On The Road Again...

When you are wondering on the road, you can feel the weight of your spirit. It's a chance to take a good look at your real self and to see what and how you're doing. So traveling is much more than just a kind of hobby or interest. It's an opportunity to seriously put yourself back in order and to find new meaning in life. And it's a great way to practice for when you're getting ready to leave this world.

From "On The Road" by Bopjong Sunim translated in The Sound of Water, The Sound of Wind: and other early works by a mountain monk

One will be traveling here and there throughout the next month or so. Expect the blog posts to continue in about a months time.

Until then...

Peace

Potter's Zen from Chon (Cheon) Han Bong- Korea's Intangible Cultural Asset In Pottery

While preparing an upcoming post on a Sam Do Style Tea Bowl by Master Potter Chon Han Bong one came across a video that captures the essence of Korean pottery. It features Korea's designated Master of Ceramics, Chon Han Bong firing pottery and offering words that only a master could.

Here is a link to a blog that offers a word-for-word English transcription of the video as well as the Korean video in its entirety (yes, a full view that isn't cropped off). To watch this master in action strikes at the core of Korea's Way of Tea.

Enjoy.

Peace

... , Zen, Guess What's In The Cup, Win Some Pottery

Peace

How Should Someone Share Tea?

"Moreover, Subhuti, when a bodhisattva practices generosity, he does not rely on any object--that is to say he does not rely on any form, sound, smell, taste, tactile object, or dharma--to practice generosity. That, Subhuti, is the spirit in which a bodhisattva should practice generosity, not relying on signs. Why? If a bodhisattva practices generosity without relying on signs, the happiness that results cannot be conceived of or measured. Subhuti, do you think that the space in the Eastern Quarter can be measured?"

"No, World-Honored One."

"Subhuti, can space in the Western, Southern, and Northern Quarters, above and below be measured?"

"No, World-Honored One."

"Subhuti, if a bodhisattva does not rely on any concept when practicing generosity, then the happiness that results from that virtuous act is as great as space. It cannot be measured. Subhuti, the bodhisattvas should let their minds dwell in the teachings I have just given."

Chapter 4 of The Diamond Sutra translated on The Joygae Order Of Korean Buddhism homepage

Generosity for the sake of generosity. :)

With this in mind one would like to announce a free Dao Tea sample package to readers. Pedro of Dao Tea agreed to provide the samples and one will cover the shipping. Here is what's in the package:

5 g Kim Shin Ho 2009 saejak green tea
5 g Kim Shin Ho 2010 saejak green tea
5 g Kim Shin Ho 2009 jungjak green tea
5 g Kim Shin Ho 2009 Balhyo cha

5 g Kim Jung Yeol 2009 saejak green tea
5 g Kim Jung Yeol 2010 saejak green tea
5 g Kim Jung Yeol 2009 Balhyo cha

This generosity is not completely unattached though...

If you accept this free package you are expected to post your thoughts or tasting notes of the samples on MattCha's Blog. You will get about a months time to sample and reflect on them. After which a post will appear on MattCha's Blog on each of the teas in this package, simply leave your thoughts on that tea in the comment section of the posting. If you cannot commit to tasting the tea within a month and leaving you comments then please don't request the package.

This package should allow even someone with little or no experience with Korean teas a nice primer by allowing for cross comparisons between: producer styles, yearly trends (or the very least an idea of how Korean green tea degrades after aging), different grades, and different types of Korean tea (balhyo v.s green).

The first 10 people to leave comments on this post expressing their interest with their email address will receive the package. One will delete your comment and send you a confirmation email as soon as possible.

Pedro has also offered one sample of 2010 Ujeon green tea to 1 of the very lucky 10. A number will be drawn to see who will receive this extra sample.

Peace

Another Kim Kyong Soo Gye Yal: A Potter's Zen Circle

A monk asked Master Isan for a gatha expressing enlightenment. Isan refused saying, "It is right in front of your face, why should I express it in brush and ink?"

The above exchange took place amongst Zen monks in the eighth century and is the first reference to Zen circle art or enso. Enso is a quick circular brushstroke of black ink on rice paper that forms a circle. It is said to have such a meaning that to express it in words is impossible.

The gye yal (Eng. Brushstroke) is a form of Zen circle art. It is the spontaneous circle mark found on the inside or out of a tea bowl. It embodies the same 'no mind' that the black ink of a calligraphers' enso has come to represent.

Contemplating the gye yal is to look deeply into nothingness.

...

What is this???

Peace

Beop Jeong Seunim Shine On Brightly

The most famous Korean monk of his time, Ven. Beop Jeong Seunim passed away on March 11th, 2010. Undoubtedly, he was one of the biggest influences on the way one thinks about this world, the way one thinks about tea, and the concept of this blog.

A zen monk who lived as a hermit, he is most famous for his articles on non-possession. His most famous essay "Without Possessions" expounds his wonderful world view.

In an interview he gave later in life he said that he felt a bit embarrassed that he wrote a famous book on non-possession but still couldn't give away his teapot. When he died his teapot was one of only 3 of his last worldly possessions besides his clothes and glasses held together with tape.

His only English print book, "May All Beings Be Happy" (2006) has pages that fall out, their corners dog-eared, the white cover blacked from overuse. One always keeps his teachings on possessions firm in ones mind.

Is one wrapped up in the possessing of a certain kind of tea or teaware? If so, has one truly lost the true deep meaning of tea?

Meditating on these things, one continues to drink many types of modest tea from a single old pot.

Peace

Tea Supports Spirit, Spirit Supports Tea

The tea one drinks supports one spiritually.

Ones spirituality teaches one about tea.

The world spins,

the seasons change,

One drinks tea.

Peace

The Carbon Footprint of Tea: How Green is Green Tea?

In Asia drinking tea is often seen as a way to harmonize with nature. Drinking green tea in the spring and chrysanthemum in the fall is a way to harmonize your energies with the energies of nature. Often the tea that is the most popular in a particular region is the tea that grows nearby, or is at least produced in the same country. Drinking local teas that share the energies of that geographical area is not only more healthy for the individual but also more healthy for the environment. Drinking local tea creates less pollution because the tea isn't shipped long distances.

Tea drinking in the west is a different story.

Unlike most foods and beverages that one consumes, tea cannot be grown locally. Because tea can't be grown locally it must be shipped long distances. Shipping long distances displaces more pollutants into the atmosphere through longer transport. Longer shipping also requires extra packaging. As far as tea goes, excessive packaging seems to be the norm. The production of this packaging requires more energy and therefore more pollutants produced. When this packaging is disposed of it goes back to the earth. The shipping of tea pollutes the earth.

When drinking tea one never takes a sip for granted. The tea that touches ones lips, however minute, is at the cost of the earth. And as such, much reverence should be afforded to it.

Peace

Yixing Zen: The Story of That Yixing Pot

Ten thousand Dharmas return to one.

What does one return to?

A couple of years ago, a Korean teamaster had brought back three pots that were almost identical. All three pots had an image of bamboo grass on the side. One of the three which had “Tea and Zen are not two but one” inscribed on the other side in classical Chinese calligraphy broke during use. One of the pots which had some famous Taoist saying inscribed on it is still in use by the teamaster. The last was gifted as one was about to depart from Korea, it is the pot pictured in this blog.

This pot is a real piece of Zen. It was produced a few years ago by a popular yixing company called “Gum Sa Do Yae”. In 2007 the company stopped production after two of its now-famous potters, Yu Ji Mung and Yang Lim Beup, left to open their own kilns. Since that time both of these artists have gained fame and notoriety for their marvelous yixing pots produced from their independent kilns. Their works are stunning in their simplicity and wondrous in their form. They often fetch prices in the thousands of dollar range.

Undoubtedly, these potters have skill. Some, such as the teamaster who gave one this pot, attributes their abilities to their indirect training in Zen.

When Yu Ji Mung and Yang Lim Beup were working for Gum Sa Do Yae they were hand-making hundreds and hundreds, if not thousands and thousands, of pots. These pots were virtually all the same and looked almost identical as the one pictured above. They were pumping out so many of the same pots day in and day out that they developed a sort of mindlessness, a true spontaneity about it. This repetitious, joyfully mindless state of work is said to embody the precepts of zen.

This is the way of tea, the way that Korean potters mindlessly toiled hundreds of years before in the mountain kilns- alone with the rhythms of nature and an abundance of repetitious work. As a result of such conditions, works that were detached from conceptual deliberate thought were produced- pieces of zen.

Often the pottery created in this state was finished in a flash of zen, a gye yal (Eng:brushmark, Jap: Hakeme) or spontaneous calligraphy quoting a famous Zen phrase or Taoist quote. When the Japanese first caught sight of the work of these Korean potters they attempted to re-create their style, but were unsuccessful because their actions were too deliberate and steeped in conceptual thought. As a result they kidnapped many of these Korean potters and forced them to produce such works in Japan.

Just like the Koreans hundreds of years before, Yu Ji Mung & Yang Lim Beup also left a spontaneous mark on their Gum Sa Do Yae pots. On the side of the pot that faced the guest an image of bamboo was engraved. On the side that faced the tea maker was a spontaneous quote, likely just whatever came to mind, their empty mind, when finishing the pot.

This pot is a wonderful example of such zen...

Its size, like all of its identical siblings, is medium-largish for a yixing but can still fit in ones palm nicely. Although a touch large, it stands staunch and strong, as if in seating mediation.

The layout of its calligraphy attempts of minimize its enormity and harmonizes the piece. The calligraphy and engraving stretches the pot horizontally. The engraving of bamboo is centered more towards the spout. It looks as if it is blowing slowly in the wind and fills up as it moves more toward the short spout- creating a perfect balance with the handle on the opposite side. The placement of the calligraphy on the other side is placed closer to the handle side. It still manages to harmonize with the handle though by the use of vertical calligraphy near the spout side- absolutely brilliant. The placement of the engraving and calligraphy suggest that these pots should be placed with the spout at 10-11 o'clock. This is part of common tea etiquette as a spout pointed directly at the guest is seen as a rude act. Besides this, the natural placement of the pot at 10-11 o'clock reduces the length of this pot went viewed from directly in front or behind, adding even more balance.

The bamboo engraving is natural and beautiful. Bamboo often represents simplicity. Besides that, it is so common, it bears neither fruit not flower yet stands strong due to its empty form inside. In this way bamboo represents the zen mind- strong in its emptiness and simplicity.

The calligraphy on the other side is read right to left. The larger horizontal section translates to “Ten thousand Dharmas return to one”. Where “ten thousand” refers to an infinite number, “Dharmas” refer to all phenomena or all things, and “one” refers to the nature of all things.

The whole phrase is a famous Zen Koan from case 45 of the Blue Cliff Record . This record chronicles seemlying nonsensical dialogues and exchanges among famous Chan monks that often starled zen practitioners into achieving enlightenment- breaking thought their meditation and attaining “no-mind'.

The vertical calligraphy is the date this pot was made using the traditional Chinese astrological calendar. A statement on presence. A mark of spontaneity. (If anyone can translate the date, please let us know).

A pot of this size must be sturdy and solid. This is achieved by wonderful, thick clay that shines with the essence of tea in its pores. It is fairly sturdy when pouring and pours fast and strong.

Its flat lid, like the layout of the engraving, attempts of minimize its enormity. Lifting it off the top one can sense its sturdiness.

The chops on the underside of the pot, lid and handle also nicely balance this pot.

When steam rises from this pot one is at peace.

A novice monk asked Zen Master Zhao Zhou, “Ten thousand Dharmas return to one. What does one return to?”

Zhao Zhou immediately responds, “I was once in Qing Province and made a piece of clothing: a hemp jacket weighing seven pounds.”

Peace

Three Levels of Tea Drinking: The Flavour Level, The Sense Level, and The Qi Level

There are three different levels of drinking and appreciating tea.

The most superficial and probably the most common way of drinking tea is by simply enjoying the taste of tea. Tea is a beverage, people drink beverages for their taste. This level can be enjoyed without too much thought or energy- tea for what it is, a delicious beverage. Thousands of people around the world enjoy tea in this way everyday without much thought. This is the first level of tea- the enjoyment of its taste.

The secondary level of drinking and appreciating tea is through the use of all senses. At this level people rely on their sense of smell more robustly. They also rely on their sense of hearing, seeing, touch, and of course taste, to enhance their experience with tea. Tea is enjoyed as a result of the interplay of all these senses. Besides the taste of the tea, those who drink tea with all their senses generally value the smell of the dry leaves, the smell of the liquor, the smell left behind in the cup (or the aroma cup), the mouthfeel of the tea, the look of the dry leaf, the colour of the liquor, the look of the wet leaves, and, although not directly connected with the tea itself- the sound of the boiling water, and the pouring of tea and water. Those who drink tea at this sensory level often wish to enhance their sensory experience with the use of specific teaware and techniques which allow for the honing of the full sensory experience with tea. This is the way that most bloggers, connoisseurs, and experts of tea drink it. This is the second level of tea appreciation, the sum of our sensory experience with it.

The deepest and least common way of drinking tea is by sensing its energetic qi level. At this level people go beyond their five senses and touch the deep level of the tea's qi, the chaqi. At this level tea is enjoyed as a result of its vibration within the body and mind, and the affects it imposes on them. Those who drink tea at this level often meditate with it to better sense its nature, movement, and affect on the body and mind. Because not everyone has sharpened such abilities, most people don't drink tea at this level, but everyone is capable at doing so.

Peace

Broken Ceramics

One received the last of the packages this week. The tea came in perfect shape. But unfortunately this beautiful tang gwan by Korean ceramic master Uh Sang Myung came in many little pieces despite overly vigilant packing.

Even in small shards it emanates brilliance.

The seemingly useless broken pieces do teach us though. They allow us to take a peak at the clay used for such a piece. They allow us a glimpse at the artist ingenious techniques, things that we couldn't know with a piece intact.

For instance, we can see how the base of the tang gwan is quite thick. As we move up the sidewall we notice it thins out then, as it approaches the rim, it thickens once again. Its form is marvelous.

What is most interesting about this piece is that Uh Sang Myung used red clay at the top near the rim but used a different clay for the main body and base. This is beautifully illustrated in some of the shards that show how the clay slowly picks up a pinky-orange as it nears the rim. Following this progression is like watching as the sun slowly sets before disappearing. Breathtaking.

Above all, these broken pieces remind us what is truly of value in our lives...

When we have lived as much as we are going to, arriving at life's last stop,
is there a single solitary thing that will come with us?
The things I possess right now are not originally mine.
They are only things that have been placed in my care temporarily.

Whether material objects or fame, intrinsically none of it can be my possession.
All these things are just secondary, following me along like a shadow, as I reside here in this space for the moment.

An excerpt from At the Last Stop of Life by Beop Jeong found in May All Beings Be Happy

Peace

Tea Time in a Korean Juvenile Prison

One is traveling over the side of a low sloping mountain, there are a few large iced bottles of tea that bulge from the old, tattered bag which is draped around one's shoulders. The summer sun scorches the top of ones head, causing one to sweat through one's thin shirt. Finally after about a thirty minute trek one has reached their final destination. The security allow for ones clearance and smile and wave one into the large, heavily secured facility. Surrounded by thick high barbwire-topped fortified walls one enters this Korea juvenile detention center.

One knows this place well as one makes a weekly trip to volunteer here. Usually we talk, joke, tell stories, hang out, and, today, like the weeks before we will drink tea.

The cool refreshing taste of tea is always met with kind and sincere jubilation, in the hot, unariconditioned, stuffy confines of the facility. Today is like any other, one brings their favorite, an iced then frozen Japanese sencha, a far cry from the preferences of their Russian counterparts. It's refreshingly sweet grassy taste is even preferred over most Korean and Chinese varieties. Half-melted, one pours it into simple paper cups and we discuss the flavour of this unimaginable delicacy. These boys' comments about the tea are simple and sincere. We don't spend too much time on the tea but continue to enjoy it and its gift, as well as discussing what ever comes up.

What great company to share the gift of tea!

Peace

Drinking Tea with a Stranger on the Street

A few days ago in the sweltering heat of the Korean Summer one shared tea with an old lady. One was traveling with two half iced bottles of sencha draped around ones waist. The cool emitting from the bottles caused condensation that imitated ones perspiring body.

As one reached the top of a low rolling mountain that was much more a hill than a mountain, one came across an old weathered lady. Her skin leathery, her teeth missing, dressed in commoners hanbok her smile radiated outward.

She is a lady that looked like she lived a thousand lives in just this one. She is a lady that one has seen before.

Her smile caught me and she implored me to sit down in the shade of her front porch where she enjoyed the clear blue sky, the flowers, and the light breeze.

One sat down beside her, handed her a small paper cup, unscrewed the lid of the bottle and then poured the freshly melted tea into her cup and then into my cup. We spoke simply to each other, enjoying the fluffy clouds and clear sky, and the sound of a chirping cicada in the trees. We shared refreshing tea in this way for only a minute or two before continuing on my way.

Peace

How One Should Drink Samples of Tea

One drinks new tea, like one is meeting someone for the first time.

In this way the following quotations from Buddhist master, and current head of the Jogye Order of Korean Buddhism, Beop Jeong, seem especially relevant. The following excerpts were taken from his book, May All Beings Be Happy.

In the world of tea, there is a phrase, “In one life, one meeting.”
It refers to the kind of karma that allows for but one meeting in an entire lifetime.
Looking across an individual's entire life,
and knowing that we have just this one time to share with them,
regarding it as the singular opportunity of a lifetime,
we cannot help but spend each moment meaningfully.

From “The Karma We Encounter But Once”

I want to send my warm gaze towards every single person I encounter.
Person by person, I want to become familiar with all of their faces.
I want to know their face, right here and now, such that in the next world, when I happen to chance across them on some street corner,
I can say, “Ah, well isn't it so-and-so?”
standing face to face, clasping their hand affectionately.

From “Autumn Is a Strange Season”

Peace

Beautiful Korean Teaware

Today, in the busy, crystal clear blur of all goings on in a day, one received tea in this beautiful vessel. The warmth of the golden liquid, penetrated the thin paper walls of this incomprehensibly inexpensive, commonly seen everywhere in Korea cup. Its dry, papery-rough lip welcomed one's incoming lips. The bustle of the day paused as one took the tea in deeply.

What a wonderful tea vessel indeed.

Peace

A Lesson From Shofuku-ji Temple In Fukuoka, Japan

One was beaming with excitement and full of expectation walking up to the gate of Shofuku-ji Temple. Founded in 1195 it was one of the first Zen temples in Japan. Eisai had brought back tea seeds and Zen after returning from deep study under Zen master Xuan Huaichang on Tiantai Mountain in China.

He then founded the Rinzai School of Zen and his tea seeds were planted near Kyoto, in present day Uji. Eisai wrote the famous classic Japanese Tea book, “How To Stay Healthy by Drinking Tea” and was partly responsible for turning the Samurai class onto the philosophies of Zen and tea.

As one approached the thatched-topped brick wall surrounding the front temple grounds and walked through the front gate one's mind was at ease. Then one was immediately confronted by a large monolithic stele that reached toward the bright blue sky above. It stood there noble but natural, in the shade of an old tree. On this old stele had the inscription of the great Zen Tea Master Eisai. Although one could not read the engraved classical Chinese characters, one's mind was at peace.

After marveling at the sight of the engraved calligraphy, one looked around. It was empty. The whole temple grounds were empty. The complete stillness was broken by the chants, not of praying monks, but of pre-school children that shared a chain-link fence with the temple grounds. They laughed, ran, and played, full of innocence and joy. One watched them for a while before approaching the only building which was locked by thick, jail-like, wood bars that ran vertically from the top of the door frame to the bottom. This building, the main hall, was also surrounded by wood fencing. One glared past all of this and caught a shadowy glimpse of three Sakyamuni Buddha statues, but, in all truth, one couldn't even really see the Buddha.

One then proceeded to the rear of the grounds in search of someone or something more to this temple. Something more than its empty peace and stillness. Nothing. Wait, up on the tiled rooftop of an adjacent hall, it was a large crow, its jet black feathers contrasted by the large piece of persimmon fruit that hung from its beak. One watched the crow eat the juicy persimmon marveling at its swift, stately movements as it happily and slowly finished off this snack. The crow seemed to savor this seasonal delicacy.

Then coming from the hall one spotted a middle aged monk. One bowed, then waved him over. He smiled and came over.

One inquired, “When does the temple open?”

The happy monk replied, “It's open.”

In this moment, one experienced a profound awakening. The sound of children playing, a crow eating, stillness, and nothingness- this was the true meaning of Zen.

Sometimes when we drink tea we carry the burden of some preconceived notion of what this or that tea should taste like or we look for something, something special within our cups, when, actually, what we are truly looking for is always there, waiting to be discovered.

Peace

Korean Tea Zen

When visitors bring incense,
I seldom take the time to make a ball.
I just let it burn like ash on the roof tile.
I don't pretend to know the aroma of the incense.
I just let my mind be at peace from the incense.

When visitors bring tea,
I seldom take time to make it into a fine powder.
I just let it brew in a stone kettle with wooden charcoal.
I don't pretend to know the taste of the tea.
I just let my body feel the treasure of tea.

Jingam Zen Master 774-850
English translation found in The Book of Korean Tea by Yang-Seok Yoo

The Beginning

There is only one thing, from the very beginning, infinitely bright and mysterious by nature.

It was never born, and it never dies. It cannot be described or given a name.

Zen Master So Sahn