Tag: pu’er

  • The Cup That Didn’t Need Your Approval – Viet Sun Tủa Chùa Spring 2024

    The Cup That Didn’t Need Your Approval – Viet Sun Tủa Chùa Spring 2024

    We all know it: social networks always leave too much room for sensationalism. There’s endless space for anyone obsessed with sanctifying new brands and glorifying mind-blowing teas that promise an experience somewhere between spiritual awakening and a methamphetamine binge. A permanent pop-up of disposable enthusiasm. It’s the amusement park where anyone can feel like a prophet for a day, canonizing the newest square meter of the most remote village, where snakes, tigers, and giant beetles supposedly lurk ready to attack the tea pickers, only them, of course, not people practicing any other profession, before moving on without even bothering to stub out their cigarette in the ashtray of final verdicts.

    Everything seems to shine, everything seems harmless, everything promises miracles, at least until you realize it was only a reflection, not the source. That’s life.

    It has happened to me too: speaking too highly, too soon.
    But there is one terrain, one terroir, on which I’m not willing to make the slightest concession: Tủa Chùa.

    From a mountainous rear area near the Điện Biên Phủ valley, where in 1954 the decisive battle that ended French colonial rule was fought, this region has become an enclave capable of producing surprisingly accomplished Pu’er teas. Many areas once considered marginal and reactionary, such as Tủa Thàng, turned into revolutionary bases, as they combined geographic isolation with strong social cohesion. The karst plateau, with its steep mountains and paths invisible to outsiders, offered natural refuge to high-ranking officials of the Việt Minh. They took shelter in the homes of Hmong villages, protected by the population’s collective silence.

    The inhabitants knew the land intimately, guiding men, weapons, and messages along unmarked routes, avoiding French patrols and keeping the mountain areas connected to the Điện Biên valley. All of this unfolded in conditions of extreme poverty, yet they provided food, places to rest, and intelligence on enemy movements, accepting extraordinarily high risks. In those mountains, silence was a form of resistance, and the geography itself seemed to have taken sides.

    Now, back to the tea.

    If I had to explain to someone what true mineral, botanical, ancestral excellence means, if I had to make them understand what these trees are capable of, and why Vietnam today not only looks Yunnan straight in the eye but openly challenges its borders, I wouldn’t hesitate for a second. I’d pour them this tea. No preamble, no rhetorical acrobatics, no captions.

    The way this tea is evolving is sublime, truly the kind of harvest you get once every five years.

    I’m sorry to say it won’t deliver the tragic depth of Marina Abramović’s gaze, the high priestess of emotional intensity descending upon us mortals to elevate us by staring into our eyes like a corneal topographer.

    What it will give you is a perfect sip.

    This is a sheng with an almost exasperated intensity, like an overexposed photograph that somehow works. It lingers on orchid notes, though not like Jingmai, those notes seem wrapped in a dense, almost brooding forest aroma, the kind currently fashionable to flaunt when talking about Guafengzhai, but here they feel more arrogant, they slide under your skin with a needle’s quiet, deliberate precision, an elegance that’s both unsettling and strangely pleasant.

    On the palate it’s viscous, medium-bitter, with barely perceptible astringency. The huigan is quick, floral, so persistent it feels more like a reforming than a return.

    This isn’t a tea for fragrance addicts or niche perfume obsessives.

    The qi is the real point here.

    It’s a tea for those who recognize the exact moment when something slips in and changes you.

    You don’t keep drinking it just for the aroma, you do it because a part of you has already been pulled in, and now it wants to know what will happen if you keep filling the cup.

  • Shāqīng: My New EBook Is Out Now (English & Italian)

    Shāqīng: My New EBook Is Out Now (English & Italian)

    Hello everyone!

    With this post, I would like to share the result of a project that has accompanied me over the past few months: a publication born from the desire to present, in an ordered and comprehensible form, the most significant insights I have gathered about the world of fermented teas.

    More than a year ago, I began collecting material for a book that would include a wide range of information concerning the engineering, microbiology, and biochemistry of fermented teas. Given the complexity of the project, and unsure whether it would ever see the light of day, I decided to publish a preview dedicated exclusively to shaqing.

    There are not many publications capable of addressing tea processing with clarity and rigor; even fewer do so in a way that is accessible and free from economic barriers. This work attempts, at least in part, to fill that gap by offering a starting point for understanding the complexity of production processes, particularly those of Pu’er and fermented teas.

    I have always believed that knowledge, to be genuine, must be offered without ostentation; that it should serve as a space for connection rather than exclusion. For this reason, I wanted this excerpt to be freely available.

    It is a gesture of gratitude toward those who have stood by me, toward those who are no longer with us, toward all who have contributed to the creation of this work, and naturally toward tea itself and the people whom, thanks to it, I have been fortunate enough to meet.

    If you choose to read it, I hope you will find within these pages not only information, but also a measure of the care and passion I have tried to pour into them, and that you may feel inspired to share it with as many people as possible.

    In the end, as often happens with traditions that endure, what truly matters is not merely knowledge itself, but the community that forms around it.

    Below you will find the downloadable file, available in both Italian and English.

    Cheers, my friends, and happy reading!


    Kevin Vitale – Shaqing Principles ENGLISH

    Kevin Vitale – Shaqing Principi ITALIANO

  • After the Metaphors – Viet Sun Cao Bồ Tall Trees Spring 2025

    After the Metaphors – Viet Sun Cao Bồ Tall Trees Spring 2025

    Usually, I would write about a place, a land, the wind disturbing the fragile balance of the hats of farmers bent by time and sciatica. I would use rhetorical tightrope acts that might seem almost contrived to some, or romantic and evocative to others.
    But this time I won’t do any of that, no recycled sensations, no stories about the battles in the Tây Côn Lĩnh mountains or about how this tea recalls that Eastern peace we like to import in small doses into our European afternoons, that peace found in watching Maggie Cheung walk under the rain while time slows down, when everyone holds their breath, diaphragm tensed, as absolutely nothing happens. Things that usually grant every tea a kind of added grandeur, a metropolitan dignity sweetened with a touch of neo-rural nostalgia.

    I’m not John O’Hara, and I don’t think people care to see every banal gesture described as a moral battlefield.
    So, this is a sheng. We’ve more or less all arrived there. And if I stopped here, I’d already be more honest than most of contemporary gastronomic documentary.

    But I believe this is one of those few Pu’er teas that doesn’t need me, or my words, or anyone else’s, to be understood. Roland Barthes saw in photography two fundamental aesthetic elements: the studium, the set of information one needs to know, and the punctum, the element that wounds, that seizes attention and couldn’t care less about the rest, about its translation into prose; it just arrives, contracted like a beast.

    It’s in its wet leaves, tremendously fruity and earthy at once, in that quarrel between magnolia, orchid, dandelion root, and Tellicherry pepper that the punctum arises. Barthes would say it’s in that absurd moment of unconditional pleasure that meaning breaks and truth seeps through, like a development flaw on a film roll.

    This ancient tall trees tea it’s a bomb wrapped in silk drapes, almost nervously delicate and at the same time powerful. It’s a sip of terroir served at a hundred degrees; it has everything that remains when you strip away the narrative.
    The texture is medium-soft; it tastes of pepper and wildflowers, white grapes, juniper, it tastes like that childhood photo with the grain too visible, the one you wish you had but that someone is now romanticizing somewhere on Netflix.

    The qi leaves you with a strange calm, almost clinical. The huigan is excellent; the bitterness is low, the astringency absent. The persistence is long, the sip seems to linger there, clinging to the squamous epithelium of your throat like a gentle remorse.

  • Bought It for the Feed. Paid for the Myth?

    Bought It for the Feed. Paid for the Myth?

    When a person starts consuming a lot of tea, and at the same time begins spending significant amounts of money, creating those situations where every online purchase takes on, in their mind, the aura of a bid at Christie’s for a Rubens painting, sooner or later, the people around them will pose the classic question:
    “That 20-year-old tea, aged, stale, with a questionable aroma to many, costing $3 per gram, is it really worth that much?”

    As I wrote in a previous article, we are all touched by the rough hand of “the psychopolitics of consumption.” Whether we like to admit it or not, price becomes a revealer of a kind of pseudo-truth, colonizing our sensations and emotions to the point that we start believing that the object bearing that price tag is somehow from a higher reality, a vehicle of a superior sensory condition.

    In recent years, I’ve noticed a certain invasion of the market by cakes from producers like Xi Zi Hao, Bao Hong Yin Ji, Chen Yuan Hao, and all these boutique brands you’ll see featured in at least two or three posts a day on your Instagram feed. These aren’t brands that appeared yesterday, to be clear, but lately there seems to be a kind of viral obsession around them, adorned with a certain propensity for sensationalism.

    During a tea session I attended a few days ago, many people expressed an almost frantic desire to purchase cakes from these brands, like Bingdao and Bohetang from these brands, which often sell for at least $1,500-2,000 per cake. The central discussions weren’t about their quality, but rather about how to access them: where to find the best deals, how to split the tea, as if divvying up the pages of a first edition King James Bible. At a certain point, that room full of tense faces had turned into a kind of collective purgatory, where everyone was trying to convince themselves they had enough credit to justify the expense and finally ascend. In that moment, we all could’ve been perfect subjects for an Eve Arnold photo series titled Misery and Desperation.

    Now, setting aside this acute exposure syndrome toward certain brands, many were convinced that these teas would be a kind of revelation, finally pulling back the curtain on some mystical conspiracy, offering access to the long-hidden “truth of gushu”. These Pu’er teas are expected to be two or three times better than anything previously experienced, but at ten times the price. Throw in some old Red and Green Mark cakes, and you can add another zero to the figure.

    So, is it really worth it? Judging by this ratio, apparently not. But if we followed this logic consistently, we’d never do anything but embalm ourselves while waiting for the final sunset.

    So my answer would be: it depends on your income. If you’re not wealthy, live in a place where inflation is sky-high, and the price of a cake equals a month’s salary, then maybe you should think twice. For that same amount, I could buy an 1800s ceramic piece, plan a vacation, purchase an incredibly satisfying tea, and get my girlfriend a gift, all at once. The point is: while there are plenty of mediocre teas out there, there are also vendors offering both aged and fresh teas at human prices with truly excellent quality. A lot has changed in the past 10 years.

    Why do I say this? Because over the past decade, I’ve simply come to understand that buying tea shouldn’t be a personal financial shipwreck.

    It’s true that, like many other things, tea is subject to imitation behaviors. Many chase after a brand like starving wolves, simply because someone deemed “credible” for whatever reason says it’s good. The risk of confusing what we genuinely desire with what we’re unconsciously pressured to desire is always lurking, especially in an era where desires are not allowed to settle, to decant, to shed the tension of ownership imposed by a third party. A hobby always risks becoming a vice, a dependency. But tea doesn’t have to be that. We need a lateral approach, not in opposition to the market logic, but in deconstructing it and using it more consciously.

    Mixing a bit of Baudrillard with a touch of Byung-Chul Han, we get an answer to this exhausted system of tasting, not of tea, but of signs. By always chasing the newest tea, the most expensive one, the one from the most remote and romantic village, fueling our hunger for the “authentic taste”, we risk entering into the realm of simulation, where the experience isn’t real but positional. One drinks something not for the experience itself, but to feel like someone in comparison to others, to position ourselves next to those who told us this tea would open our minds. Only to eventually realize, of course, that it’s just tea. Most of the time, it will always just be tea, excellent, magnificent even, but no price or opinion will dictate how much it will truly move you, or how good or special you’ll find it.

    With time, you might discover that the most special, moving teas, you won’t even remember how much you paid for them. But your spouse will remember that -$2,700 transaction on June 10, 2013, for 357 grams of an obsession even you can’t explain. They’ll remember it better than your wedding anniversary, regardless of how wealthy you are. In that moment, You, Me and Dupree starts to seem like an overly optimistic romantic comedy compared to your personal film: You, Me, and a 2006 Yang Qing Hao Chawangshu, a title too long for Netflix, and too depressing to laugh at, accompanied by the muffled sound of the kettle and the silent judgment of someone who loves you despite everything. DESPITE everything.

    On top of that, there’s a mechanism I find frankly perverse. Maybe it exists, maybe it’s just a product of my twisted, overly analytical mind, fueled by neurotic narcissists and the wrong reads, but it might be interesting to consider what Zygmunt Bauman described as planned obsolescence. According to this concept, a prepackaged emotional state is created, leading to affirmations like:
    “This tea will be the one.”
    “This time I’ll understand.”
    “This time I’ll be worthy of grasping ancient tree Pu’er.”
    “This time… this time…” and so on.

    This generates a renewable insecurity, where every piece of information, every certainty, has an expiry date. You feel the need to try an endless number of ultra-expensive teas, each one meant to construct a kind of symbolic refuge. It’s a sneaky and refined mechanism, if you think about it. It creates a form of outsourced desire, where you move from wanting to know to desperately seeking new stimuli and confirmations, eventually imposing upon yourself the need to desire, becoming a co-author of your own subjugation.

    You’re not forced to want the $2,000 tea. You convince yourself that it’s your mission, because you need to feed that pit bull that is your craving for apparent knowledge.

    Of course, this doesn’t apply to everyone, but I think it helps explain many of the neuroses people have in the tea world, especially at the beginning, and particularly when they don’t have a lot of money to spend.

    I’ve tried many of those teas over the years. Some were excellent and are now gone forever, many I don’t even remember drinking, and others are still there, parked like a lover in the usual hotel room, who’ll never see you walk in again. That’s because, more often than not, I end up choosing something comforting and far less expensive, something that doesn’t require a transcendent atmosphere to enjoy a dozen infusions. Something that, for many reasons, some even objective, I enjoy more.

    I don’t think I’ve reached that “ethics of conscious consumption” Bauman might have described, but I’ve simply chosen to be happy drinking great tea without going broke. I’ve discovered there is no upstairs level of happiness hidden behind those cakes. Their Qi is not an LSD trip, their huigan won’t unlock some little door to enlightenment, like a Mulholland Drive sequence where everything suddenly makes sense and terrifies you, and their great health benefits won’t cure your diabetes.

    For some, seeing one of those ultra-fancy cakes resting on an expensive rosewood table is akin to a primal carnivorous urge, like spotting a wounded animal lying on the ground. But I think I’ve become disenchanted with that kind of thing, I’ve, shall we say, gone vegan.

    These days, I find much more pleasure in discovering unknown names, new vendors, trying teas from new regions and countries, things without pedigree but with substance, without external contamination, without info sheets or anything that triggers my annoying jaw tic that accompanies every sip of a $50/session tea.

    Maybe that’s what marks the transition from novice to some kind of post-adolescent maturity in tea drinking. Or maybe it’s just the prelude to the collapse of my mental health, and soon I’ll be sipping mallow infusions in the grip of some hormone-fueled delirium. But I’ve found that this approach lets me evaluate teas more freely, more objectively, and in many ways, even more scientifically.
    And above all: it’s made me happier.

  • Notes from the Wrong Side of the Province: A Few Words on Jinggu, an Old Tea Merchant, and Two High-Mountain Pu’er.

    Notes from the Wrong Side of the Province: A Few Words on Jinggu, an Old Tea Merchant, and Two High-Mountain Pu’er.

    If you ask many people what their favorite production area is, they’ll probably start listing off famous terroirs, Bingdao for its body, Laobanzhang for its qi, Naka for its fragrance, and some remote shack in a forgotten Yiwu village, which never hurts to name-drop. In short, a litany of names, as if it were a medical prescription for some trivial pathology to be handled with grave care. Or perhaps just another way to show how worn out the magnetic stripe on their credit card has become.

    Jinggu likely won’t even cross their lips, not even by accident. This area is surrounded by mountains on three sides, an enclave where the best gardens are often inaccessible, and where the obsession with naming every single rooftop (as in Yiwu) is quickly anesthetized by a lack of roads and the even greater lack of desire to build them. Here, not even the clunky two-ton electric behemoths at the service of Western merchants can climb their way up.

    I agree that vast expanses of flat land, dull stretches of agricultural functionality, are today brutally carpeted with Da Bai Cha, as in the flatlands of Wen Shan Ding. A cultivar that acts like a funerary carpet, its tea merely a collateral damage, a distillate of hardship and credit requests, with a hint of bank loan in the aftertaste. But if you start climbing and forget all that, you’ll reach over 2,000 meters at Kuzhu Shan. There, ancient trees stretch in swathes; in some spots, they’re even Teng Tiao, like in Banuo, but with a slightly different aromatic profile, less delicate, more fragrant, impactful, and mineral. Less mannered, and more Felliniesque, to put it simply.

    Some time ago, I met a Pu’er expert, a merchant from Lincang whose main business revolved around the Fangcun market. I asked him why he thought people considered teas from Jinggu less worthy, almost like children of a lesser god, tolerated but avoided, like the uncle with a drinking problem at Christmas dinner. He was a big man, with hands the size of shovels. He stared at me for a moment, with his huge, isochoric pupils, maybe the largest I’ve seen on someone from Yunnan, wide like those of an Australian owl photographed by Joel Sartore, performing tiny mechanical micro-adjustments every time you locked eyes with him, as if missing an autofocus. He answered in monosyllables, he looked like someone who read Anna Karenina just to root for Vronsky. He smiled too, but it seemed like his facial muscles were slightly jammed from decades of monsoon rains. And yet, he was one of the most knowledgeable people on Pu’er I’ve met.

    It took him a while, then he said something, I don’t quite remember what. I was too busy noticing the irrelevant details I’d later include in this article. But the meaning behind his cocktail of anthropology and Moutai was clear: Jinggu was guilty of not being immediate enough. Too real, too unavailable. Add to that the fact that the era when people chased uniqueness has been over for a couple of decades. They discovered the villages of Yiwu, Laobanzhang, Bingdao, a few others in between, and the punch bowl quickly ran dry. Because, you see, he said, the markets want exclusivity. The consumers who arrive in polished shoes at the edge of the forest, who slip on plastic sandals before posing in front of an ancient tree, are looking for tea like they’re looking for sushi in Berlin.

    And he was right. Some want only the illusion of a mysterious narrative, not the truth of the land. They prefer a tea that behaves like a cool, aloof actor, properly trained to play the silent type, the tormented one, the aged-in-a-hut-with-a-hidden-past role, rather than someone, or something, that simply tastes like what it is.

    Jinggu teas aren’t for complexity maniacs. They’re rather blunt, direct, break through your guard with a few solid punches, enveloping you in sweetness and asserting themselves through their huigan and bodily sensation.

    In the Kuzhu and Tang Fang Liang Zi areas, you’ll find real forest coverage where tea is harvested, like some portion of Yiwu, the northwestern edges of Laos and Vietnam, or the forested zones of Guogan in Myanmar. Here, the trees grow close to and inside the forest. The soil is clay-based with a good amount of rock, confirming the tea’s mineral and sweet character. The plants are spaced well apart, and younger trees are left to grow naturally. You won’t see any drastic pruning, only containment cuts.

    It’s a complex terroir. In one cup, you’ll think you’ve stumbled into Jingmai. Drive twenty kilometers and drink again, you might swear you’re tasting Yiwu. Walk another ten, parched and hopeful, and you’ll find bitter cultivars whose huigan is so forceful, so magnetic, it makes some Bulang teas feel like passive-aggressive outbursts by comparison.

    Here, like in Laoman’e, bitter and sweet varietals sometimes coexist in the same natural amphitheater. The former, known as kucha, often dominates the more remote slopes, but it’s never overwhelmingly bitter, never out of place or chaotic. It soon turns its cheek to a wild sweetness, like a fist on the table that prepares the caress. If the sweet variety is a well-composed, harmonic melody, the bitter one is drama and catharsis, leaving every door open for further development. These are teas that, even years later, remain an enigma. Tasting them again over time is like revisiting a neighborhood in daylight where you partied in the night before. You barely recognize it, and the sunlight seems to restore a grace you previously failed to notice.

    In both cases, what stands out is an oily, umami-like sip and a genuine, full-bodied chaqi, it feels like it thins your tissues, filling your chest and pushing every muscle fiber up against your skin. A tea with a soul that doesn’t scream, but also doesn’t compromise. A tea you don’t expect, and which, especially in the case of ancient trees, hasn’t been tamed to soften its impact.

    Southwest of Jinggu Town lies Jiu Tai Po, one of the most expensive and coveted areas, graced with the elegance of something that knows how to stay hidden. Few signs, no selfie points, no desire to be disturbed more than necessary. The village itself, small and vaguely adrift in agricultural amniotism, has little tea directly surrounding it; most of it is in the forest zone, along the ridges or on the opposite slopes. Road access is practically nonexistent, and like Guafengzhai, it takes hours of hiking to reach the tea trees. These aren’t roads for people in Italian leather shoes, and a camo cap won’t get you to the top. The landscape feels like a James Cameron set, shot with Kubrick’s cinematography and directed by a mood-swinging park ranger. There, the leaves aren’t picked by good boys, but by madmen, neurotics howling at the moon, yelling into the western wind, and probably monks armed with faith and an unearthly amount of patience. Climbing up there feels like trying to earn a glance from Maria Callas, flailing pathetically to grasp the corner of her eye, she ignores you, and you thank her anyway.

    In recent years, Jinggu has had its big moments, times when even the cynics had to admit that yes, even from those mountains often relegated to Act Two of the Pu’er narrative, something remarkable could emerge. Like the Pu’er from Tang Fang Liang Zi by Farmer Leaf, especially the single tree series that reads like an elegant lithograph set by De Chirico; the 2017 Chawangdi or the 2016 You Shang from Chawang Shop, perhaps among the Western forerunners of Jinggu’s nouvelle vague, to the 2007 Shang Pin by Xi Zi Hao or the old relics from Changtai, old-school, decadent, like an old house with silk on the walls, with the scent of leather and creaking parquet.

    But today, I’ll focus on two other excellent sheng Pu’er by Thés Terre de Ciel, both from old-ancient trees.


    TdC Spring 2024 Xiao Jinggu Puerh des Cimes

    I’ve always had a soft spot for the Pu’er of Jinggu, for their remoteness, their distance from the inflated rhetoric about the primordial nature of its landscapes, for from the market wars over taste profiles and terroir cred. Jinggu teas owe nothing to expectation; they answer only to themselves.

    This is one of those teas. The kind with no prefabricated image, no guiding archetype. Nothing to anchor your imagination, no Muse whispering interpretation in your ear, as Hesiod might have hoped. Just you and the leaf. No crib sheet. No narrative. Only the moment.

    The leaves are twisted, dark green. The sip is viscous, with a round, sticky umami reminiscent of chicken broth from a market stall in Chongqing. There’s a sweetness too, unopposed and undistracted, a sensory monologue rich in subtext. The huigan lays itself across the tongue like a seamless silk blanket. Bitterness exits the discussion early.

    The Qi is delicate, but it moves under your skin, subtly shifting your posture, your pace, your pulse. The salivation it provokes becomes a kind of gustatory capital. The sensation is almost organic-minimalist, like an alabaster vase with no sharp edges, revealing more intentions than it cares to admit. The intensity of the peach note approaches something like an orchestral delirium, building in a near-psychedelic crescendo, and that out-of-the-ordinary umami makes it feel less like a beverage, and more like a pre-dessert at L’Arpège.


    TdC Spring 2023 Kuzhu Shan

    This Pu’er from Kuzhu Shan seems like it emerged straight out of a
    William Morris wallpaper, drawn after two glasses of fine Vin Jaune. Alienated, eclectic, remote, saturated with organic vitality. The dry leaves exude hints of light tropical fruit, citrus, and wildflowers. As expected, this is not a tea that lingers in a labyrinthine dimension of complexity, but that’s not the terrain where Kuzhu teas show their hand.

    The true opera magna takes place in the mouth, which becomes the theater for a clash and debate between a pronounced yet agreeable bitterness and a sweetness that follows quickly, almost antithetical to it. It’s a generative tension that drives this medium-bodied sip to evolve, to layer itself, each new sensory stratum tearing apart, cannibalizing the one laid down before it.

    The tasting unfolds as a kind of sensorial acceleration, like a Baz Luhrmann film, abrupt cuts, frenetic pacing, a hyperactive montage, leading to a terribly refreshing, surreal sensation with an unmistakable note of tonic water.

    It’s a Gin & Tonic stripped of its damnation, as Nick Carraway might say while struggling with his addiction. This is a vividly alive liquid, whose finish is so enduring it seems pointless to measure. It unwinds slowly on notes of ginger beer, candied lemon peel, and rhubarb, while your tongue’s receptors are still stunned by the mineral lash it dealt twenty minutes earlier.

    Usually, when I drink a Pu’er, I think about its aging potential, its price-to-quality ratio, I imagine derivatives and equations, risk and return curves, asking myself whether it’s better to keep it for the medium or long term. I make a lot of projections, hypotheses, even metaphysical guesses.

    But the truth is, this is one of the few teas where none of that matters. I drink it because it’s simply really good. Whether it lasts twenty years or disappears in two days, for once, I really don’t care.

    Left: 2023 Kuzhu Shan

    Right: 2024 Xiao Jinggu

  • Mengsong and the Anatomy of a Relentless Huigan. TdC Sanmai Village Danzhu Sheng Pu’er Spring 2024

    Mengsong and the Anatomy of a Relentless Huigan. TdC Sanmai Village Danzhu Sheng Pu’er Spring 2024

    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.

  • The Changing Mountains – Part 2: Economic Perspectives of Traditional Architecture

    The Changing Mountains – Part 2: Economic Perspectives of Traditional Architecture

    The question most of you are probably asking after the philosophical and ideological discourse of the first part is: how important can the implementation of a system based on rural architecture be in economic terms?

    Quite frankly, I am not an expert in land finance, nor do I wish to replace those who work in that field. I’m a food technologist: I work with food, I analyze problems and find solutions related to it. By nature, I tend to understand why mechanisms jam and how to intervene to restore their proper function. So what follows is an analysis based on much of the literature I’ve explored over the past few years, not professionally, but driven by a genuine desire to understand and a deep personal curiosity. I’ve never liked pointing out problems and then standing back while others fix them, even when I had no idea where to start to piece things together. That’s why you won’t find ready-made solutions here, but rather some reference points for building your own awareness, an awareness that can only grow.

    Before understanding how vital it is to support rural architecture and safeguard architectural cultural heritage, we must grasp how important the real estate market is for China’s economic growth.

    China’s economic development has always followed a dual-track system. Without public housing, no “transformation” would have been feasible or even conceivable. In this model, the tracks are not parallel but sequential: public housing comes first, followed by the market. As a result, the health of the second depends entirely on the first. This is the main difference between China and Singapore, or China and the rest of the world and it explains why housing policy has had such a strong impact in China. It also helps us understand how the greatest forms of resilience, whether in the face of internal crises or external shocks, were triggered by shifts in the central government’s approach to real estate. First in 1990, with the provisional regulation regarding the granting and transfer of state land-use rights in urban areas; then the 1998 housing reform that allowed a huge number of families to acquire necessary goods, including homes, laying the foundations for the current urban middle class. Finally, the pre-2008 policies that prevented China from being swallowed up by the global financial crisis, such as the mandatory implementation of the “831” policy on land sold through public bidding, which brought hundreds of billions of RMB in land revenues to the central and local governments in just a few years.

    The potential economic benefits of preserving rural ecology and traditional building go beyond increasing real estate value, with a possible 15–25% per-square-meter increase in value (Prince’s Foundation). Neighborhoods designed with traditional planning approaches also tend to maintain or increase in value during times of crisis (New Urbanism Report).

    We know that China is currently experiencing a serious real estate crash. Do you remember an old article I wrote about the Pu’er tea price crisis this past spring? There might be a connection, and I’ll briefly get to the point.

    The link between China’s real estate crisis and the issue of rural architecture and place-based value, though seemingly distant, is actually a deep and structural connection. It touches the very foundations of the economy, society and the relationship between built space and capital. The key lies in how value is created through space. Modern China built its economic miracle on the urban real estate market; now, to overcome the crisis, it must find a new paradigm for value creation, one that could partially come from rural areas. To be clear, real estate speculation is a necessary evil*, albeit one that should be pursued with containment logic. But in rural contexts, this is often not the core issue.

    In the article mentioned earlier, I highlighted some potential dangers generated by unchecked price speculation in the Pu’er market, such as a chain of farmer defaults that could cause banks and lenders to restrict credit in an effort to avoid adverse selection (i.e. funding risky projects). That said, there is often a mistaken perception that the essence of real estate lies solely in the buying and selling of land and homes. In reality, the core function of the sector is not so much direct investment, but its ability to generate credit. Any economic initiative can obtain financing if supported by adequate cash flows (as has been the case with Pu’er-related activities over the past two decades); however, the actual ability to secure capital largely depends on having tangible collateral. In this context, real estate plays a crucial role as an asset suitable to serve as a guarantee. Therefore, the fundamental function of the real estate market is to attribute value to real assets and give them liquidity, making them effective tools for activating financial circuits. Equipping villages with targeted credit logic, cultural rootedness, and non-speculative real estate enhancement can thus be a form of resilience in less prosperous times.

    We also know that tourism in well-preserved rural Chinese villages (e.g., Hongcun, Xidi, Zhouzhuang, as well as traditional urban contexts in Yunnan such as Wengji, Nuogan, Shaxi) has led to significant increases in local GDP (China Statistical Yearbook, 2023). The use of native raw materials promotes agricultural biodiversity and increases productivity in mixed systems (agroforestry), while boosting employment in traditional crafts, if supported by local policies that are decoupled from the tea market. All of this fits perfectly within the problematic context of regions heavily reliant on a single crop, where workers often lack transferable skills and economic diversification is limited. When only one productive asset exists (like Pu’er), price volatility threatens not just income but also families’ access to credit, potentially leading to systemic financial exclusion. In this sense, rural architecture represents a form of territorial capital that generates tangible, enduring value, fostering access to local microcredit, creating jobs in restoration, craftsmanship, and tourism, and supporting integrated development. It serves as a catalyst for growth that respects cultural identity without exploiting or commercializing it.

    *
    Speculation is a necessary evil: to increase the housing supply, real estate must be a profitable investment and that means accepting a certain level of speculation: those who build or buy to resell must earn a profit. Also, there is a need to make real estate more liquid, in a sense, it must become a tradable asset and form of collateral. It doesn’t matter whether housing prices are soaring or steadily increasing; what matters is that there’s a sufficient perception of that trend. Without this logic, no one would invest in housing on a large scale. If speculation is curbed too strictly (to protect the right to housing), it disincentivizes investment in the real estate sector. As a result, less capital is deployed, construction slows, employment drops and the economy suffers. Whether the State or the market seeks to ensure housing for all, it often does so through financial instruments like incentives, mortgages, subsidies, market liberalization or low interest rates. This leads to a dilemma: the more accessible you try to make housing, the more you expose it to speculative forces. Therefore, a certain degree of speculation must be acknowledged and managed but not entirely eliminated, otherwise the system risks coming to a standstill. And that is one of the key issues behind China’s current real estate short-circuit.

  • The Changing Mountains – Part 1: How High Stakes Corrupt Authenticity

    The Changing Mountains – Part 1: How High Stakes Corrupt Authenticity

    Cities, villages, neighborhoods as we have inherited them through the centuries are not mere institutions or simple names that evoke order and schematic boundaries. Rather, they are places that preserve the way of life of a civilization. In them, we experience time, space, and relationships with others, the “others” being women and men, once strangers to one another, who built spaces in which to live peacefully. These places are symbols of human relationships, compromises, unwritten laws and oral traditions, of evolution and change experienced side by side. Through architecture, rituals and religions survive. Not by chance, the word religion derives from relegere, to take note. Every cultural practice demands that attentiveness which architecture can teach. Over time, it has become a vehicle of proportion, memory, order, boundary, teachings on the use of light, shelter from the darkest nights, place of muffled sounds, thresholds and stairways that not only lead but instruct.

    Rural architecture approaches the concept of classical architecture, as it is not merely a form of building that blindly pursues the essential functions of a structure, but rather a symbol of growth and the transitional phases imposed by history on a place’s inhabitants, an architecture that has grown over the centuries through inner coherence. Think of the Dai houses, with their classic two-story layout: living spaces and bedrooms on the upper floor, animals and farming tools on the ground floor. Roofs made of local stone or rice straw, and the use of wood from surrounding forests. These features do not simply create a picturesque image for an ethnographic reportage, but intelligent responses to a specific context.

    This design ideology is not concerned with “looking pretty”: it is necessary, because it arises from a balance between nature, function, and humanity. In this sense, it is a fulfilled manifestation of what Frank Lloyd Wright called organic architecture, a principle he tirelessly sought to establish across Europe and America throughout the 20th century. What Western universities were trying to rediscover, Yunnan, and China as a whole, already had right before their eyes and under their feet. But as so often happens in the history of civilizations, the arrival of wealth and the imitation of foreign models shatter this ancient balance.

    With the influx of money from the tea market, some villages changed their appearance, resulting in the construction of alien hotels, expanses of tiles in village centers, glass towers and sterile multi-story concrete buildings rising like imitative forms of globalization and economic development. But this is nothing more than replacing a dialogue with the environment with a monologue of vanity. To blindly and stubbornly surrender to this process is an act of desensitization to one’s own history. This is how the harmony between built and natural environments is dismantled, rendering a particular village into a generic, interchangeable place.

    To those who accuse me of being a fanatical dreamer, just as Léon Krier was branded a nostalgic visionary, I respond that traditional architecture holds forms and anatomies capable of reflecting truly human interests, more so than modern architecture. Including economic interests.

    Buildings, houses, factories, temples, everything in rural architecture responds to truth and real use, but not in a merely utilitarian sense. Today, modernist architectural projects are not designed to be inhabited, but merely passed through, they are meant to represent a transient place. They are theatrical props in an urban performance, with no reference to a broader meaning, a meaning that can reside even in the humblest dwelling. Modern buildings are often imposing, expensive, designed to elicit hollow opinions from critics with numbed vocabularies, who otherwise might look past them and judge them as they deserve.

    And so Berlin’s Haus der Kulturen der Welt is known as “the pregnant oyster,” the UN building in New York as “the radiator,” Di Salvo’s brutalist buildings in Scampia, Naples as “the sails,” while for the monstrosity of Renzo Piano’s Pompidou Center, they didn’t even bother, just calling it by the name of the neighborhood it was dumped into. While classical forms represent agreements handed down through generations and originate from centuries of consensus, modernist ones require nicknames to identify themselves in their forced attempt to exist solely for a purpose, that of containment, but in iconic form. According to Krier, this need to nickname is nothing but an entry into the category of kitsch: the attempt, by an object devoid of authenticity, to obtain a label that justifies its existence, that makes it “mean” something. It is the staging of a rootless structure, forcibly grafted into a context to which it is alien, like a despised ex who, after years of silence, suddenly shows up, with unwelcome emotional exhibitionism, at your mother’s birthday party.

    In this way, what is gained is not just improved material conditions, if that even occurs, but also the domestication of the sense of belonging: the institution of a “government of smoothness,” where every surface is polished, glossy, frictionless, where nothing invites you to stay. And really, why stay, if nothing is made to last and bear witness anymore and your land is transformed into just another urban cluster like all the others?

    Let it be clear: it is impossible to demand perpetual amniotic preservation. But evolution is not destruction. One can build today according to ancient criteria, using modern technologies without sacrificing harmony, symbolism, or recognizability. Gilbert Keith Chesterton wrote that “Tradition is the democracy of the dead,” and that is essentially true. Abandoning it is not freedom, it is an amputation of collective memory. True modernity is that which recognizes itself as a chapter in an already begun book, not a blank page.

    When we speak of rural architecture, as in the case of homes in Wengji, Shaxi or Nuogan in Yunnan, we are not referring to mere picturesque tradition. We are speaking of an organic spatial model, culturally rooted, formally legible, and humanly proportioned, one that creates value not through financial abstraction but through functional continuity (home-work-land), a form of identity authenticity (cultural and symbolic value of place), constructive ecology (local materials and techniques), and a lasting attractiveness much more resilient to external shocks (for tourism, craftsmanship, and quality agriculture).

    Architecture and urban development must preserve the visible memory of a cultural identity, and to defend these principles is not conservatism, but the ecology of identity.

    Note: The photo was taken by Steve Shafer

  • Tả Củ Tỷ & the Weight of the Mist: Aesthetics and Ontology of the Big Rice Field

    Tả Củ Tỷ & the Weight of the Mist: Aesthetics and Ontology of the Big Rice Field

    With A Comparative Journey Through Two Traditional Viet Sun Sheng Pu’er

    When I first saw Steve’s photos, his Vietnam, made of fiery red sunsets, emerald pastures, and motorcycles whose tire treads were mere memories, I was left hanging in a sense of emptiness, of existential incompleteness tied to never having visited those places. Looking at those shots felt like peering into a parallel world, embraced by a sort of ontological nostalgia.

    The snapshots of Tả Củ Tỷ, the “Big Rice Field,” reveal the truth of a borderland world, of earth and blood, behind the major cities, whose distant lights appear like a sarcastic smile with pearl-white teeth. Then the horizon arches, growing increasingly vertical, rising further along the crumbling clay arteries, beyond the rice paddies, moments ago drained, now swollen with rain and reflecting the vastness of the sky.

    Here, every tree, every tea leaf, every sensory experience is an imperfect shadow of an eternal idea. This is where one of the best Pu’er teas in Vietnam is made, loaded with a near-theological sincerity, vibrant in every vintage, soft, flowery, and endlessly mineral. The shengs of Tả Củ Tỷ are like the Rieslings of the Mosel, a form of resistance against the trials the gods impose through the elements. They express the same minerality and layered memory. But while Riesling whispers sweet notes and sings praises like a Romantic poet on a summer evening surrounded by Viennese Jugendstil, the Pu’er of Tả Củ Tỷ elegantly drags you down a muddy mule path under relentless monsoon rain. In both, there is the same sharp and ruthless beauty, but whereas the Mosel wines evoke the rarefied skies of Chagall, suspended in uncorrupted blue, in Tả Củ Tỷ the image offers no redemption, it demands confrontation. Time here doesn’t pass, it presses. The landscapes are those painted by Turner, but not the sublime, ethereal artist of the Dover sea, rather the feverish, visionary Turner of his final years, where light shatters into curls of shadow and smoke, and the scene dissolves into an intensified, nebulous inner reality.

    The province of Lào Cai hosts a pedological diversity of rare complexity, the result of interactions between lithology, comprising metamorphic and sedimentary bedrocks, and a harsh topography shaped by steep slopes and variable altitudes ranging from the Red River’s lowlands to peaks shrouded in mist. In this living landscape, far from documentary clichés, ten major soil groups intertwine, distributed into around thirty subcategories, reflecting an extreme variety of geomorphological, climatic, and land-use conditions. In this mosaic, most fall into the categories of alluvial soils, minimally developed, fertile, fine-textured, laid across the Red River’s floodplains. As elevation rises, submontane zones host deep ferralitic soils, with aggressive pedoenvironments and reddish-brown hues. Then come humic soils on red-yellow parent rock, which inhabit the gentler slopes of the Sa Pa and Bắc Hà districts, ideal for mountain orchards and medicinal plants, the same ones that Dao grandmothers will grant you for a spider bite, heartbreak, or to recover quicker from the drunken night before. Higher still, where the air thins, the sun burns your skin, and geology shifts from academic subject to a lesson in humility, you find the brown, acidic forest soils typical of high-altitude tea forests, marked by thick organic horizons and excellent water retention, where the labor is real, marketing fades, and matter begins. The higher you go, the more essential the soil becomes, and the mountain strips you of every excess you thought you needed.

    Since ancient times, the region now known as Lào Cai has been a living tapestry of peoples from the H’Mông–Dao (including Mông, Dao, and Phù Lá) and the Kra-Dai groups (including Tày and Nùng). The Phù Lá migrated from Yunnan during the waves of the 15th and 17th centuries and opened the Lào Cai–Hekou pass, a crossroads for southern Chinese merchants and Tibetan fugitives, military settlers, and Tonkinese textile makers. Salt, tea, silk, and livestock crossed gorges and cliffs towards the Red River Delta, in exchange for rice, gourds, rare spices, and La Chi cotton fabrics. The trade route stayed open for five centuries, until the war with China in 1979. Tả Củ Tỷ and the entire Bắc Hà highland area have always been a “slippery edge” of the Vietnamese empire: formally part of Đại Việt, but in practice governed by local clan leaders and traversed by cross-border trade routes. Only with the expansion of the Nguyễn dynasty and, later, the arrival of the French, did state control become more pervasive. But that’s another story.

    The forests of Tả Củ Tỷ possess a mad, honest allure. The color palette feels like something conjured by a cosmic hangover, while the mist moves slowly, like cigarette smoke drifting in a closed room. Its radiance isn’t the kind choreographed by a cheerful smile or Caribbean hues, but rather the disarming kind of beauty of a woman who’s cried all night and then looks at you at dawn, bare-faced. A fleeting moment of rare grace, allowed to linger briefly in the interlude of suffering, the kind of incorruptible, visceral visual rapture that doesn’t let you lie.

    These dusty clay paths have been trodden by pack leaders, smugglers, and warriors. They’ve witnessed rites of passage and the initiations of Dao and Mông shamans, the veneration and sacred songs of the Tày, and offered shelter for markets and negotiations, for secrets traded with Xôi ngũ sắc, and for boisterous jokes between bowls of Thang Cọ and glasses of rice wine.

    From this thread of bare earth echoes the sound of an absolute beauty that refracts through the contingent, like a bridge between the transitory and the infinite. I could be among them now, being filmed as I say that it is in the resilient rurality of these villages that Heidegger’s concept of Gelassenheit unfolds, that is, a spiritual disposition of letting-be, an openness to the essence of things, and, as he interprets in his Parmenides, how it reveals itself through history and daily life. But at some point, a scooter would honk to urge me out of the way, and it would be right to do so. So, thousands of kilometers away, I conclude by saying that there, people have never betrayed their own history, even while embracing change, reminding us that the truth of a place is not measured by the order of its exotic scenery, nor through a mere anthropological lens. Especially not in that land, Vietnam, daughter of the sky, immersed in the dreamlike dimension of its eternity.

    On the left: Tả Củ Tỷ Sheng Pu’er Autumn 2023, medium aged, old and ancient trees
    On the right: Tả Củ Tỷ Sheng Pu’er Spring 2024, old and ancient trees


    Viet Sun Tả Củ Tỷ Sheng Pu’er Autumn 2023

    The autumn version comes from a mixture of medium-aged, old, and ancient trees growing at different altitudes and on diverse soils. It presents itself with a mature register, more oxidized, and the difference from the spring version is indeed perceptible. The autumn leaves are darker, as confirmed by the liquor, a decidedly golden hue, with shades that recall Turner’s Goethe’s Theory, to stay on theme. While the wet leaves retain a line of continuity with the orchid and apricot notes typical of the spring harvest, here honeyed tones and hazelnut hints emerge more clearly, intertwined with musky nuances, dried fruit and pan-fried greens memories, with lightly buttery accents.

    Although vibrant, the sip is clearly more fragile, with a more hesitant body compared to the spring tea. Its huigan is more restrained and immediate, with sharper astringency, although the impression remains of a sweet brew with well-calibrated bitterness. Rather than floral aspects, the palate leans more toward raisin, apricot, and unmistakably honeyed flavors. The mouthfeel is less viscous, with more modest intensity and persistence, yet it remains decidedly interesting for this theater of contrasts between warm, comforting fragrances and still grassy notes, between roundness and sharpness. It is a tea that certainly holds aging potential, but is already quite enjoyable in its youth.


    Viet Sun Tả Củ Tỷ Sheng Pu’er Spring 2024

    I believe there are four essential elements that make a Pu’er good, if I were pressed to summarize: aroma, the taste of the mountain, excellent viscosity and huigan. And all of them are here. There are no substantial altitude differences compared to the autumn counterpart, but here we have leaves only from old and ancient trees. They appear lighter, less reddened, the liquor takes on a straw-yellow hue, and the aroma recalls that of orchid, not the florist’s kind, but the wild one you stumble upon between the cracks of limestone, with scents of an intensely floral field and apricots.

    Framing it is a very light smoky note that fades quickly over the course of the session, while a constant forest-like tone remains, along with wet stone elements that greatly define the olfactory texture. The character is decidedly more intense, more subtly grassy and floral, geared toward evolution over time. The liquor is beautifully smooth, sustained by light bitterness and astringency, which pave the way for a huigan that is reactive, quick, enveloping, and progressively expands from throat to palate.

    As the session continues, it constantly reminds me of some Pu’er from Gedeng, but even more boldly floral and with a distinctly mineral signature. The huigan and the persistence of the aftertaste are undoubtedly the pillars of the tasting experience, two traits that make you forget many gushu from beyond the border.


    Note: All the stunning photos of the passages were taken by Steve (Viet Sun)

  • The Price of Inconsistency: The State of the Market and Why an Uncontrolled Price Increase is So Dangerous

    The Price of Inconsistency: The State of the Market and Why an Uncontrolled Price Increase is So Dangerous

    A few days ago, a couple of videos by Farmer Leaf were published on the situation of leaves prices in Yunnan, with some insights similar to an article I posted back in late January, written with a slight tone of historical catastrophism, which, rereading it now, almost feels like a premonition. But that happens because history repeats itself in a damnably perpetual way, and I take no credit for that. Now, I don’t think William needs my promotion, I’ve never even spoken to him, to be honest, but I believe he’s one of the people with the most complete, intellectually solid, and sincere vision of the Pu’er landscape, at least on the western side, and, most importantly, capable of combining field experience with analytical clarity, not only because he lives and produces tea in Yunnan. After all, a heart patient is not automatically a great cardiologist, right? For this reason, I would like to ideally connect to what was said in the videos, and perhaps push the boundaries of the discussion a bit further. I know this might seem like an idle exercise, especially now that we’re on the threshold of a season that in many areas hasn’t yet shown itself for what it will be, but I believe the world of tea is already saturated with misleading narratives, or overly bent towards consumption and function-driven logic, so I think many can still tolerate one more.

    In some areas like Jingmai, but also in the whole Lincang region, Wuliang, and many parts of Bulang, for example, we have seen a significant depreciation. Not all in the same way, as the price of Yiwu leaves has remained almost unchanged in the famous villages, likewise in Bingdao, although I’ve heard of at least a 10% drop in surrounding villages. The forecast is that plantation and old trees materials from less famous areas, including gushu from some terroirs, will be the most affected. It’s no secret that Pu’er has become almost a superhuman niche game in the last 10-12 years, but was this scenario so unpredictable?

    The last discussions on this topic were buried by me in 2014 when more and more people, myself included, became involved with Pu’er, along with a sinking fleet of capital supporters still rushing towards creditors because they considered it a good investment. The growth of the sector was predicted to be unstoppable, which indeed happened for the next ten years. But now it’s no longer like that. The signs have been there for a long time, just like they were present in 2007, although I stand by my previous position, namely that today the situation doesn’t verge on tragedy as it did back then.

    What is truly tragic is that Pu’er has reached ridiculously high prices, and in economic terms, this doesn’t mean that people can no longer afford it, which is the point that many emphasize, as if saying that there will always be people willing to spend; the problem lies in the willingness. When the price of a good drastically exceeds its perceived or utilitarian value, cognitive dissonance occurs in consumers, leading to a drop in demand despite the availability of money, simply due to economic rationality. The opportunity cost (what one gives up) becomes too high compared to the perceived benefit. This is in line both with prospect theory, which suggests people react to losses by perceiving an excessive price as “unfair,” and with the luxury paradox. Luxury, which has often been used as a justification for the monstrous figures requested, actually operates in a paradoxical way where some goods lose their appeal if they become too accessible or even too exclusive. A good loses its appeal as a status symbol if its accessibility (real or perceived) collapses.

    Price is not just a number; it is a psychological signal, and the breaking point is not universal. Exceptions are represented, for example, by works of art: they maintain high prices for centuries because they embody the brilliance of human genius, something that transcends mere consumption; they do not extinguish or exhaust in the face of the tangible, as they serve no purpose other than themselves. Their value transcends consistency, even while having physical effectiveness; it’s a status that no other thing in the world possesses. But for most goods, including Pu’er, when the price loses all connection to the economic, cultural, or functional reality, the market simply collapses.

    I remember that a while ago, people often debated the origins of capitalism, the rise of the West, and how it had overshadowed the Eastern economy in some ways, contributing to a geopolitical gap that is now not so clear. It was in this context that Pomeranz’s “Great Divergence” concept emerged. This was later placed in an economic context by Robert Shiller, who understood it as a situation where financial prices deviate too far from the real economy, creating imbalances destined to correct themselves, often traumatically. The way to identify this phenomenon comes from observing its three main drivers:

    – Economic narratives: shared cultural constructions that influence collective economic behavior, often independent of fundamentals. These narratives, such as “the tea from this mountain is liquid gold,” “only here can you find true gushu from 3,000-year-old trees,” “the stock of this Sheng keeps increasing in value,” or “this is the last chance to buy before prices explode,” act as psychological catalysts, amplifying expectations and contributing to speculative communication. The power of a narrative lies in its ability to be replicated and spread, much like a virus.

    – Positive feedback loop: a dynamic mechanism where an increase in the price of a financial asset attracts further investment, which in turn drives prices even higher. This process can generate a self-reinforcing spiral disconnected from fundamental values, further fueling the underlying narrative. It’s a recurring dynamic in speculative markets, often a precursor to a correction.

    – Imitative behaviors: the tendency of economic actors to replicate others’ decisions rather than base their choices on an independent analysis of available information. This behavior arises from both cognitive (reducing uncertainty) and social (fear of being excluded from collective gain or consumption) incentives, and is one of the main forces amplifying the effects of dominant narratives in markets.

    The key point to understand is that no divergence between prices and reality can last forever, none. You might ask, “What about works of art?” Works of art don’t enter into this context because they don’t have divergence. This sets in when the vicious cycle becomes unstable, because goods like tea are always subject to physical constraints, like having a house on the side of a hill in an area that is perpetually at risk of earthquakes. For real goods, final demand always depends on tangible utility, whether it’s for dwelling, consuming, or earning. If this function is lost in products that naturally possess it, the market collapses in the end.

    The significant difference from wine is that in the latter, entire areas have seen an increase in land cost and corresponding product beyond imagination, like Pu’er, but there are still labels that are more accessible and others totally out of reach for 90% of people, and both contribute to maintaining the peak of that specific terroir, which remains accessible but sufficiently elitist. In Pu’er, this doesn’t happen, which leads everything to a single standardized dimension. But it isn’t the same for quality. An example can be that all Bingdao shengs are expensive, some more prohibitive than others, but all are excessively costly and generally inaccessible, even the mediocre ones. The quality of raw material can differ even within the same micro-territorial context, but, above all, the hand of the producer is often unknown in the world of Pu’er, reducing everything to a blind purchase if you go outside your small circle of trusted producers or traders. According to this mechanism, if one producer in Montrachet makes a mediocre wine, it’s an isolated case; if someone sprays herbicides every Friday or produces low-level Pu’er in Yi Shan Mo, everyone risks being affected.

    Secondly, there is the crisis of trust, which arises when investors realize that the price is an “empty promise” in terms of missed capitalization or, at the same time, in terms of unfulfilled organoleptic quality, no matter how high it may be. Furthermore, the crisis of trust sets in when uncertainty exceeds average tolerance thresholds. Rigged auctions, counterfeits, false claims about the region and age of the trees — all factors contributing to the genesis of distrust. Have you ever seen cakes that looked ordinary, wrapped in plain white paper, always nibbled by the chewing apparatus of some friendly larva, with a damp stain, deliberately present to legitimize a supposed date, affixed a line before a price with 3 or 4 digits? If you were to sell a Chateau d’Yquem, pick any vintage as long as it’s not the 2008, to a wine expert, but that Sauternes were in a naked bottle, without a label, do you think they’d be willing to give you $600 on trust alone? Without clear traceability, strict controls based also on biochemical analysis, do you think people would spend a fortune on any Burgundy wine? In these contexts, people self-report among neighbors, whereas with Pu’er, there still seem to be actors who want that jianghu, that shadow line that seemingly benefits everyone. Wine is clearly different and not all concepts can be applied to tea, as it’s a different raw material. But why is it that everything becomes tolerable for Pu’er?

    Finally, there are external interventions, or regulatory agents that trigger corrections, which in this case can be merchants or investors. The money flow stops, and the machine halts, and this is the third reason for the unsustainability of the divergence.

    All these factors are usually monitored by financial experts to assess the health of the current market but also to avoid excessive financialization. If a good loses sight of its utility principle, it becomes an asset detached from what makes it itself, turning into a tool for speculation. So, I ask once again: why is there such a desperate effort in Pu’er to gamble and push itself to the edge of this condition?

    Complicit in all these self-flagellation efforts are surely all those photos, those beautiful live postcards with tea trees standing like soldiers at attention, ready to go to war to satisfy our palates, slaves to a huigan, an authenticity and a cha qi at $2/g findable only there, and I mean only there in those 5 square meters of land immortalized, because only there, according to the seller, God has cast his gaze, good tea is made only at that spot, everything else has obviously been planted to shade that little patch of earth, not to be harvested and sold. What they might not show you is how the person taking the photo might be standing on a guardrail next to the highway, and maybe the grass burnt by pesticides gets cut out with editing, as well as the poorly pruned trees (sometimes they don’t even hide those), or other similar things. Or, simply, the tea doesn’t even come from that patch of earth, because let’s be honest, buying tea is often not just an act of trust, it’s entirely an act of faith. This doesn’t apply to everyone, but it’s a concept that applies to many.

    There are no certifications to guarantee the maintenance of a supply chain, nor that a fair price is paid to the producer or farmer, nor control over denominations like in wines. There are chemometric authentication methods through the analysis of stable isotope ratios to trace the origin and harvest year, but I’m smiling just thinking about it. $400 for 357 grams of pure “maybe” seems a bit too much. Half would still be too much. As you can see, the problem is not whether one can afford it or not, for once the problem isn’t money. The problem is the physiological rejection, that immune response of my body against the enormous “if” that resides in my cup, which I’m about to swallow, hoping that the huigan will overwhelm me so I don’t have to engage in psychomanipulative strategies and explain to myself why I spent yet another boatload of money on something that’s barely worth a third of what I paid for it. Usually when there is asymmetry of information between the buyer and the seller, an average price is paid due to the lack of knowledge of one of the two parties. But in Pu’er this does not happen.

    And having mentioned authenticity, I’ll refer to the next crazy price-justifying argument. I remember an interesting article by Shuenn-Der Yu, an anthropologist from Academia Sinica in Taipei, who concluded by saying, “Ironically, the story of Puer tea demonstrates that the concern for authenticity may have reached a state where no one cares what Puer really is, so long as the current version of the tradition generates profits.” And here comes another bitter pill to swallow. The campaign for understanding what is authentic in the world of Pu’er has been going on for at least 50 years, and today we are still at the same point, the starting point. Authenticity has moved through the debate between wet and dry storage, between terrace tea and forest tea, until reaching the exasperation of single-origin, which cannot be guaranteed, and the compulsive search for gushu. The search for authenticity has poured into the desire to know the exact location of the bathroom closest to the wok that generated the leaves of that cake from the Banpo forest and the need for those trees to date back to the Qinghai campaign of 1723. Otherwise, you’ll never know what authentic Pu’er tastes like. It’s not a communicative strategy adopted by everyone, but there’s always someone ready to pull out the sign saying “I have the real gushu, the others are fake.”

    From the late Qing period, blending (pinpei, 拼配) was considered a refined skill, the result of long training and experience, not unlike, in rigor and sensitivity, the art of blending in whisky or tobacco. This technique continued to represent an essential component of production, both for shenh ad shou Pu’er, continuing its evolution even within large state-owned companies in modern times. But today, authenticity resides in the single village, in the extreme representation of terroir, in tasting the locality, an invitation to the sage of purity and a claim to a place, as happens with French crus or Italian MGA. Too bad that in Pu’er there is nothing similar, neither in historical documentation nor in tradition, nor, again, in the concept of denomination. And without denominations and identity controls, which terroir are we talking about exactly? We can talk about it when we are in that mountain, in that forest, tasting the tea that comes from it because we know who worked it or picked it. But hundreds or thousands of kilometers away, how does that certainty remain intact?

    Apart from the controls in some areas, in other parts no one will tell you the truth about what’s happening. Ten years ago, MarshalN wrote, “If you think about it, nothing stops a seller from going to the nearest Chinatown supermarket, buying a bunch of tea cans that cost $5 each, emptying them, repackaging them as quality tea, and reselling them at a 4x markup,” and what has changed in 10 years? Nothing.

    The marketing of Pu’er tea has for many years been a choreographed performance, orchestrated through often incomplete contracts that leave excessive room for opportunistic behavior. This modus operandi can be rationalized by observing three harmful symptoms: the sanctification of space, the providential narrative, and the pseudo-religious iconography. All of these are present and exposed above. The Pu’er market has been plundered by what should be the true agronomic meaning and sense of terroir, which deserves true protection, not mere commercialization. What should be the core of authenticity becomes the passive accomplice of an economy of hope.

    “It’s normal for people to always want more and earn more; it’s useless to play the morality crusader,” is a typical phrase I hear in debates about situations like these, and it is the natural response many would wield in face of this article. Therefore, I would conclude by reaffirming the reasons that constitute the danger of such a perverse economic cycle.

    In the relentless pursuit of higher margins, many areas have converted their crops, with reductions in many cases of more than 40% of the land cultivated for essential foods, increasing vulnerability in case of external imbalances. To expand or maintain production, many farmers have taken out high-interest loans, which, naturally, are also increasing, as the bet was based on a continuously rising price for Pu’er, thus increasing pressure on the credit system and families. Now, if the price of raw tea continues to decline in the coming seasons, these farmers would find themselves in technical default. I read somewhere years ago that rural banks in Yunnan had about 40% of their loan portfolio tied to the Pu’er sector: if producers could no longer repay the loans, there would be a risk of chain insolvencies, similar to a mini subprime mortgage crisis:

    Farmers → insolvency → rural banks → credit freeze → collapse of local businesses → slow return to normalcy.

    So, the point is not just to lower prices, but to rebuild a network of trust. Continuing the speculative system would not only lead to critical adjustments for honest farmers and intermediaries but also to credit rationing phenomena that would prevent rapid recovery or mere subsistence even after the true outbreak of the crisis. Banks and credit institutions could limit loans to avoid adverse selection risks, like financing risky projects, favoring only the large intermediaries and leaving smaller entities behind. And this is a frequent thing that nobody ever talks about.

    Moreover, most of the workforce in rural Yunnan is directly or indirectly involved in the sector: farmers, processors, vendors, tea-related tourism employees. With another market crisis, what transferable skills would hundreds of thousands of potential unemployed people have? Economic restructuring is not possible in the short term to cope with a potential crisis, given the absence of industrial alternatives. To conclude this excessively dramatic view, even with a collapse in the value of Pu’er, rents and mortgages would not fall, since for a good initial period, land and properties would still be valued based on high-return expectations, and families would remain trapped in a stagflation trap (despite some sectoral deflation): high production, high costs, falling income, rising underemployment, and declining consumption. I don’t believe Yunnan is in this situation, despite some sectoral deflation and possible inflationary rigidity of essential goods and fixed costs, nor do I think it will get there soon. But this article is an investigation into various perspectives, so it is necessary to describe even extreme but possible conditions.

    Essentially, the Pu’er sector, grown under a model of accumulation and continuous speculative expectations, is now facing its structural limits:

    • Inflated prices → distorted rents → inefficient resource allocation.
    • Dependency on a single product → systemic vulnerability.
    • Lack of diversification and resilience → risk of regional social and economic crisis.

    The Pu’er market has evolved into a microcosm of financialized capitalism, where the described drivers create a deadly divergence between price and reality. The correction is painful but necessary, as only by anchoring the price to real values (quality more closely correlated with price, an ethical and certified supply chain, cultural utility) can we avoid the trap of the “Great Divergence.” As Galbraith wrote: “Everyone thinks they can leave the party before the punch bowl runs dry. But the punch always runs dry suddenly.”

    In light of the above, the solutions – though complex and not immediately applicable – must include a selective revision of price levels, especially in areas that have experienced the sharpest increases in recent years. This recalibration would help to rise quality, to reduce the entry barriers that currently discourage new operators and consumers in a sector characterized by volatile and often unstable preferences.

    It is true that there is a niche of loyal consumers, deeply connected to Pu’er from both a cultural and taste perspective; however, most consumers show high price sensitivity, and in the event of compromised accessibility, they will drastically reduce consumption or migrate towards alternative tea varieties, or turn to other Pu’er production areas such as Laos, Thailand, and Vietnam, which are more economically sustainable and are now producing excellent teas.

    As also highlighted by William in his videos, another key strategy is diversification: particularly the development of sustainable and integrated tourism (ecotourism) and the reintegration of agricultural crops suited not only for human consumption but also functional for renewable energy production, such as biomass for biogas, or alternative crops like coffee, given the growing prestige of the Menghai region, where extremely high-quality varieties like Gesha are now being successfully grown, representing promising ways to free local communities from the near-exclusive dependence on tea monoculture.

    At the same time, the introduction of a mandatory certification system for Pu’er is necessary as a tool to restore market trust and strengthen the perception of the product’s intrinsic value. The cheerful postcards will not be enough sooner or later. In this regard, the use of blockchain technology – to ensure traceability and transparency – together with the formal recognition of local designations of origin, represents an essential step towards a credible and sustainable revaluation of the entire sector.

    From a macroeconomic and credit perspective, if the market continues to show rigidity and an absence of adaptive capacity, it will be inevitable to implement extraordinary intervention tools. Among these, it will be crucial to begin systematic monitoring of essential goods prices in the most affected areas, to contain the regressive effects of the crisis on the most vulnerable households. It will be necessary to consider the possibility of activating public debt moratoriums for small producers, as well as, with extreme caution, evaluating the partial conversion of debt into equity instruments. Although this measure would provide immediate financial relief and potentially facilitate access to certification programs and technical support, it carries significant structural risks: among them, the potential for abuses, the excessive commercialization of production logics, and the disproportionate cession of land-use rights in relation to debts that might be overestimated or poorly contracted.

    Those who know me or have had the chance to read what I usually write on my profile know how attached I am to Yunnan and China, and they perfectly understand my language, saturated with admiration for an irreducible people. However, I believe that poetic phrasing, lyrical tones, and romantic philosophy are no longer enough. On the contrary, I think a more critical, aware, and participatory approach is needed: a form of shared responsibility toward a market that has proven extremely fragile and that requires more balance and transparency, for the good of all, those who live there and those, like us, who observe, love, and frequent that world.