The fourth chapteris devoted to the enumeration and description of the twenty-four members of thetea-equipage, beginning with the tripod brazier and ending with the bamboocabinet for containing all these utensils. Here we notice Luwuh’s predilectionfor Taoist symbolism. Also it is inter- esting to observe in this connectionthe influence of tea on Chinese ceramics. The Celestial porcelain, as is wellknown, had its origin in an attempt to reproduce the exquisite shade of jade,resulting, in the Tang dynasty, in the blue glaze of the south, and the whiteglaze of the north. Luwuh considered the blue as the ideal colour for thetea-cup, as it lent additional greenness to the beverage, whereas the whitemade it look pinkish and distasteful. It was because he used cake-tea. Lateron, when the tea masters of Sung took to the powdered tea, they preferred heavybowls of blue-black and dark brown. The Mings, with their steeped tea, rejoicedin light ware of white porcelain.
?第四章全篇用于描寫(xiě)茶器茫死，他共列舉了二十四種烹茶之器，由三足風(fēng)爐而起，至承裝諸器的都籃而終貌虾。從中可見(jiàn)陸羽對(duì)于道家思想的偏愛(ài)。同時(shí)也能注意到一個(gè)有趣的地方，那就是茶藝的發(fā)展對(duì)中國(guó)瓷器的影響有额，瓷器的一大特點(diǎn)在于其從產(chǎn)生就開(kāi)始追求的那種姣好的玉色光澤竹海，這也正是它廣受歡迎的原因之一慕蔚，這種傾向終于在唐朝造就了所謂“南青北白”的格局。而陸羽將青瓷之色作為茶杯的理想顏色斋配，正是因?yàn)榇缮喔@茶色綠的緣故孔飒，而白瓷則易顯得茶色發(fā)紅，壞人胃口艰争。事實(shí)上坏瞄，這樣的傾向正是他所烹煮的茶團(tuán)所造成的。之后宋代的茶藝大師們將這種傾向帶到了抹茶中甩卓，他們更偏愛(ài)以粗獷樸拙的藍(lán)黑或是暗褐色茶碗作為茶器鸠匀。直到明朝，隨著沖泡茶的發(fā)展逾柿，輕薄透亮的白瓷才逐漸為茶人所喜缀棍。
徐藝珈
