Fou Gallery invites you to participate in our gathering and class of tea. Participants will have the opportunity to view our current exhibition Lan Zhaoxing and Renqian Yang: Between Mountains, and learn the tea ceremony from the Song Dynasty together with the instructor Mai Tian. Together, we’ll appreciate the tea utensils (including Song Style Conical Bowls, Rock Vases and Incense Holder created by Renqian Yang), and experience the spiritual world of literati from ancient China.

The Song Dynasty (960-1279) carried on the refined, elegant rituals of tea drinking begun during the Tang Dynasty (607-918), continuing to enjoy it as a leisurely and social beverage. The complex and formal tea etiquette begun under the Tang was also carried on, as were new rules of hospitality, preparation, and serving of tea created as well, which now extended to guests and strangers. The way of tea drinking in the Song dynasty changed into the method of "dian-cha"(pouring water on tea powders for several times) from the method of cooking tea of the Tang dynasty. Also in Song Dynasty, Japan’s Rongxi Zen Master brought tea culture to Japan, which had a profound impact on the development of Japanese tea ceremony.

When presented with a bowl of tea, a guest will notice and reflect upon the tea as well as the ceramic utensils. The ceramics used in this context—tea bowls, water jars, flower vases, tea caddies, and so forth—are functional tools valued for their practicality as well as artworks admired for their aesthetic qualities.

否画廊盛情邀请您参加我们的雅集和茶会，活动参加者将欣赏画廊目前的展览《兰昭形与杨人倩：山间》，与茶人麦田一起学习宋代的点茶法，并品鉴杨人倩特别创作的仿宋制式笠茶碗，花器，香插，一起体会宋代文人雅士的精神世界。     

“喝茶”对于现代普通人而言，一只碗一杯水，一把茶叶即成。但对于古代文人雅士、达官贵族来说，喝茶这件事就不寻同了。南宋《撵茶图》细致描绘了宋人茶会的场景，从中可以印证宋代点茶的具体过程。所谓点茶法，是指茶饼经炙烤、碾箩成末后，投入茶盏调膏，然后以沸汤点注的一种茶品冲饮方法，和唐代煎茶法有很大区别。点茶先将茶叶末放在茶碗里，注入少量沸水调成糊状，然后再注入沸水，或者直接向茶碗中注入沸水，同时用茶筅搅动，茶末上浮，形成粥面。

同样也是在宋代，日本的荣西禅师在中国学习禅学，将点茶带回日本，对日本茶道的发展产生了深远影响。此后日本茶道和僧院文化密切结合，不仅要求茶品遵循宋代的原味、原色，茶道也承袭了宋代的点茶法。

对于中国和日本茶道而言，器物尤其重要。品茶的过程不仅在于感受茶的味道，季节时令，也在于欣赏茶室的建筑、书画，以及品茶时所用的器物，和共同品茶的人交流，是为一期一会。以此应运而生了斗笠碗，和建盏。斗笠碗始烧于宋，受到宋代斗茶风影响下，茶盏在吸取唐代茶盏优点的基础上，进而出现了一种敞口，斜腹壁呈45度角，小圈足的容器，形似倒置的斗笠。​​而建盏是指自北宋以来在古建州（今福建）建阳出产的黑釉茶盏，釉料独特，成品的釉面呈现兔毫状、油滴状或曜变状。

EXHIBITION

Fou Gallery’s current exhibition Between Mountains presents Renqian Yang's ceramic works created at the Craigardan residency programme in Adirondack Mountains, and oil paintings created by Lan Zhaoxing. Images of mountains have remained a potent source of inspiration for artists and writers, often with contradictory meanings. The eternal theme of mountains leads into the distance while returning to one’s internal mind. Coincidentally, the theme of mountains become an inspiration for both Lan Zhaoxing and Renqian Yang.

The tea ceremony and class is presented during the exhibition and intends to continue the dialogue between the mountains, and use the artisan utensils to experience the slow life together.

关于展览

否画廊正在举行的展览《山间》呈现了杨人倩在阿迪朗达克（Adirondack）山脉Craigardan驻地艺术项目前后创作的陶瓷作品，和兰昭形创作的油画作品。而展览期间举行茶课，也意图延续山间的对话，使用艺术家创作的陶瓷，共同点茶、插花、焚香，赏器，品味慢生活。

在艺术和文学中，山间常被人赋予种种矛盾的意向。在王原祁的《辋川图卷》中，山林承载着田园和归隐的想象。而在透纳的《暴风雪：汉尼拔和他的军队越过阿尔卑斯山》中，山又带来战争和死亡。马孔多的一代代族人尝试翻越山脉，开拓疆土。明代遗民艺术家则寄情山水，回避政治纷争。崇山峻岭给予人宁静的感受，却也是兵家必争之地。山亘古不变，引向远方，又指回内心。无形之中，山成为杨人倩和兰昭形创作的重叠。兰昭形试图用绘画语言来表述形而上学的哲学领域。她从自然和自我这两个可变的世界中选择需要的作品要素，并赋予了色彩和形式。杨人倩此前创作的陶瓷作品多具有强烈的色彩，关注城市和社会议题，而在山间的创作经历给予她完全不同的感悟。Craigardan驻地项目为艺术家提供一个共同创作的平台，这个位于阿迪朗达克群山之间的农庄汇集了不同领域的创作者，包括艺术家，作家，厨师等。在一种与现代都市忙碌节奏完全相反的山中生活，杨人倩开始探索一种新的创作节奏，回归材料本身。

TEA

TEA UTENSILS - CERAMICS BY RENQIAN YANG

TEA INSTRUCTOR - MAI TIAN

In 2011, Mai Tian started her journey in Chinese traditional tea ceremony and further studied in Hejing Tea Garden (Beijing) and Taiwan Dongwu University (Taipei). She received the certificate of Senior Tea Artisan and Advanced Tea Appraiser. Currently, she is researching and practicing Tang Dynasty Tea Culture.

茶人麦田

高级茶艺师，中级评茶师。自2011年至今学习中华传统茶文化.分别在北京和静茶园，台湾东吴大学研习传统中华茶道，随后考取高级茶艺师，并且获得中级评茶师称号。在学习中国传统茶之余赴日本京都，韩国首尔交流他国茶道文化.目前潜心钻研“大唐茶文化”。