臺灣茶文化探索暨茶器運用於茶席擺設考─茶器與其詩意的棲居

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dc.contributor鄧成連zh_TW
dc.contributorTeng, Cheng-Leinen_US
dc.contributor.author黃郁芳zh_TW
dc.contributor.authorHuang, Yu-Fangen_US
dc.date.accessioned2019-09-05T03:02:37Z
dc.date.available2018-08-20
dc.date.available2019-09-05T03:02:37Z
dc.date.issued2018
dc.description.abstract　　當今社會中快速而拋棄式的生活飲品成為茶商業主體，反而與歷史悠久、相對緩慢運行且在意器物使用經驗的精緻飲茶文化背道而馳，本研究深表可惜。經由對器物的興趣，探究茶葉歷史與茶器的講究，並提取日久浸淫於茶文化的人物個案加以研究，從中明晰茶席擺設的原則與習慣。亦試圖以創作器物，投入實際使用的過程加以檢視，回歸器物與精緻茶文化的連結。 　　茶的種植與飲用歷史，以中國大陸為發源地。唐朝陸羽著《茶經》，將過往的茶葉知識統整歸納成明確步驟、程序與用器的方法論，從此開啟了「茶學」先河。出於對茶香與茶味無盡的追尋，歷史上三個品茶文化璀璨的朝代：唐朝煎茶、宋朝點茶、明朝淹茶，分別代表了不同時代的風格和情感，也促進了茶器與茶文化的多元面貌；清以前主要為綠茶飲用，烏龍茶始見於清朝初期，其製作技術於十八世紀傳入臺灣。 　　臺灣茶藝在當今世界飲茶文化中蔚為一派風格，自1970年代後期茶界人士定義臺灣茶文化為「茶藝」，以脫胎自福建功夫茶的臺灣自產烏龍茶小壺品茗法為主，參考日本茶道儀節與器物配置，逐漸發展為一門綜合技藝。 　　茶與其相關活動將人們從現實生活中抽出，到達另一個綜合藝術的層次，是「茶席」當下的表達，也是茶知識研讀之後回歸真實行為的一種體驗與檢視。「茶會」作為茶文化的整合表現方式，因其主辦人的立意不同分為（1）茶品、（2）某一主題或形式、或（3）其他目的為主的聚集型態；本研究認為三種型態中，以（2）主題或形式包覆的茶會，較容易為入門茶客所獲悉以及產生興趣。 　　茶器於茶席之擺設，不外乎「符合茶人的事茶習慣」與「以茶人為中軸的左右視覺平衡」二點；囊括功能性與美感需求，行茶路線若安排妥當可使茶人操作純熟、流利，與周圍物件搭配也能更加和諧如一。 　　本研究的創作以文獻探討之結論將器物設計的前置條件限定為（1）非主泡器、（2）陶瓷材質、（3）少量量產的傳統注漿工藝運用。以照片蒐集與詩詞意境聯想收斂為主題概念《檐》，雨水與屋檐的互動情境為茶器的型制與紋樣提供了設計藍圖，最終成果為一組杯器與一組方盤。 　　實際放入展場與茶席中試驗，不同的展出情境與目的相異的茶器使用，對照個案分析結果並輔以其他參與者的互動和回饋，提供了茶器後續改良與延伸創作之可能性。茶器進入真實茶事體驗，豐富了茶器本身的生命歷程。zh_TW
dc.description.abstractIn nowadays society, instant and disposable daily drinks become the mainstream of the tea business. It is a pity that such trend goes in the opposite directions to the historic and exquisite tea culture which relatively proceeds slowly and cares the experience of using ware. Through the interest in the ware, this study probes into the history of tea and tea ware and study the cases who spend a lot of time immersing themselves in tea culture for clarifying the principle and habit of tea setting. In addition, the researcher attempts to connect the ware and exquisite tea culture back together through creating the ware and inspecting its actual process of using. The history of tea cultivation and drinking is originated from China. During the Tang Dynasty, as a pioneer of the tea studies, Lu Yu systematically integrated and summed up the knowledge of tea into clear steps and procedures of tea brewing and methods of ware-using in his The Classic of Tea (Cha Jing). Out of the everlasting search for fragrance and flavor of tea through history, there are three Dynasties which have enriched tea culture: Tang Dynasty’s boiled tea, Song Dynasty’s whisking tea and Ming Dynasty’s dipping tea. They respectively represent three different periods, styles and emotions of tea and also promote the diversities of tea ware and tea culture. Before Qing Dynasty, people mainly drink green tea. Oolong tea is originated in the early Qing Dynasty and its technique is introduced to Taiwan during the eighteenth century. Taiwan has its own unique tea drinking culture in the world. Since the late 1970s, tea culture has been defined as “tea arts” by the tea experts. Transforming from Fujian’s gongfu tea ceremony and extracting the etiquette and ware setting of the Japanese tea ceremony, Taiwan’s tea ceremony gradually develops into integrated arts which mainly uses small pots tasting method with oolong tea made in Taiwan. Tea and other related activities detach people from reality life, reaching to a level of integrated arts. It is what “tea setting” presents at that moment. It also returns to an authentic action of experiencing and inspecting after studying the knowledge of tea. As an integrated presentation of tea culture, “tea ceremony” can be divided into three different types according to the purpose of the host: (1) the way of tea, (2) certain theme or style, (3) gathering with specific purposes. Among the three types, the researcher considers the second type is easier for the novices to learn and arouse their interest in tea arts. Including the functional and aesthetic needs, the arrangement of tea ware in tea setting is nothing more than “conforming the habit of tea artists” and “the tea-artist-centered visual balance.” If the procedure of the ceremony is well arranged, the tea artist could have skillful and fluent performance and go in harmony with the objects around as well. The creation in this study is based on the conclusion in the literature review and the design is specified to the following conditions: (1) the creation is not the brewing vessel; (2) the creation material is ceramic; (3) the creation applies traditional slip-casting method for low-volume production. The topic of creation is “YAN,” (the eaves). It is developed from the imagination and the association of the photos and poetic imagery from Chinese poetry. The blueprint of tea ware’s profile and design is derived from the interaction between the rain and the eaves; then finally it becomes a set of cups and plates. The set is put on the display and in the tea site as an experiment to clarify the usage of tea ware in different contexts and purposes. Through comparing the result of analysis with other participants’ interactions and feedbacks, it provides improvement for the tea ware and expands the possibility of creating. The actual practice of the tea ceremony enriches the tea ware’s life journey.en_US
dc.description.sponsorship設計學系zh_TW
dc.identifierG060168015T
dc.identifier.urihttp://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060168015T%22.&%22.id.&
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/103027
dc.language中文
dc.subject茶文化zh_TW
dc.subject茶藝zh_TW
dc.subject茶席擺設zh_TW
dc.subject茶器創作zh_TW
dc.subjecttea cultureen_US
dc.subjecttea artsen_US
dc.subjecttea settingen_US
dc.subjecttea ware craften_US
dc.title臺灣茶文化探索暨茶器運用於茶席擺設考─茶器與其詩意的棲居zh_TW
dc.titleTea Culture Exploration in Taiwan and the Application of Tea Set to Tea Table Display: Tea Ware and Its Poetic Dwellingen_US

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