茶人徐南眉：唤醒沉睡的点茶
2018-07-05王珍
王珍
初春，正是杭州西湖边的爱茶人焦急等待明前春茶的时节。
劳动路上一间叫“途香”的茶室里，一位眉清目秀的老人正在即兴表演宋代点茶，边上几个观摩者看得兴奋，发出尖叫。
表演宋代点茶的老人，正是“非遗”第二代传承人之一徐南眉。
点茶技艺精湛，成为“非遗”传承人
笔者近日借好友茶室采访了茶人徐南眉。现场，徐南眉也给我们表演了她的点茶绝活。
汤瓶、黑釉盏、茶筅、茶针、茶粉，一件件茶具摆开在茶台上。徐南眉给笔者一一介绍讲解。细腻的茶粉置入黑釉盏，用汤瓶注水调膏，她那饱经风霜的手腕灵巧地转动着茶筅，将茶膏调均匀；再注入适量水，转动手腕击拂茶汤。渐渐地，茶汤中呈现出浮起的沫饽。
看着笔者和茶室服务生按捺不住地兴奋雀跃，善解人意的徐南眉让我们轮流上场体验。转动手腕击拂茶汤的动作，有点像我们平时打蛋花的姿势，用在点茶上却很难把握——用力不是太大就是太小，加上转动的时候还要恰到好处的速度，难度不小。
徐南眉说，宋人评判点茶技艺，主要是看茶面汤花是否均匀、色泽是否鲜白，且以“盏无水痕”为上，所以黑色的建盏在宋代风靡一时，恰似宋代祝穆在《方舆胜览》中说的“茶色白，入黑盏，其痕易验”。
正想为徐南眉的点茶功夫鼓掌喝彩，不料她说，斗茶还没完，还有一出茶百戏。只见徐南眉又取些许茶粉调膏，用茶针蘸上，在打好的茶汤沫饽上写了一个“茶”字，又画了两瓣叶子。
用茶在茶汤上画画、写字，徐南眉说，这就是茶百戏，也叫分茶、水丹青、汤戏、茶戏等，是一种能使茶汤纹脉形成物象的古茶道。
宋代点茶的第一代传人是写《大观茶论》的宋徽宗赵佶，他和他的朝廷大臣、文人们把茶百戏玩到了极致。宋徽宗撰文论述点茶、分茶，还亲自烹茶赐宴群臣。
许多文人如陶谷、陆游、李清照、杨万里、苏轼都喜爱茶百戏，留下了许多诗文。陆游在《临安春雨初霁》中写道：“矮纸斜行闲作草，晴窗细乳戏分茶。”陶谷在《荈茗录》中记载：“百茶戏……近世有下汤运匕，别施妙诀，使汤纹水脉成物象者，禽兽虫鱼花草之属，纤巧如画，但须臾即就散灭。”元代后百茶戏逐渐衰落，清代后至今未见相关文献记载。
徐南眉用她那双写着春秋的素手，恰到好处地激活了史料中的宋代点茶。听着她娓娓道来，笔者仿佛穿越回宋朝，900多年前古老而珍贵的茶文化遗产一点一滴得以还原。笔者感觉更懂杭州，也更知西湖龙井茶的真味了。
据了解，徐南眉、阮浩耕等茶人参与研究、发掘并恢复传承了点茶技艺，并通过南宋斗茶会等多种形式普及茶文化。2015年，点茶成功申报杭州上城区“非遗”保护项目。2016年，阮浩耕、徐南眉、彭克荣、徐志高、范敬雯等5人成功申报点茶“非遗”传承人。
教授茶农玩茶道，普及茶艺新阵地
杭州西湖风景名胜区茶楼协会每年举办农家茶艺表演赛。虽然参赛的都是普普通通的茶农，但他们的茶艺也娴熟、到位。能把乡土气息和文化艺术糅合得如此和谐、浑然天成，这算得上是茶都杭州的特色。但是，徐南眉说，还可以进一步发掘创新。因此，当龙井村的茶农们请她去做一下辅导时，徐南眉另辟蹊径，精心设计了一套西湖龙井的青瓷盖碗泡法。
一样是80～85摄氏度的开水，一样的温杯、润茶、摇香，一样的凤凰三点头（茶艺的一种传统礼仪，是对客人表示敬意，同时也表达了对茶的敬意），翠绿的茶芽在青碧色的龙泉青瓷碗中沉浮、舒展，仿若充满灵气的绿色精灵在清澈的碧水间舞蹈，来自泥土的茶叶在同样来自泥土的青瓷中宛若新生。
青瓷瓷质细腻，胎质坚硬轻薄，釉色晶莹纯净，类冰似玉，与细嫩、鲜美、娇媚的西湖龙井茶相得益彰，给人以“闲静似娇花照水，行动如弱柳扶风”的意境。
虽然在诸多茶器中，盖碗是较难把控的一种，需用双手协调并用，但盖碗所赋予的缓慢从容、雍容华贵姿态，更符合茶艺的气韵，使茶艺师的茶艺表演更加优雅唯美。
深谙茶性的徐南眉说，娇嫩的西湖龙井茶泡好后不宜加盖久泡，会闷黄茶叶使汤气过熟，易味变色败。故在茶泡好后奉茶时再加盖，但不能盖严，留一条缝隙以利散热，保持茶色青绿。请客人喝茶时掀起盖子，轻轻地撇去浮叶杂质，闻其香，则香气清新醇厚，无浓烈之感；细品慢啜，体会齿颊留芳、甘泽润喉的滋味。
名师出高徒，经徐南眉和她的徒弟们多次培训和辅导，龙井村在农家茶艺表演赛中脱颖而出，获得了比赛冠军。
在城市化进程中，一些失地的农家女无所适从，也为家庭收入减少担忧。徐南眉主动送教上门，走进农村，从理论到实践，手把手传授茶艺技能，教会农家女创办有茶都特色的农家乐，极大地丰富了她们的精神文化生活，也增加了她们的经济收入。受她辅导的农家女已有数百人，其中百余人获得初中级茶艺师职称。徐南眉则乐此不疲，开拓了一个有意义的普及茶艺的新阵地。
而西湖边的那些农家茶馆，向来是老外旅游驻足的热门地。因此，不少老外在这里迷上了茶艺以及中国茶文化。
推广茶道文化，一杯茶一生情
通过采访接触，笔者感受到徐南眉本人就像一杯色香味俱佳的西湖龙井茶，初品时略嫌清淡，细细体味，慢慢领悟，方能品出甘香而不洌，久留于齿颊之间的那种茶的真味。
早在上世纪90年代末，徐南眉在《中国茶叶》杂志上连续发表10篇文章，細细道尽各种茶叶的各种泡法。她在总结前人经验的同时又不拘泥于固有的法则，而是灵活运用茶性，在实践中有了更多的探索和创意。她还参加过农业部茶艺师技能教材编写、浙江省茶艺师技能教材编写，并参加各项考题、考试指南等书籍编写，由她编撰的《休闲茶艺》一书，被全国各大院校茶文化师资培训班及多处培训中心选为教材。
自1960年从浙江农业大学茶学系毕业起，到1996年退休，徐南眉大部分时间都在中国农业科学院茶叶研究所工作。退休后，徐老师甚至比上班时更忙了。她煞费苦心地为孩子们设计了少儿茶道，并带着徒弟们在杭州市的一些学校开设茶艺课，以茶道为载体对孩子们进行中国优秀传统文化教育。让孩子们从小就知道，中国是茶的故乡，茶道传授着文明古国的礼仪美德。
她培養的一批少儿茶道队员在“西湖茶会”等各大茶事活动中表演，引起了不小的轰动。更让人欣喜的是，一些学校的老师、校长也成了徐老师的得意门生，获得了高级茶艺师资格证。
不仅在学校有徐南眉的身影，在社会上，她也坚持茶文化传播事业。她义务教老年人学茶文化、学茶道，并筹建了一支“老茶缘茶道队”。老茶缘茶道队长年坚持免费为市民传授茶文化知识和泡茶技艺，曾经引起不少媒体的关注。
被称为“茶界奥林匹克”的中华茶奥会、杭州的西湖博览会、西湖龙井茶开茶节、重阳节孔庙斗茶、百人泡西湖龙井、南宋御街市民免费饮茶站……只要有茶事活动的地方，基本上能看到徐南眉和她组建的老茶缘茶道队的身影。比如，在杭州国际体验日中，作为具有茶都特色的重头戏——南宋斗茶会上，徐南眉和老茶缘茶道队持重沉稳的一招一式，赋予了中华茶文化一种独特的厚重感。来自美国、英国、法国、德国、新西兰、意大利、阿根廷、荷兰、瑞典、西班牙、日本、韩国等32个国家的驻沪领事、文化参赞、商会代表、外籍教授、外企高管、国际艺术家、留学生等国际嘉宾饶有兴趣地驻足观赏，外国友人无不竖起拇指赞叹中华茶道之美，以及“非遗”文化之魅力。
在传播茶文化的道路上，茶人徐南眉走得很远。唤醒那些渐渐淡出现代生活的茶历史、茶文化，还原那些曾经在南宋皇城杭州民间十分兴盛的斗茶等古老的茶道，让茶艺深入人心，成为茶都人不可或缺的基本素质……这些是茶都茶人徐老师的心愿，更是她每天都在做的事。
Xu Nanmei Brings Song Teaism Back to Life
By Wang Zhen
It was the tea season of the year. Tea lovers were waiting anxiously for the first harvest of the tenderest spring sprouts in the plantations of the West Lake environs. In a teahouse on Hangzhous Laodong Road， a graceful lady was wooing the guests with a Song-style tea ceremony. The lady is Xu Nanmei， an inheritor of the intangible cultural heritage conserved from the Song times.
When the tea ceremony is understood and practiced to foster harmony in humanity， promote harmony with nature， discipline the mind， quiet the heart， and attain the purity of enlightenment， the art of tea becomes “teaism”. In the Song times （960-1279） of China， the art was called “dian cha”.
During a recent meeting with us， Xu Nanmei demonstrated a whole set of rituals， tools and gestures that contain an adoration of the beautiful among the unpleasant facts of everyday life. She carefully placed the finely ground tea powder into the lovely cups with black glaze， and， using a tea whisk and a tea needle， mixed the powder with a dose of hot water. It looked as if a sorceress was wielding her magic wand. The mixture was whisked to produce beautiful froth.
The guests were then invited to take turns to try the elaborate process. The blending requires a slower， stirring motion that is by no means easy to master， not to mention all the other details regarding the artistry that also aims to yield the best taste.
“The Song teaist had a big thing about how the well-stirred mixture looked like. The foams should be smooth and creamy and no lumps should be left in the liquid； the mixture should have the desired color and luster， with a uniform consistency， and no ground tea should remain on the sides of the cup，” Xu Mainan shared， “The most popular color of the cups used by the teaists of the Song was black， because the striking contrast makes it easy to assess the quality of the final outcome， as recounted in a book by a Song writer known as Zhu Mu.”
We were about to applaud her masterful performance when the lady gestured us to get ready for more stunts. She took a bit more powder and mixed it with some water， and then used the needle to write the Chinese character “茶” （meaning “tea”） on the fine froth. The final touch was two lovely leaves created around the Chinese character. The artistry was called “fen cha” or “tang xi” by the Song teaists.
Interestingly， Emperor Huizong of the Song Dynasty wrote a book about tea and was regarded as a representative of the first generation of the teaism of Song. The emperor loved the tea ceremony so much that he obviously spent more time than he should have in the indulgence. At such a glorious period when science， art， poetry and culture flourished， the select society had plenty of leisure time for devising creative ways to eat and drink just to kill time.
Other celebrated enthusiasts of “fen cha” in the Song Dynasty included as Tao Gu， Lu You， Li Qingzhao， Yang Wanli and Su Dongpo， whose addiction in “the way of tea” is reflected in many of their poems.
The fad waned in the Yuan Dynasty （1279-1368） and almost disappeared in the Qing （1644-1911） times of China. Today， the unique refinement， inner spiritual content， humility， restraint and simplicity of the Song-style teaism is being brought back to life by the wrinkled hands of teaists like Xu Nanmei and Ruan Haogeng. The inexplicable abstractness， symbolism and formalism of the ancient art also contribute to a better understanding of the magnificent Longjing tea tradition of Hangzhou.
In 2015， “dian cha” became a district-level intangible cultural heritage. The next year， Xu Nanmei， together with Ruan Haogeng， Peng Kerong， Xu Zhigao and Fan Jingwen， was officially approved as the inheritor of “dian cha”.
The late 1990s saw the publishing of a series of articles by Xu Nanmei in ， a periodical dedicated to the Chinese tea culture. One of her books is used as a textbook in many training organizations across China.
Xu graduated from the Tea Department of Zhejiang Agricultural University in 1960， and has spent most of her time in the tea research institute of China Agricultural Science Academy since her retirement in 1996. She is also the inventor of tea education for children.
王珍
初春，正是杭州西湖边的爱茶人焦急等待明前春茶的时节。
劳动路上一间叫“途香”的茶室里，一位眉清目秀的老人正在即兴表演宋代点茶，边上几个观摩者看得兴奋，发出尖叫。
表演宋代点茶的老人，正是“非遗”第二代传承人之一徐南眉。
点茶技艺精湛，成为“非遗”传承人
笔者近日借好友茶室采访了茶人徐南眉。现场，徐南眉也给我们表演了她的点茶绝活。
汤瓶、黑釉盏、茶筅、茶针、茶粉，一件件茶具摆开在茶台上。徐南眉给笔者一一介绍讲解。细腻的茶粉置入黑釉盏，用汤瓶注水调膏，她那饱经风霜的手腕灵巧地转动着茶筅，将茶膏调均匀；再注入适量水，转动手腕击拂茶汤。渐渐地，茶汤中呈现出浮起的沫饽。
看着笔者和茶室服务生按捺不住地兴奋雀跃，善解人意的徐南眉让我们轮流上场体验。转动手腕击拂茶汤的动作，有点像我们平时打蛋花的姿势，用在点茶上却很难把握——用力不是太大就是太小，加上转动的时候还要恰到好处的速度，难度不小。
徐南眉说，宋人评判点茶技艺，主要是看茶面汤花是否均匀、色泽是否鲜白，且以“盏无水痕”为上，所以黑色的建盏在宋代风靡一时，恰似宋代祝穆在《方舆胜览》中说的“茶色白，入黑盏，其痕易验”。
正想为徐南眉的点茶功夫鼓掌喝彩，不料她说，斗茶还没完，还有一出茶百戏。只见徐南眉又取些许茶粉调膏，用茶针蘸上，在打好的茶汤沫饽上写了一个“茶”字，又画了两瓣叶子。
用茶在茶汤上画画、写字，徐南眉说，这就是茶百戏，也叫分茶、水丹青、汤戏、茶戏等，是一种能使茶汤纹脉形成物象的古茶道。
宋代点茶的第一代传人是写《大观茶论》的宋徽宗赵佶，他和他的朝廷大臣、文人们把茶百戏玩到了极致。宋徽宗撰文论述点茶、分茶，还亲自烹茶赐宴群臣。
许多文人如陶谷、陆游、李清照、杨万里、苏轼都喜爱茶百戏，留下了许多诗文。陆游在《临安春雨初霁》中写道：“矮纸斜行闲作草，晴窗细乳戏分茶。”陶谷在《荈茗录》中记载：“百茶戏……近世有下汤运匕，别施妙诀，使汤纹水脉成物象者，禽兽虫鱼花草之属，纤巧如画，但须臾即就散灭。”元代后百茶戏逐渐衰落，清代后至今未见相关文献记载。
徐南眉用她那双写着春秋的素手，恰到好处地激活了史料中的宋代点茶。听着她娓娓道来，笔者仿佛穿越回宋朝，900多年前古老而珍贵的茶文化遗产一点一滴得以还原。笔者感觉更懂杭州，也更知西湖龙井茶的真味了。
据了解，徐南眉、阮浩耕等茶人参与研究、发掘并恢复传承了点茶技艺，并通过南宋斗茶会等多种形式普及茶文化。2015年，点茶成功申报杭州上城区“非遗”保护项目。2016年，阮浩耕、徐南眉、彭克荣、徐志高、范敬雯等5人成功申报点茶“非遗”传承人。
教授茶农玩茶道，普及茶艺新阵地
杭州西湖风景名胜区茶楼协会每年举办农家茶艺表演赛。虽然参赛的都是普普通通的茶农，但他们的茶艺也娴熟、到位。能把乡土气息和文化艺术糅合得如此和谐、浑然天成，这算得上是茶都杭州的特色。但是，徐南眉说，还可以进一步发掘创新。因此，当龙井村的茶农们请她去做一下辅导时，徐南眉另辟蹊径，精心设计了一套西湖龙井的青瓷盖碗泡法。
一样是80～85摄氏度的开水，一样的温杯、润茶、摇香，一样的凤凰三点头（茶艺的一种传统礼仪，是对客人表示敬意，同时也表达了对茶的敬意），翠绿的茶芽在青碧色的龙泉青瓷碗中沉浮、舒展，仿若充满灵气的绿色精灵在清澈的碧水间舞蹈，来自泥土的茶叶在同样来自泥土的青瓷中宛若新生。
青瓷瓷质细腻，胎质坚硬轻薄，釉色晶莹纯净，类冰似玉，與细嫩、鲜美、娇媚的西湖龙井茶相得益彰，给人以“闲静似娇花照水，行动如弱柳扶风”的意境。
虽然在诸多茶器中，盖碗是较难把控的一种，需用双手协调并用，但盖碗所赋予的缓慢从容、雍容华贵姿态，更符合茶艺的气韵，使茶艺师的茶艺表演更加优雅唯美。
深谙茶性的徐南眉说，娇嫩的西湖龙井茶泡好后不宜加盖久泡，会闷黄茶叶使汤气过熟，易味变色败。故在茶泡好后奉茶时再加盖，但不能盖严，留一条缝隙以利散热，保持茶色青绿。请客人喝茶时掀起盖子，轻轻地撇去浮叶杂质，闻其香，则香气清新醇厚，无浓烈之感；细品慢啜，体会齿颊留芳、甘泽润喉的滋味。
名师出高徒，经徐南眉和她的徒弟们多次培训和辅导，龙井村在农家茶艺表演赛中脱颖而出，获得了比赛冠军。
在城市化进程中，一些失地的农家女无所适从，也为家庭收入减少担忧。徐南眉主动送教上门，走进农村，从理论到实践，手把手传授茶艺技能，教会农家女创办有茶都特色的农家乐，极大地丰富了她们的精神文化生活，也增加了她们的经济收入。受她辅导的农家女已有数百人，其中百余人获得初中级茶艺师职称。徐南眉则乐此不疲，开拓了一个有意义的普及茶艺的新阵地。
而西湖边的那些农家茶馆，向来是老外旅游驻足的热门地。因此，不少老外在这里迷上了茶艺以及中国茶文化。
推广茶道文化，一杯茶一生情
通过采访接触，笔者感受到徐南眉本人就像一杯色香味俱佳的西湖龙井茶，初品时略嫌清淡，细细体味，慢慢领悟，方能品出甘香而不洌，久留于齿颊之间的那种茶的真味。
早在上世纪90年代末，徐南眉在《中国茶叶》杂志上连续发表10篇文章，细细道尽各种茶叶的各种泡法。她在总结前人经验的同时又不拘泥于固有的法则，而是灵活运用茶性，在实践中有了更多的探索和创意。她还参加过农业部茶艺师技能教材编写、浙江省茶艺师技能教材编写，并参加各项考题、考试指南等书籍编写，由她编撰的《休闲茶艺》一书，被全国各大院校茶文化师资培训班及多处培训中心选为教材。
自1960年从浙江农业大学茶学系毕业起，到1996年退休，徐南眉大部分时间都在中国农业科学院茶叶研究所工作。退休后，徐老师甚至比上班时更忙了。她煞费苦心地为孩子们设计了少儿茶道，并带着徒弟们在杭州市的一些学校开设茶艺课，以茶道为载体对孩子们进行中国优秀传统文化教育。让孩子们从小就知道，中国是茶的故乡，茶道传授着文明古国的礼仪美德。
她培養的一批少儿茶道队员在“西湖茶会”等各大茶事活动中表演，引起了不小的轰动。更让人欣喜的是，一些学校的老师、校长也成了徐老师的得意门生，获得了高级茶艺师资格证。
不仅在学校有徐南眉的身影，在社会上，她也坚持茶文化传播事业。她义务教老年人学茶文化、学茶道，并筹建了一支“老茶缘茶道队”。老茶缘茶道队长年坚持免费为市民传授茶文化知识和泡茶技艺，曾经引起不少媒体的关注。
被称为“茶界奥林匹克”的中华茶奥会、杭州的西湖博览会、西湖龙井茶开茶节、重阳节孔庙斗茶、百人泡西湖龙井、南宋御街市民免费饮茶站……只要有茶事活动的地方，基本上能看到徐南眉和她组建的老茶缘茶道队的身影。比如，在杭州国际体验日中，作为具有茶都特色的重头戏——南宋斗茶会上，徐南眉和老茶缘茶道队持重沉稳的一招一式，赋予了中华茶文化一种独特的厚重感。来自美国、英国、法国、德国、新西兰、意大利、阿根廷、荷兰、瑞典、西班牙、日本、韩国等32个国家的驻沪领事、文化参赞、商会代表、外籍教授、外企高管、国际艺术家、留学生等国际嘉宾饶有兴趣地驻足观赏，外国友人无不竖起拇指赞叹中华茶道之美，以及“非遗”文化之魅力。
在传播茶文化的道路上，茶人徐南眉走得很远。唤醒那些渐渐淡出现代生活的茶历史、茶文化，还原那些曾经在南宋皇城杭州民间十分兴盛的斗茶等古老的茶道，让茶艺深入人心，成为茶都人不可或缺的基本素质……这些是茶都茶人徐老师的心愿，更是她每天都在做的事。
Xu Nanmei Brings Song Teaism Back to Life
By Wang Zhen
It was the tea season of the year. Tea lovers were waiting anxiously for the first harvest of the tenderest spring sprouts in the plantations of the West Lake environs. In a teahouse on Hangzhous Laodong Road， a graceful lady was wooing the guests with a Song-style tea ceremony. The lady is Xu Nanmei， an inheritor of the intangible cultural heritage conserved from the Song times.
When the tea ceremony is understood and practiced to foster harmony in humanity， promote harmony with nature， discipline the mind， quiet the heart， and attain the purity of enlightenment， the art of tea becomes “teaism”. In the Song times （960-1279） of China， the art was called “dian cha”.
During a recent meeting with us， Xu Nanmei demonstrated a whole set of rituals， tools and gestures that contain an adoration of the beautiful among the unpleasant facts of everyday life. She carefully placed the finely ground tea powder into the lovely cups with black glaze， and， using a tea whisk and a tea needle， mixed the powder with a dose of hot water. It looked as if a sorceress was wielding her magic wand. The mixture was whisked to produce beautiful froth.
The guests were then invited to take turns to try the elaborate process. The blending requires a slower， stirring motion that is by no means easy to master， not to mention all the other details regarding the artistry that also aims to yield the best taste.
“The Song teaist had a big thing about how the well-stirred mixture looked like. The foams should be smooth and creamy and no lumps should be left in the liquid； the mixture should have the desired color and luster， with a uniform consistency， and no ground tea should remain on the sides of the cup，” Xu Mainan shared， “The most popular color of the cups used by the teaists of the Song was black， because the striking contrast makes it easy to assess the quality of the final outcome， as recounted in a book by a Song writer known as Zhu Mu.”
We were about to applaud her masterful performance when the lady gestured us to get ready for more stunts. She took a bit more powder and mixed it with some water， and then used the needle to write the Chinese character “茶” （meaning “tea”） on the fine froth. The final touch was two lovely leaves created around the Chinese character. The artistry was called “fen cha” or “tang xi” by the Song teaists.
Interestingly， Emperor Huizong of the Song Dynasty wrote a book about tea and was regarded as a representative of the first generation of the teaism of Song. The emperor loved the tea ceremony so much that he obviously spent more time than he should have in the indulgence. At such a glorious period when science， art， poetry and culture flourished， the select society had plenty of leisure time for devising creative ways to eat and drink just to kill time.
Other celebrated enthusiasts of “fen cha” in the Song Dynasty included as Tao Gu， Lu You， Li Qingzhao， Yang Wanli and Su Dongpo， whose addiction in “the way of tea” is reflected in many of their poems.
The fad waned in the Yuan Dynasty （1279-1368） and almost disappeared in the Qing （1644-1911） times of China. Today， the unique refinement， inner spiritual content， humility， restraint and simplicity of the Song-style teaism is being brought back to life by the wrinkled hands of teaists like Xu Nanmei and Ruan Haogeng. The inexplicable abstractness， symbolism and formalism of the ancient art also contribute to a better understanding of the magnificent Longjing tea tradition of Hangzhou.
In 2015， “dian cha” became a district-level intangible cultural heritage. The next year， Xu Nanmei， together with Ruan Haogeng， Peng Kerong， Xu Zhigao and Fan Jingwen， was officially approved as the inheritor of “dian cha”.
The late 1990s saw the publishing of a series of articles by Xu Nanmei in ， a periodical dedicated to the Chinese tea culture. One of her books is used as a textbook in many training organizations across China.
Xu graduated from the Tea Department of Zhejiang Agricultural University in 1960， and has spent most of her time in the tea research institute of China Agricultural Science Academy since her retirement in 1996. She is also the inventor of tea education for children.
