唐物大海茶入 銘「丸海」
【中国・南宋～元時代 13-14世紀】
本品是一件口沿寬廣、肩部飽滿張開，形態稍顯扁平的茶入，屬於「大海」類型，其形制特徵鮮明而典雅。口沿寬大且肩部平圓的茶入被稱為「大海」，造型起源於中國南宋至元代（13-14世紀），在茶道歷史中具有重要地位，尤其是室町幕府時期被作為高級唐物（進口品）而倍受推崇。
此件大海茶入頸部稍長，腹部呈平圓形，肩部與腹中略帶棱角，腹中壓有一道凹線，增添了整體造型的緊致感。通體施有黑褐色釉，從頸部至腹部可見褐色斑紋。底部為板起工藝。
根據記錄於室町幕府時期的權威茶道文獻《君台觀左右帳記》（くんたいかんそうちょうき），在「抹茶壺」一節中提及了19種類型的茶入，其中便包括「大海」這一分類。此類茶入以其獨特的形態和優雅的美學設計深受武家貴族與茶道愛好者的珍視。
這件銘為「丸海」的大海茶入，原為尾張德川家（德川御三家之一）所傳承的收藏品，承載了豐富的歷史文化內涵。據記載，戰後此茶入曾一度流散於市面，直至平成20年（2008年）由德川美術館重新購得，重返德川家收藏系統。
「唐物」指自中國傳入日本的高級物品，特別是宋元時期製作的瓷器因其精湛的技藝與獨特的造型，被認為是茶道文化中不可或缺的重要元素。「大海」茶入的製作技法與燒造質感，展現出南宋至元代瓷器的一貫特徵，例如胎質堅致、釉面光潔，並且往往呈現柔和的色調和自然的美感，與日本茶道精神相輔相成。
關於唐物「大海」茶入及其重要性的常見問答
什麼是「大海」茶入？其顯著特徵是什麼？「大海」茶入（大海）是一種茶具，具有大型、寬口、圓肩和平扁、略呈盤狀的特徵。某些大海茶入（如文中所述的例子）頸部略長，肩部和腹中略帶稜角，腹中壓有一道凹線，增強了整體形態的緊致感。這類茶入是重要的中國輸入陶瓷之一，在室町時代的日本受到高度重視，被列為《君台觀左右帳記》中認可的19種類茶入之一。
「大海」茶入的歷史起源是什麼？在何時期特別受到推崇？「大海」茶入起源於中國南宋至元代（13至14世紀），在日本的室町時代（1336-1573）成為重要的唐物（中國輸入珍品），是將軍和貴族的珍藏之物。它們對日本茶道的發展具有關鍵作用，象徵著高尚的地位和品味。
什麼是《君台觀左右帳記》？該文獻如何體現「大海」茶入的分類地位？《君台觀左右帳記》是室町幕府的重要文獻，系統化地記錄了唐物（特別是中國輸入珍品）的鑑賞與分類。在「抹茶壺」的部分，該文獻記載了19種不同類型的茶入，其中包括「大海」類型，彰顯了「大海」茶入在當時茶文化中的重要地位，是其被高度認可的見證。
在這些茶入的背景下，「唐物」一詞有何意義？「唐物」指的是中國輸入的高品質工藝品，特別是在宋元時期製作的物品。這些珍品以精美的工藝和獨特的設計在日本受到推崇，是茶道美學和精神深度的不可或缺的元素。
「大海」茶入的釉色和材料有什麼典型特徵？「大海」茶入使用致密的石器黏土製作，其釉色表現出南宋至元代陶器的典型風格，表面光滑、釉質細膩，色調柔和。常見的是深褐色或黑褐色釉，帶有斑駁的紋理，其自然色調賦予作品一種樸素且深沉的美感。
提到的「丸海」茶入與尾張德川家有何關聯？其流傳歷史如何？「丸海」茶入原為尾張德川家收藏，是江戶時代德川家三大分支之一的傳世珍品。二戰後流入市面，直至平成20年（2008年）重新被德川美術館購回。此舉凸顯了該器物作為文化和歷史瑰寶的重要地位，以及其與德川家族的深厚淵源。
「大海」茶入的設計與日本茶道有何關係？「大海」茶入寬大的開口、圓潤的肩部和平坦的器身設計，有助於抹茶的準備，並在茶道中營造特定的美學體驗。唐物美學是茶道儀式的核心，其設計被認為對茶室氛圍的靜謐與冥想精神有重要影響。
提到的「丸海」茶入如何反映中日之間的歷史與文化交流？「丸海」茶入體現了中國與日本之間長久以來的跨文化交流，特別是日本收藏家與美學家對中國陶瓷的欣賞。它反映了日本對宋元工藝傳統的深厚敬意，以及這些文化遺產如何融入日本的美學價值與風俗，特別是在茶文化領域中。該器物不僅是藝術品，亦是重要的歷史文物，展示了物品與思想在不同文化間的流傳與轉化。
唐物大海茶入 銘 丸海
からものたいかいちゃいれ めい まるうみ
本品は口造りが広く、肩が広く張り、やや扁平な形が特徴の「大海」と分類される。室町将軍家における唐物受容の規式を示す『君台観左右帳記(くんたいかんそうちょうき)』の「抹茶壺」という項目では、19種類の茶入が挙げられており、「大海」も含まれている。もとは尾張徳川家伝来品で、戦後市中に出たが、平成20年（2008）に徳川美術館が購入した。
【中国・南宋～元時代 13-14世紀】
口造りが広く大型で、平丸肩の胴の茶入は「大海」と呼ばれる。室町時代にはすでに唐物茶入の主要な種類として認識されていた。
本品は、大海茶入の中でも頸がやや長めで、胴は平丸形で、やや肩と胴中が角張っでおり、胴中の沈線が姿を引き締めている。總体に黒褐釉が掛かり、頸から胴にかけて褐色の斑文がある。底は板起こしである。尾張家伝来品で、戦後市中に出たが、平成20年（2008）に買い戻された。
Karamonodakai Chaire, Inscribed "Maruumi"
Tea Caddy of the Dakaikai Type with the Inscription "Maruumi"
This exemplary tea caddy is categorized as a "Dakai" type (大海), characterized by its broad mouth, prominently rounded shoulders, and somewhat flattened shape. The form is particularly esteemed for its distinctive proportions, showcasing a design that epitomizes the refined aesthetics of tea caddies imported during the Muromachi period (1336–1573).
The "Dakai" type is explicitly mentioned in the Kundaikan Sōchōki (君台観左右帳記), a seminal record from the Muromachi shogunate that codifies the appreciation and classification of karamono (Chinese objects) within the tea ceremony. This document lists 19 varieties of chaire (tea caddies) under the section titled "Matcha Tsubo" (抹茶壺), highlighting the revered status of "Dakai" within the canonical tea culture of the period.
Originally part of the illustrious Owari Tokugawa family collection, this piece entered the market after World War II. It was later acquired by the Tokugawa Art Museum in 2008, ensuring its preservation as a cultural treasure.
China, Southern Song to Yuan Dynasty (13th–14th Century)
This chaire exemplifies the high level of craftsmanship achieved during China's Southern Song (1127–1279) to Yuan (1279–1368) periods. The piece reflects the cross-cultural admiration for Chinese ceramics by Japanese aesthetes and its role in the tea ceremony, blending utility with profound symbolic meaning. Its survival and documented provenance further underscore its significance as a historical and artistic artifact.
FAQ: Karamono "Dakai" Chaire and its Significance
What is a "Dakai" (大海) Chaire, and what are its distinctive features? A "Dakai" (大海) chaire is a type of tea caddy characterized by its large size, wide mouth, prominent, rounded shoulders, and a somewhat flattened, almost disc-like, body. Specifically, some like the one mentioned feature a slightly longer neck and a body where the shoulder and middle have a somewhat angular appearance, with a recessed line that adds to the overall impression of the form. They are a prominent category of imported Chinese ceramics that were highly valued during the Muromachi period in Japan. They were classified among 19 types of chaire recognized in the prestigious text Kundaikan Sochoki.
What is the historical origin of "Dakai" chaire, and during what period were they particularly appreciated? "Dakai" chaire originated in China during the Southern Song to Yuan Dynasty (13th-14th centuries). They gained significant importance in Japan, especially during the Muromachi period (1336-1573) when they were recognized as high-status karamono (imported Chinese objects) and were prized possessions of the shogunate and the aristocracy. They were a key item in the development of the Japanese tea ceremony.
What is Kundaikan Sochoki (君台観左右帳記), and what does it reveal about the classification of "Dakai" chaire? The Kundaikan Sochoki is a crucial document from the Muromachi shogunate that codified the appreciation and classification of karamono, which included imported Chinese artifacts. Within the "Matcha Tsubo" section, the Kundaikan Sochoki lists 19 distinct types of tea caddies including the "Dakai" type. This demonstrates the highly regarded status of the "Dakai" chaire as a recognized and valued form of tea utensil. It is a testament to its prominence within the canon of tea culture at that time.
What is the significance of the term karamono in the context of these tea caddies? Karamono refers to high-quality objects imported from China, particularly during the Song and Yuan dynasties. These objects were especially prized in Japan for their exquisite craftsmanship and unique designs. Karamono became indispensable elements in the Japanese tea ceremony, contributing to its aesthetic and spiritual depth.
What are the typical characteristics of the glazing and materials used in "Dakai" chaire? The "Dakai" chaire described are made with a dense stoneware clay. Glazing on these chaire is characteristic of Southern Song to Yuan pottery, featuring smooth, glossy surfaces often in a soft color palette. These can feature dark brown or blackish brown glazes with mottled patterns. Their color palette often lends itself to a sense of naturalness.
How does the "Maruumi" chaire described relate to the Owari Tokugawa family, and how has its ownership changed? The "Maruumi" chaire was originally part of the Owari Tokugawa family collection, one of the three main branches of the Tokugawa clan during the Edo period. After World War II, it was dispersed into the market before being reacquired by the Tokugawa Art Museum in 2008. This return to the museum signifies its continued significance as a cultural and historical treasure associated with the Tokugawa lineage.
What is the relationship between the design of the "Dakai" chaire and the Japanese tea ceremony? The form of "Dakai" chaire with its wide opening, rounded shoulder, and flat body is designed to aid in the preparation of matcha tea and create a specific aesthetic experience within the tea ceremony. The karamono aesthetic was central to the ritual, and the design was thought to influence the meditative spirit of the setting.
What does the specific piece of "Maruumi" illustrate about the historical and cultural exchanges between China and Japan? The "Maruumi" chaire demonstrates the enduring cross-cultural exchange between China and Japan, specifically the appreciation of Chinese ceramics by Japanese collectors and aesthetes. It reflects a deep cultural and artistic admiration for the craft traditions of the Song and Yuan dynasties and their integration into Japanese aesthetic values and customs, particularly in the context of tea culture. The piece is not just an artistic object, but also an important historical artifact that illustrates how objects and ideas traveled and were transformed across cultures.
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