Chapter X · The Illustration · Section 1: In Tang context — reading “以绢素或四幅或六幅分布写之陈诸座隅则茶之源之”

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Thesis

“以绢素或四幅或六幅分布写之陈诸座隅则茶之源之” only becomes legible inside Tang tribute tea, monastery tea and literati life.

Text

“Write it out on silk, in four or six panels, and place them by your seat — then the Origin, the Implements, the Making, the Vessels, the Brewing, the Drinking, the History, the Producing Regions, and the Omissions are all kept before your eyes.”

Context

绢素：丝绢。把全书内容分四幅或六幅书写陈设，随时看见，随时牢记。

Evidence

• Collation: "四幅或六幅"各本一致；十篇之中"之图"本为读法而非内容，历代学者认为此章是陆羽提示的"学习法"而非独立茶事。
• Existing readings: 吴觉农指出"十之图"实为全书总结：陆羽建议把九篇内容画成图表悬于座隅，以便"目击而存"——这既是最早的茶学挂图，也暗示《茶经》成书之用心：不只著书，更欲传习。

Analysis

The largest gap between Tang and now is that tea was simultaneously medicine, tribute and everyday practice. 吴觉农指出"十之图"实为全书总结：陆羽建议把九篇内容画成图表悬于座隅，以便"目击而存"——这既是最早的茶学挂图，也暗示《茶经》成书之用心：不只著书，更欲传习。 Without that, the chapter collapses into botany.

Conclusion

The section does not give a universal rule. It demonstrates a method: read the text, the annotation and the Tang context together before making a modern claim.

Source: The Classic of Tea, Chapter X · The Illustration, section 1; the original is in the public domain.

A maker reads “以绢素或四幅或六幅分布写之陈诸座隅则茶之源之” through weather and soil first. 绢素：丝绢。把全书内容分四幅或六幅书写陈设，随时看见，随时牢记。 That is not far from how we judge a mountain and a picking window today.

The vessel is not background. 绢素：丝绢。把全书内容分四幅或六幅书写陈设，随时看见，随时牢记。 The same leaf in a different bowl, grinder or sieve changes aroma and texture; vessel and tea are defined together.

Water and fire magnify the difference. The same leaf at a higher temperature or a longer steep changes the sweet-bitter balance; the text only becomes operational at the brewing stage.