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2007年10月18日星期四

Chinese Tea, More Important than Rice







Chinese Tea, More Important than Rice




People throughout China drink tea daily. Tea is to the Chinese as wine is to the French, as beer is to the Germans, as cigars are to the Cubans.





History
It is true that the word for tea, cha, never appeared in ancient Chinese texts; the character cha was created by Lu Yu in the 8th century during the Tang dynasty (618-907 A.D.). Based on written records and more recently excavated archaeological evidence, we know that tea as a beverage had become rather popular in Central China along the Yangzi River and its tributaries during the Western Han period (206 B.C.-24 A.D.) at the latest.
Chinese drink tea at meals and serve it to friends when they come for a visit. "On such occasions, it is served continually as long as they remain together engaged in conversation," wrote Matteo Ricci (1552-1610), an Italian Christian missionary who stayed in China for 28 years, in "China in the Sixteen Century: The Journals of Matthew Ricci: 1583-1610." "This beverage is sipped rather than drunk and it is always taken hot," Ricci wrote. He also remarked that the bitter taste of tea was not unpleasant and was good for one's health.
Category
Because of the geographic location and climate, different places grow various kinds of tea. In general, there are five kinds of tea classified according to different techniques involved in the brewing process.
Green tea
Green tea keeps the original color of the tealeaves without fermentation during processing. Top brands include Longjing in Zhejiang Province, Maofeng of Huangshan Mountain in Anhui Province, and Biluochun in Jiangsu Province.
Black tea
Black tea, known as "Red Tea" (hong cha) in China, is fermented before baking. The best brands are Qihong in Anhui, Dianhong in Yunnan, Suhong in Jiangsu, Chuanhong in Sichuan and Huhong in Hunan.
Wulong tea
This represents a variety half way between the green and the black teas, and it is made after partial fermentation. Wulong tea abounds in Fujian, Guangdong, and Taiwan along China's southeast coast.
Compressed tea
It is compressed and hardened into a certain shape. It is easy to transport and store and is mainly supplied to the ethnic minorities living in the border areas of the country. Most of the compressed tea is in the form of bricks, thus the name "brick tea." Sometimes it is cake or bowl-shaped. It is mainly produced in Hubei, Hunan, Sichuan and Yunnan provinces.
Scented tea
It is made by mixing fragrant flowers in the tealeaves in the course of processing. The flowers commonly used for this purpose are jasmine and magnolia among others. Jasmine tea is a well-known favorite among the northerners in China.Tea artistry
Tea is far more than a thirst quencher in China. Many people appreciate the art form of brewing and drinking tea. The tea culture involved is relaxing, allowing people to supposedly forget all their troubles during the process of brewing, serving and drinking tea.
Making a good pot of tea is not so easy. With tea of the same quality, one can produce different tastes by using different water, tea sets and brewing techniques. Tea of top quality should be brewed with top-grade water. Teaware embellished with artistic designs are needed to complement the elegance of tealeaves. Brewing time, water temperature, and the ratio of water to tealeaves depends on tea quality and category.


Tips for brewing tea
1. Know the various qualities of different tea
Before making a pot of tea, one should first know the characteristics of the tea. Thus, one can choose the most appropriate brewing technique suitable to a specific tea to bring out its best quality. Tea quality is affected by various factors, such as weather, the land and the grower.
2. Control the amount
How much tea should be put into the pot depends on the specialty of each kind of tea as well as the brewer's habits. Generally speaking, the standard amount (the amount used by the professional tea brewer when brewing a pot of tea) is 3 grams of tea brewed with 150 cubic centimeters of water for 5 minutes.
The ratio of water to tealeaf depends on the quality of tea and the drinking method. Generally speaking, famous tea or top-grade tea requires a ratio of 50:1, and ordinary black, green, white and scented tea 75:1. The ratio of water to Oolong is 25:1.
3. Choose appropriate tea sets and water
When brewing tea, one should pay attention not only to the tealeaf's shape, color, scent and taste but also to the teapot's quality and artistic design to set off the elegant tealeaf. Generally, a big teapot is chosen when one wants to satisfy thirst while a small pot is used when one desires to taste and appreciate the tea.
Tea of top quality should be brewed with top-grade water to bring out its best. Longjing Tea (Dragon Well Tea) and Hupao Spring (Tiger Spring) are known as the two superb products of Hangzhou City. Even though the tea-brewing water deserves careful study, one should bear in mind the actual condition when making tea. Water, which reaches drinking standards and will bring out the best of tea, can be chosen to make tea. If conditions allow, one can use natural spring water or lake water or river water, which is a better choice for sure.
4. Control the water temperature
Generally, people use boiled water to brew old tealeaves, while cooling down the boiled water a little bit to brew tender tealeaves. For example, top-grade green tea and some famous kinds of tea, which should be picked when they are tender, cannot be brewed with boiling water. So one should wait until the water temperature cools down to about 80 degrees Celsius. In this way, the tea will have clear water, a pure scent, fresh taste and brightly-colored leaves.
5. Control the brewing time
Generally, brewing time should be short for those tender and strongly-scented tealeaves of a large amount, while a long brewing time is required for coarse and strong-tasting tealeaves of a small amount. For those who like drinking strong tea, its better to brew the tea for a longer time; for those who prefer a weaker taste, its better to shorten the time.




Cloisonne Enamel Wares in the Forbidden City (8)

8. Wire inlayed cloisonné enamel phoenix Dou
Specification: 10.1 centimeters in height, 7.1 centimeters in diameter.
A Dou is a bronze food vessel of the Zhou Dynasty (1,100-256 BC). This one, made in the middle Qing Dynasty, is an imitation of the ancient work. With a ring pattern, the enameled Dou has a pair of ear-like handles, which represent two phoenix heads. Taken off, its lid could be used as a plate.

Cloisonne Enamel Wares in the Forbidden City(7)

7. Wire inlayed cloisonne enamel Occidental lidded pot
Specification: 9.5 centimeters in height, 9.3 centimeters in diameter.
With delicate curves, this pot is decorated with sketches of a Western house, people, animals, and a mother with her son. Made in the middle Qing Dynasty (1644-1911), the small lidded pot is both ornamental and practical.

Cloisonne Enamel Wares in the Forbidden City (6)


6. Wire inlayed cloisonne enamel Jue
Specification: 14.5 centimeters in height, and 17.9 centimeters in diameter
Jue, the earliest wine vessel with three legs and one loop handle and the earliest bronze ritual vessels, is a guide for the modern pot with tray. The handle is dragon shape, three legs up in the inserted central tray. It is blue, decorated with the painting landscapes, flowers and butterfly.Its unique style is marked by the ancient Chinese people's ingenuity.

Cloisonne Enamel Wares in the Forbidden City (5)

5. Wire inlayed cloisonne enamel butter tea-pot
Specification: 66 centimeters in height
This butter tea-pot of the royal family, weighing more than 20 kilograms, is just for decorative purposes.

Cloisonne Enamel Wares in the Forbidden City(4)

4. Wire inlayed cloisonne enamel lady holing pot

Specification: 36.7 centimeters in height
It is decorated with coral and turquoise, and painted with different ladies and landscapes. The whole pot is decorated with a dragon, the symbol of royalty.

Cloisonne Enamel Wares in the Forbidden City(3)

3. Wire inlayed cloisonné enamel Domu pot
Domu tea-pot is the container of butter tea, known as the Tibetan Dong Mo or Mu. Tibetan butter tea, a necessity of life for Tibetans, is boiled with butter, salt and milk. When water and butter is blended completely, the butter tea can be drunk, with a special flavor. This tea-pot is full of the royal style, and has both decorative and practical value.

Cloisonne Enamel Wares in the Forbidden City(2)

2. Wire inlayed cloisonne enamel flowerpot

Specification: 16.2 centimeters in height, and 16.9 centimeters in diameter
The surface of the flowerpot is light blue, decorated with flowers, moirés, peony, chrysanthemum, butterfly and stone. It has both decorative and practical value.

Cloisonne Enamel Wares in the Forbidden City (1)


1.Enamel chrysanthemum pot
Specification: 9.1 centimeters in height
Its shape is a rectangle with curved handles. The surface is painted with chrysanthemum.This pot is unique in the theme of chrysanthemum. Its modeling design, painting technique and sintering process were state-of-the-art during that time.

探秘川剧脸谱(2)







由化妆蜕化而来
演员装扮某个角色,首先要像那个角色,所以将眉眼口鼻,画成那个角色形状,而一个人的性格,首先也表现在脸部,为了表现一个人的性格,在化妆时进行一些夸张。这种类似脸谱的化妆方法,逐渐演化成了现在的脸谱。
由神怪傩戏退化而来
从前有一种驱疫打鬼的傩戏,里面有神佛鬼怪的角色。这些角色的面貌无法模仿,只能凭空构思。神佛用金银等色特别标出,妖怪之类,就将他们的形状画在面上。如豹精就画个豹头,猪怪就画个猪脸等。这种表现方法推广到其它角色,逐渐形成了现在的脸谱。
由盗贼涂面蜕化而来
从前的盗贼为了防止被人认出来,常常将自己的脸涂画得面目全非。恐怖凶暴。于是在演戏的时候,凡是遇到有凶狠残暴、使人恐怖的角色,也在脸上乱勾乱抹,于是就形成一种脸谱。
脸谱,是很原始的艺术现象,它增强了川剧的艺术性和表现力,让其散发着古典美的魅力。倘若没有了脸谱,无论你的戏怎样合乎历史人物的本来面目,也将失去或部分失去艺术感染力。
脸谱的色调
俗语说:"人上一百,五颜六色。"但任何一张脸谱,无论图案怎样复杂,总有一个基本的色调,即所谓"主色"。而这个主色调便是这个剧中人物类型的象征。正如张德成所说:通常,红色用来表现性情激烈、忠耿正大的人物(如关羽);黄色用以表现体格不健壮、实则勇武过人的角色(如甘宁);蓝色(即绿色)多用于凶猛、可怖的人物(如卢杞和传说中的天上的煞神,地府的恶鬼);白色表现奸诈、阴险(如曹操、董卓);黑色表现正直、坦率、卤莽(如李逵、张飞)。
这里所说,其本上合乎川剧舞台的实际的情况。诸如"三国戏"中的关羽、姜维的脸谱是以红色为主;《鱼藏剑》中的王僚、《战宛城》中的黄韦的脸谱是以黄色为主;窦尔墩、马武的脸谱是以蓝色为主;《铁笼山》中的蔡中华、《花子骂相》中的范丞相、《群英会》中的曹操的脸谱是以白色为主;《牛皋扯旨》中的扣皋、《霸王别姬》中的项羽的脸谱是以黑色为主。他们都明显地标示出人物的类型特征。
脸谱色调的象征意义并非纯属艺术虚构,而是对于生活的提炼与加工的结果。如:性情急躁、刚烈的人,常常"脸红筋胀",被称之为"红脸关爷"、"红脸汉";而身体不好、体质虚弱的人,则面黄肌瘦。俗话说:"天黄有雨,人黄有病。"广大劳动人民,而朝黄土背朝天,日晒雨淋,故往往"黑不溜秋",多"油黑人";而达官贵人中的奸险之徒,养尊处优,饱食终日,无所事事,故长得白白胖胖,白白净净的……这便是脸谱色调所代表的人物不同类型的生活来源。不同之处在于:川剧脸谱更加突出、更为典型。它淡化了生活中的个别性和特殊性,而强化了一般性、普遍性和艺术性。
脸谱图案标示人物形象
川剧脸谱并不是死谱,而是活谱。"诗谱"、"词谱"、"曲谱"等谱中常常有所谓"又一体"云云,也表示"谱"的变化,说明有灵活性。而川剧的脸谱也同样如此。运用脸谱要根据具体人物作适当的增减或改动。如关圣人和赵匡胤,虽然都是开的红脸,但赵匡胤的眼皮上多了一根白色的线条以示区别:关羽为人忠厚,很讲信义,赵匡胤玩弄权术,杀伐功臣。前者是圣人,后者是歪人。更为典型的则是孙悟空的脸谱为猴,猪八戒的脸谱为猪,牛魔王的脸谱为牛……诸如此类脸谱,简直就是川剧舞台人物形象的标志。
脸谱外化人物内心情感
在现实生活中,人们很注意察言观色。正如俗语所谓"出门看天色,进门看脸色"。因为从对方的脸色、面部表情,可以看出其内心的思想感情的态度。有时是只可会意,不可言传。而川剧脸谱正好艺术地反映出这一特点,将人物的内心思想感情"外化"和"物化",并使之形象化。川剧艺术家们用具体的不同脸谱来展示人物内在的思想、心理、感情和态度。例如曹操其人,在历史上是鼎鼎大名的政治家、军事家、文学家、思想家,而在川剧舞台上则大谬不然,变成了跳梁小丑、阴谋家、野心家、大奸雄。按照他的生活经历,不断变换着他的脸谱:在《议剑献剑》中,他还处于寄人篱下的地位,有野心而不得志,故其以丑角应工,脸谱为"猪腰子";到刺杀董卓失败后,仓惶出逃,在《杀奢》中暴露出他的多疑和残忍,所谓"宁使我负天下人,不使天下人负我",而误杀了其伯父,故改用花脸应工,脸谱勾"大花脸";当他得势之后独霸一方,成了"大奸雄"时,在《群英会》中脸谱则勾大粉脸。再如川剧舞台上的隋炀帝杨广,更为独特。在《问病逼宫》一剧中,竟然换了三张不同的脸谱:开始上场是小生,表现他的正派、潇洒、有一定的文才;从他调戏后母陈妃开始,暴露出他的丑恶灵魂,而改为小丑应工;最后抢夺玉玺,气死亲母,登上王位,再改为花脸应工,借以表现他的残暴、粗野、没有人性。由此可见,川剧脸谱虽名之曰谱,但在具体运用上则是因人制宜、因时制宜、因事制宜,与"歌谱"、"乐谱"等大不一样,具有颇多的灵活性。
脸谱装饰美化人物形象
川剧脸谱除了以上作用外,还有装饰美化剧中人物形象的作用,给观众一种艺术美,达到美感享受的目的。
川剧脸谱装饰、美化人物形象,可以从《秋江》中的艄翁和《船舟借伞》中的王伯伯等人的"螃蟹脸"脸谱得到证明。这类久经风霜的老年船工,风吹雨打,日晒雨淋,脸上本多皱纹,笑时尤为突出。在川剧舞台上对其造型理当勾"螃蟹脸",本应用黑色,表示他们忠厚、正直、善良、坦率等特点。但是勾黑色线条在强灯光下显得很难看,不美观,故改用白色线条。这种白色的"螃蟹脸"脸谱便是一种美化,给观众一种美感。
总而言之,象征人物类型,标示人物区别,体现个性特征,外化内心情感,装饰美化艺术形象等等,便是川剧脸谱最基本的特征,也是脸谱的意义的作用。川剧脸谱既是从生活出发,又是从剧中人物性格出发,同时还表现出川剧艺术家们的美丑观,贯串着鲜明的爱憎,有着十分强烈的思想倾向。
脸谱艺术
脸谱艺术深受我国人民喜爱,在长期发展的历史岁月中,广泛应用于工艺美术中,形成很多品类,如彩塑、国画、剪纸、竹刻、烧瓷、面塑、蜡染、风筝、面具、蛋壳、皮影、木偶、邮票、以及装饰包装等,都有丰富多彩脸谱造型,格调各异,绚丽多姿。判断脸谱艺术品的收藏价值,主要在于它的艺术价值和文物价值,年代久远的艺术品、名人制作的工艺美术品,其收藏价值就高,尤其是名人的脸谱国画、古代戏曲人物古壶、瓷瓶,与戏剧界名人合影的珍贵照片等,无不成了收藏者追寻的收藏珍品。近年来,我国多次举办"中国脸谱精品展",展出的彩塑立体脸谱、戏剧人物国画脸谱、蛋塑、社火、有机玻璃等脸谱艺术品,引起人们的兴趣并深受好评。

探秘川剧脸谱(1)




川剧是中国著名的地方戏曲,尤其以变脸闻名,其脸谱形式十分丰富,造型夸张而又严谨规范,通过色彩与眉宇的细微变化,刻画人物独特个性,展现出一种古朴狞厉之美。川剧脸谱造型十分精美,且寓意深刻。
"脸谱"是戏曲演员面部化妆的一种谱式。川剧名家张德成在《略谈脸谱》中说得更为具体:"脸谱,顾名思义,既然称谱,便不是在脸上随意作画,胡涂乱抹,而是有谱:有道理、有目的、有规矩的。这个谱,就是艺术的真实  从生活出发,经过艺术的加工、提炼、夸张、美化……以展示人物性格的基本特征,是川剧舞台艺术刻划人物创作手段的一个有机组成部分。"川剧脸谱分净角和丑角两大类。属于净角的有包公脸、霸王脸、尉迟脸、关公脸、八宝脸、五彩脸、三块瓦、红三块瓦、黑三块瓦、花三块瓦、张飞脸、霸儿脸、粉脸、张松脸、僧脸、太监脸、黄胆脸、金脸、勾鼻鹞子脸、形象脸等;属于丑角的有长方形脸、椭圆形脸、梅花形脸、蝴蝶形脸、大葫芦形脸、螃蟹形脸、腰子形脸、二饼饼脸、木偶脸、老脸等。有的同是一个人,由于年龄不同,脸谱也就各异。还有因扮演者不同,虽同饰一个角色,所绘脸谱也不尽相同。
脸谱的由来
有许多说法,至今没有定论。但概括起来,不外以下四种:
由面具蜕化而来

脸谱,起源于原始图腾(约公元550年),后来逐渐演变成艺术化的戏剧脸谱。据《旧唐书·音乐志》和唐段安节撰《乐府杂录》记载,公元550年的北齐兰陵王高长恭英勇善战,但因貌美少威,因而每次作战就戴上形状狰狞的假面具。到了唐代就发展成为一种"代面"的歌舞形式,这种戴面具演出,观众对演员表情变化看不见,妨碍对戏剧艺术的欣赏,后来面具就不戴了,发展为将面具上的花纹直接画在脸上的化妆艺术;宋元时期,面部化妆色彩多样化,有黑脸、红脸、花脸、青脸、蓝脸。这些脸谱的颜色都有一定象征意义,红色表示英勇、正义,如关羽赤胆忠心,就勾画红脸;黄色表示勇猛、残暴,如《战宛城》中的典韦、《马陵道》中的庞涓,勾画黄脸;白色表示奸诈、多谋,如曹操奸诈,勾画白脸;黑色表示刚直、果断,如包拯铁面无私,勾画黑脸;蓝色表示坚毅、勇敢,如《连环套》中的窦尔墩、《白水滩》中的青面虎;此外还有神怪仙佛一类人物,专用金色、银色等。戏剧人物脸上先有了这些主色基调,再配以表现其心理、专长、命运等象征图案,一个性格鲜明的人物形象就塑成了。

由化妆蜕化而来
演员装扮某个角色,首先要像那个角色,所以将眉眼口鼻,画成那个角色形状,而一个人的性格,首先也表现在脸部,为了表现一个人的性格,在化妆时进行一些夸张。这种类似脸谱的化妆方法,逐渐演化成了现在的脸谱。
由神怪傩戏退化而来
从前有一种驱疫打鬼的傩戏,里面有神佛鬼怪的角色。这些角色的面貌无法模仿,只能凭空构思。神佛用金银等色特别标出,妖怪之类,就将他们的形状画在面上。如豹精就画个豹头,猪怪就画个猪脸等。这种表现方法推广到其它角色,逐渐形成了现在的脸谱。
由盗贼涂面蜕化而来
从前的盗贼为了防止被人认出来,常常将自己的脸涂画得面目全非。恐怖凶暴。于是在演戏的时候,凡是遇到有凶狠残暴、使人恐怖的角色,也在脸上乱勾乱抹,于是就形成一种脸谱。
脸谱,是很原始的艺术现象,它增强了川剧的艺术性和表现力,让其散发着古典美的魅力。倘若没有了脸谱,无论你的戏怎样合乎历史人物的本来面目,也将失去或部分失去艺术感染力。
脸谱的色调
俗语说:"人上一百,五颜六色。"但任何一张脸谱,无论图案怎样复杂,总有一个基本的色调,即所谓"主色"。而这个主色调便是这个剧中人物类型的象征。正如张德成所说:通常,红色用来表现性情激烈、忠耿正大的人物(如关羽);黄色用以表现体格不健壮、实则勇武过人的角色(如甘宁);蓝色(即绿色)多用于凶猛、可怖的人物(如卢杞和传说中的天上的煞神,地府的恶鬼);白色表现奸诈、阴险(如曹操、董卓);黑色表现正直、坦率、卤莽(如李逵、张飞)。

这里所说,其本上合乎川剧舞台的实际的情况。诸如"三国戏"中的关羽、姜维的脸谱是以红色为主;《鱼藏剑》中的王僚、《战宛城》中的黄韦的脸谱是以黄色为主;窦尔墩、马武的脸谱是以蓝色为主;《铁笼山》中的蔡中华、《花子骂相》中的范丞相、《群英会》中的曹操的脸谱是以白色为主;《牛皋扯旨》中的扣皋、《霸王别姬》中的项羽的脸谱是以黑色为主。他们都明显地标示出人物的类型特征。
脸谱色调的象征意义并非纯属艺术虚构,而是对于生活的提炼与加工的结果。如:性情急躁、刚烈的人,常常"脸红筋胀",被称之为"红脸关爷"、"红脸汉";而身体不好、体质虚弱的人,则面黄肌瘦。俗话说:"天黄有雨,人黄有病。"广大劳动人民,而朝黄土背朝天,日晒雨淋,故往往"黑不溜秋",多"油黑人";而达官贵人中的奸险之徒,养尊处优,饱食终日,无所事事,故长得白白胖胖,白白净净的……这便是脸谱色调所代表的人物不同类型的生活来源。不同之处在于:川剧脸谱更加突出、更为典型。它淡化了生活中的个别性和特殊性,而强化了一般性、普遍性和艺术性。
脸谱图案标示人物形象
川剧脸谱并不是死谱,而是活谱。"诗谱"、"词谱"、"曲谱"等谱中常常有所谓"又一体"云云,也表示"谱"的变化,说明有灵活性。而川剧的脸谱也同样如此。运用脸谱要根据具体人物作适当的增减或改动。如关圣人和赵匡胤,虽然都是开的红脸,但赵匡胤的眼皮上多了一根白色的线条以示区别:关羽为人忠厚,很讲信义,赵匡胤玩弄权术,杀伐功臣。前者是圣人,后者是歪人。更为典型的则是孙悟空的脸谱为猴,猪八戒的脸谱为猪,牛魔王的脸谱为牛……诸如此类脸谱,简直就是川剧舞台人物形象的标志。