中國茶書

內(nèi)容概要

　　《中國茶書》以圖文并茂的形式、清新雅致的格調(diào)，完整呈現(xiàn)了中國茶文化的內(nèi)涵和外延。本書集知識(shí)性和藝術(shù)性于一體，卷上分門別類地介紹了不同茶葉的特點(diǎn)和地理、歷史特色，以及在泡飲品賞方面的差別之處等。卷下對(duì)茶文化中各個(gè)體系和范疇的精髓進(jìn)行了介紹，包括茶文化法則（時(shí)間、空間、存在和消逝）及中國藝術(shù)史上與茶相關(guān)的古詩、書法作品和古畫，并探究了茶與禪的淵源及中國茶文化對(duì)周邊國家茶道與茶文化形成的影響。本書使用具有藝術(shù)感的角度和語言，生動(dòng)而優(yōu)美地展現(xiàn)了茶文化的精髓。在圖片甄選、版式設(shè)計(jì)和裝幀上，本書也追求與茶文化本身特色相匹配的格調(diào)和感覺，旨在展現(xiàn)出淡雅芬芳的“茶味”。

作者簡介

羅家霖，泡茶師，畢業(yè)于北京大學(xué)藝術(shù)學(xué)院，主攻茶道美術(shù)和伊斯蘭美術(shù)，對(duì)東方茶道有自成一格的實(shí)踐和研究。

書籍目錄

序 （朱青生）
引 從神話到現(xiàn)實(shí)
卷上 茶葉
之一
概述
之二
綠茶
龍井
碧螺春
蒙頂甘露
竹葉青
之三 烏龍茶
武夷巖茶
鐵觀音
凍頂烏龍
白毫烏龍
之四
紅茶
 祁紅與滇紅
正山小種
之五 普洱茶
卷下 茶事
之一
法則
時(shí)間
空間
存在
消逝
之二
古品
詩
書
畫
之三
禪思
之四
傳播
日本茶道
茶馬古道
后記

章節(jié)摘錄

版權(quán)頁：   插圖：    choose the right tea variety and concept development method. This process canalso operate the other way around. Sometimes, we have to refer to the distinctiveproperties of a certain tea variety to decide on the design concept and select propercomponents for the tea setting. In the selection phase, we have to differentiatebetween function and decoration. Actually, there is never a distinct boundary betweenthe two. For example, even when selecting tea-brewing utensils, we have to considerthe form, color and material of the teaware to make the tea setting pleasing to the eye.We can break down components of the tea setting into different categories, based onwhether they are associated with the visual, audio, tactile, olfactory, and gustatoryexperience, whether it is solid or liquid, whether it has life, whether it is consumptive,as well as its texture, color and form. For example, tea cups may be solid porcelainvessels with pheasant motifs involving the utilization of under-glaze and over-glazetechniques, feeling smooth to the touch. Tea snacks may be lotus-shaped, light bluishin color, made of glutinous rice, sticky and sweet. Flowers may be added to match theoverall ambiance. Of course, this is a rigid example, but it provides a certain approachto understand tea settings. To understand tea settings in this way might give birth to a false assumptionthat a tea setting consists of various elements on different levels. Actually, whateverelements are included in a certain tea setting is solely based on the designer's personalchoice. Sometimes, we might adopt a minimal approach and thus choose onlyfunctional elements. If a tea gathering is designed to share Pu-erh tea that has beenstored for decades, perhaps a male tea ceremony performer may wear a plain gowngreyish in color, without decoration; the table covered with greyish coarse table cloth;teaware of deep grey pottery or Yixing clay teapots featuring simplistic styles; on thewall hangs a calligraphy scroll in clerical script reading "the greatest aroma is aromaless"; the setting involves no use of flowers, incense or zither, or other adornments.In the tea gathering process, attendees are to refrain from chatting. In this seeminglysomber gathering, attendees can concentrate on the Pu-erh without distraction. Infact, this unadorned tea setting is defined by a unique charm. The color palette, theperformer's gown, tablecloth, teaware, tea liquor and scroll create a subtle rhythm.The use of grey tones weakens the visual impact, with no sound save the rubbing offabrics, the shifting of teaware, and the flowing of tea. In this way, the aroma and tasteof the tea become the dominant factor, lingering in the tea drinkers' mind.

編輯推薦

《中國茶書(英文版)》作者羅家霖學(xué)的是美術(shù)史，專攻的是伊斯蘭美術(shù)，又是陸羽茶會(huì)的泡茶師。愛茶，懂茶，視茶都有一縷靈魂。他說：“常有人說最完好的人生是擁有三段戀情，如果用茶類相比擬的話，綠茶是懵懂清新的初戀，烏龍是讓你懂得愛與被愛的最淋漓的戀情，而紅茶則是陪你進(jìn)入穩(wěn)定婚姻關(guān)系的另一半。至于普洱，它似乎代表了這之外的第四種情感，如同每個(gè)人都會(huì)有的那一位紅顏或藍(lán)顏知己，你對(duì)它的情愫介乎于親情、友情與愛情之間。你們的結(jié)識(shí)并非是因?yàn)楫?dāng)初它是喧囂舞池里或元宵花燈下讓你怦然心動(dòng)的那一個(gè)，你甚至不能記得與它相遇的具體時(shí)間。我不想說它是你悠長時(shí)日中最不能或缺的那一個(gè)，但隨著光陰流轉(zhuǎn)，歲月荏苒，慢慢地它會(huì)成為最懂你的心情、最能讓你釋懷、最無關(guān)現(xiàn)實(shí)名利的那一個(gè)?！辈粻繌?qiáng)，不功利地，讀《中國茶書(英文版)》吧。

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