傳來
翠嚴和尚之箱書付「大通庵」，據說是津田宗達的庵號。由此推測，此茶入原為宗達所持，後由宗達傳至江月，再傳至龍光院，成為其藏品。天明八年九月，姬路酒井雅樂頭宗雅於龍光院觀賞此茶入，並與其他名器一同品評，此事記載於《逾好日記》中。
（備考）關於宗達的身份，一般說法認為其為宗及之父。然而，《今井宗久日記》中永祿九年五月十一日的記載中提到：「今年四月十一日，宗達改名為宗久。」由此推測，宗達可能是宗及的別名，但此說法尚未明確，姑且作為參考記錄於此。
元ー明時代 盆：明時代
14ー16世紀 盆：16世紀
盆：木製漆器
大通庵伝来―津田宗及所持
實見記
大正九年五月十六日，於京都市上京區紫野大德寺龍光院觀察此茶入。口部作玉緣形式，帶有回折設計，器形自肩部至底部張開，呈飯碗般外張形態，胴部稍鼓，底部圓潤，極為美觀，屬典型文琳形制。底部以下露出朱泥色胎土，部分底緣經磨光處理，絲切細膩清晰。胴身呈現旋紋轆目，底部形成竹葉狀橫紋，底緣亦見刮削痕跡，工藝極為精妙。
釉色以熱柿色為主，一側肩部釉流自頂部傾瀉，另一側則自中部傾流，兩股黑飴釉在底緣交匯，並於盆附處停止。釉流堆積處光澤艷麗，極為精美。肩部另有釉飛散的特徵，內部口緣施有綠釉，以下見旋紋，底部中央呈漩渦狀紋理。整體作風獨特有趣，特別是底部橫紋及刮痕，更顯茶趣十足，是一件極具茶味的名品茶入。
築紫文琳茶入常見問題
什麼是築紫文琳茶入？
築紫文琳茶入是一件來自元至明代（14至16世紀）的陶器，以文琳樣式製作而成。其特點是柿紅釉色、流動的黑飴釉點綴，以及底部獨特的標記。
這件茶入目前收藏在哪裡？
這件茶入目前收藏於京都大德寺龍光院。
這件茶入的歷史意義是什麼？
築紫文琳茶入據信曾為著名茶人津田宗達及可能的津田宗及所有。其歷史可通過箱書和歷史文獻追溯，例如《逾好日記》記載，1788年一位高官曾於龍光院觀賞此茶入。
這件文琳茶入的獨特之處是什麼？
此文琳茶入以優雅的圓形和微微外張的底部聞名。底部的橫向標記類似竹葉，另有清晰的刮削痕跡展現出匠人的技藝。流動的黑飴釉與濃郁的紅釉形成對比，釉飛的效果更增添其視覺魅力。
什麼是「糸切」底部的重要性？
「糸切」指的是茶入底部精細雕刻的特徵，利用薄刃工具精心修飾，呈現乾淨且精確的收尾。此文琳茶入的糸切底部以「清晰分明」著稱，展現了工匠的高超技藝。
文琳在茶入中代表什麼樣式？
「文琳」描述的是一種茶入的特殊樣式，其圓形外觀類似文人的硯台。此類茶入通常具有寬口、柔和的肩部曲線以及圓潤的底部，如築紫文琳茶入所呈現。
「充滿茶趣與魅力」這句話的含義是什麼？
這句話指茶入的美學吸引力及其與日本茶道豐富歷史和哲學的聯繫。其獨特的釉色和標記被認為提升了整體的品茶體驗，體現了「侘寂」之美，即對不完美與簡約的欣賞。
關於此茶入的所有權歷史是否存在疑問？
雖然箱書顯示該茶入曾屬於津田宗達，但歷史記錄中對他與津田宗及之間關係存在可能的模糊。一篇日記暗示宗達可能是宗及的另一個名字，儘管尚無法確認。儘管存在這些不確定性，該茶入與著名茶人的聯繫大大提升了其歷史價值。
伝来翠厳和尚の箱書付に「大通庵」とあるは、津田宗達の庵号なりといえば、此の茶入は元宗達所持にして、同人より江月に伝えて龍光院の仕物たりしものならん。天明八年九月、姫路酒井雅楽頭宗雅、龍光院にて他の名器と併せて一覧せること、『逾好日記』に見えたり。
（備考）宗達は宗及の父なること普通の説なれど、『今井宗久日記』永禄九年五月十一日の係に「今年四月十一日、宗達宗久ト改名ナリ」とあり。左れば宗達は宗及の別名なるやも知れされど、共に確定せず、姑く参考として茲に之を掲ぐ。
実見記大正九年五月十六日、京都市上京区紫野大徳寺龍光院に於いて質見す。口作玉縁拈り返し設く、飯下張り、肩撫で胴張りて裾まる、文琳形極めて美なり。裾以下朱泥色の土を見せ、底縁一部磨ら、絲切細くして最も鮮明なり。胴轆目設くり、裾に於いて笹の葉状を成したる横館あり、又底廻りにも箆筋ありて、作行妙なるものなり。
熱柿金色にして、一方は肩先より、一方は間より、二つの黒飴釉ナダレ裾に於いて相合し、盆附際に至りて止まり、其の釉溜光沢別して美事なり。また他の肩先に於いても同じく釉飛びあり。内部口緑釉掛り、以下轆目あり、底中央渦状を成す。熱体ぶよのうとして作行面白く、裾廻り横箆など、茶味十分なる茶入なり。
Provenance
The box inscription by Zen Master Suigen and Kōgō mentions “Daitsū-an,” believed to be the hermitage name of Tsuda Sōtatsu. This suggests that the tea container was originally owned by Sōtatsu, passed down to Etsugetsu, and eventually became part of the collection of Ryūkō-in. In September of the eighth year of Tenmei (1788), Sakai Uta no Kami Munemasa of Himeji inspected this tea container at Ryūkō-in along with other renowned utensils, as recorded in the Yo-kō Diary.
(Note) It is commonly believed that Sōtatsu was the father of Sōkyū, but the Diary of Imai Sōkyūdated May 11 of the ninth year of Eiroku (1566) states, “On April 11 of this year, Sōtatsu changed his name to Sōkyū.” This raises the possibility that Sōtatsu might have been another name for Sōkyū, though the matter remains uncertain. This note is provided here for reference.
Observations
On May 16 of the ninth year of Taishō (1920), this tea container was inspected at Ryūkō-in in Daitoku-ji Temple, located in Murasakino, Kamigyō Ward, Kyoto. The rim features a bead-like tama-buchi design with a curved fold-back. The body flares out like a rice bowl, with a gently sloped shoulder, a slightly bulging body, and a rounded base. The shape is exceptionally elegant, adhering to the Bunrin style. Below the base, the vermilion clay is exposed, with portions of the foot rim polished. The itokiri (cord-cut base) is finely detailed and exceptionally clear. The body displays horizontal wheel marks (rokuro-me), and the base has horizontal patterns resembling bamboo leaves, along with scraper marks on the foot rim, showcasing exceptional craftsmanship.
The glaze is a rich persimmon-red (atsugaki) with two streams of flowing black ame-yū glaze, one cascading from the shoulder and the other from the middle. These flows meet at the base and stop near the bon-tsuke (foot ring), where the pooled glaze is especially lustrous and visually striking. Another part of the shoulder also features glaze splashes. The inner rim is coated with green glaze, and the interior displays wheel marks, with the center of the base forming a whirlpool-like pattern. The overall structure is dynamic and unique, with horizontal scraping patterns and foot-rim marks adding to its profound tea aesthetic. This tea container is an exceptional piece with an abundance of tea flavor and charm.
Chikuji Burin Tea Container FAQ
What is the Chikuji Burin tea container?
The Chikuji Burin tea container is a ceramic piece from the Yuan-Ming dynasty (14th-16th centuries) crafted in the Bunrin style. It is known for its persimmon-red glaze, flowing black glaze accents, and unique markings near the base.
Where is the tea container currently located?
The tea container is currently housed in the Ryūkō-in subtemple at Daitoku-ji Temple in Kyoto, Japan.
What is the historical significance of the tea container?
The Chikuji Burin tea container is believed to have been possessed by famous tea masters, such as Tsuda Sōtatsu and perhaps Tsuda Sōkyū. Its history can be traced through box inscriptions and historical documents, including the Yo-kō Diary, which records its examination by a high-ranking official in 1788.
What are the distinctive features of this particular Bunrin tea container?
This Bunrin tea container is notable for its elegant, rounded shape with a flared base. It also has distinctive horizontal markings near the base that resemble bamboo leaves. Visible scraper marks highlight the artisan's skill. The flowing black glaze, which contrasts with the rich red, and the glaze splashes add to its visual appeal.
What is the significance of the "itokiri" base?
The "itokiri" refers to the meticulously detailed cord-cut base of the tea container. This technique entails carefully carving the base with a thin tool, resulting in a clean and precise finish. The itokiri on this Bunrin piece is particularly noteworthy for being "clear and distinct," demonstrating the craftsman's expertise.
What is the meaning of the term "Bunrin" in relation to tea containers?
"Bunrin" describes a particular style of tea container with a rounded shape that resembles a scholar's inkstone. These containers typically have a wide mouth, gently sloping shoulder, and rounded base, as seen in the Chikuji Burin tea container.
What does the phrase "abundance of tea flavor and charm" signify?
This phrase refers to the tea container's aesthetic appeal and its connection to the rich history and philosophy of Japanese tea ceremony. The unique features, such as the glaze accents and markings, are thought to enhance the overall tea experience, embodying the essence of "wabi-sabi," the appreciation of beauty in imperfection and simplicity.
Is there any uncertainty surrounding the ownership history of the tea container?
While the box inscription suggests that the container belonged to Tsuda Sōtatsu, historical records introduce a possible ambiguity regarding his relationship with Tsuda Sōkyū. A diary entry hints that Sōtatsu might have been another name for Sōkyū, although this is unconfirmed. Despite this uncertainty, the tea container's association with notable tea masters adds to its historical significance.
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