其真。
若烹点之际，又杂珍果香草，其夺益甚，正当不用，更杂蔗霜椒桂， 酥酪，真不啻一鼓
而牛饮矣。（茶谱）
茶中着料，碗中着果，譬如玉貌加脂，蛾眉着黛，翻累本色。（茶说）
花之拌茶也，果之投茗也，为累已久。唯其相沿，似须斟酌，有难概施矣。今署约曰∶
不解点茶之俦，而缺花果之供者。厥咎悭，久参玄赏之科，而 老嫩之沸者。厥咎怠，悭与
怠，于汝乎有谴。（茗笈）
【评】曰∶茗犹目也，一些子尘砂着不得，即掌中珍果，眼底名花，终非族伴，亟宜屏
置，敢告司存。
十四、相宜
煎茶非漫浪，要须人品与茶相得，故其法往往传于高流隐逸，有烟霞泉石，磊块胸次者。
（
茶候凉台净室，曲几名窗，僧寮道院，松风竹月，晏坐行吟，清谈把卷。（七类）
山堂夜坐，汲泉煮茗，至水火相战，如听松涛，倾泻入杯，云光滟潋，此时幽趣，故难与俗
人言矣。（茶解）
凡士人登临山水，必命壶觞。若茗碗薰炉，置而不问，是徒豪举耳。余特置游装，精茗
名香
茶熟香清，有客到门可喜。鸟啼花落，无人亦自悠然。可想其致。（茗笈）
宜寒宜暑，既游既处，伴我独醒，为君数举。（茗笈）
【评】曰∶人繇意合，物以类从，同异之门绝，偏倚之形化矣。大凡攻守依乎区域，向
背视其盛衰，若无畛可分，谁附坚瑕之敌；无膻可逐，谁开去就之场。任曲直于飘瓦虚舟，
藩篱何妨孔道；等爱憎于浮烟飞沫，渣滓不碍太虚；转从前执滞之枢，于人何所不容；留尺
寸安闲之地，于力何所不有。吾宁降心以循物，物或适理以从类矣。
十五、衡鉴
茶有千万状，如胡人靴者蹙缩然。帮牛臆者兼 然，浮云出山者轮菌然，轻 出水者涵
澹然。有如陶家之子，罗膏土以水澄 之。又如新治地者，遇豪雨流潦之所经。此皆茶之精
腴。有如竹箨者，枝干坚实，艰于蒸捣，故其形 然；有如霜荷者，茎叶凋阻，易其状貌，
故厥状萎萃然，此皆茶之瘠老者也。阳崖阴林，紫者上，绿者次；笋者上，芽者次；叶卷者
上，叶舒者次。（茶传）
茶通仙灵，然有妙理。（茶解）
其旨归于色香味，其道归于精燥洁。（茶录）
茶之色重、香重、味重者，俱非上品。松萝香重，六安味苦，而香与松萝同。天池亦有
Additionally, transfer the water into an urn; it is good after one hundred days, and even more exquisite after half a year. This method is used in all four seasons. The taste of spring rain water is fresher and richer, and snow-colored water is particularly pure and white. Residing in saline-alkali lands, facing east, using heavenly spring (rainwater) as a daily offering, not only for personal enjoyment but also for guests, and extending to one's wife and children, truly brings boundless joy.
Heavenly qi rises to form clouds, earthly qi descends to form rain; rain originates from heavenly qi, clouds from earthly qi. Color changes and insect generation serve precisely to repel earthly turbidity and manifest heavenly clarity. Various springs undergo transformation over time; transformation leads to change, and change removes mud and impurities, revealing the water's true color and flavor. Do not discard it yourself, lest you lose its authentic nature.
(Month Pivot Notes)
Urn for storing water must be placed in a shaded courtyard, covered with gauze silk to receive starlight and dew, so that floral essence does not dissipate and spiritual energy remains constant. If pressed by wood or stone, sealed with paper or bamboo sheaths, or exposed to midday sun, its spirit is externally depleted and its qi internally blocked, ruining the water's spirit. (Tea Solution)
The Tea Record states that nurturing water involves placing stones in the urn, which benefits the water and brings the white stones and clear spring close to one's heart. However, stones should be taken from deep stream waters, those that are translucent inside and out.
Lingering beside the urn, overwhelmed by the beauty, it benefits not only the water but also entertains the spirit. (Tea Repository)
The nature of benevolent and wise people finds deep joy in mountains and waters, carrying clear water to cleanse the troubled mind. (Tea Repository)
[Commentary] says: Obtaining spring water to seek tea, obtaining tea to seek spring water, is like choosing a companion or seeking a spouse, serving a master and assisting a husband. Both sides must deliberate carefully; if misplaced, this life is ruined.
Seven: Monitoring Fire
Use charcoal for fire. Charcoal previously used for roasting and stained with grease, as well as resinous woods and broken vessels, should not be used. The ancients recognized the difference between new and old charcoal flavors, which is indeed true. (Tea Biography)
Fire should preferably use hard wood charcoal. However, if its original nature is not exhausted, residual smoke remains. If smoke enters the soup (tea infusion), the soup becomes useless. Therefore, burn it until red-hot first to remove smoke and flames, utilizing its intense heat power, so that water boils easily. After turning red, hand it to the water vessel, then fan it rapidly; the faster, the better. Do not let your hand stop. Soup left stagnant should be discarded and re-boiled. (Tea Subtleties)
When the stove fire turns red, place the tea kettle on. Fanning should be light and swift initially; when the soup makes sound, increase speed slightly. This is the balance of civil (gentle) and martial (vigorous) fire. If too gentle, the water nature becomes soft, allowing the tea to subdue the water; if too vigorous, the water nature becomes fierce, allowing the water to constrain the tea. Neither achieves harmony, which is not the essential principle of tea making. (Tea Records)
Su Shi's "Pine Cone Spring Bud Biography" records sixteen states of boiling soup; stating that adjusting tea depends on the quality of the soup. Soup most fears smoke; burning one branch of firewood fills the room with thick smoke, where is the soup? Where is the tea? This can be considered a definitive argument. Tian Zi's claim that using pine cones and branches is elegant is merely a momentary inspiration, greatly contradicting tea protocol.
[Commentary] says: Good tea and good water are indeed difficult to obtain, but mastering the fire is even more troublesome, like a matchmaker joining two families. Success brings shared benefit, failure brings shared harm. In the "Biography of Li Ling," it says: "Mei [matchmaker] exposes his faults." Meng Kang said: "Mei is wine yeast." , is wine qu (starter). It means brewing the crime. Shigu said: People of Qi call qu cakes Mei Shuo. A gentleman managing fire must have principles and order; skill lies in the person.
Eight: Determining Soup (Water Temperature)
When boiling like fish eyes with slight sound, it is the first boil. Edges bubbling like connected pearls, it is the second boil. Waves surging, it is the third boil. Above this, the water is old and unfit for consumption. When pouring into bowls, allow foam and froth to form. Foam and froth are the flowers of the soup. Thin flowers are foam, dense ones are froth; fine and light ones are blossoms, floating like jujube flowers around a pool; like green duckweed starting to grow in winding pools; like scattered clouds in a clear sky. The foam resembles green coins floating on the Wei River; or chrysanthemum petals falling into cups. Froth, boiled with dregs until bubbling, accumulates layers of white foam, looking like accumulated snow. (Tea Biography)
Once water enters the kettle, boil urgently. When pine sounds are heard, remove the lid to observe tenderness or coarseness. After crab eyes appear, slight ripples indicate the right time.
Violent boiling followed by silence indicates overdue. Overdue old soup is absolutely unusable. (Tea Subtleties)
Fast boiling yields tenderness; slow boiling results in coarseness and dullness. (Tea Subtleties)
There are three major distinctions for soup: Form, Sound, and Speed. Form is internal distinction, sound is external, qi is rapid. Like shrimp/crab eyes and fish eyes/pearls, these are budding soups. Only when surging waves rise and water vapor disappears completely is it fully mature. Initial, turning, vibrating, and startling sounds are budding soups. Only when silent is it fully mature. Floating wisps of qi, chaotic swirling, are budding soups. Only when qi shoots straight through is it fully mature. Cai Junmo, because ancients ground tea into cakes, saw tea spirit emerge upon boiling, using tender rather than old water. Modern tea processing leaves leaves whole, requiring fully mature soup for the primordial spirit to emerge. (Tea Records)
My friend Li Nanjin said: The Classic of Tea uses fish eyes and connected pearls as the rhythm for boiling water. However, modern brewing rarely uses tripods, preferring bottles, making observation difficult. Thus, one should distinguish the first, second, and third boils by sound. Lu Yu's method used tea powder, so the second boil was appropriate for adding tea. But since we now brew loose leaf in bowls, the moment between the second and third boil is appropriate. This is the sound distinction. As the poem says: "Crickets chirp, cicadas urge, suddenly carts arrive; hearing pine winds and stream water, quickly call for the blue-green porcelain cup." The theory is refined. However, for brewing, soup should be tender, not old. Tender soup makes tea sweet; old soup makes it bitter. If brewing immediately when sounding like pine winds and streams, isn't it too old and bitter? Only by removing the bottle from fire, waiting for boiling to cease, then brewing, will the soup be moderate and tea sweet. This is what Nanjin failed to explain.
(Lin Yulu Luo Shuo, courtesy name Dajing)
Li Nanjin's assertion to use the moment between the second and third boil is true appreciation. Luo Lin feared old soup and suggested removing from fire after pine sounds, waiting for cessation. This view misses the point. If the soup is already old, removing from fire cannot save it. (Tea Solution)
[Commentary] says: The Classic of Tea defines three boils; Tea Records discuss three distinctions. Scholars prefer tender, Boyuan values old, Lin offers a different perspective, Gao Jun refutes him. Each has differences. Taking death mechanisms, following three boils and distinctions, old comes, tender goes, endlessly.
Further commentary: Defining soup seems easy but practice is hard. Rushing causes violent boiling, laziness causes breakdown. One must possess the ability to harmonize Yin and Yang, adjust the tripod, and understand mountain hearts and water flavors.
Nine: Pointing and Brewing
Before fetching water, prepare tea ware. Must be clean and dry. During brewing, the pot lid must face up, placed on a ceramic bowl, not upside down on the table. Lacquer fumes and food fumes can ruin tea. (Tea Subtleties)
Tea pots should be small, not large. Small concentrates aroma; large scatters it. For self-brewing, smaller is better. Half-sheng capacity is ideal.
Add tea in order, without losing appropriateness. Tea first, then water is lower casting; half water, add tea, fill with water is middle casting; water first, then tea is upper casting. Spring/Autumn use middle casting, Summer upper casting, Winter lower casting. (Tea Records)
Hold tea in hand, wait for water to enter pot, add tea casually, determining float and sink. Then pour for guests, yielding milky, tender, clear, smooth tea, fragrant at the nose. Illness can be cured, fatigue refreshed. (Tea Subtleties)
Straining should not be early, drinking should not be late. Straining early means tea spirit hasn't emerged; drinking late means fragrance dissipates. (Tea Records)
One pot of tea serves only two rounds. First round is fresh and beautiful, second is sweet and mellow, third round intent is exhausted. I once joked with guests: First round is like a thirteen-year-old graceful girl; second round is like a young woman breaking her hairpin; third round, leaves turn to shade. Hence, tea pots should be small, ending after two rounds. Better to...
Monk Liang from Zhongnan Mountain came from Tianchi, gifted me fine tea, and taught me detailed brewing methods. I learned from scholars in Yangxian, primarily focusing on fire and water timing, crab/fish eyes, and foam methods, all similar. But the monk's brewing yielded pure milk-like flavor, entering the samadhi of pure taste. This flavor is not easily appreciated by those sleeping in clouds and rocks. I am avoiding vulgarity, intending to dwell in Zen; who knows if this won't lead to realizing Zhaozhou? (Tea Lodge Record, Lu Tusheng, courtesy name Yiji)
Matters can be delegated, demanding only results. But brewing tea requires personal labor. Not doing so personally yet expecting good soup is impossible. (Tea Repository)
[Commentary] says: Methods of four qi and three castings, measuring quantity and vessel size, are standard for pointing and brewing. Adjusting speed by person, appropriateness by time, are variations. One needs unique hearing and sight to exhaust human nature, tea nature, and water/fire nature.
Ten: Distinguishing Vessels
Made of raw iron, Hongzhou uses ceramic, Laizhou uses stone. Ceramic and stone are elegant but not durable. Silver is cleanest but luxurious. Elegant and clean, but for constant use, silver is impractical. (Tea Biography)
Mountain hermits find silver kettles hard to get, let alone ... Constant use returns to iron. (Tea Notes)
Gold and silver are precious, copper and iron cheap. Ceramic bottles are valuable. Suitable for recluses. But do not tell boastful rich men. (Fairy Tooth Biography, Su )
Gold is water's mother, tin possesses hardness and flexibility, taste not salty/astringent, best for kettles. Must be perforated to allow fire penetration. (Tea Records)
Tea pots formerly favored Gong Chun, recently Shi Dabin's works are highly valued by contemporaries. Made of coarse sand, precisely because sand lacks earthy smell. (Tea Subtleties)
Tea pots, kettles, and bowls should be thoroughly cleaned. After use, remove all residue. Even slight remnants steal aroma and ruin flavor. Every...
(Tea Subtleties)
After cleaning, cover on bamboo rack to air dry naturally. Wiping cloth should only wipe outside, never inside. Cloth虽洁 (though clean), once touched by hands...
White ceramic bowls are superior, blue are secondary. (Tea Records)
Each person holds a bowl, no need to pass around. After two rounds, rinse with clear water. (Tea Subtleties)
Tea boxes for storage should be made of tin, divided from large jars, refilled when empty. (Tea Records)
Tea stoves can be clay or bamboo, sized to match water kettles. (Tea Solution)
Iron is suitable, stoves copper, clay/bamboo break easily, kettles tin/sand, bowls round white ceramic. But small size is key. Must use Chai, Ru, Xuan, Cheng wares; how can poor scholars afford them? (Tea Collection)
[Commentary] says: Assign proper vessels, distinguish appropriately, suit their use and nature. No need for forced decoration or artificiality.
Eleven: Reiterating Taboos
Picking and making tea most fears dirty hands, animal smells, bad breath, saliva, women's menstruation, fools, and drunkards. Wine and tea natures do not mix; slight contamination during making renders it useless. (Tea Solution)
Tea nature is promiscuous, easily tainted. Avoid anything fishy, foul-smelling, or even famous exotic flowers.
Tea fears paper; paper absorbs much moisture. Wrapped overnight, it loses its character. Even re-roasted, it dampens quickly. Yandang mountains suffer this most; mailed in paper packets, how can they remain good? (Tea Subtleties)
Yao Shudu of Wuxing said each roasting reduces flavor. I verified this. Roast extremely dry initially, seal with charcoal and bamboo sheaths properly. Even during plum rains, it stays dry. Frequent opening causes dampness, necessitating re-roasting. From April to August, be very careful. After September, weather clears, relax restrictions. Although, not relaxing is best. (Tea Notes) Do not use bad wood, broken vessels, copper spoons/kettles, wooden buckets, firewood/chaff charcoal, rough servants, dirty cloths, or various fruits/spices.
(Tea Records)
Avoid dark rooms, kitchens, noisy markets, crying children, wild people, bickering slaves, and hot study rooms. (Tea Subtleties)
[Commentary] says: Tea is like a person. Those transcending worldly matters are not tainted by habits; otherwise, habituating to good makes one good, to evil makes one evil. Sages achieve...
Twelve: Preventing Excess
Tea nature is frugal, not expansive. If diluted, flavor fades. Like a full bowl, sipping half leaves little taste, let alone dilution. Precious, fresh, strong teas: three bowls. Next grade: five bowls. If guests number five, serve three; seven, serve five. If six or fewer, do not fix numbers, just leave one short, supplementing the missing person with "Jun Yong" (reserved hot water). (Tea Biography)
According to the Classic: Second boil, reserve heat to store, named "Jun Yong" for nourishing flowers and saving boiling. Five people serve three bowls, seven serve five. If six, leave one out, effectively five, serve three, supplement missing with Jun Yong, so no fixed number needed. (Tea Notes)
Drinking tea favors few guests. Many guests cause noise, lacking elegance. Solitary drinking is secluded, two guests excellent, three-four interesting, five-six superficial, seven-eight indulgent. (Tea Records)
Brewing tea and burning incense are pure affairs. Preferably do it oneself while chatting with guests. If unable, use two boys. Vessels washed in morning, hands clean...
Three or more people, limit to one stove; five-six people, two tripods. One boy for stove, soup adjusted properly. If兼任 (concurrently doing), errors may occur. (Tea Subtleties)
Brewing tea for unworthy people is like drawing spring water to irrigate weeds. Drinkinger gulps it down, no time to taste, vulgarity peaks here. (Short Drama)
If huge vessels circulate repeatedly, pouring full cups, waiting to cool, or seeking strong/bitter taste, how different from farmers working labor, merely feeding mouth and belly? How can one discuss tasting or know flavor? (Tea Subtleties)
[Commentary] says: Guests with rosy aura, people like jade posture, neither superficial nor indulgent, we should emulate. Or sudden acquaintances, friends relieving boredom, hosts resolving...
Thirteen: Warning Against Mixing
Tea has nine difficulties: Making, Identifying, Vessel, Fire, Water, Roasting, Powder, Boiling, Drinking. Picking in shade/night roasting is not making; chewing/smelling is not identifying; smelly pots/foul bowls is not vessel; greasy fuel/kitchen charcoal is not fire; rushing/stagnant water is not water; cooked outside/raw inside is not roasting; green powder/dust is not powder; difficult/hurried boiling is not boiling; summer active/winter inactive is not drinking. (Tea Biography)
Adding ginger, scallion, jujube, orange peel, cornel, mint, etc., boiling vigorously, skimming foam, is merely ditch water. (Tea Biography)
Tea has true fragrance. Tribute tea adds dragon brain musk to assist scent; Jian'an folk testing tea adds no fragrance, fearing loss of truth. Adding precious fruits/herbs during brewing steals even more, strictly forbidden. Adding sugar, pepper, cinnamon, butter/yogurt is like drinking beer in one gulp. (Tea Spectrum)
Adding ingredients to tea, fruit to bowl, is like adding makeup to a beautiful face, ruining natural beauty. (Tea Say)
Mixing flowers/fruit with tea has long been a burden. Due to tradition, must consider, difficult to apply generally. Now stipulate: Those who don't understand brewing but lack flower/fruit offerings are stingy; those experienced in profound appreciation but fail to distinguish old/tender boils are lazy. Stinginess and laziness bring blame. (Tea Repository)
[Commentary] says: Tea is like an eye; cannot tolerate dust. Precious fruits in palm, famous flowers in eye, are not companions, must be excluded. I dare inform the keeper.
Fourteen: Compatibility
Brewing tea is not casual; requires personality compatible with tea. Thus, methods often passed to high-flow hermits with misty mountains, springs, rocks, and open minds.
Tea timing: Cool terraces, clean rooms, curved windows, monasteries, Daoist temples, pine winds, bamboo moons, sitting quietly, walking chanting, clear talk, reading scrolls. (Seven Categories)
Night sitting in mountain hall, fetching spring water to brew tea, until water and fire battle, sounding like pine waves, pouring into cups, cloud light shimmering. This secluded interest is hard to share with vulgar people. (Tea Solution)
Scholars climbing mountains/waters must bring pots/goblets. If tea bowls/incense burners are ignored, it's mere ostentation. I specially prepared travel gear, fine tea/famous incense.
Tea ripe, fragrance clear, guests arriving is joyful. Birds singing, flowers falling, solitary but leisurely. Imagine the charm. (Tea Repository)
Suitable for cold/heat, traveling/staying, accompanying my sobriety, raising cups for you. (Tea Repository)
[Commentary] says: People unite by intent, things follow category. Distinctions vanish, bias transforms. Attack/defense depends on region, forward/backward on prosperity/decline. Without boundaries, who attaches to flaws? Without attraction, who opens departure/arrival fields? Let crooked/straight be like drifting tiles/virtual boats, fences don't hinder paths; treat love/hate like floating smoke/foam, dregs don't obstruct void; turn previous stubborn pivot, what human cannot be tolerated? Leave inch of leisure, what strength cannot possess? I humble myself to follow things, things may adapt reason to follow category.
Fifteen: Evaluation
Tea has thousands of shapes: Like Hu boots, wrinkled; like ox chests, flat; like clouds leaving mountains, rolling; like light birds exiting water, rippling. Like potters sifting clay with water; like new land hit by heavy rain runoff. These are fine tea. Like bamboo husks, stems solid, hard to steam/pound, thus shape...; like frost lotus, stems/leaves withered, changing appearance, thus shape shriveled. These are barren/old tea. Sunny cliffs/shady forests, purple superior, green secondary; shoot superior, bud secondary; curled leaf superior, spread leaf secondary. (Tea Biography)
Tea connects to immortals/spirits, yet has subtle principles. (Tea Solution)
Its essence returns to color, fragrance, taste; its path returns to purity, dryness, cleanliness. (Tea Records)
Tea with heavy color, heavy fragrance, heavy taste are not top grade. Songluo has heavy fragrance, Lu'an bitter taste but same fragrance as Songluo. Tianchi also has...