蕎麥茶碗：玉川
名物
此茶碗與「殘月」齊名，為著名的蕎麥茶碗之一。其枇杷色底釉局部呈現青鼠色的變化景致，成為此茶碗最大的魅力所在。
「玉川」之名乃松平不昧公所賜，取自水中映照的山吹景象，並引用俊成卿的古歌：「こま恚めてなほ水かはむ山吹の花のつゆそふ井手の玉川」（意譯：駒踏碎山吹花，露珠散落於玉川之水），由此命名為「玉川」。
附属物
箱：桐木製，外覆黑漆掻合塗（刮擦漆工藝），銀粉題字。蓋表書有松平不昧筆跡，右上題「玉川」、左下題「茶碗」。蓋內同以銀粉書寫古歌，亦為松平不昧筆跡。
傳承：由馬越化生轉至野崎幻庵。
記載：收錄於《大正名器鑑》。
尺寸
高度：7.0公分
口徑：16.5～17.2公分
高台徑：5.5公分
高台高度：0.8公分
重量：275克
參考：
左：蕎麥茶碗 夏月 ； 右：蕎麥茶碗 殘月
特徵
素地為含有白色小砂的細膩土質，質感黏稠。其表面內外均施有透明釉，釉層薄而均勻。
燒成略呈氧化狀態，因素地內含微量鐵分，使內外呈現枇杷色。然而，口沿約三分之一處因還原燒成，轉化為青鼠色。
茶碗形態為口緣寬闊、淺而平的造型，由低矮而緊實的高台支撐。底部可見右旋渦紋，中央微微隆起，高台的接觸面有五個窩眼。
整體製作較井戶茶碗稍薄，胴身有明顯的轆轤紋三段，上方兩段較模糊，底部兩段尤其清晰，為此茶碗的重要特色之一。
腰部微微外張，與口沿青鼠色相對的另一側，有一處無釉的區域，形似耳形，稱為「火間」。
內壁枇杷色，外壁青鼠色的區域稍微映射至內壁。內部見六個窩眼，僅在口沿有一道細小的縱向裂紋，整體保存狀況良好，堪稱優雅無瑕的茶碗。
傳承背景此茶碗原為松平不昧公所藏，後經萄完齋夏羽九井所有，於大正初年由馬越恭平翁取得，隨後轉讓予野崎廣太氏。戰前與戰後長期存於長尾美術館，目前為大佛次郎氏所藏。此外，據傳五島慶太氏因居於玉川之畔，曾渴望獲得此茶碗並多次提出請求。
附屬品此茶碗配有桐木製盒，外覆刮擦黑漆，蓋表以銀粉題字，書有松平不昧公所寫「玉川」與「茶碗」。盒蓋內亦以銀粉書寫俊成的古歌，字跡優雅精緻。
（小山冨士夫 撰）
名物茶碗：玉川
此茶碗與「殘月」並稱為蕎麥茶碗中的雙璧，其枇杷色的地釉中帶有青色的火變，松平不昧將此景象比作水中倒映的山吹花景，並引用俊成的和歌：「駒とめてなほ水かはむ山ぶきの花の露そふ井手の玉川」（意為：停下馬匹，仍然映照著山吹花與水珠交映的玉川景色），因此命名為「玉川」。
枇杷色底釉上隱約浮現的青色火變，為此茶碗增添了深邃的余情，使其更具魅力。茶碗胴部的轆轤紋清晰明顯，整體造型緊緻。內部茶溜範圍寬廣，展現出蕎麥茶碗的特色。
特徵
內部有六個目痕，高台接觸面有五個目痕，高台內部的渦紋工藝亦非常精美。
口緣處有一處「火間」，成為茶碗上絕佳的景色。
分類此茶碗為朝鮮茶碗中的本手蕎麥茶碗，兼具青黃二色的火變效果。松平不昧以俊成的和歌為意象，將其命名為「玉川」。
傳承背景此茶碗曾為馬越恭平所持，後來流傳至野崎廣太家族。
附屬品
茶碗配有桐木製黑漆掻合塗盒，外蓋題銀粉文字，為松平不昧所書。
蓋內亦以銀粉書寫俊成的和歌，筆跡同為松平不昧。
補充說明茶碗的青、黃交映效果深具魅力，其火變所呈現的景色使茶碗更顯雅緻。高台的渦紋與口緣的火間皆是重要的欣賞細節。
（摘自《大正名器鑑》）
玉川茶碗：常見問題解答
什麼是「玉川」茶碗？
「玉川」茶碗是一件日本茶道中著名的名物（meibutsu），意指備受推崇和珍視的器物。它特別以蕎麥茶碗（soba chawan）而聞名，是專為盛裝蕎麥麵所設計的茶碗。
為什麼「玉川」茶碗如此特別？
「玉川」因以下獨特特徵而備受推崇：
枇杷色釉（biwa-iro）： 茶碗的主要釉色為溫暖的黃褐色，被稱為枇杷色。
青鼠色火變（aonezumi-iro）： 燒製過程中，釉面因窯火與灰燼的影響，在局部區域轉化為淡淡的青鼠色（灰藍色）。這種意外的變化為茶碗增添了視覺層次感與深度。
穩健的造型： 「玉川」茶碗外形寬淺，配有低矮且結實的高台，其造型被認為非常適合呈現和享用蕎麥麵。
「玉川」這個名字有什麼含義？
「玉川」（意為「寶石河」）這個名字取自日本古歌人俊成的一首古歌。該詩描繪了山吹花倒映於流水的景象。茶碗的前主人、著名茶人松平不昧將詩中的意象與茶碗枇杷色釉和青鼠色火變聯繫起來，認為這種釉色的轉變恰如黃花倒映於水，因此賜名「玉川」。
「玉川」茶碗在製作上有哪些值得注意的特點？
明顯的轆轤紋（rokuro-me）： 茶碗外部留下了明顯的轆轤旋紋，展現了陶工手工製作的痕跡，增添了茶碗的樸素美感。
火間（hi-ma）： 茶碗上有一處未施釉的區域，這種特徵常見於朝鮮風格的茶碗。隨著時間推移，該裸露的陶土部分因茶漬而逐漸變為深褐色，進一步提升了茶碗的美感。
高台（kodai）細節： 高台底部有五個支釘痕（目痕），內部則可見精美的旋渦紋，充分展示了陶工的技藝。
「玉川」茶碗的所有權歷史是什麼？
「玉川」茶碗的傳承歷史顯示其價值非凡：
松平不昧（1751-1818）： 這位著名的茶道大名將軍賜名「玉川」。
歷任藏家： 此後茶碗輾轉於藤完齋夏羽九井、馬越恭平等收藏家之間，均對其美感與意義讚譽有加。
現藏家： 戰後至20世紀中期，此茶碗由日本作家及文學評論家大佛次郎（大佛次郎）收藏。
「玉川」茶碗是否配有特殊的盒子或附屬品？
是的，「玉川」配有專門定製的木盒：
材質與工藝： 盒子以桐木製成，採用黑漆掻合塗（kuro-kakiawase-nuri）工藝處理。
題字： 盒蓋外側以銀粉題字，由松平不昧親筆書寫「玉川」與「茶碗」。盒蓋內側則書寫了俊成的古歌，與茶碗名稱的由來相呼應。
為什麼「玉川」被視為蕎麥茶碗？
雖然許多茶碗可以用於各種用途，但「玉川」因其形態與美感特質特別適合作為蕎麥茶碗。其寬淺的造型非常適合盛裝蕎麥麵，粗獷的質感和樸素的外觀也契合日本料理的簡約之美。
「玉川」茶碗在日本茶文化中的意義是什麼？
「玉川」體現了日本美學和茶道精神的核心：
侘寂（wabi-sabi）： 茶碗上自然形成的釉色變化、陶工的手作痕跡以及因歲月而產生的火間色澤，完美詮釋了侘寂美學中對不完美與自然過程的欣賞。
歷史價值： 其由歷代著名茶人與收藏家傳承，增添了重要的文化意義。
藝術價值： 「玉川」見證了朝鮮陶匠的精湛工藝以及日本茶道實踐者的高雅品味，成為朝鮮工藝與日本茶文化之間的重要橋樑。
蕎麥茶碗 玉川
名物付属物箱 桐黒掻合塗 銀粉文字 書 付松平不昧筆 同蓋裏 銀粉文字 書付同筆伝来馬越化生―野崎幻庵所載大正名器鑑寸法高さ：7.0cm 口径：16.5～17.2cm 高台径：5.5cm 同高さ：0.8cm 重さ：275g
残月とともにそばの名碗として有名なものです。枇杷色の地がひとところ青ねずみ色にかわり、その景色がこの茶碗の何よりの魅力となっています。 玉川という銘は、不昧公が水に映る山吹にこごの景色をたとえ、「こま恚めてなほ水かはむ山吹の花のつゆそふ井手の玉川」という俊成卿の古歌の意をとって玉川という銘をつけました。 素地は白い小砂をかんだ、ねっとりとした土で、これに透明性の釉薬が薄く内外全面にかかっています。焼成は酸化ぎみで、土に含まれたわずかの鉄分のため、内外面とも枇杷色になっていますが、縁が三分の一ほど、炎をかぶって還元し、青ねずみ色に化しています。形は口の広い浅い平たい茶碗で、低い締まった高台がこれをささえています。底裏には右まわりの渦が巻き、真ん中がわずかにたっています。高台の畳つきには目が五つあります。つくりは井戸に比べて薄く、胴に太い轆轤（ろくろ）目が三段あり、上二段はそうはっきりとしませんが、下の二段は特に強くて太く、この茶碗の見どころの一つとなっています。腰がふっくらと張り、口辺の青ねずみ色に化した反対の面に火間とよんでいる、耳形に釉薬のかからない部分があります。粉引によくある火間は素地の上に白化粧がかかり、それがよごれたものですが、この場合は素地そのものが、茶渋などでよごれて暗褐色になったものです。内面は枇杷色ですが、外側の青ねずみ色に化している部分は、内面もうらすらと青ねずみ色になり、見込みはくぼみ、その回りに目が六つあります。口辺に細い縦樋が一本あるだけで、きずの少ない腸洒ないい茶碗です。 もと松平不昧公が所持し、その後、萄完斎夏羽九井の有となり、大正の初め馬越恭平翁が入手し、これを野崎広太氏に譲り、戦前戦後、長尾美術館に長くありましたが、現在は大仏次郎氏が所蔵されている茶碗です。また五島慶太氏は玉川のほとりに住んでいましたので、しきりにこの茶碗を手に入れたいと懇望されたといううわさも耳にしています。箱は桐で黒をかき合わせた漆で塗り、蓋表に銀粉で松平不昧公が、右上に「玉川」、左下に「茶碗」と書ぎ、蓋裏に俊成の古歌が書いてあります。（小山冨士夫）
残月と双璧を称される蕎麦の名碗で、枇杷色の地に青みの火替りを、松平不昧が水に映る山吹にたとえて、俊成の歌「こまとめてなほ水かはむ山吹の花のつゆそふ井手の玉川」からとって玉川と命銘しました。 枇杷色の地にほんのりさした青みの火替りは、ことさらに余情深く、この茶碗をひとしお魅力あるものとしています。胴に轆轤目よく立って、姿をひぎじめ、見込みは茶溜りひろく蕎麦の特色を見せています。 目は六つで、畳付には目あと五つあり、高台内も渦が見事です。口辺一か所の火間も秀れた。景となっています。
名物。朝鮮茶碗、本手蕎麦。茶碗に青・黄両色がうち交じっているのを、松平不昧が山吹の水に映った景色になぞらえ「駒とめてなほ水かはむ山ぶきの花の露そふ井手の玉川」の歌意をとって名付けたものです。歌は俊成の詠。馬越恭平の所持、のち野崎広太家に入りました。（『大正名器鑑』）
蕎麦茶碗。名物。枇杷色にほんのりさした青みの火変りは余情深く、この茶碗をひとしお魅力あるものとしている。胴に帷縫目がよく立って姿を引き締め、見込は茶溜り広く、蕎麦の特色をみせている。目は六つで、畳付には目痕が五つあり、高台内も渦が見事である。口縁一ヵ所の火間もすぐれた景色となっている。松平不昧が俊成の歌「こまとめてなほ水かはむ山吹の花のつゆそふ井手の玉川」から命銘したものである。【付属物】箱-桐黒掻合塗、銀粉文字・書付松平不昧筆、蓋裏銀粉文字書付同筆【伝来】馬越化生-野崎幻庵【寸法】高さ7.0 口径16.5～17.2 高台径5.5 同高さ0.8 重さ275
Soba Tea Bowl: Tamagawa (Gyokusen)
Accessories:Box: Made of paulownia wood with a black lacquered kaki-awase-nuri (scratched lacquer) finish. The exterior of the lid is inscribed with silver powder characters written by Matsudaira Fumai. The top right corner reads "Tamagawa," while the bottom left reads "Tea Bowl." The underside of the lid also features an inscription of an old poem written in silver powder, attributed to Matsudaira Fumai.
Provenance:Previously owned by Magoeshi Kasei and later passed to Nozaki Gen’an.
Publication:Included in Taisho Meiki-kan (Taisho Catalogue of Famous Vessels).
Dimensions:
Height: 7.0 cm
Rim Diameter: 16.5–17.2 cm
Foot Diameter: 5.5 cm
Foot Height: 0.8 cm
Weight: 275 g
Description:This tea bowl, alongside "Zangetsu" (The Waning Moon), is renowned as one of the most iconic soba chawan (buckwheat tea bowls). Its unique charm lies in the transformation of its loquat-colored glaze into bluish-gray in certain areas.
The name "Tamagawa" was bestowed by Matsudaira Fumai, who compared the bowl’s appearance to the reflection of mountain roses (yamabuki) on water, drawing inspiration from the old poem by Shunzei:"Komatomete na mo mizu kawamu yamabuki no hana no tsuyu sou Ide no Tamagawa"(“Even as horses tread, the water remains pristine, reflecting the dew-laden blossoms of yamabuki by the Ide Tamagawa River”).
Material and Craftsmanship:The bowl's body is made of a viscous clay containing fine white sand. It is coated inside and out with a transparent glaze. During firing, the slightly oxidized atmosphere allowed the trace iron content in the clay to produce a loquat-colored surface. However, approximately one-third of the rim underwent a reduction process, resulting in its transformation into a bluish-gray hue.
The bowl has a wide, shallow, and flat shape, supported by a low, compact foot ring. The underside of the base features a clockwise swirl with a slightly raised center. The foot's contact surface (tatami-tsuki) has five distinctive marks.
The body is thinner compared to Ido chawan, with three pronounced wheel-throwing marks (rokuro-me) on the sides. While the top two are faint, the lower two are prominently bold, contributing to the aesthetic appeal of the bowl. The rounded, full belly contrasts beautifully with the bluish-gray area on the rim.
On the side opposite the bluish-gray area, there is a kiln mark known as "hi-ma" (fire space), where the glaze did not adhere, leaving an ear-shaped unglazed patch. Unlike the usual white slip found on kohiki ware, this "hi-ma" exposes the bare clay surface, darkened to a rich brown by tea stains over time.
Interior Features:The interior is predominantly loquat-colored, but the bluish-gray glaze on the exterior subtly seeps into the inside. The base of the interior has a slight depression surrounded by six visible marks. A single fine vertical crack appears on the rim, but overall, the tea bowl is in excellent condition, displaying refined elegance with minimal flaws.
Provenance and History:This tea bowl was originally owned by Matsudaira Fumai and later acquired by Tosankan Kyuuinosuke. In the early Taisho period, it came into the possession of Magoeshi Kyohei, who then passed it on to Nozaki Hirota. Before and after World War II, it was displayed for a long time at the Nagao Art Museum. Currently, it is owned by Jiro Daibutsu.
There is also a rumor that Keita Gotou, who lived near the Tamagawa River, earnestly desired to acquire this tea bowl.
Box and Accessories:The accompanying box is made of paulownia wood with a black lacquered kaki-awase-nuri finish. The exterior of the lid bears silver powder inscriptions by Matsudaira Fumai, reading "Tamagawa" on the top right and "Tea Bowl" on the bottom left. The underside of the lid features an inscription of the old poem by Shunzei, also written in silver powder.
(By Fujio Koyama)
The "Tamagawa" Tea Bowl: An FAQ
1. What is the "Tamagawa" tea bowl?
The "Tamagawa" is a famous Japanese tea bowl known as a meibutsu, which signifies its status as a highly prized and celebrated object in the world of Japanese tea ceremony. It is particularly admired as a soba chawan, a bowl specifically designed for serving soba noodles.
2. What makes the "Tamagawa" tea bowl so special?
The "Tamagawa" is celebrated for its distinctive appearance:
Biwa-iro Glaze: The bowl is primarily covered in a warm, yellowish-brown glaze known as biwa-iro (loquat color).
Aonezumi-iro Firing: A unique feature is a section where the glaze has transformed into a subtle blue-gray during firing (aonezumi-iro) due to the effects of the kiln's heat and ash. This accidental alteration adds visual interest and depth to the bowl.
Robust Form: The "Tamagawa" is a wide, shallow bowl with a low, sturdy foot. Its shape is considered ideal for presenting and enjoying soba noodles.
3. What does the name "Tamagawa" refer to?
The name "Tamagawa" (meaning "jewel river") is derived from a classical Japanese poem by Shunzei. The poem describes a scene of yellow mountain roses reflected in a flowing stream. The tea bowl's former owner, Matsudaira Fumai, a renowned tea master, drew a parallel between the poem's imagery and the bowl's biwa-iro glaze and aonezumi-iro firing. He saw the glaze's color shift as reminiscent of yellow flowers reflected in water.
4. What are some notable features of the "Tamagawa" bowl's construction?
Visible Throwing Marks: The "Tamagawa" has prominent throwing marks (rokurome) on its exterior, evidence of the potter's hand and the shaping process on the wheel. These marks add to the bowl's rustic character.
Hi-ma (Unglazed Area): The bowl exhibits a hi-ma, an unglazed area often found on Korean-style tea bowls. Over time, this exposed clay darkens due to contact with tea, further enhancing the bowl's aesthetic.
Foot (Kodai) Details: The bowl's foot has five spur marks (ato) from its firing, and the interior of the foot reveals a spiral pattern, further showcasing the potter's skill.
5. What is the history of the "Tamagawa" tea bowl's ownership?
The "Tamagawa" has passed through the hands of several prominent collectors, attesting to its value:
Matsudaira Fumai (1751-1818): This famous daimyo (feudal lord) and tea master is credited with naming the bowl "Tamagawa".
Various Collectors: The bowl later belonged to individuals such as Tōkansai Kayūkyūsei, Kyōhei Magoshi, and Kota Gotoh, who all appreciated its beauty and significance.
Current Ownership: As of the mid-20th century, the "Tamagawa" was in the possession of the Japanese author and literary critic, Jiro Osaragi (also known as Daibutsujiro).
6. Are there any special boxes or accessories associated with the "Tamagawa" tea bowl?
Yes, the "Tamagawa" is accompanied by a custom-made wooden storage box (hako):
Material and Finish: The box is crafted from paulownia wood and features a black lacquer finish with a technique known as kuro-kakiawase-nuri.
Inscriptions: The lid of the box bears inscriptions in silver powder. Matsudaira Fumai himself wrote the characters for "Tamagawa" and "chawan" (tea bowl) on the lid. The inside of the lid is inscribed with the Shunzei poem that inspired the bowl's name.
7. Why is the "Tamagawa" considered a soba chawan?
While many tea bowls can be used for various purposes, the "Tamagawa" is specifically admired as a soba chawan due to its shape and aesthetic qualities. Its wide, shallow form is perfect for presenting soba noodles, and its rustic, earthy appearance aligns with the simplicity and elegance of Japanese cuisine.
8. What is the significance of the "Tamagawa" tea bowl in Japanese tea culture?
The "Tamagawa" embodies key aspects of Japanese aesthetics and tea ceremony:
Wabi-sabi: The bowl's accidental glaze variations, the potter's marks, and the darkened hi-ma embrace the beauty of imperfection and natural processes that are central to the wabi-sabi aesthetic.
Historical Value: Its lineage of ownership by esteemed tea masters and collectors adds to its cultural significance.
Artistic Merit: The "Tamagawa" stands as a testament to the skill of Korean potters and the refined taste of Japanese tea practitioners. It serves as a bridge between Korean craftsmanship and Japanese tea culture.
Comentários