唐物酸漿文琳
唐物文琳茶入、大名物
ほおずきぶんりん 酸漿文琳
【付属物】
蓋―二
仕覆―三、笹蔓緞子・船越間道・永観堂金襴
仕覆箱 桐白木書付
挽家 黒塗
若狭盆 盆箱 桐白木書付 総箱一部
蓋錠前付、蓋裏書付
酒井雅楽頭侍従源朝臣忠実筆
【伝来】 徳川家康 — 酒井雅楽頭忠世
【寸法】 高さ：8.8 口径：2.9 胴径：76 底径：3.3 重さ：66
“酸漿”這一名稱源於其造型與釉色的特徵。引自《德川御實記》中的部分記載如下：“此茶入口部細長如文琳，形狀近似肩衝，因此在茶書中或稱為文琳，或稱為肩衝。
現觀草間和樂所編《茶器名物圖繪》所載，其內錄有《相阿彌東山殿筋之記》，注明永正十三年十月十日的日期，並在‘文琳肩衝’名下繪有茶入圖，此即後世所稱的‘酸漿文琳’。
元和二年四月五日，酒井雅樂頭忠世在病榻上亦獲賜‘酸漿’茶入。值得注意的是，早在東山時代的同朋眾便已發現此類茶入的趣味。其口部小巧，肩部略寬，腹部呈小收形，整體姿態以及斑駁的紋理，均令人聯想起酸漿，這也是其被稱為“文琳肩衝”的原因。
釉色為黑褐地，柿色釉縱向斑駁，腰部以下的胎土亦顯細密的竪紋。胎土呈微紅的白色，質地細膩，底部的削泥痕跡清晰可見。
茶入的仕覆配有三種，分別為緞子、間道、金襕，搭配完整，彼此不同。相關記載見於《相阿彌東山殿之記》與《茶器名物圖繪》。
其釉色與形狀酷似酸漿，因此得名。整體以黑飴釉為主，交雜柿色，尤以肩部的釉色特徵最為顯著。此外，黑飴釉中帶有金屬質感的柿色豎紋，細密且均勻地分佈於器身。
釉色光澤華美，手感極為輕盈，白胎土質細膩緊致，呈現出高雅脫俗的氣韻，是一件品格高尚的茶入。
1616年（元和二年）4月5日，酒井雅樂頭忠世於駿府覲見德川家康時獲賜此茶入，此後一直作為姬路酒井家的第一傳家之寶。
（引自《大正名器鑑》）
釉および形状が酸漿に似ているとしての銘であります。総体に黒飴釉の中に柿色を交え、特に肩先においてその通りであります。また黒飴釉中に金気を帯びた柿色竪箆目がこまかく総体にわたります。釉色は光沢麗しく、手取りは極めて軽く、白土がねっとりとして気品高尚な茶入であります。
1616年（元和二年）4月5日に酒井雅楽頭忠世が駿府で徳川家康に謁見した時これを拝領し、以来姫路酒井家の第一の家宝でありました。
（『大正名器鑑』）
Its glaze and shape resemble the Hozuki (Japanese lantern plant), giving it its name.
The overall glaze consists mainly of black-brown glaze, interspersed with persimmon-colored highlights, particularly notable around the shoulder area.
Additionally, fine vertical streaks of persimmon-colored glaze with a metallic sheen appear within the black-brown glaze, uniformly distributed across the surface.
The glaze has a brilliant, lustrous finish. The piece is exceptionally lightweight, and the white clay is dense and refined, exuding an air of elegance and sophistication, making it a tea caddy of exceptional quality.
On April 5, 1616 (Genna 2), Sakai Uemon no Kami Tadayoshi received this tea caddy as a gift during his audience with Tokugawa Ieyasu in Sunpu. Since then, it has been regarded as the foremost family heirloom of the Sakai family of Himeji.
(Referenced from Taisho Meikikan.)
酸漿文琳常見問答
什麼是酸漿文琳？酸漿文琳是一件著名的日本茶入（茶入れ），因其美麗與歷史意義而備受推崇。它被視為「名物」，即在日本茶道中被公認的珍貴茶具。
為什麼稱為「酸漿文琳」？名稱中的「酸漿」來自茶入的外形和斑駁的色澤，與酸漿果實相似。「文琳」是一種特定的茶入形式，特徵是細長的口部和類似肩衝（肩付き茶入）的形狀。
酸漿文琳的主要視覺特徵是什麼？
釉色：酸漿文琳以黑褐色的黑飴釉為主，其間交雜著柿色釉條紋，肩部的柿色尤為突出。此外，表面還有帶金屬光澤的柿色細竪紋，均勻分布於整體。
形狀：茶入具有小巧的口部、高頸、略微擴張的肩部，腹部以下逐漸收窄的造型。
胎土：使用細膩的白色胎土，帶有微微的紅色調，展現出陶藝家的高超技藝。
酸漿文琳的製作年代是什麼時候？確切的製作年代未知，但酸漿文琳至少可追溯到16世紀初期。記錄顯示，它在東山時代（1485-1573）已經被認為是一件名品。
酸漿文琳的所有者是誰？酸漿文琳最初由統治日本的室町幕府足利將軍家所有。1616年，德川幕府的創建者德川家康將其贈予著名的大名酒井忠世。此後，它一直由姬路的酒井家族傳承，作為珍貴的家族寶物。
酸漿文琳的重要性是什麼？酸漿文琳的重要性體現在以下幾個方面：
美學價值：它是日本陶瓷藝術的視覺典範，其釉色與造型因其美感與優雅而受到高度評價。
歷史意義：它的歷史與日本歷史中的重要人物緊密相連，包括足利將軍、德川家康與酒井家族。
文化價值：它代表了日本茶道中培養出的對美的品味與欣賞能力。
是否有關於酸漿文琳的文獻記載？是的，酸漿文琳在多部歷史文獻中有記載，包括：
《相阿彌東山殿之記》：這份1516年的記錄包含了對茶入的最早提及之一。
《茶器名物圖繪》：由草間和樂編纂的茶器名物圖錄，內含酸漿文琳的圖像。
《德川御實記》：德川幕府的編年史，記錄了德川家康將此茶入贈予酒井忠世的事件。
《大正名器鑑》：該出版物詳細描述了酸漿文琳及其歷史。
酸漿文琳目前在哪裡？酸漿文琳仍由酒井家族收藏，其具體存放地未對外公開。為保護其狀態，應存放於安全且環境受控的場所。最近一次公開展示是在京都國立博物館的藏品中。
「酸漿」の名はその形状と釉色によるものです。
『徳川御実記』より一部記載しますと、「此茶入は口細くして文琳の如く、形は肩衝に似たれば、茶書に或は文琳といひ、或は肩衝といへり。
今草間和楽編の茶器名物図彙を見るに、其中に載せたる相阿彌東山殿筋之記に、永正十三年十月十日の日附を記し、文琳肩衝といふ名の下に茶入圖を掲げたりますが、是れ即ち後世ほうづき文琳と称するものなるべし。
元和二年四月五日、酒井雅楽頭忠世も御病床にて酸漿の茶入を賜」。
すでに東山時代の同朋衆が、こうした茶入の面白さを見出していたことは注目すべきことです。
口造りは小さく甑は高いです。
肩はややひろがり、胴より小すぼみの姿としきまだらは、いかにも酸漿を想わせ、文琳肩衝といわれるのもこの姿にあります。
釉色も黒飴地に柿色釉が縦に斑をなし、腰以下は土もまた細い縦縞を呈しています。
土は赤みを帯びた白土で、きめ細やかであり、底の糸切も鮮明です。
仕覆は三枚添っていますが、緞子・間道・金襴とすべて異種を揃えて整っている。
『相阿彌東山殿之記』 『茶器名物図彙』などに記載。
The name "Hozuki" (Japanese lantern plant) derives from its distinctive shape and glaze color.
A passage from Tokugawa Jikki states:"This tea caddy has a narrow mouth resembling a Bunrin style, and its shape is similar to Katatsuki (shouldered tea caddy). Thus, in tea writings, it is sometimes referred to as Bunrin and sometimes as Katatsuki.
Upon examining Chaki Meibutsu Zue (Illustrated Catalog of Famous Tea Utensils) compiled by Kusama Waraku, one finds a record in the Soami Higashiyama-dono Suji no Ki dated October 10 of Eisho 13 (1516). Under the name 'Bunrin Katatsuki,' an illustration of a tea caddy is presented. This likely refers to what was later called the 'Hozuki Bunrin.'
On April 5 of Genna 2 (1616), Sakai Uemon no Kami Tadayoshi was also bestowed the Hozuki tea caddy on his sickbed."
It is noteworthy that the tea connoisseurs of the Higashiyama period had already discovered the charm of such tea caddies.
The tea caddy has a small opening, a high, narrow neck, slightly widened shoulders, and a tapering form below the belly. These features, along with its mottled pattern, evoke the image of a hozuki (Japanese lantern plant), which explains why it is also called "Bunrin Katatsuki."
The glaze features a black-brown base with vertical streaks of persimmon-colored glaze. Below the waist, the clay shows fine vertical stripes.
The clay itself is fine-grained white clay with a reddish tint, and the trimming marks on the base are clearly visible.
The tea caddy is accompanied by three types of silk pouches (shifuku), each distinct: damask, striped, and gold brocade, all meticulously selected to complement the piece.
Relevant records can be found in Soami Higashiyama-dono no Ki and Chaki Meibutsu Zue.
Hozuki Bunrin FAQ
What is the Hozuki Bunrin?
The Hozuki Bunrin is a famous Japanese tea caddy ( chaire ), highly prized for its beauty and historical significance. It is considered a meibutsu, a term used to designate celebrated tea utensils in Japan.
Why is it called “Hozuki Bunrin”?
The name “Hozuki” (Japanese lantern plant) comes from the tea caddy’s resemblance to the shape and mottled coloring of the hozuki fruit. “Bunrin” is a term used to describe a specific type of tea caddy with a narrow mouth and a shape similar to a katatsuki (shouldered tea caddy).
What are the key visual characteristics of the Hozuki Bunrin?
Glaze: The Hozuki Bunrin features a black-brown glaze known as kuroame. This glaze is interspersed with streaks of a persimmon-colored glaze, which is particularly prominent around the shoulder area. Additionally, fine vertical streaks of persimmon-colored glaze with a metallic sheen run across the surface.
Shape: The tea caddy has a small opening, a high neck, slightly widened shoulders, and a tapering form below the belly.
Clay: The clay is a fine-grained white clay with a reddish tint, showcasing the skill of the potter.
When was the Hozuki Bunrin made?
While the exact date of creation is unknown, the Hozuki Bunrin dates back to at least the early 16th century. Records indicate that it was already considered a notable piece during the Higashiyama period (1485-1573).
Who owned the Hozuki Bunrin?
The Hozuki Bunrin was originally owned by the Ashikaga shoguns, who ruled Japan during the Muromachi period. In 1616, it was given by Tokugawa Ieyasu, the founder of the Tokugawa shogunate, to Sakai Tadayoshi, a prominent daimyo (feudal lord). It has been passed down through the Sakai family of Himeji ever since and remains a treasured heirloom.
What is the significance of the Hozuki Bunrin?
The Hozuki Bunrin is important for several reasons:
Aesthetic Value: It is a visually stunning example of Japanese ceramic art. The glaze and form are highly prized for their beauty and elegance.
Historical Significance: Its history is intertwined with powerful figures in Japanese history, from the Ashikaga and Tokugawa shoguns to the Sakai clan.
Cultural Importance: It represents the refined taste and appreciation for beauty that was cultivated within the Japanese tea ceremony tradition.
Are there any records or documentation about the Hozuki Bunrin?
Yes, the Hozuki Bunrin is mentioned in several historical documents, including:
Soami Higashiyama-dono no Ki: This record from 1516 contains one of the earliest mentions of the tea caddy.
Chaki Meibutsu Zue (Illustrated Catalog of Famous Tea Utensils): Compiled by Kusama Waraku, this catalog includes an image of the Hozuki Bunrin.
Tokugawa Jikki: This chronicle of the Tokugawa shogunate records the transfer of the tea caddy from Ieyasu to Sakai Tadayoshi.
Taisho Meikikan: This publication features a detailed description of the Hozuki Bunrin and its history.
Where is the Hozuki Bunrin currently located?
The Hozuki Bunrin remains in the possession of the Sakai family, though its specific location is not publicly disclosed. It is likely kept in a secure and climate-controlled environment to ensure its preservation. It was last seen in the Kyoto National Museum collection.
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