The Book of Tea · Chapter
The Schools of Tea explained
This chapter traces the evolution of tea preparation through three major schools—Boiled, Whipped, and Steeped—corresponding to the Tang, Sung, and Ming dynasties.
What happens
This chapter traces the evolution of tea preparation through three major schools—Boiled, Whipped, and Steeped—corresponding to the Tang, Sung, and Ming dynasties. It highlights Luwuh's foundational role in codifying tea culture with his Chaking, the transition to powdered tea in Sung, and the eventual establishment of the Japanese tea ceremony as a culmination of tea ideals, blending Taoist and Zen philosophy.
Themes in this chapter
Teaism as an Aesthetic Philosophy
Tea is presented as a work of art requiring a master hand, with the Japanese tea ceremony seen as a religion of the art of life and an improvised drama.
Influence of Taoism and Zennism
Luwuh's predilection for Taoist symbolism is noted, and the chapter concludes that 'Teaism was Taoism in disguise.' The Sung Zen school spread tea ritual to Japan.
Simplicity and Humility
The tea ceremony aims for movements performed simply and naturally, with no color, sound, gesture, or word to disturb the harmony.
Art Appreciation and Individuality
Each preparation of tea has its individuality, and the tearoom is described as an oasis for meeting at the common spring of art-appreciation.
Characters to notice
- Luwuh
First apostle of tea; wrote the Chaking, formulated the Code of Tea, and is worshipped as the tutelary god of Chinese tea merchants.
- Lotung
Tang poet who wrote a famous ode to the seven cups of tea, describing their progressive spiritual and physical effects.
- Confucius
Quoted for the saying 'man hideth not,' used to illustrate how small actions reveal inner thoughts.
- Taiko Hideyoshi
Mentioned in the context of the patronage of the tea ceremony under the Shogun Ashikaga-Yoshimasa (though Hideyoshi is a later figure, the excerpt references the Shogun's role in establishing the ceremony).
Key passages
“Tea is a work of art and needs a master hand to bring out its noblest qualities.”
Tea is an art form that requires expert skill to reveal its finest characteristics.
Opens the chapter by establishing tea as an artistic endeavor.
“The truly beautiful must always be in it.”
Authentic beauty must always be present in tea preparation.
Emphasizes the fundamental law of art and life in tea.
“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.”
Sung poet Lichilai lamented three great tragedies: corrupting young minds with poor education, debasing art through tasteless praise, and ruining good tea by clumsy handling.
Highlights the parallel between art and tea in terms of appreciation and skill.
“The tiny incidents of daily routine are as much a commentary of racial ideals as the highest flight of philosophy or poetry.”
Everyday habits reveal cultural values just as much as great philosophy or poetry does.
Connects tea practices to broader cultural and philosophical ideals.
“Teaism was Taoism in disguise.”
The philosophy of tea is essentially Taoism hidden beneath the surface.
Summarizes the underlying philosophy of the tea ceremony.
