Effect of Tea Brewing Containers of Different Materials on the Taste and Quality Components of Tieguanyin and Pu’er Tea

Yuan-Yuan Wu,Xian Shen,Eun-hye Kim,Lin Huang,Ling Hou,You-Ying Tu 한국차학회 2015 한국차학회지 Vol.- No.S

Several previous works showed that the brewing temperature, time, ratio of tea and water had significant effects on the quality of different tea infusions. The appropriate tea brewing condition is vital for a cup of delicious tea. In China, the tea brewing container is also thought to be important for tea brewing. However, there are few works on the effect of tea brewing containers of different materials on tea infusions. In this work, Tieguanyin and Pu’er tea infusions were prepared with tea cups of glass, white porcelain, and purple clay, the effect of different container materials on the taste and quality components of Tieguanyin and Pu’er tea were studied. The tea cups made of glass, white porcelain, and purple clay in same style were used for brewing Tieguanyin and Pu’er tea to obtain different treated tea infusions. The main components such as tea polyphenols, amino acids, total sugars, water extracts, theabrownins, and caffeine in different treated tea infusions were analyzed. All tea infusions were carried out in sensory tests. Among three different cups, the cup made of purple clay had a higher ability in keeping temperature. The content of tea polyphenols and caffeine of Tieguanyin and Pu’er tea were significantly high infused with the purple clay cup. The amino acids and catechins in Tieguanyin, theabrownins in Pu’er tea, are positively associated with the heat property of tea cups. Tieguanyin tea brewing with glass cup and Pu’er tea brewing with purple clay cup are much more welcomed by panelists. In the present work, Tieguanyin tea prepared with glass cups and Pu’er tea prepared with purple clay cup are suggested for a better taste tea infusion.

명대(明代)후기 산차(散茶)문화 성립과정에 대한 고찰

이행철(Haeng-cheol Lee),맹주방(Shu-fang Meng) 한국차학회 2020 한국차학회지 Vol.26 No.2

본 논문은 산차와 초청제법의 맹아기인 송·원대를 지나, 명초기 태조의 “단차폐지령” 이후 150년 이상의과도기를 거쳐, 명대 후기에 이르러 초청법과 호포법으로 대표되는 산차문화로 정립되는 과정을 고찰하는데 목적을 두고 있다. 이를 위해, 우선 송·원대부터 단병차와 함께 존재했던 초차(산차), 산차 자다법 등을 여러 관련문헌기록들을 통해 명대 산차문화로의 전환에 대한 시대적 배경을 고찰하였다. 그리고 명대 산차문화가 정착된16세기말 이전의 다서들를 중심자료로 삼아, 산차와 말차의 공존, 증청법과 초청법의 공존, 산차 점다법, 촬포법, 산차 자다법, 산차 포다법 등의 상호 관계와 전개과정을 파악하고 정리하였다. 결국, 명대 포다법은 절강지역에서 유행한 찻그릇을 이용한 산차 점다법(촬포법)과 강소지역에서 성행한 다호를 이용한 산차 자다법이라는 두가지 흐름에서 기원하였음을 알 수 있다. 또한, 명대 후기 자사호가 호포법의 핵심 다호로 대두되는 데에 문인다인들의 심미관이 큰 영향을 주었음을 밝히고 있다. This paper reports the Method of San tea brewing in the Ming dynasty after an approximately 150-year transition period after emperor Taizu issued the Repeal order of Tuan tea. To this end, through various relevant documents, this study first investigated the background of the transition from the Cao tea (San tea) and the method of loose tea brewing, which existed at the same time in the Song-Yuan dynasty, to the loose tea culture in the Ming dynasty. Taking the tea books before the establishment of loose tea culture in the Ming dynasty in 1600 as the central data, the author respectively understood and sorted out the mutual relations and development process between loose tea and dust tea, steamed green tea and stir-fried green tea, the point tea method of loose tea, blister method, the boiling tea method, and brewing tea method of loose tea. Through this process, the origin of tea making in the Ming dynasty can be attributed to two trends: the popular tea bowl method in Hangzhou and the popular teapot method in Suzhou. In addition, under the influence of literati in the late Ming Dynasty, the paper examines the process in which zisha teapots became the core tea prop of the pot brewing method of loose tea.

唐代의 飮茶文化

김진숙(Jin-Suk Kim) 한국차학회 2007 한국차학회지 Vol.13 No.1

The Tang Dynasty is the era that had built a milestone for the development of Chinese tea culture. The prosperity of science and culture of tea during this era is noteworthy compared to its previous dynasty. This study aims to examine the customs of drinking tea prevailed during the Tang Dynasty, by looking into the spread and popularization of customs of drinking tea and the various methods of drinking tea widely popular during this era. Tea originated from the southern part of China, and was spread and popularized throughout China even to remote regions. The spread of Tang Dynasty's tea culture to remote regions owes to the estabilishment of tea-horse trade. In general, the genuine tea-horse trade began around the time of Jeongwon, during the throne of Emperor De Zong, when the ancient Uighur became a part of China. Back then, tea was one of the living necessaries like salt and rice. The customs of drinking tea was a popular mass culture fonded not only by royal families, gentry and temples but also by common people. *Corresponding author (E-mail: teaworld3@hanmail.net, Tel: 010-8960-6592) There were four different kinds of tea during the Tang Dynasty and they were Chu-cha (觕茶), San-cha (散茶), Mal-cha (末茶) and Byong-cha (餠茶). Each has its own processing and boiling method: Jak (斫) is a method for Chu-cha, Oh (熬) is for San-cha, Yang (煬) is for Mal-Cha and Yong (舂) is for Byong-cha. The popular tea drinking methods during the Tang Dynasty included tea-gruel, Yan-cha, tea-brewing method, mixing tea and tea-pointing method. Tea played an important role in the society and gave a huge influence to the various aspects of the society as well. In the end, the tea culture was a popular mass culture shared by every citizens of the natio that included both royal families and common people.

Fluoride Content in Indian Tea (Infusions and with Milk)

Audrey Madonna D'Cruz,Shankar Aradhya 대한예방치과학회 2012 International Journal of Clinical Preventive Denti Vol.8 No.3

Objective: To estimate the fluoride (F) content in prepared tea infusions and to know the effect of milk addition (varying concentration), increasing brewing time and squeezing on F content of tea. Methods: An experimental study was undertaken to determine the fluoride content in tea infusions prepared from commercially available tea in India. A total of 30 prepared samples of tea (various methods of tea preparation in India) and 1 water sample were analysed for F concentration using the F ion selective electrode method. The results were subjected to statistical analysis using the paired Student’s t-test at 95% confidence interval. Results: The F content in tea infusions with 5 mins brewing ranged between 3.37-6.2 mg/L. Addition of 10 mL milk had no effect whereas addition of 25 mL milk significantly decreased the F concentration. Increasing the brewing time by 10 mins had no effect. However, 20 mins of brewing significantly decreased the F concentration in tea infusions. It was also noted that squeezing had no effect on the F concentration in tea infusions. Conclusion: Tea consumers especially in naturally occurring high F areas should be cautious enough to limit their tea consumption to avoid the long term cumulative effects of F on health.

高麗靑磁 唾壺의 機能과 製作時期小考

이종민(Lee, Jongmin) 한국상고사학회 2010 한국상고사학보 Vol.68 No.-

타호는 고대 중국의 위생용기중 하나로써 타액과 관련한 그릇으로 이해되어 왔다. 현존하는 문헌기록을 보면 타호는 秦代부터 있었던 듯하며 실물자료로는 삼국시대 이래 송대에 이르기까지 꾸준하게 제작된 예가 남아 있다. 宋代, ?代의 고분벽화와 당, 송대의 실물타호는 둥근 항아리형의 몸체에 접시처럼 넓은 구연을 가진타호의 형태로 변화한 모습을 보여주는데 이는 중국의 茶法중에서 煮茶法과 散茶法을 활용하면서 차 찌꺼기를 버린 기물임을 알려주고 있다. 중국 월주요의 영향을 받아 10세기 2/4분기 경 처음으로 청자를 생산했던 고려는 초기부터 타호를 생산하였다. 차 문화의 확대로 차그릇 확보가 중요했던 고려입장에서는 각종 차도구와 더불어 타호를 생산했는데 이때 최초의 타호형태는 중국 오대시기의 조형을 이어받은 것이다. 고려에서 타호를 제작했던 생산지는 특정 가마에 한정되어 있었다. 또 현존하는 타호 유물들은 상당히 품질이 전체적으로 우수한 편이다. 그것은 타호가 일부 계층을 위해 소비되었음을 알려주는 증거가 된다. 중국의 타호가 북송 말에서 남송 초 사이인 12세기 전반 경에 생산이 중단되었음에도 불구하고 고려에서는 타호를 지속적으로 생산하여 결국 14세기 초반 경까지 제작된 예를 볼 수 있었다. 중국의 문화를 적극적으로 수용하여 왔던 고려에서 이러한 생산양상의 차이를 보이는 것은 매우 예외적인 일이다. 이는 중국과는 다르게 차문화를 발전시켜 간 결과로 추측된다. The ancient Chinese spittoon is one of the sanitary jar, which is usually understood as a saliva container. There are certain documents which show that Chinese spittoon was used during Qin Dynasty period, and lots of historical materials from Three Kingdoms period to Song Dynasty period still remain. The spittoon in the mural paintings of Song Dynasty and Liao Dynasty period showed rounded shape body with wide rim, and artifacts from Tang Dynasty period and Song Dynasty period had same appearances. Because of that shape, it supposed that Chinese spittoon was used as a disposal jar of tea dregs. It is closely related with tea culture. At that time, Chinese tea culture developed in two ways. The one is Tea Boiling(煮茶法), and the other is Tea Brewing(散茶法). Goryo Dynasty produced it's first celadon in second quarter of tenth century under the influence of Yuezhouyao, and also the spittoon producing had started that period. In Goryo Dynasty, as a result of tea culture spreading, teaware making was a important industry. The shape of the first spittoon made in Goryo Dynasty looked similar with Five Dynasties style spittoon. The Goryo spittoons were produced in specific area and generally had good qualities. It means that the Goryo spittoon was used by upper social class. Goryo Dynasty continued making the spittoon until the early fourteenth century, even though Chinese spittoon producing stopped in the first half of the twentieth century. It is a very exceptional case in Goryo culture history which positively imported Chinese culture. It is regarded that Goryo developed it's own tea culture separated from China, and for that reason the difference occurred between Goryo and China spittoon producing.

가공 및 추출 방법에 따른 일반메밀차와 쓴메밀차의 루틴 함량 및 항산화 활성 비교

김수정(Su Jeong Kim),손황배(Hwang Bae Sohn),남정환(Jung Hwan Nam),이종남(Jong Nam Lee),장동칠(Dong Chil Chang),김율호(Yul Ho Kim) 한국식품과학회 2022 한국식품과학회지 Vol.54 No.2

메밀의 식품가공기술 개발을 통해 이용성을 확대하고 새로운 소비수요를 창출하고자 일반메밀과 쓴메밀을 대상으로 가공단계 및 추출방법에 따른 메밀 볶음차의 품질 특성을 비교 분석하였다. 일반메밀의 원료, 탈피, 찌기 및 볶음 단계의 루틴 함량은 21.6, 17.8, 9.8 및 6.8 mg/100 g으로 차 가공공정이 진행됨에 따라 유의하게 감소하였다. 쓴메밀의 원료, 찌기, 탈피 및 볶음 과정의 루틴 함량은 1,679.9, 1,044.2, 703.1 및 834.5 mg/100 g으로 감소하였으나, 퀘세틴 함량은 0, 12.3, 36.0 및 32.3 mg/100 g으로 가공공정이 진행됨에 따라 증가하였다. 메밀차는 메밀의 종류, 제형 및 추출방법에 따라 루틴 함량에서 큰 차이를 보였다. 루틴함량은 일반메밀차보다 쓴메밀차에서 평균 61배 높았다. 관능평가 결과를 종합하면, 쓴메밀차의 제형별 비교에서는 알곡보다 분말이 우림색, 풍미, 구수한 맛, 단맛 및 선호도에서 높은 값을 보였다. 특히, 루틴은 퀘세틴이나 쓴맛과 높은 상관관계를 나타냈다. 본 연구에서는 쓴메밀 품종인 ‘황금미소’를 대상으로 쓴맛을 최대한 줄이면서 루틴 함량이 높은 메밀차 제조를 위해 볶음 과정의 열처리 조건을 70-80℃에서 2-3분으로 확립하였다. 루틴 함량이 많은 메밀차를 섭취하고자 할 경우에는 핸드드립으로 추출한 방법이 적합하며, 쓴맛이 적고 달콤한 맛과 풍미가 좋은 메밀차를 원할 경우 침출식 콜드브루 방식을 선택하는 것이 가장 유리할 것으로 판단된다. To enable the widespread use of buckwheat and create novel consumer demands through improved food processing techniques, we compared the quality characteristics of roasted groats following different processing and brewing methods for common and tartary buckwheat. The various processing steps resulted in significant reductions in rutin content for both buckwheat species, while the quercetin content increased in the tartary buckwheat. The fully processed tea products showed dramatic differences in rutin content, which varied based on the buckwheat species, formulation, and brewing method. Tartary buckwheat contained an average of 61 times more rutin than common buckwheat. The tartary buckwheat variety, Hwanggeum-miso, was used to determine an optimal roasting temperature of 70-80℃. Finally, we suggest that consumers who want buckwheat tea rich in rutin would prefer hand-drip-extracted tea, while those who want tea with less bitterness, sweetness, and good flavor would prefer the cold-brewed method.

艸衣 張意恂 서화세계의 煎茶三昧的 심미경계

이필숙 동국대학교 동서사상연구소 2018 철학·사상·문화 Vol.0 No.26

Choui’s another name was Jungbu. As evidenced by this, Choui’s theory of two kinds of Buddhist Zen reflected the spirit of the times, and he discussed Buddhist Zen and Buddha’s teaching on the same level. The main point was the practice of Vipassana, and it meant the same as the thought of accordance of poetry, calligraphy, paintings and Zen, which realized aesthetics of calligraphy and paintings. The foundation of Choui’s Zen thought and his calligraphic aesthetics were derived from the fact that he sat at Dasan’s feet, had a friendship with Chusa, and associated with the school of northern studies who lived near Seoul. Dasan’s teaching method of practical action for governing was passed to Choui and it led him to create various collaborations, calligraphy and paintings such as 「Baeguncheop」. The greatest mediator was tea in the friendship between Choui and Chusa. As can be seen in Choui’s <Dayeon(茶煙)> or Chusa’s <Jeondasammae(煎茶三昧)>, the expression that brewing tea was a stage of samadhi was the highest stage of making external objects and self as one and the transcendental aesthetic ideal. Since Choui thought that everything was Zen and Way, he had a progressive thought of calligraphy and paintings that calligraphy and paintings were also Zen and Way. Since Choui accepted Confucianism based on Buddhism, his brewing tea samadhi creation of poetry, calligraphy and paintings embodied the aesthetic stage of Buriseon(不二禪). In addition, a beautiful natural environment of Daeheung temple was in harmony with Choui’s calligraphy and paintings emotional aesthetics, and it was reflected as a plain aesthetics of returning to the origin. The unity of Confucianism and Zen Buddhism of Choui’s calligraphy and paintings was embodied by sublimated into the aesthetic boundaries of Buriseon(不二禪) and the ‘one mind the acme’. 草衣의 字는 中孚이다. 이를 증명하듯, 草衣의 二宗禪論은 시대정신을 반영하며 초지일관 禪과 敎를 같은 차원에서 논의했다. 그 요체는 止觀法의 실천이었고, 서화미학을 구현하는 시·서·화·선 일치 사상과 같은 의미이다. 草衣의 禪思想과 서화미학의 기저는 茶山의 師承效果와 秋史와의 知音關係, 申緯 등 북학파 경화사족들과의 교유관계에서 비롯된다. 茶山의 經世致用을 위한 실천행위의 교수법은 草衣에게 전수되어 「白雲帖」 등 합작품과 여러 서화작품을 창작하기에 이른다. 草衣와 秋史의 지음관계에 있어 가장 큰 매개체 중 하나는 茶였다. 草衣의 遺墨 중 <茶煙>이나 秋史의 <煎茶三昧>에서 볼 수 있듯이 차를 달이는 것이 三昧의 경지라는 표현은 物我一體를 이루는 최고의 경지이자, 초월적 심미이상이다. 草衣는 ‘매사가 禪이고 道이므로, 서화 또한 禪이고 道의 차원’이라는 당시로서는 상당히 진보된 서화관을 피력한다. 그 결과 草衣의 煎茶三昧的 시·서·화 창작은 佛家를 중심으로 儒家를 받아들인, 同歸殊塗의 不二禪 경지로 고스란히 체현된다. 더불어 산자수명한 대흥사의 자연환경은 草衣書畵의 정서적 미감과 어우러져 返本還原의 平淡美學으로 드러난다. 요컨대, 草衣書畵의 儒·禪 합일은 不二禪과 平淡美學의 심미경계로 승화되는 ‘한마음의 극치’였다.

명말(明末) 개차(岕茶)의 정체성과 차문화

오명진(Myung-Jin Oh) 한국차학회 2018 한국차학회지 Vol.24 No.4

조선시대 회화에 나타난 侍童像의 類型과 表象 - 煎茶像을 중심으로 -

송희경 미술사학연구회 2007 美術史學報 Vol.- No.28

당대 법문사 지궁 다구 용도와 음다법에 관한 소고

이주현 한국차학회 2023 한국차학회지 Vol.29 No.1

본고는 법문사 지궁 다구의 용도에 대한 중국과 우리나라 연구자들 간에 서로 다른 의견에서 시작되었다. 지궁에서 발견한 동일한 기물에 대한 용도가 서로 다르게 인식하고 있기 때문이다. 이에 대한 문제점을 확인하기 위한 연구 방법으로 우리나라는 문헌 자료가 희박하고 관련 연구성과가 부족하여 중국에서 새롭게 발표한단행본, 학술논문, 학위논문 등을 참조하였다. 연구의 결과 ‘유금은귀합’과 ‘유금인물화은담자’는 차도구가 아닌 향구로 밝혔다. 그리고 법문사에서 출토된 다기들을 활용하여 이 시기의 궁정황실의 음다법은 전다법에서점다법으로 발전해가는 과정이라 할 수 있다. 유리 다완에 바로 가루차와 소금을 넣은 후 수저로 격불하는 음다법이다. 본 연구는 법문사 지궁 차구 용도 연구의 문제점 및 필요성을 인식하고 연구자료를 기초로 당대 차문화의 표준성을 띠고 있는 법문사 차구를 좀 더 객관적으로 접근하고자 한다.