In Sanmai, the harvest embodies collective power, it remains there, sedimented, like the slow burn of an inexhaustible cultural fire. It reemerges in the ritual act, with the tension that grows as the air’s humidity rises, escalating like a migraine that starts at the base of the skull and radiates to the eyes. Hope mingles with the fear that the rain might arrive at the wrong moment, transforming the river into a clay demon and the crumbling mountain into an army of rock.
Here, Mengsong seems to speak through the very stones of the houses. And what it says is not just a verb numbed by modernity, but an echo that comes from far away, from a larger world, perhaps lost, but still alive in the people. It kindles itself on the walls, becomes flesh, becomes identity. The fragile power of its tea is like the fire in Ella Fitzgerald’s voice resonating in the aorta. You cannot ignore it.
These are not odes nor exercises in writing. This is ground zero of the attempt to understand. To truly come into contact with a tea that hides in sensory detail, that, like its land, wears you down and demands understanding at the edges of perception.
This danzhu from Thés Terre de Ciel is a truly unexpected tea, unsettling in some respects. We are often accustomed to teas from Naka, Benglong, Bameng, with their floral, sometimes fruity, gentle characters. But Sanmai doesn’t play with gloves on. It is a clean, precise, yet powerful tea. The Qi is profoundly forest-like, dense, almost physical; it seems to influence every mechanoreceptor. You feel it in your hands, your legs, your stomach. It seeps into the nerve plexuses, as if the body were enhancing the perception of every distal extremity, of each of its boundaries.
The huigan is long, incessant. It lingers. The bitterness is there, but it doesn’t last. It retreats quickly, making way for a mineral, almost effervescent, electric sensation that settles on the sides of the tongue, along with a sweetness that makes no compromises. Salivation is continuous, rhythmic, like waves that come without pause. Like the crowd at Glastonbury, a constant flow. Every infusion up to the twelfth is a tactile theater, alive, dense, full. No drop, no faltering.


