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This paper makes a brief analysis of the differences in Zhou brother's tea culture. From which we can see that the two views of tea culture and their personality trends, world view, outlook on life, aesthetics have a close connection. Lu Xun upheld respecting the people’s world view, while Zhou Zuo-ren could not view the world from a macro perspective because he paid too much attention to egoism and liberal worldview. Lu Xun payed more attention to the daily tea, Zhou Zuo-ren payed so much attention to the art of tea. Just as literature cannot exist independently from history and society, tea culture cannot be separated from human society. In the twenties and thirties of the twentieth century, China was facing a crisis of life and death. The essence of elegant beauty, noble beauty is actually irresponsible paralysis, but the essence of simple beauty is the "last struggle" and "fighting." Separating from the immediate reality of the society and blindly pursue elegant beauty is tantamount to nonsense. Before death, Lu Xun has also been putting Zhou Zuo-ren's work on the pillow in order to read at any time. Zhou Zuo-ren also wrote some books of Lu Xun in his later years. Today, such as the parallel line of alienated two brothers, the inner world of their later years has become the topic of life and literature.
本文对周氏兄弟的茶文化观之差异作了简要分析，从中我们可以看到，两人的茶文化观与其 性格、人生观、美学观、世界观有着紧密的联系。鲁迅秉持着尊重民众的世界观，周作人则因其 过分重利己主义和自由主义的世界观而无法从宏观角度观察世界。鲁迅注重日常之茶，而周作人 则注重艺术之茶。正如文学无法脱离历史和社会而独立存在，茶文化也离不开人社会。 二十世纪二三十年代中国，临着生死存亡的危机。高雅美、高尚美的本质其实是种不负责任 的麻痹，而朴素美的本质正是“最后的挣扎”与“战斗”。脱离眼前的现实社会一味地追求高雅 美，无异于癡人說夢。 鲁迅临终前，还一直将周作人的书放于枕边，以便随时翻阅，。周作人也在晚年写了多本关 于鲁迅的书。如今，如平行线般相疏离的兄弟二人，其晚年的内心世界又成为生活与文学的议 题。
