本能寺文琳
漢作大名物
一名 朝倉文琳 又 三日月文琳
伯爵松平直亮氏舊藏 / 五島美術館葴
南宋時代•13世紀
高7.3cm口径2.7cm 胴径6.9cm 底径3.0cm 重量87.4g
此茶入因釉藥的紋理景色而被稱為「三日月文琳」，是一件文琳（蘋果形茶入）中的名品。其形態特徵為頸部與肩部交界處（甑際）平坦，肩部缺乏圓潤感。底部留有糸切技法的痕跡，胎土細膩，帶有紅色調，器壁極薄且重量輕盈。釉藥為褐色的鐵釉與黑色的灰釉雙層施釉，呈現出獨特的美感。
該茶入因曾為越前戰國武將朝倉義景（1533～1573）所有，而另名「朝倉文琳」。其銘名「本能寺文琳」，則因織田信長（1534～1582）曾將其供奉於京都本能寺而得名。此茶入於1778年（安永七年）成為松平不味（1751～1818）的收藏品，是一件歷史價值極高的茶道名器。
名稱
此茶入因織田信長曾將其供奉於本能寺，故稱為「本能寺文琳」。另據記載，此茶入曾由朝倉義景持有，故又名「朝倉文琳」。在箒庵文庫乙第三號的《伏見屋覺書》中記載：「本能寺文琳又名朝倉文琳，昔為朝倉義景所持」。此外，該茶入亦稱為「三日月文琳」。雖然該名稱的由來難以確定，但推測可能是因釉未覆蓋的部分呈現弦月狀而得名。
傳承
此茶入最初為朝倉義景所持，後傳至織田信長，信長將其供奉於京都本能寺。之後，茶入歸於中井大和守所有。正保二年（1645年），京極丹後守安智曾以七百五十枚金幣欲購此茶入，並向小堀遠州商議此事。遠州回覆：「此物無用，須價千枚金幣，聽聞丹後守對茶道並不熟稔。」
此茶入曾由青山大藏安排，供德川第二代將軍秀忠與第三代將軍家光鑒賞。其後，由於中井大和守無力償還借款，遂將此茶入轉讓予小堀仁右衛門，其後傳承不詳。安永七年（1778年），經京都道具商山越利兵衛居中協調，以五百五十枚金幣售予松平不味公。據記載，文化四年正月二十日（1807年），松平公於茶會中使用了此茶入。
明治三十四年（1901年）六月，此茶入曾在東京上野美術協會展出。大正五年（1916年）四月二十三日，又於東京四谷區松平伯爵府舉辦的「不味百年忌大茶會」中展出。
實見記
大正七年（1918年）五月六日，在東京市四谷區元町松平直亮伯爵府實地觀察此茶入。其口部呈圓緣，口緣內側反卷，腰部稍細，下部微鼓，肩部稍突出，整體呈現一種「唐畫美人」般的優雅姿態。
茶入通體為黑飴色，工藝纖巧，風格華麗，釉色以飴色為主。釉流的痕跡自兩條線匯合於盆附際，構成和諧的景色。雖然器身部分有少許修補痕跡，但整體保存完好，表面光澤鮮明，極其精美。
茶入底部修整採用細膩的「糸切」技法，土胎呈朱泥色，內部釉面均勻，中央凹陷，底部的黑釉呈現飛散點狀。其形態與工藝皆具有女性化的柔美，堪稱婉麗優雅，無愧於「唐物茶入中的楊貴妃」之美譽，實為珍品。
重要美術品
唐物文琳茶入 銘 本能寺
からものぶんりんちゃいれめい ほんのうじ
釉薬の景色から「三日月文琳」とも呼び、文琳（りんご形の茶入）の名品。形姿は、甑際（こしきぎわ茶入の頸部と肩の境目）が平らで肩に丸味のないタイプ。底部には糸切跡が残る。細かい胎土は赤味があり、非常に薄造りで軽い。釉薬は、褐色の鉄と黒色の灰釉の二重掛けとなっている。越前の戦国武将倉義景（よしかげ 1533～73）の所持にちなむ。「朝倉文琳」の名もある。銘は、織田信長（1534～82）が京都・本能寺に寄進したことによる。安永七年（1778）に松平不味（ふまい1751〜1818）の所有となった。
【付属物】蓋一六、うち五枚は窠・一枚は上古蓋箱―桐白木、書付松平不昧筆 仕覆―六、朝倉間道・角倉裂・紋筋緞子・練間道・水鳥緞子（本能寺裂）・縦筋緞子（図版上段右より）仕覆箱―四、桐白木書付 仕覆総箱 桐白木、書付同筆家―象牙 挽家仕覆いちご錦 堆朱五葉盆張成彫銘 内箱―桐白木 添状箱 桐白木、書付同筆 盆箱 桐白木、書付同筆 由緒書中井主水より小堀仁右衛門あて
【伝来】朝倉義景―織田信長―本能寺 中井主水―小堀仁右衛門―松平不味
【寸法】 高さ：73 口径：1.7 胴径：6.9 底径：3.0 重さ：90
名稱
信長より本能寺に寄進したるを以て本能寺文琳といひ、又嘗て朝倉義景が所持したるに由りて朝倉文琳ともいへり。箒庵文庫乙第三號の茶書伏見屋覺書に「本能寺文琳又一名朝倉文琳ともいふ、昔朝倉義景所持」とあり。又三日月文琳ともいふ。此名稱の由來確知し難けれども、恐らくは其釉の掛らざる處、弦月狀をなせるにりて名づけたるものなるべし。
傳來
元朝倉義景所持にして織田信長に傳はり、信長之を京都本能寺に寄進し、後中井大和守の有となる。正保二年京極丹後守安智、金七百五十枚にて此茶入を所望せるを以て、小堀遠州に相談せし處、遠州そは無用なり、金千枚に遣はさるべし、茶のわけ丹後守不案内と聞く云々と言へり、此茶入嘗て青山大蔵の取次にて、二代秀忠將軍の上覧に供へ、又稲葉丹後守の取次にて三代家光將軍の上覧に供へたることあり。其後中井大和守より借金返納致し難しとて、此茶入を小堀仁右衛門に譲典せしが、其後の傳來は審かならず。安永七年京の道具商山越利兵衛の仲介により、五百五十雨にて松平不味公の手に入り、文化四年正月廿日公の茶合に使用せられたる記事あり。明治三十四年六月、東京上野美術協合に出陳せられ、又大正五年四月二十三日東京四谷區松平伯邸不味百年忌大茶•に陳列せらる。
實見記
大正七年五月六日、東京市四谷區元町松平直亮伯邸に於て質見す。口締り丸縁括り返し遠く、中程締り下張り、其中程と観際に極めて細き浮筋を続らすは、他に見受けざる所なり。肩ムックリと衝き、胴少しく張り、底小く、唐畫の美人を見るの想あり。總體黒飴色にて、作行華奢、精巧無比、畳形は飴色勝ちの二條の釉ナダレ方より落合ひて、盆附際に至りて止まる、共景色殊に麗はしく、日に小き繕ひおり、胴より下の所にも赤小き繕ひあれども、大競完全にして光澤の美事なる、言語に絶せり。總體熱掛り、※切の外廻りに少しく朱泥色の土を見るのみ、糸切細く繊麗無比。内部観廻り糖掛り、以下ろくろ目見えず、底中央窪み、黒釉飛び数點あり、其形狀作行、總べて女性的にして、婉麗優美、之を唐物茶入中の楊貴妃と稱するも敢て溢美に非ざるべし。
This tea caddy, known as the "Mikazuki Bunrin" (Crescent Moon Bunrin) due to the glaze's distinctive patterns, is a masterpiece among Bunrin-style (apple-shaped) tea caddies. Its form is characterized by a flat boundary between the neck and shoulder (kosikigiwa) and shoulders lacking a rounded contour. The base bears traces of the itokiri technique, while the fine-grained clay has a reddish hue, with an exceptionally thin and lightweight structure. The glaze is a dual-layer application of brown iron glaze and black ash glaze, creating a unique and elegant appearance.
This tea caddy is also referred to as the "Asakura Bunrin," as it was once owned by the Sengoku warlord Asakura Yoshikage (1533–1573) of Echizen. Its name, "Honnōji Bunrin," derives from Oda Nobunaga (1534–1582), who dedicated the tea caddy to Honnōji Temple in Kyoto. In 1778 (An'ei 7), it became part of the collection of Matsudaira Fumai (1751–1818). This tea caddy is regarded as a historically significant and culturally treasured tea utensil.
Name
This tea caddy is known as the "Honnōji Bunrin" because Oda Nobunaga dedicated it to Honnōji Temple. It is also referred to as the "Asakura Bunrin" due to its prior ownership by Asakura Yoshikage. According to the Fushimiya Memorandum found in Volume 3, Section B, of the Hōan Library Collection, it states: "The Honnōji Bunrin is also called the Asakura Bunrin, as it was once owned by Asakura Yoshikage." Additionally, the tea caddy is sometimes called the "Mikazuki Bunrin" (Crescent Moon Bunrin). While the origin of this name is unclear, it is presumed to derive from the crescent-shaped unglazed area on its surface.
Provenance
Initially owned by Asakura Yoshikage, the tea caddy later passed to Oda Nobunaga, who dedicated it to Kyoto's Honnōji Temple. Subsequently, it came into the possession of Nakai Yamato-no-kami. In 1645 (Shōhō 2), Kyōgoku Tango-no-kami Yasutoshi offered 750 gold coins to acquire the tea caddy and sought advice from Kobori Enshū, who responded: "It is unnecessary; it should be valued at 1,000 gold coins. I hear that the lord of Tango is not well-versed in tea."
This tea caddy was once presented to the second Tokugawa shogun, Hidetada, through the mediation of Aoyama Ōkura, and later to the third shogun, Iemitsu, through the arrangement of Inaba Tango-no-kami. Later, Nakai Yamato-no-kami, unable to repay debts, transferred the tea caddy to Kobori Jin'emon. The subsequent history of ownership is unclear until 1778 (An'ei 7), when it was sold for 550 gold coins through the mediation of Kyoto merchant Yamagoshi Riemon to Matsudaira Fumai. Records show that it was used at Fumai's tea gathering on January 20, 1807 (Bunka 4).
In June 1901 (Meiji 34), the tea caddy was exhibited at the Tokyo Ueno Art Association. On April 23, 1916 (Taishō 5), it was displayed at the "Fumai Centennial Memorial Tea Gathering" held at the Matsudaira residence in Yotsuya Ward, Tokyo.
Inspection Record
On May 6, 1918 (Taishō 7), the tea caddy was inspected at the residence of Matsudaira Naoaki in Yotsuya Ward, Tokyo.
The rim is rounded and slightly inward-turned, with a narrow waist and a slight bulge at the lower body. The shoulders are gently protruded, and the base is small, evoking the graceful elegance of a "Tang beauty" painting.
The tea caddy has an overall black glaze with a slightly amber hue. The craftsmanship is refined and delicate, with flowing glaze lines meeting at the base and stopping at the joint, creating a harmonious visual effect. Although there are minor repairs, both on the surface and below the body, the tea caddy remains in excellent condition, with a brilliant, polished sheen.
The base is finely finished using the itokiri (thread-cut) technique, revealing a reddish clay core at the outer edge. The interior is fully glazed, with no visible wheel marks, and the center of the base is slightly indented with small flecks of black glaze scattered across it.
The overall form and craftsmanship exude a distinctly feminine beauty, making it graceful and elegant. It is no exaggeration to call this tea caddy "the Yang Guifei of Chinese-imported tea caddies" for its charm and sophistication, truly a masterpiece among tea utensils.
Honnōji Bunrin Tea Caddy FAQ
1. What is the Honnōji Bunrin tea caddy?
The Honnōji Bunrin is a highly prized, antique Chinese tea caddy. Known for its elegant shape, black glaze with amber hues, and meticulous craftsmanship, it's considered a masterpiece of tea utensils.
2. Why does it have multiple names?
The tea caddy's multiple names reflect its fascinating history and ownership:
Honnōji Bunrin: Named after the Honnōji Temple where Oda Nobunaga, a powerful Japanese warlord, dedicated it.
Asakura Bunrin: Reflects its prior ownership by Asakura Yoshikage, a feudal lord who ruled the Echizen Province.
Mikazuki Bunrin (Crescent Moon Bunrin): Likely derives from a crescent-shaped unglazed section on its surface.
3. What is the known provenance of the Honnōji Bunrin?
The tea caddy's journey through history is marked by notable owners:
Asakura Yoshikage: The first known owner.
Oda Nobunaga: Acquired the caddy and later dedicated it to the Honnōji Temple.
Nakai Yamato-no-kami: Became the owner after Nobunaga.
Kobori Jin'emon: Acquired the caddy after Nakai Yamato-no-kami struggled to repay debts.
Matsudaira Fumai: Purchased the caddy in 1778 through a Kyoto merchant.
The caddy's whereabouts between Kobori Jin'emon and Matsudaira Fumai remain unclear.
4. Was the Honnōji Bunrin ever exhibited?
Yes, the tea caddy was showcased at prominent events:
June 1901: Exhibited at the Tokyo Ueno Art Association.
April 1916: Displayed at the "Fumai Centennial Memorial Tea Gathering" held at the Matsudaira residence in Tokyo.
5. What are the key physical characteristics of the tea caddy?
The Honnōji Bunrin is known for its graceful and feminine form:
Shape: Rounded rim, narrow waist, slightly bulging lower body, and gently protruding shoulders.
Glaze: Primarily black with an amber hue, applied using refined techniques that create harmonious visual effects.
Base: Finely finished using the "itokiri" (thread-cut) technique, revealing reddish clay underneath.
6. What makes the Honnōji Bunrin so special?
The Honnōji Bunrin is considered a treasure due to:
Historical Significance: Its connection to important figures like Oda Nobunaga adds historical weight.
Exquisite Craftsmanship: The delicate shape, glaze work, and base finishing techniques demonstrate a high level of artistry.
Rarity: As an antique Chinese tea caddy with a clear provenance, its rarity contributes to its value.
7. What is the "itokiri" technique used on the base?
"Itokitiri" (thread-cut) is a meticulous technique used to finish the base of ceramic wares. It involves carefully trimming excess clay with a sharp tool, often resembling a thread, to create a smooth and precise finish.
8. Is there a metaphor that describes the Honnōji Bunrin's beauty?
The Honnōji Bunrin is often referred to as the "Yang Guifei of Chinese-imported tea caddies." This comparison to Yang Guifei, one of the Four Beauties of ancient China, highlights its elegance, grace, and exceptional beauty among its counterparts.
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