The fourth chapteris devoted to the enumeration and description of the twenty-four members of thetea-equipage, beginning with the tripod brazier and ending with the bamboocabinet for containing all these utensils. Here we notice Luwuh’s predilectionfor Taoist symbolism. Also it is inter- esting to observe in this connectionthe influence of tea on Chinese ceramics. The Celestial porcelain, as is wellknown, had its origin in an attempt to reproduce the exquisite shade of jade,resulting, in the Tang dynasty, in the blue glaze of the south, and the whiteglaze of the north. Luwuh considered the blue as the ideal colour for thetea-cup, as it lent additional greenness to the beverage, whereas the whitemade it look pinkish and distasteful. It was because he used cake-tea. Lateron, when the tea masters of Sung took to the powdered tea, they preferred heavybowls of blue-black and dark brown. The Mings, with their steeped tea, rejoicedin light ware of white porcelain.