Historical and Cultural Context of Wrapper Content
The most obvious information on the wrapper is the factory,
the wording, marketing, and perhaps time and place. We might know more about
the tea than the wrapper tells us, because we know the story behind the tea
enclosed in that wrapper. Cultural and linguistic folks along with tea
historians deconstruct wrappers over time, and many collectors know facts like
when date stamping began, or what CNNP really means in any given year based on
the history of this label.
These are large topics requiring books to really get into
specifics. I’m interested in the end user, the person with a collection. We are
aware of historical and cultural aspects related specifically to the
information on the label. Or lack of it, in the case of modern trends of labels
as art rather than as indicative of the product inside. Whether or not the
wrapper has Chinese characters, or merely a picture or art, we can look at the
function of wrapper as descriptive, as part of the tea object.
Wrapper Defines the Tea as Object
To me, this is when the wrapper coalesces with the object of
the tea so they function as one. The wrapper is not merely information about
the tea, but is a part of the tea. For example, here is a tea where the wrapper
and tea-as-an-object function together.
Most puerh fans need only see the crane and tuo shape to
know this is a Xiaguan tuo. The yellow box tells us it’s the gold ribbon tuo,
but the tuo alone with the wrapper tells us what “it” is, the “it” is Xiaguan
tuo. The shape and the wrapper image are a singular identity. When I own one of
these, I hold in my hand a Xiaguan tuo, wrapper and tea together. And the box if you're savvy.
Photo: Grandness China Tea Co. on Aliexpress |
Some teas are very special to a collector. Maybe the person
saved money for a long time to afford their desired puerh tea. Or spent years
seeking out a particular production. Finally when the tea arrives, the
collector can hold it in their hands and think “It’s mine, I have it now.” The wanting behind the tea eventually is satisfied when holding the cake with the wrapper in hand.
The wrapper is one with the coveted tea. Very quickly, of
course, the tea in our possession moves from coveted object to tea object in
storage, where the focus changes from looking and touching to smelling and
worrying. The object of the tea in the wrapper takes on the object relations of
success or failure in storage. We’ve moved from merely having, or owning, to
ideas about the progress of the tea. Or we are moving on to drinking the tea
and reaching the point where it no longer exists in our collection, it is
object of consumption. Once consumed, we begin to form our ideas about the tea.
This moves the tea from an object with wrapper to ideas which encompass much,
much more.
Wrapper as Narrative and Consensus
To illustrate this point, let’s look at some teas which we
can agree have some historical consensus behind them.
Tea Classico's offering of 2012 7542 teaclassico.com if anyone is still home over there. |
As a general idea of “good tea,” we look at the 7542 or the Grand Red Mark in a
way that a record collector looks at a Sun Records label of a Johnny Cash song.
In the book Contemporary Collecting: Objects, Practices and the Fate of
Things, editor K. Moist makes a point about record labels which I think
applies rather well to puerh wrappers too. “Many of these labels’ releases, by
their very existence, but also through their creative and detailed
presentation, call attention to various (mostly unstated) assumptions that underlie
consensus musical history (Moist and Banach 2013, p. 241).” This is what I mean
about the label, or wrapper in our case, plus the owned object itself
representing the consensus narrative behind it. With puerh, the consensus is stated, as
opposed to simply inferred, because many puerh drinkers have opined on the tea.
Historical consensus is truly a fun aspect of owning puerh tea,
apart from just buying and collecting. People discuss teas at all stages of
development. Sometimes consensus changes as a tea takes on age, and perhaps
does not live up to early promise. Or maybe a tea sits around in collections
for a long time before rediscovery and the consensus moves the tea into a
desirable category.
Misty Peaks 2016 100g cake--my photo. |
A new trend of puerh wrappers as art, or in the case of
white2tea using Drake songs, I notice that the song reference carries little
meaning after a time, because drinker consensus about the tea takes over its original
identity. I don’t need to know what “Untitled 2” means, even though the cake is
based on a song I haven’t heard of and don’t plan to listen to. The tea and the
wrapper have an emerging consensus that interests me based on people drinking
it and talking about it. I’m encouraged to look at YS 2015 Year of the Goat
shou and recognize the wrapper because enough people have mentioned it as a
decent ripe for my attention and credit card to give it a try.
What other teas can you think of that have some historical consensus among collectors? Here is another one I’d propose, though the wrapper maybe a tougher one for new puerh drinkers to identify.
What other teas can you think of that have some historical consensus among collectors? Here is another one I’d propose, though the wrapper maybe a tougher one for new puerh drinkers to identify.
Consensus, with only word of mouth provenance. |
Same cake as above, but with wrapper. |
I suggest that the “rabbit hole” behind buying puerh tea,
and trying to stop but you can’t is in large part due to how the object and
wrapper function as one identity, symbolic of historical narrative and
consensus. Sometimes it’s possible to hate the tea but still need to keep it,
to own it even when someone offers you a better price than you paid. You don’t
want to let go of a tea that has developed meaning. You might even keep a
scrapbook of neifei or save the wrappers of teas you’ve drunk to remind you
that you owned it, to tell the story of your personal taste.
All my musings about the wrapper here really stemmed back
from the idea of “mainstream puerh,” asking myself what it takes for something
like puerh tea to become more popular than it is now. Mainstreaming involves
more than simply changing the factory wrappers with characters to fancy art and
design. Puerh obtains narrative and identity through consensus, through people
talking. Yes, we still need those stereotypical people with apparently nothing
better to do except obsess over sessions and post online, or write blogs and books.
Talking is fun, so let’s keep sharing and see what happens, which teas shake
out of collections as truly remarkable.
Reference.
Moist, Kevin M., and David C Banash. Contemporary Collecting: Objects, Practices and the Fate of Things.
Lanham: The Scarecrow Press Inc, 2013.
I agree that it's worth it for vendors to make a unique label for cakes regardless of how "fancy" they make it. Take W2T's White Whale for example, it sold very quickly once word of mouth got going. How much of that came from the fact that it was an identifiable narrative of "the whale" rather than simply another company's early 2000's white label?
ReplyDeleteAnd Hobbes the Puerh Leviathan 😉
DeleteI find it immensely comforting, and somehow satisfying, to know that I am not the only person on the planet to carefully keep puer wrappers once their purpose has ceased to be. Can anyone please tell me what I can do with them?
ReplyDeleteThe most mysterious type of collecting to me is train spotting. I'm not sure if it is a thing in the States, but here some folks spend their lives spotting trains and entering their names into their log books. If that is odd, I had a friend who spotted railway signal boxes- he had personally visited and recorded virtually every railway signal control building in the U.K.
My theory of collecting is that we have an inate need to be a master of something. Anything will do. In a global world, it has to be something obscure such as signal boxes, or puerh teas. Is that a theory supported by your references?
My references do support that for collecting in general. Since puerh is alive and the care of it is up to us, rather than the railway, I suppose pet hoarding is another reference, where it might be possible to have so much tea that one cannot care for properly.
DeleteI save intact wrappers only and then to reuse. I have hung on to neifei, but with the idea someone else might want them.
I love this idea, "I think people want the pressed tea and the wrapper too because the ownership as an object and the consensus together bring status to a collection, or the feeling of good taste by the owners, of having chosen well" for the way it illuminates one set of connections between materiality, psychology, and sociability. Brava.
ReplyDelete