茶人筆記 vol.2 松平不昧 x 喜左衛門井戶茶碗：賠上性命也在所不惜的收藏決心 - Fumai, the courageous Tea Master.

最有勇气的大名茶人

Fumai, the courageous Tea Master

▲ 大名茶人，松平不昧，2018年不昧公200年祭展览

松平不昧，可以說是歷史上最有勇氣的大名茶人。他是一位視死如歸的茶人，在知道有一隻「用了就會染病」的井戶茶碗的時候，他毫不猶豫的買下，結果不久就染病去世了。

繼承了這個茶碗的大兒子月潭，也是因病去世，最後，由松平不昧的夫人，寄贈給大德寺孤蓬庵超渡至今。

從歷史的角度回看這位大名茶人，可以感受到他天真浪漫灑脫的性格，他為了買東西，把藩內的預備金庫都打開用掉了。這是一個非常執著，又十分有趣的茶人。

Matsudaira Fumai is arguably the most courageous daimyo tea man in history. He was a tea man who regarded death as his own destiny. When he learned that there was an Iito tea bowl that “would make him sick if he used it,” he did not hesitate to buy it, and soon afterward, he contracted the disease and passed away.

His eldest son, Tsukitan, who inherited the bowl, also died of the disease, and his wife, Matsudaira Fumiai, sent it to Daitokuji Kobunan to be passed on to the present day.

Looking back at this daimyo tea man from a historical point of view, one can feel his naïve, romantic, and unrestrained character, as he opened up the clan's reserve treasury in order to buy something. He was a very persistent and interesting tea man.

▲ 「喜左衛門井戶茶碗」，國寶，松平不昧所持，大德寺孤篷庵藏 / 傳言擁有這只茶碗的人會得一種腫脹之病，而不昧公相傳便是故於此病，而至死都沒有放手這件名器；繼承不昧公收藏之「月潭」得到這只茶碗後，也因此病故去，於是捐出給「大圓庵」，再傳到大德寺孤篷庵傳承至今。

松平不昧

寬延四年 - 文政元年

1751年-1818年

江戶末期的大名茶人，出雲松江的第七代藩主。名為「治鄉」，號為「未央庵、宗納、一一齋」等。最開始跟隨藩內的茶道老師學習茶道，後來轉而跟隨將軍的茶道老師「伊佐幸琢」學習茶道。

A daimyo tea master at the end of the Edo period, and the seventh lord of Izumo Matsue. His name was Jigo, and he was known by the names ‘Mioan, Sona, and Ichiyosai’. He first learnt the tea ceremony from the clan's tea ceremony master, but later switched to learning the tea ceremony from the shogun's tea ceremony master, ‘Yukitaku Isao’.

安永元年（1772年）從江戶「天真寺」的「大真大巔」處得到「不昧」這一法號，出自於「無門關」之「不落不昧」。（* 昧，意為隱藏、糊塗，不明白。）

據說不昧在繼承藩主之位時別人並不知道藩內一直面臨著財政危機，但由於不昧的忠臣、家老「朝日丹波」從不昧的父親「宗衍」在位期間就從事財政改革，財政狀況取得了一定的好轉。

但在藏有藩內「準備金」的倉庫內，不昧發現了金幣箱，便用此金幣開始著手收集茶道具。作為起初支持不昧學習茶道的丹波，多次諫言不果，想到不昧公對茶道具收集的痴迷，竟到了動用準備金的地步，為此他十分後悔…

這一趣聞十分有名。不昧十七歲繼承家業，十八歲學習茶道，十九歲參禪於「天真寺」，二十歲左右開始正式收集茶道具。記錄不昧所收藏的茶道具「雲州藏帳」一書中，世人把其中記載的名物稱為「雲州名物」，給與了很高的評價。

In the first year of the An Ei era (1772), he received the dharma name ‘Bu-Ma’ from ‘Daijin Dai-Teng’ of the Tenjin Temple in Edo, which is derived from ‘Bu-Fu Bu-Ma’ of the ‘Wu-Men-Kan’. (* ‘Moment of mind’ means concealment, confusion, and lack of understanding.)

It is said that when FFU succeeded to the throne of the clan, people did not know that the clan had been facing a financial crisis, but because Asahi Tamba, a loyal vassal of Fuyumi and a senior member of the family, had carried out financial reforms during the reign of Fuyumi's father Soyan, the financial situation had improved to a certain extent.

However, Fumi discovers a chest of gold coins in the storehouse where the clan's ‘reserve fund’ is kept, and begins to collect tea utensils with the coins. Tamba, who had initially supported Fumiai's learning of the tea ceremony, repeatedly counselled him to do so, but to no avail. When he realised that Fumiai's obsession with the collection of tea utensils had reached the point of using the reserve money, he regretted it very much...

This anecdote is very famous. Fumi inherited the family business at the age of seventeen, learnt the tea ceremony at the age of eighteen, attended Zen meditation at the Tenjinji Temple at the age of nineteen, and began to collect tea props at the age of twenty. In the book ‘Unshu Zangaku’, a record of Fumi's collection of tea utensils, the people of the world called the items contained therein ‘Unshu's Famous Items’, and gave them a very high reputation.

▲「印可狀 / 流れ圜悟」，圜悟克勤禪師，「國寶」，紙本行書 43.9 x 52.4cm 東京國立博物館藏松平直亮寄贈 / 「印可狀」先為「大德寺 大仙院」收藏，經「一休宗純」、「村田珠光」遞藏，後來經由堺市的富商兼茶道家谷宗卓，傳到大名「伊達政宗」手裡，伊達政宗也曾拜千利休為師學習茶道，想把「印可狀」這名震天下的墨跡掛在自己的茶室中，掛又顯得太長了，伊達政宗問老師古田織部，古田織部建議將「印可狀」裁成兩半，上一半19行，下一半37行，這樣「印可狀」的上一半就掛進進了伊達政宗的茶室里，而另一半「印可狀」在流傳中不知去向。

上一半「印可狀」後來為堺（大阪南部城市）的祥雲寺收藏，而江戶後期出雲松江藩（在現在島根縣松江市）第七代藩主、大茶人「松平不昧」以贈與祥雲寺黃金2500兩和每年30大袋大米為代價獲得此寶。

松平不昧還將自己的收集研究成果寫成了「古今名物類聚」一書，正式發行，全書一共18冊。此外不昧還試著將茶入進行分類，寫進了「瀨戶陶器濫觴」；不昧還著有「贅言」、「茶礎」等。

不昧在「茶礎」中寫道：茶湯宛如在稻穗上的朝露，在枯野中綻放的撫子花，能品味出此種不同後即可悟得茶湯之道。客人的過失即為主人的過失；同樣，主人的失誤即為客人的失誤…

「若茶人一味拘泥於形式和道理，則會被取笑為做的是不入流的茶道。不要只看到自己的流派，須知諸流皆我流，並沒有什麼特別高人一等之處。」書中開頭便是這樣一段話。

Matsudaira Fumai also wrote and published his own collection of research results in a book called ‘Classification of Ancient and Modern Famous Objects’, which consisted of 18 volumes. Fumi also attempted to categorise teas in his book ‘Seto Pottery’, as well as in his books ‘Repeated Remarks’ and ‘Tea Basics’.

In ‘The Foundation of Tea’, Fumi writes: ‘Tea broth is like the morning dew on the ears of a rice plant, or the blossoming of a flower in the middle of a withered field, and the way of tea broth can be realised by savouring the difference. The faults of the guests are the faults of the host; likewise, the faults of the host are the faults of the guests...

‘If a tea master is obsessed with form and reasoning, he will be teased for making a bad tea ceremony. Don't just look at your own school of tea, but realise that all streams are one, and there is no such thing as being superior to any other’. The book begins with these words.

「不昧公之茶碗」

▲ 「玳玻散花文天目茶碗」，國寶，南宋吉州窯，相國寺蔵，松平不昧舊蔵 / 相比線條陡峭的建盞，吉州窯的線條則顯得十分柔和，胎土柔軟，圈足部分的切割也很內斂。吉州窯的陶工向世人傳達的一份愚鈍樸素之美，玄妙的茶道美學，該如何去具體的實踐呢？或許為了追求這樣的美感，在黑色的釉面上，用草木灰作出了像「落霜」一樣的點狀釉面，這種釉藥的絕妙之處十分值得賞玩。

在胎上施予人為的繪畫模樣，也是吉州窯的特點之一。這只碗的團花（散花）紋樣，分為三層加起來共有15朵。仔細看上面的花卉是「折枝牡丹」的模樣，其中的一隻正好是兩只對著形成的花紋。這種對折、多折的剪紙工藝，讓其形成了兩瓣對稱的紋樣，顯示了十分巧妙的剪紙技術。圈足也做到了極致的小，露出了一點獨特的黃白色胎土。松平不昧之前，這只茶碗的擁有者是大阪町人「上田三郎右衛門」，更早的歷史就無據可考了…

▲ 油滴天目茶碗 南宋重要文化財，九州國立博物館收藏（未加金扣前之狀態） / 傳承： 古田織部 - 土井炊頭利勝 - 木下和泉守長保 - 松平不昧（雲州松平家）- 高野光正 - 文化廳 / 附屬天目台 - 尼崎台（千利休花押）；內箱書「ゆてき（油滴）」二字傳為千利休或古田織部手書，外箱蓋上題寫的「油滴」為不昧的筆跡。這件天目傳承顯赫，從古田織部，傳到土井炊頭利勝、木下和泉守長保手中，江戶後期成為大名茶人松平不昧的藏品，收錄於松平不昧的著錄「雲州藏賬大名物部」，記錄為：「油滴古織土井利勝木下長存伏見屋」

▲ 「灰被天目茶碗」，松平不昧所持，野村美術館藏 / 現在或許並不是那麼有人氣，但灰被天目曾是侘寂美學的結晶。這是一件釉色的表現十分豐富的作品，只是天目台是後配的，「金蒔繪」的炫目花樣或許與侘寂美學沒有什麼連接。與端莊周正的建盞不同，灰被天目的圈足切割得十分隨意，是十分奔放的製作方法。

▲ 「珠光青瓷茶碗」，銘遲櫻，松平不昧所持，根津美術館藏 / 11世紀的時候刻有端正的唐草花卉紋樣，但到了12世紀的後半期，刻划的模樣逐漸變得模糊，甚至是一些很隨意的線條，但正是這種「不明瞭」的線條，有著日本茶人追求的「抽象美」，因此茶人對此抱有濃厚的興趣。原本圈足的底部應該是滿釉的，但到了12世紀後半就如「遲櫻」般，圈足部分並沒有施釉，足以顯示出製作過程的粗曠奔放 / 箱書：「珠光茶碗遲櫻」松平不昧筆；傳承：松平不昧 - 根津美術館