In midsummer, the sky over Shenyang is crystal-clear. In the tea art room of the Shenyang Foreign Affairs Service School in Liaoning Province, Okuda Hiroki, a Japanese international student from Shenyang Normal University, is studying the Song Dynasty’s Dian Cha techniques alongside several students. They slowly pour clear water into a black-glazed Jianzhan (a type of tea bowl) filled with tea powder. Then, they gently whisk the emerald tea liquid with a tea whisk. Gradually, a layer of fine, snow-like tea foam forms in the bowl, revealing a scene akin to a traditional Chinese ink-wash painting.
Throughout China’s long history, tea culture has always held a pivotal position, and Dian Cha of the Song Dynasty remains a treasured gem within this cultural heritage. During his studies in Liaoning, Okuda Hiroki took a Chinese tea art course. As his learning deepened, his interest in tea art grew, particularly his fascination for the Dian Cha that thrived in the Song Dynasty. “Isn’t this the world’s earliest form of ‘latte art’?” Okuda Hiroki could hardly contain his excitement upon first encountering the Song Dynasty Dian Cha. “It turns out that over 1,000 years ago, the ancient Chinese were already masters of what we now call ‘latte art’!”
The process of the Song Dynasty’s Dian Cha involves several steps such as grinding tea leaves, adding water to tea powder, preparing paste (Tiao Gao), whisking, painting, and serving tea to guests. It is not merely a way of drinking tea but also an embodiment of art and ritual. “This meticulous craftsmanship not only showcases the refined lifestyle of the Song Dynasty but also reflects their pursuit of harmony with nature,” said Yao Mi, the tea art teacher, as she explained the history of the Dian Cha to Okuda Hiroki while guiding him through the practical exercises. “The challenge of Dian Cha lies in the whisking—controlling the subtle strength of the wrist is not easy.” Okuda Hiroki frowned. “Power comes from the wrist and stops at the tip of the whisk, like holding a brush with a suspended wrist—relaxed yet focused.” Yao Mi patiently taught him the key points of the movement.
At the beginning of his studies, practicing the traditional Dian Cha posed a huge challenge for Okuda Hiroki. “Grinding tea leaves, placing tea powder in the bowl, adding water, and then whisking... each step is an immense test of endurance. The practice of the water-adding methods and the whisking technique places extremely high demands on breath control, perceptual ability, and personal perseverance.” After repeated practice, Okuda Hiroki gradually began to find his rhythm.
The most distinctive part of the Dian Cha is using a tea needle as a brush and the dense tea foam as a canvas, dipping into deep green tea paste to draw poetic patterns. “This moment is absolutely the highlight of Dian Cha, fully revealing the beauty of the tea. It makes you feel immersed in the Song Dynasty people’s pursuit and yearning for beauty,” Okuda Hiroki said excitedly. “The Japanese matcha ceremony embodies the beauty of artistic conception and ritual, while the Song Dynasty’s Dian Cha places greater emphasis on the transformations within a bowl of tea liquid. The Chinese people of the Song Dynasty integrated aesthetics into tea drinking, elevating refined tea culture to its zenith.”
Amidst the lingering fragrance of tea, the elegance from China’s Song Dynasty is being continued through the hands of this Japanese international student, writing a dialogue between civilizations across time and space. “There is art in tea, as well as a poetic life for modern people.” Okuda Hiroki said.
