茶之道，游於藝—茶道文化與文人審美情味

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题名:	茶之道，游於藝—茶道文化與文人審美情味
其它题名:	Tea Road, Swim In The Arts: Tea Ceremony Culture and Literati's Aesthetic
作者:	吳宥蓁 WU, YOU-JEN
貢獻者:	視覺與媒體藝術學系謝碧娥 HSIEH, PI-E
关键词:	茶;茶道;茶經;茶席;審美情味 Chá (tea);Chádào (tea ceremony);Chájīng (tea scripture);Cháxí (tea ceremony field);aesthetic taste
日期:	2017
上传时间:	2017-12-08 14:57:14 (UTC+8)
摘要:	本論文撰寫之初，乃從陸羽（西元733-804）《茶經》文獻探討著手，通過《茶經》的解讀，領略「茶道」的個中奧妙，並經由「生活茶湯」體會「茶藝美學」，從而「由茶入道」，通過自身的觀照，感受茶文化的深刻涵養，體會出所謂：「道不遠，即在眉心，境不遠，端事指縫間」的茶中意境。　　論文的第一章緒論，除了研究動機與目的、文獻探討與資料評估之外，名詞釋義一節，也對茶道、茶席做了界定和接近本意的翻譯。研究方法上則採取文獻探討、闡述分析、行動研究及訪談法。其中，訪談法乃針對當代茶席和茶會等不易蒐集的資料所做的田野調查。　　論文的第二章，撰寫主題是茶文化的源起與發展，從茶文化的萌芽敘述起，縱貫歷代茶文化的發展脈絡，點出了「茶」的功能，從祭祀、藥用、食用，最終演變成具有特色的茶飲文化。　　論文第三章，談品茶、識茶與賞茶，及其與文人審美情味的連結。文中敘述歷代品茗方式、談論茶湯與器用，包括唐代的煮茶、煎茶，宋代的點茶與鬥茶，明代的瀹泡散茶，有清代的功夫茶飲。品茶總離不開茶湯與器用，論文乃藉此管窺茶飲文化生活，乃至文人品茶、賞茶的審美情味。　　論文第四章，談茶道文化與茶禪藝境。第一節敘述茶文化因《百丈清規》的制定，及趙州禪師的「喫茶去」，引入禪宗開悟的觀念。第二節，闡述日本茶道的儀禮與精神，談到「茶禪一味」觀念的緣起，以及千利休「和」、「敬」、「清」、「寂」四規，及其提倡的「侘寂」思維概念。　　論文第五章，談文人茶席與當代茶藝的審美追求。論文通過歷代文人品飲的審美追求，進而探討當代茶藝文化，包括茶席與茶會。論文撰述多採自田野訪談，訪談對象是當代茶藝師，問卷設計項目包括：台灣當代茶藝現況及未來發展的可能性，茶藝如何融入生活美學，並對參與過的茶會做一檢討，以此做為日後的參考和改善。　　第六章結論，茶文化既豐富人們的生活，也孕育了深厚的文化底蘊，它既是生活實踐，也是審美價值觀的真正體現。如今我們的茶飲生活，不應只是物質性的滿足，而是融入茶文化，藉由茶藝活動「體現茶道的游藝之境，呈現生命的美好」。　　The essay sets out to conduct a literature review on The Classic of Tea(or Tea Classic) by Chinese writer Lu Yu (733 CE -804 CE). First, through guides and interpretation of The Classic of Tea, the essence of tea ceremony (茶道) is able to be appreciated. Furthermore, this study aims to grasp “the aesthetics of tea arts ”through “ tea liquid in daily life”. This “approach to the truth through tea” immerses people in the depth of tea culture through self-reflection to enter the idea of tea, the so-called “the truth, not very far, lies in the junction of the eyebrows; the destination, not distant, is situated in between the fingers”.　　Chapter One introduces research motives and background, a brief description of literature review, and information evaluation, in addition to the definition section that includes more accurate translation of terminology, such as “tea ceremony” and “tea ceremony field”. The study methods adopt literature review, discussion and analysis, action research, and interview; among which, interview is designed for the field study of the data that are hard to collect, such as contemporary tea ceremony field and tea ceremony.　　Chapter Two focuses on the origin and development of tea culture from its initial stage to an overview of the development context in each dynasty. It specifies the function of “tea” that began as an offering during ritual sacrifice, medicinal use, and using as food and finally evolved into characteristic tea drinking culture.　　Chapter Three moves on to talking about tea savoring, tea recognizing, tea appreciating, and the connection between the pleasure and the aesthetics of tea tasting by the literati. This chapter portrays the ways of tea savoring, tea liquid, and drink ware. It includes boiling tea and sencha of Tang Dynasty; whisking tea and tea competition of Song Dynasty; boiling loosened tea leaves of Ming Dynasty; Gongfu tea of Qing Dynasty. Tea liquid and drink ware are an essential part of tea savoring through which this essay casts a glance at the tea drinking culture, savoring tea of the literati, and the aesthetic pleasure of tea appreciating.　　Chapter Four explores tea ceremony's culture and the artistic prospect of Zen tea. In the first section explain dtaw up of the Pure Rules of Baizhang and Zhaozhou Congshen's “go for tea” that introduced Zen for enlightenment. The next section looks into the etiquette and the spirit of Japanese tea ceremony and talk about the origin of the tea Zen blindlv, and Sen no Rikyu's four fundamental qualities, “peace, respect, serene, and seclusion” and the thinking of “quiet simplicity and subdued refinement”.　　Chapter Five discusses the literati's tea ceremony and the aesthetic pursuit of contemporary tea arts. By over viewing the aesthetic pursuit of the literati in each era, the essay examines contemporary tea arts culture, including tea ceremony field and tea ceremony. Most part of this discussion is extracted from the interview during field research with contemporary tea masters. The questionnaire includes Taiwan contemporary tea arts and its potential in future development, how to integrate tea arts into the artistic facet of life, and reviewing the past tea ceremonies they have been a part as a reference for future improvement.　　Chapter Six concludes that tea culture enriches people's life as well as nurtures profound cultural heritage. It is the manifestation of both the practice of life and aesthetic value. Our life of tea drinking today should be more than merely material satisfaction but an arts-and-crafts event in which we could engage our life to “embody the recreational aspect of tea ceremony and present the loveliness of life”.
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