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[Corneluis S. <reg...@ja...>]

N his celebrated work,
the "Chaking" (The Holy Scripture of Tea) he formulated the Code of
Tea.
He has since been worshipped as the tutelary god of the Chinese tea
merchants.

The "Chaking" consists of three volumes and ten chapters. In the first
chapter Luwuh treats of the nature of the tea-plant, in the second of
the implements for gathering the leaves, in the third of the selection
of the leaves. According to him the best quality of the leaves must
have "creases like the leathern
boot of Tartar horsemen, curl like the dewlap of a mighty

bullock, unfold like a mist rising out
of a ravine, gleam like a lake touched by a zephyr,
and be wet and soft like fine earth newly swept by rain." The fourth
chapter is devoted to the enumeration and description of the
twenty-four
members of the tea-equipage, beginning with the tripod brazier and
ending
with the bamboo cabinet for containing all these utensils. Here we
notice Luwuh's predilection for Taoist symbolism. Also it is
interesting to observe

in this connection the influence of tea on Chinese ceramics.
The Celestial porcelain, as is well known, had its origin in an
attempt to reproduce the exquisite shade of jade, resulting, in the
Tang dynasty, in the blue
glaze of the south, and the white glaze of the north. Luwuh considered
the blue as the ideal colour
for t