The guide to equipment and brewing

Water accounts for 99% of your drink and acts as a direct chemical solvent on the leaf. To brew a grand cru tea, the ideal water should have a low mineral content (dry residue below 50 mg/L) and a neutral or very slightly acidic pH, around 6.5 to 7. Water with too much calcium or magnesium hinders tannin extraction, makes the liquor cloudy and completely overwhelms the subtlety of a pure tea with no added flavorings.

Pouring water at 100°C over Camellia sinensis leaves is a thermal mistake that destroys the tea's molecular structure. Extreme heat instantly burns sensitive amino acids such as L-Theanine and extracts tannins harshly, causing aggressive, bitter astringency. To respect the plant's biochemistry and obtain a silky liquor, use simmering water: 70°C to 80°C for delicate green teas and 90°C to 95°C maximum for full-bodied black teas .

Water accounts for 99% of your drink and acts as a chemical solvent on the leaf. Using tap water is often a mistake, as it is generally too hard or high in chlorine. Overly mineralized water hinders tannin extraction, makes the liquor cloudy and stifles the aromatic complexity of pure black and green teas. Filtered or low-mineral water must be used to respect the aromas.

To brew a grand cru tea, the ideal water should have a very low mineral content, with dry residue strictly below 50 mg per liter. It should also have a neutral or very slightly acidic pH, around 6.5 to 7. Water that is too alkaline will destroy the subtlety of the umami flavor and alter the liquor's natural oxidation. Very light spring waters are favored by sommeliers to enhance the terroir's identity without overwhelming it.

Pouring water at 100°C over tea leaves is a fatal mistake that instantly destroys the aromatic profile. This extreme heat burns sensitive amino acids and extracts tannins harshly, causing aggressive astringency and masking vegetal notes. To respect a pure green tea, use simmering water between 70°C and 80°C.

Reverse-osmosis water is purified to the extreme and contains no minerals. Although it produces a perfectly clear liquor, it can sometimes make tea taste flat, as certain aromatic compounds require a minute presence of minerals to express themselves. Sommeliers prefer spring water with a very low mineral content (dry residue below 30 mg/L) for a perfect balance.

From a purist's perspective, adding honey or sugar destroys the liquor's biochemical balance by masking its natural sweetness (derived from amino acids) and overwhelming the subtlety of the terroir. A properly brewed grand cru, without boiling water, develops no aggressive astringency that needs to be corrected with a sweetener.

Atmospheric pressure decreases with altitude. At 2000 meters, water boils at 93°C instead of 100°C. Sommeliers adjust their parameters: cooler water extracts tannins more slowly, requiring a longer brewing time to achieve the same body in the cup.

Limescale (calcium) alters the water's pH and stifles subtle aromas. Monthly descaling with heated white vinegar is essential. The kettle must then be rinsed thoroughly with clean water to remove any residual acidity before brewing your pure grand crus.

The Japanese Yuzamashi technique consists of pouring boiling water into an open ceramic vessel. Each transfer lowers the temperature by 5 to 10°C. This is the traditional method for reaching the 70°C required for a shade-grown green tea without using a thermometer.

No, distilled water is completely flat. The chemical extraction of polyphenols and amino acids requires a minute amount of minerals to bind and express themselves. Choose spring water with a very low mineral content to obtain a textured, aromatic liquor.

Each botanical family has its own extraction threshold. A green tea delicate Japanese one requires simmering water between 70°C and 75°C to preserve its Umami and L-Theanine. The Oolongs roasted ones flourish between 85°C and 90°C, a temperature that releases their milky and pyrogenic notes. The full-bodied black teas full-bodied ones can withstand 90°C to 95°C to reveal their malty, honeyed and woody notes without tipping into astringency.

Water temperature directly alters the chemical extraction of components from the Camellia sinensis leaf. Boiling water at 100 degrees instantly destroys sensitive amino acids and extracts tannins harshly, causing aggressive bitterness. Conversely, simmering water between 70 and 80 degrees preserves the vegetal notes of a green tea, while water at 90 degrees is needed to release the full malty body of a full-bodied black tea.

The Japanese Koridashi method, or express thermal shock, is the bartenders' secret to obtaining iced tea of absolute purity. The principle consists of preparing a highly concentrated hot infusion and pouring it immediately over a bed of ice cubes. The sudden cold traps the volatile aromas and halts oxidation of the liquor. This technique guarantees a luminous, perfectly clear beverage that preserves all the sweetness of the cultivar without developing the slightest bitterness.

Cold infusion, or Cold Brew, is the gentlest extraction method for your whole leaves. By steeping your tea in room-temperature or cold water for 4 to 8 hours, you primarily extract the sweet amino acids while blocking the extraction of astringent tannins. This technique is ideal for elevating Japanese green teas and delicate white teas, offering a crystalline, thirst-quenching liquor with remarkable vegetal freshness.

An exceptional black tea, such as those from the Hunan terroir, requires more intense heat to reveal its full-bodied structure. The ideal temperature is between 90°C and 95°C. This very hot water perfectly extracts the theaflavins and thearubigins, the oxidized tannins, without developing bitterness, thus releasing deep notes of pale wood, dried red fruits and forest honey.

Tea sommellerie allows no approximation. A precision scale accurate to one tenth of a gram (0,1g) is essential for controlling the water-to-leaf ratio[cite: 8]. An excess of one gram with a Japanese green tea can tip the liquor towards severe astringency, while a perfect dosage guarantees the reproducibility of your preferred aromatic profile with every infusion.

Boiling water destroys plant cells. A thermometer allows the water temperature to be calibrated precisely: 70°C for a delicate green tea, 85°C for a Oolong, 95°C for a full-bodied black tea. It is the tool that separates an amateur infusion from a controlled scientific extraction, preserving essential catechins and amino acids.

Yes, it is a basic rule of thermodynamics. Pouring tea at 80°C into cold porcelain will cause a thermal shock that lowers the liquor to 60°C within seconds, disrupting its aromatic volatility. Heating the cup with boiling water ensures that the beverage will deliver its full intensity through retronasal olfaction during tasting.

Thermal precision is the foundation of tea sommellerie. A conventional kettle boils at 100°C, which destroys the amino acids of grand cru teas. An adjustable model allows a green tea to be perfectly extracted at 75°C or a black tea at 90°C, guaranteeing a balanced liquor without aggressive astringency.

Silver is an exceptional material for infusion. Completely inert, it does not alter any aroma. Above all, it possesses exceptional thermal conductivity and chemically softens the water, offering a liquor with a silky, luminous texture, particularly prized for white teas and Oolongs delicate.

Excellence rests on the water-to-leaf ratio. Using a scale to weigh the water (1 ml = 1 g) makes it possible to maintain an exact proportion, often 2 grams of leaves for 10 cl of water using the Western method. This rigor ensures the reproducibility of your favorite aromatic profile.

Cloudiness (Tea Creaming) is a natural reaction in tannin-rich black teas (theaflavins) when they cool rapidly. To prevent it, either keep the liquor warm or prepare a cold infusion (Cold Brew), which extracts fewer of these astringent macromolecules.

No. Violently agitating the water or stirring with a spoon forces the extraction of tannins and disrupts the leaves' slow unfurling. The agony of the leaf must occur through natural thermal convection, guaranteeing a harmonious liquor without artificial bitterness.

A classic teaspoon often holds 2 or 3 grams of tea depending on the density of the leaf. The Oolongs rolled into pearls are dense (little volume for considerable weight), while white teas are very voluminous. The eye deceives; the scale remains the only truth.

Unlike glass or enameled cast iron, which are inert materials, the porous ceramic such as Yixing clay or certain Japanese Kyusu breathes and interacts with the infusion. The unglazed walls gradually absorb essential oils and polyphenols with each use. This phenomenon, known as seasoning, rounds out the tannins and softens the texture of the liquor. A sommelier therefore dedicates a porous earthenware teapot to a single botanical family, often the Oolongs or Pu-erh teas.

The vessel shapes the taste of your liquor. The enameled cast-iron teapot, of Japanese origin, offers absolute thermal inertia, ideal for maintaining water at around 90°C during long infusions of full-bodied black teas or dark teas. The porous ceramic, Yixing or Kyusu, possesses a memory: over time, the unglazed clay absorbs essential oils to round out the tannins of delicate green teas and Oolongs delicate teas.

The choice of glaze completely changes the physical behavior of the teapot when exposed to water. A glazed teapot, such as cast iron or porcelain, is chemically inert: it retains no memory of infusions and allows you to switch from a black tea to a green tea without aromatic contamination. Conversely, unglazed earthenware is porous. It absorbs essential oils, becoming seasoned over time and mechanically rounding out the tannins through its aromatic memory.

The teapot from Yixing is crafted from a specific clay native to China, renowned for its unique, unglazed porous structure. Unlike glass, this clay literally breathes with the tea. With each infusion, it absorbs the beverage’s essential oils and polyphenols, improving over time. It then releases these stored aromas, rounding out the liquor and reducing the harsh astringency of the finest teas, particularly the Oolongs roasted ones and dark teas.

The Kyusu is the quintessential traditional Japanese teapot, immediately recognizable by its highly ergonomic, asymmetrical side handle. This unique design makes it easy to pour the water delicately with one hand, using precise, quick, fluid movements. Generally crafted from porous ceramic Tokoname, it incorporates a fine filter directly at the base of its spout. It is the ultimate tool for brewing shaded Japanese green teas, with perfect control over temperature and vegetal extraction.

Unlike inert materials such as glass, unglazed clay, whether Yixing or Tokoname, possesses a true memory. This porous ceramic gradually absorbs the tea’s essential oils over successive infusions, becoming seasoned over time. It then releases these aromas, rounding out the liquor and reducing the astringency of green teas or Oolongs delicate ones while maintaining an ideal temperature.

The Gong Dao Bei (literally fairness cup) serves to stop the infusion immediately. The Gaiwan or the teapot is emptied completely into this pitcher before serving the guests. This ensures that every cup has exactly the same intensity, the same color, and the same tannic structure, preventing the final cup from becoming too bitter.

The Cha Chong is a small Yixing clay figurine placed on the tea boat. Traditionally, the tea master pours the first rinse water over this figurine to 'feed' it. It is a playful and spiritual element that develops a patina over time, grounding the ritual in Zen philosophy.

The Japanese aesthetic of Wabi-Sabi celebrates natural imperfection. A handmade bowl, slightly irregular, recalls the raw beauty of nature. This tactile asymmetry offers a unique grip and compels the mind to focus on the present moment during the tasting.

If porous clay has been contaminated, the rescue method is to gently boil it in a large pot of clear water with a handful of leaves from the tea to which you wish to dedicate it. This 'bath' will reset its natural aromatic seasoning.

Unlike truly inert materials, stainless steel flattens the aromatic complexity of the finest teas and interacts negatively with tannins, often leaving a slight metallic aftertaste. Tea sommeliers favor fine porcelain to observe the purity of the color, or artisanal ceramic, stoneware and earthenware, which naturally soften the final texture of the liquor.

Fine porcelain and high-quality ceramic are favored by purists because they maintain the temperature of the liquor perfectly while remaining completely neutral in taste. Glass, although it dissipates heat more quickly, offers an exceptional visual advantage. It allows you to admire the purity of the amber or emerald color, and above all to observe the agony of the leaf, that hypnotic dance in which the leaves slowly unfurl in the water.

The Gaiwan (lidded cup) is the traditional tool of Gong Fu Cha[cite: 8]. Its inert porcelain absorbs no aromas, allowing you to taste a white tea followed by a Oolong without contamination[cite: 8]. Its lid allows the leaves to be filtered manually while retaining heat, offering absolute control over very short infusions of just a few seconds to release layers of aroma without bitterness.

A thermos retains heat for a prolonged period, which leads to thermal over-infusion (Stewing). The leaves literally cook, releasing intense bitterness and a metallic aftertaste. Tea should always be brewed separately in a teapot, remove the leaves, then pour the pure, filtered liquor into your thermos for transport.

A double-walled cup thermally insulates the liquor. It allows you to admire the color and clarity of the beverage without burning your fingers. Although highly aesthetic, glass cools the beverage faster than thick ceramic, so it is ideal for green or white teas that do not require extreme heat retention.

A true Japanese Tetsubin is not enameled on the inside. It is used exclusively to boil water, not to brew tea. The porous iron softens the water and enriches it with bioavailable iron, which considerably rounds out the texture of Japanese green teas. It is a high-gastronomy heating tool, distinct from the teapot standard brewing one.

The Chaban is the foundation of the Gong Fu Cha ritual. This slatted tray, often made of bamboo, has a double base to collect water. It allows the teaware to be generously rinsed with boiling water and the leaves to be rinsed without concern for spills, symbolizing abundance and fluidity.

The travel set ingeniously stacks a small Gaiwan, a filter and cups inside a shockproof case. It makes it possible to practise the art of tea anywhere. The method remains the same: short, repeated infusions to extract the umami or woody notes without compromising on quality.

The porcelain Gaiwan is the ultimate learning tool. Inexpensive, its inert material is suitable for every family (green tea, black tea, Oolong). Its wide opening makes it possible to observe the unfurling of the leaf and adjust the infusion to the nearest second, training the novice's palate.

The tongs (Jia Zi) make it possible to handle dry leaves without contaminating them with moisture or oils from the fingers. They are also used to empty the scalding infused leaves from the teapot, ensuring perfect hygiene and respect for the raw plant material.

Washi is a traditional Japanese paper made from mulberry bark. Applied to a double-lidded tin caddy, it provides an airtight barrier against light and moisture, while bringing an organic, warm aesthetic, ideal for preserving umami.

In the traditional method, placing the lid of the teapot directly on the table can contaminate or chip it. The lid rest (often made of wood or ceramic) protects the object and maintains the hygiene of the preparation area, reflecting the respect inherent in the way of tea.

The aim with a grand cru is to allow the leaf to unfurl fully and release its aromatic complexity. The ultra-fine paper filter retains the smallest particles for a crystal-clear liquor but absorbs some essential oils. The wide-mesh metal filter allows these oils to pass through and offers a fuller-bodied drink. The most expert method remains loose infusion in a large teapot, filtered when serving, ensuring maximum space for hydration.

The choice of filtration material directly influences the final texture of your drink in the cup. The washable, reusable metal filter has a wide mesh that allows the tea's natural essential oils to pass through, producing a fuller-bodied liquor with a rounder mouthfeel. The much finer and more restrictive paper filter captures even the smallest particles, resulting in a clearer infusion that can sometimes have less texture. For whole leaves, stainless steel remains the standard among sommeliers.

The industry often uses bags filled with tea dust, known as Dust and Fannings, which release a flat, bitter liquor in a matter of seconds. By contrast, a loose-leaf grand cru consists of whole leaves with a vital need for space to rehydrate and open fully. This unfurling of the leaf in a wide vessel ensures a silky texture and the slow extraction of essential oils.

The mesh of a stainless steel filter eventually becomes clogged with essential oils and dark tannins. Never put it in the dishwasher with chemical detergents. Immerse it in a bowl of very hot water with a spoonful of baking soda for a few hours, then brush gently. It will regain its absolute neutrality for your next liquors.

The most purist solution for the office is a glass or ceramic infuser mug with an integrated stainless steel filter. It gives whole leaves the space they need to unfurl. Simply remove the filter after 3 minutes of infusion to stop the extraction of tannins, ensuring a balanced liquor without bitterness, even far from your traditional accessories.

Although eco-friendly, the major drawback of a natural cotton filter is that it absorbs tannins and odours over successive infusions. Unless you dedicate it exclusively to a single family of tea, it will eventually contaminate your liquors with a lingering aftertaste. Stainless steel and porcelain remain the purest filtration materials.

A teapot of small volume (150 to 300 ml) concentrates thermal energy and allows a high ratio of leaves to a small amount of water. This makes it possible to carry out very short, multiple infusions (Gong Fu Cha). The aromatic layers are thus revealed gradually, cup after cup, rather than being drowned all at once in a litre of bland water.

The natural cotton filter is eco-friendly and captures dust, offering a clear liquor. However, the fabric absorbs essential oils and becomes stained by tannins. It must be boiled thoroughly without soap, or dedicated to a single family (such as black teas) to avoid aromatic contamination.

Pressing the leaves against the sides expels a large amount of the tannins concentrated at the heart of the leaf, releasing an astringent, cloudy bitterness. Simply allow the filter or leaves to drain naturally to preserve the softness of the liquor.

The Matcha is not infused but emulsified: the entire leaf, finely ground on a stone mill, is consumed. The geometry of the bowl determines the success of the preparation. Its broad, flat base allows ample movement of the bamboo whisk to oxygenate the powder and create a velvety jade foam. Its flared sides promote rapid cooling, which protects the L-Theanine and delivers the Umami flavour without residual bitterness.

The Chashaku is a traditional Japanese spatula, steam-bent and designed for the tea ceremony. This high-precision tool is used to measure the fine powder of Matcha ceremonial grade, generally two spoonfuls for an usu-cha bowl. Mastering the dosage is the only way to balance the vegetal power of the ground leaf and avoid the bitterness caused by accidental overdosing.

The geometry of the bowl, called Chawan, is crucial to achieving a successful tea emulsion Matcha. Its wide, flat base gives the wrist the space needed to make a vigorous W-shaped motion with the bamboo whisk. Its flared sides also allow the water to cool very quickly, protecting the delicate L-theanine and encouraging a dense jade foam to bloom, while respecting the minimalist aesthetic of the tea ceremony.

The bamboo whisk, or Chasen, is a fragile object precisely carved from a single piece of wood, essential for the emulsion. To prolong its lifespan, never put it in the dishwasher or use any detergent. After use, simply rinse it by whisking it gently in a bowl of clear hot water. It must be left to dry with the head facing upwards, on a dedicated holder, to preserve its original curved shape.

The Matcha is not infused; it is emulsified using a traditional bamboo whisk, the Chasen, in a flat-bottomed bowl, the Chawan. To avoid any bitterness and prevent the powder from cooking, the water should be just below boiling, ideally between 75°C and 80°C. A broad W- or M-shaped motion aerates the powder and creates a fine, dense and velvety jade foam.

Yes, the fine powder of Matcha is extremely sensitive to oxidation and quickly loses its emerald colour and umami flavour when exposed to air. Before opening, keep your airtight tin in the refrigerator. Once opened, store it in a cool, dry place and consume it within four weeks to enjoy the full potency of L-theanine.

Bamboo is neutral, flexible and gentle on ceramics. The whisk (Chasen) uses the flexibility of its dozens of bamboo tines to emulsify the powder without scratching the bottom of the bowl (Chawan). The spoon (Chashaku) avoids any contact with metal that could alter the static charge and aromatic purity of the delicate jade powder.

No, the rotating mechanical action of an electric whisk disrupts the structure of the water and creates large, unstable air bubbles. The W-shaped motion of the Chasen traditional bamboo finely oxygenates the powder of Matcha, creating a microscopic, dense and velvety jade foam that protects the liquor from oxidation while releasing the umami.

The Chashaku should be held delicately. For a bowl of Matcha classic (Usucha), take two level measures of jade powder (approximately 2 grams). Its unique steam-shaped curve allows the powder to slide into the bottom of the bowl without scattering along the sides, preparing a perfectly centred emulsion.

Blind tasting, or tasting in dim light, is a Zen practice. Depriving the brain of sight heightens attention to the aromas perceived by the nose and through retronasal olfaction. It is a sommelier’s exercise for isolating roasted, floral or woody notes without being influenced by the colour of the liquor.

The powder of Matcha is so fine (micro-ground on stone) that it generates static electricity and forms small lumps in the container. Passing it through a fine sieve (Furui) breaks up these clumps, ensuring a perfectly smooth and velvety jade foam under the action of the whisk.

Caring for unglazed earthenware requires one strict rule: never use soap, as it would seep into the pores and ruin your next liquors. A rinse with clear, very hot water is sufficient, followed by air-drying without the lid. The natural deposit that forms, the seasoning, is the aromatic patina that gives the handcrafted object its full value.

Caring for a teapot made of artisanal ceramic, such as Yixing or Tokoname earthenware, requires one absolute rule: soap is its sworn enemy. Porous unglazed clay could absorb the chemical agents and impart a soapy taste to your liquors. A thorough rinse with clear boiling water after each tasting is all that is needed. It should then be left to air-dry without its lid, allowing the aromatic seasoning to develop.

The golden rule for cleaning tea objects depends on the nature of the material from which they are made. For a teapot made of porous earthenware, avoid all detergents, as they would destroy the ceramic’s aromatic seasoning, and opt for rinsing with boiling water. For enamelled cast-iron teapots or fine porcelain pieces, rinsing with clear hot water and a soft, non-abrasive sponge will remove tannin deposits without scratching the inert surface.

The Camellia sinensis leaf has four mortal enemies: light, humidity, heat and ambient odours[cite: 8]. To preserve the purity of your finest teas and prevent premature oxidation, store them in an airtight, double-lidded tin placed in a dry, dark location. Avoid transparent glass jars at all costs.

In the practice of Cha Dao (the Way of Tea), wooden tongs are used to handle scalding cups during rinsing and to remove dry leaves from the caddy without any direct contact. This prevents moisture or the skin’s natural oils from being transferred to the pure leaves, preserving their botanical integrity.

Seasoning is the aromatic patina that forms inside an porous ceramic unglazed (Yixing). Over the years, the clay absorbs the tea’s essential oils. This is why a master teapot is never washed with soap, and must be strictly dedicated to a single cultivar family (e.g. only Oolongs roasted).

Yes, dark Pu-erh tea is often compressed into cakes (Bing Cha) to facilitate its post-fermentation. The tea knife (or pick) is gently inserted between the layers of the cake to separate the leaves without breaking them, thus preserving their cellular structure for a smooth infusion free of bitterness.

The Chaban is a traditional tray (often made of bamboo or ceramic) with a double base to collect water. It is essential to the Gong Fu Cha method, in which the teaware and tea leaves are liberally rinsed with boiling water to purify and warm them before infusion. It symbolises the abundance and fluidity of the ritual.