A season of Aloeswood

Tea isn't the only thing Michael's been brewing these past few months. He partnered with Toki of The Mandarin's Tea Room in a little side project. Lately their interest had been in the rare and rarified Aloeswood. The resinous heart of an evergreen tree that's found in parts of Southeast Asia and cherished for it's intense fragrance. One that conjures up exotic forests, spice markets and perfume soaked nights. What makes aloeswood different from other naturally scented woods? The tree must first become infected with a fungal parasite, then it exudes a dark resin as part of it's defense against the fungus. This rare but natural process has to occur for the tree to become the fragrant Aloeswood.
But why were we brewing it at The Tea Gallery?
Most often used in incense and perfume, Toki thought the wood's fragrance might enhance a basket of liubao tea if stored and aged together. Winnie noted a flavor and scent in certain aged teas that reminded her of Aloeswood. The more it was discussed, the more associations between tea and tree were discovered. Also, making a tisane of Aloeswood wasn't uncommon. We just had to try it oursleves.

This tiny splinter of Aloeswood was all that was needed to fill four gongfu cups with the most incredibly scented water. There were layers of fragrant wood and warm spices wrapped in sweetness. I was reminded at once of sandalwood, cedar, cinnamon, clove, ginger, allspice and none of the above. There was something familiar and yet an alien profile was now altering my tastebuds and pulling up random recollections in an effort to fit itself into my sensory banks.
While Michael steeped the precious splinter many times that afternoon, the fragrance did not dampen. It was obvious we would have to stop before the Aloeswood did. When I asked Toki if this was normal, he replied, "Not all Aloeswoods are equal." Many believe that the best specimens were harvested to extinction decades ago. The wood that may have scented the perfume or incense of a Ching Dynasty aristocrat may have been far more powerful than the modern grades available now. Many trees are deliberately infected to meet the demand but these are considered an inferior grade to the wild Aloeswood. You can find Aloeswood to brew but the strength and complexity will be determined by the grade and age.

While the alluring perfume danced on our palates, Michael decided to give our other senses something to indulge in.

An Aloeswood carving of a boy sitting atop a bull and his companion on foot.
About 6 inches tall and possibly early Ching Dynasty. I'm always impressed when Michael produces the appropriate antique for a tea gathering; it's like bringing the perfect dessert to a party only much cooler.

Amazingly, there was still a fragrance but one that had mingled with dusty storage rooms.

Although the figures lack finesse, there's a beautiful rythm and fluid movement to the overall piece. The gold accents glow softly against the dark wood. Expressive poses and swirling branches brings this carving life.

At the foot of the carving are two wooden peg inserts. This was once attached to something much larger and we can only guess at what it was. Part of a greater artwork or something more utilitarian? If so, was the rest of the piece also made from the precious Aloeswood? Having been passed through several owners before it reached Michael, it's history has been pretty much lost to us.
I asked Michael the age of the carving and he would only say a few hundred years, give or take. When I pestered him for more information, he pointed to the shelves of antique catalogues and books and wished me luck on my research. I'm still searching...

Sometimes it's the other things you learn that bring you back to tea.
Months later we are still sipping water steeped with a little splinter.

Song Dynasty Teaware

I was having an accident free week and Michael deemed it safe enough to pull out some pieces from his collection of Song Dynasty ceramics for my education. Michael uses words with great economy and he prefers to teach by showing. He did turn down my offers to help him carry the antiques to the table and suggested I stand perfectly still until everything had been safely settled.

A scattering of stars against a deep ebony glaze. The beauty of this tea bowl lies in it's deceptive simplicity. A sophisticated expression of muted form and minimal color that characterizes many Song ceramics. Pieces like these are understated and easily overlooked by untrained eyes. The bowl fit perfectly to the curve of my hand. The surface was cool and inviting to touch and I marveled at the natural and seemingly effortless styling.

The rich glaze is allowed to pool, thick and luxurious towards the base.
The naked foot adds a lovely and thoughtful contrast.


Tea bowl next to a tea or wine cup.

These might be the smallest cups from the Song Dynasty I've ever seen.These cups are very dear to Winnie's heart and still in use. If you catch her in the right circumstance, you may be lucky enough to sip tea from them one day. Now if only there were a tea old enough...

This pale beauty is a cup with connected saucer. Michael and Winnie wanted to show me these early influences that shaped the modern gaiwan. Since we rarely use the saucers that come with most gaiwans (except for display), it was interesting to see how long cups have been married to saucers and even fused into a single piece. Cups and stands were also made into separate components.

How to drink out of one these works of art? One hand grasps the saucer and carries the cup toward the mouth. The other hand screens the tilted cup and bottom half of the face while you drink.

With almost modern looking silhouettes and beautiful finishes, these works seem to exist out of time.

My communion with the past was at an end and Michael carefully put the ceramics back, away from harm's reach. Seeing the despondent look on my face, he said, "Cheer up. There's still so much more you have to see."

Ching Dynasty Pewter Teapot

Kai dropped by last week with another unusual teapot from his collection. I had mentioned an interest in pewter clad Yixing teapots during an earlier visit and he was kind enough to bring his own and satisfy my curiosity. Another Ching Dynasty teapot from the 1850's. Kai confided that pewter clad teapots were not a style he particularly admired. But he did appreciate the historic value and craftsmanship of this one. It's in great condition except for some damage to the all pewter lid. And no, I am not responsible for the dent.

The shape of the teapot mimics a common good luck symbol, one that is often seen in jade jewelry. I asked what the inscription meant but there was trouble deciphering some of the characters and I hope maybe a reader of this post could illuminate me.

A common embellishment seen in pewter teapots are spouts and handles carved from jade (nephrite). I think it's a beautiful touch, the pale stone lightens up the metal composition and gives elegance to plain pewter. Kai was quick to point out the jade was of moderate quality and added little to the monetary value of the pot.
From certain angles the clean, sharp lines gave this teapot a modern silhouette.

I found the artist's stamp inside the teapot.

I'm grateful to Kai for sharing his collection and knowledge with me. I look forward to his visits and a chance to sit by his side while he talks about his appreciation for Yixing teapots and the joys of collecting. I know it's inspired my own passion for these teapots and opened my eyes to the many beautiful styles.

Ching Dynasty Beauty

This gorgeous 1850's yixing teapot belongs to Kai, a serious yixing collector and frequent visitor to the shop. Until this post, there's only been a handful of us lucky enough to see pieces from Kai's private collection. He brought along this Xianfeng Era teapot a couple Fridays ago. It fit perfectly in my palm and I felt the supple clay come to life as I warmed it with my hands.
I ask him if his teapot will pose for photos while he's having tea. He's more than accommodating, "You can keep it till my next visit. I have faith in you." I'm touched by his generosity and trust. But then he (half-joking) made me understand any serious damage to his pot would result in the immediate surrender of my strand of Tahitian black pearls. I guess it's easier to have faith when it's bolstered by collateral : )
Afraid my recent streak of clumsiness would result in 20 grand worth of pretty pottery shards and the loss of one cherished necklace, I hurriedly snapped some pics and returned the teapot to Kai before he left. Part of me wanted to keep it forever.

Lush peonies, chrysanthemum and even a sprig of bamboo are topped with a decorated finial.

Kai says this teapot was most likely produced for export to the West. Although the body is a traditional Yixing pear shape, the illustration and decorative accents would not have appealed to Asian tastes. I love how the unusual amalgam of styles makes it exotic even among other Yixing pieces.

Even the spout has some abstract adornment; something I've never seen before.More decorative glaze on the handle. Although the art is quite elaborate for such a small teapot, the simple shape supports all the incredible detail. Not an artist's stamp but a carved inscription. One that was difficult for us to make out.Fanciful butterflies play in a garden of floral delights. Even the wings have elegant streaks of gold!
I wish I could convey to everyone just how incredible the clay felt. There was something buttery and smooth in texture. It seemed to pull the heat away from my hands and I could have held on to this perfect little gongfu pot for a long time.