唐物丸壺茶入（ 宗及丸壺）
附 菱形内黒外屈輪文盆
南宋時代 盆：元―明時代
12ー13世紀 盆：14－15世紀
盆：木製漆器
所蔵：津田宗及―江月宗玩所持 盆：津田宗達―宗及―江月宗玩所持
龍光院丸壺［りょうこういんまるつぼ］ 【名物】唐物 別名・・・宗及丸壺 仕覆・・・卍緞子、萌黄地卍梅鉢緞子、綾地金入緞子 盆・・・・菱形 内黒外屈輪 伝来・・・津田宗及～江月和尚～龍光院
丸壺茶入
丸壺形的茶入，其壺身修長，壺口較短，這種造型受到喜愛。蓋子的設計與茄子形蓋相似，通常採用內嵌式的落入蓋形式製作。
此外，《賞世取真》中提到，將茶入筒稱為「蜜柑」是錯誤的。茶器的名稱通常根據其形狀與某些物品的相似性來命名。因此，形狀如茄子、柿子或柑橘的茶入，分別被稱為「茄子」、「柿」、「柑子」等，這些名稱隨其形狀習用而成為定名。至於「丸壺」這一名稱，則因其壺身呈圓筒狀而得名。
丸壺之所以被稱為「蜜柑」，是因其外形圓潤如蜜柑。
「蜜柑」這一名稱指的是茶入的腹部形狀。文琳、圓壺等器形因形似蜜柑而得名。圓壺的造型和顏色多種多樣，大多呈小肩樣式。有些無肩，腹部呈圓形；也有些茶入的炙口較高，而腹部較低。（《萬全書》）
尺寸詳解
全高二寸四分二釐，口徑一分，腹圍七寸五分，底徑一寸。壺口的回折屬於常見樣式，壺身較高。胎土呈赤色，表面細密如撒砂般的顆粒感可見。底部的切割精巧纖細，底釉呈淡色，而黑色釉面帶銀光且具有銀梨地效果。上釉為濃黑色釉，點狀釉與此一致。整體釉色有深淺變化，被稱為瀨戶釉的唐物茶入。（《茶器舞玉集》）
參考文獻描述
真珠庵宗賢在鑑定古筆方面技藝高超，對茶道也懷有深厚興趣。許多茶道愛好者為了請他鑑定古筆，專程造訪並給予厚待。庵內的唐紙曾因特殊裝飾而珍貴，然而最後因火災而燒毀。
此外，有一件唐物圓壺茶入，置於一個四角形茶碗箱中，箱內被分為四格，內含三只茶入袋及茶入本體。三只袋子分別體現了古田織部、小堀遠州和金森宗和的審美喜好。
據野村宗二所述，有一次加賀屋敷的一位管理者多次造訪，並贈送禮物請宗賢鑑定古筆，同時提出借用該茶入的請求。然而宗賢表示：「作為僧人，我不缺衣食，不需用錢買取世俗的享樂。此茶入之珍貴，豈能因對方的禮物而輕易轉讓。」由此婉拒了對方的請求。
傳承
此茶入最初由津田宗及持有，後傳至其子、龍光院的開山祖江月和尚，現為龍光院的什物。
實物觀察記
大正九年（1920年）五月十六日，於京都市上京區紫野大德寺町的龍光院進行實地觀察。壺口呈深回折狀，壺身較高且下部稍寬，壺身周圍有兩條黑色線紋。壺腹洗出的線紋部分中斷，壺口邊緣有觸損痕跡。釉面的流動分布不規則，部分較高處露出胎土，另一部分釉流至底部台座。
底部胎土略帶紅色，有部分脫釉，但切割線條仍清晰可見。整體紫釉中隱現黑釉，尤其是在系帶位置到台座之間，釉流拉長，部分較短。黑釉聚集處略顯青瓷釉光，極為雅致。壺腹開裂紋上有一處火泡，底部鼠灰色胎土上帶紅釉，有細小剝落痕跡，釉面變化豐富。
內部釉面自口沿延續至底部中央，整體為轱轤旋轉痕跡。此茶入造型端正，比例優雅，充分展現了其高貴的品味與工藝之美。
龍光院丸壺茶入常見問題解答
什麼是丸壺茶入？
丸壺茶入以其修長的壺身與短頸為特徵，這種造型在日本茶道中極為珍視。蓋子通常採用內嵌式設計，類似茄子形茶入的蓋子，緊密貼合於壺口。「丸壺」的名稱來源於壺身圓筒狀的造型，其外形酷似日本蜜柑（mikan）。
丸壺茶入的典型特徵是什麼？
丸壺茶入具有多樣的形狀、顏色與風格。常見的形式帶有微小的肩部，也有部分無肩，壺身則圓潤。此外，還有高炙口和矮身的壺形變化。龍光院的丸壺茶入以其黑色與紫色釉面及銀色點綴而聞名，這種風格被稱為「天目釉」。
龍光院丸壺茶入的尺寸是多少？
高度：2寸4分2釐（約7.3厘米）
壺口直徑：1分（約0.3厘米）
壺身圍度：7寸5分（約22.7厘米）
底部直徑：1寸（約3厘米）
龍光院丸壺茶入有何獨特之處？龍光院的丸壺茶入以其獨特的黑色與紫色釉面著稱，釉面間雜著裸露的胎土，壺身還有兩條黑色線紋環繞。釉面分布不均，形成動態的視覺效果。該茶入還帶有一些瑕疵，包括壺口的缺損和刻紋旁的火泡，這些不完美為其增添了獨特的個性與美感。
龍光院丸壺茶入現存於何處？龍光院丸壺茶入目前存放於京都大德寺內的龍光院（龍光院為大德寺下屬的塔頭之一）。此茶入被視為該寺院的重要文化財。
龍光院丸壺茶入的歷任持有者是誰？龍光院丸壺茶入最初由日本茶道史上著名人物津田宗及擁有，後傳至其子、龍光院的創建者江月和尚。
與龍光院丸壺茶入相關的三個茶入袋有何意義？與龍光院丸壺茶入同箱收藏的三個茶入袋，據說反映了三位著名茶道宗匠的美學品味：古田織部、小堀遠州和金森宗和。這些袋子展現了此茶入在茶道界名流中受到的高度評價。
有何故事能展現龍光院丸壺茶入的價值？相傳有一次，加賀屋敷的管家希望透過贈送禮物換取古筆鑑定，並試圖請求借用龍光院的丸壺茶入。然而，主持僧嚴正拒絕，並強調該茶入的價值已超越金錢的衡量，充分展示了此茶入作為文化瑰寶的意義與價值。
丸壺の茶入は筒長にして口の短きを好候也、蓋は茄子の蓋同前に落入蓋の様に作る。又、賞世取真の詞に、茶人の筒を蜜柑といふは誤りなり。其物々の形に似たるを以て名を置けり。故になりは茄子、柿、柑子等、それそれに言ならはし候也。丸壺と言ふも、筒丸き故名付候也。
丸壺と云ふは蜜柑の丸き故なり蜜柑といふ名所は、茶入の胴を云へり。文琳、丸壺等斗りを蜜柑とは云ふなり。丸壺の形色様々あり、大方小肩を持物なり。肩なくして胴の丸き姿もあり、炙口こしき高く胴ひくき茶入もあり。（『万全書』）
詳細尺寸圓長二寸四分二厘、口指渡一分、胴廻り七寸五分、底一寸。口造返し尋常なり、腰高し、土海赤色。但し微塵の砂る様に見ゆるなり。糸切華奢なり、下薬薄色にて、黒薬銀張きに銀梨子地あり、上薬は濃き黒薬なり。散し薬も同事也。北濃薄き色あり、是を瀬戸薬の唐物と云へり。（『茶器舞玉集』）
参考文献記述真珠庵宗賢は古筆を極むる事妙を得、茶にも志厚かりし数寄者共が、古筆を見てもらふ目的にて訪れ待遇されし。庵の唐紙は蛇足が納の藍になり、つひに焼失なくたて、有し。
また唐物の丸壺の茶入あり、四角なる茶碗箱の様なる箱へ入れてあり、箱の内を四つに仕切り、袋三つと茶入を共に収めて有り。袋一つは古田織部の好み、一つは小堀遠州の好み、一つは金森宗和好みなり。
年野村宗二が語りしに、ある時、加賀屋敷の留守南部が訪れ、度々古筆を極めてもらふ濃使を加賀より贈られし折、茶入も所望されし。しかし預僧の身として、「金に換へるべき生の楽しみを、所望の体によりては遣はすべきに非ず」と断りを申されし由。
傳來津田宗及所持にして、其子龍光院開祖江月和向に傳はり、龍光院の什物なり。
實見記大正九年五月十六日、京都市上京区紫野大徳寺町龍光院に於て実見す。口作括り返し稍深く、腰高く下張り。其廻りに黒筋二線あり。胴を巡れる洗筋一部途切れたる所あり。口縁に触れけ疵あり。薬留り高低不規則にして、一部稍高く土色を見せ、他の一部釉垂れて盆附に達する所あり。
底土に赤味を帯び、一部剥落すれども糸切鮮明なり。總紫釉の内に黒釉景色然と現はれ、特に置形紐の辺りより盆附にかけて長くなだれたる者と、土際にて稍短く止まりたる者とあり。黒釉溜りの中に少しく青瑠璃色ありて景色一段美事なり。開筋の上に火膨れ一ヶ所あり。
底鼠色土に赤釉掛り、又其傍に疵ヶ所ありて、糸切の一端を厳ひたるなど景趣變化に富む。内部口縁釉掛り、なだれ底中央まで掛りたる所あり。全面轆轤焼き。底中央満状を成す。手取整く、容姿整い品位高き茶入なり。
Marutsuba Tea Caddy
The Marutsuba-style tea caddy is characterized by its elongated body and short neck, a shape highly valued in tea culture.The lid design resembles that of an eggplant-shaped caddy, typically crafted as a drop-in lid that fits neatly within the opening.
Furthermore, Shōseitei Shin mentions that calling a tea caddy "mikan" (mandarin orange) is incorrect. Tea utensils are often named after their resemblance to specific objects. For instance, tea caddies shaped like eggplants, persimmons, or citrus fruits are referred to as "Nasu" (eggplant), "Kaki" (persimmon), and "Kōji" (citrus), respectively. These names have become standard through their correspondence to the shapes.The term "Marutsuba" derives from its cylindrical and rounded body.
The Marutsuba tea caddy is so named because of its resemblance to the rounded shape of a mikan (mandarin orange). The term "mikan" refers to the body shape of tea caddies such as Bunrin and Marutsuba. The Marutsuba comes in various shapes and colors. Most commonly, it features a slight shoulder, but there are also designs without shoulders, where the body remains rounded. Some tea caddies have a high flared opening (aburaguchi) with a lower, compressed body.(Manzen-sho)
Detailed Dimensions
Height: 2 sun, 4 bu, 2 rin (approx. 7.3 cm)Mouth diameter: 1 bu (approx. 0.3 cm)Body circumference: 7 sun, 5 bu (approx. 22.7 cm)Base diameter: 1 sun (approx. 3 cm)
The lip is crafted with a standard turned rim, and the body is relatively tall. The clay base is reddish in color and appears to have a fine sandy texture. The cutting marks at the base are delicately finished. The underglaze is pale, with the black overglaze exhibiting a silver sheen resembling "silver nashiji" (pear-skin texture). The top glaze is a dense black, with scattered glaze spots that match. The glaze shows varying thickness, described as Seto-style glaze for imported wares.(Chaki Maitama-shu)
Reference Notes
At Shinju-an, Sogen was renowned for his exceptional skill in evaluating antique calligraphy. His passion for tea culture earned him the respect of tea enthusiasts, who often visited him to seek his expertise in identifying calligraphy. His collection of antique paper with decorative designs, known as "karakami," was famous, though unfortunately lost in a fire.
Among the antiques was a Marutsuba tea caddy of Chinese origin, stored in a box resembling a square tea bowl container. The interior of the box was divided into four compartments, housing the tea caddy along with three bags. These bags reflected the preferences of notable tea masters: one favored by Furuta Oribe, another by Kobori Enshu, and the third by Kanamori Sowa.
According to Nomura Soji, an occasion arose when a steward of the Kaga residence repeatedly visited to have antique calligraphy authenticated and, in return, presented gifts. He eventually requested to borrow the tea caddy. However, the priest in charge declined, stating, "As a monk, I lack nothing for sustenance and do not need to trade life's joys for money. This tea caddy, by its unique character, should not be loaned or sold under such circumstances."
Provenance
Initially owned by Tsuda Sogyu, it was passed to his son, Ryoko-in founder Egetsu Wakō. It is now part of Ryoko-in's collection.
Observations
On May 16, 1920 (Taisho 9), the tea caddy was examined at Ryoko-in in Murasakino, Kyoto.The lip features a moderately deep turned rim, and the body is tall with a slightly flared lower section. Two black lines encircle the body, and one of the carved bands around the body shows a break. There is a chip at the rim. The glaze pooling is uneven, with some areas higher, exposing the clay, and others where the glaze drips down to the base.
The base clay has a reddish hue, with some glaze peeling off, but the cutting marks remain distinct. The purple glaze is interspersed with black highlights, forming striking patterns. Notably, the glaze forms long streaks from the handle area to the base, while other areas end in shorter streaks at the clay edge. Within the pooled black glaze, a faint lapis lazuli hue enhances the visual appeal. A fire blister is visible near one of the carved bands.
The base clay is grayish with traces of red glaze, and there is a chip near the base showing exposed clay. The interior features glaze pooling from the lip down to the central base. The entire surface shows evidence of wheel-thrown shaping, with the central base fully intact. The tea caddy's elegant proportions and refined craftsmanship make it an exceptionally dignified and high-quality piece.
Ryoko-in Marutsuba Tea Caddy FAQ
What is a Marutsuba tea caddy?
A Marutsuba tea caddy is characterized by its elongated body and short neck. This shape is highly valued in Japanese tea culture. The lid typically resembles that of an eggplant-shaped caddy, crafted as a drop-in lid that fits within the opening. The name "Marutsuba" comes from the cylindrical and rounded shape of the caddy's body, which resembles a Japanese mandarin orange (mikan).
What are the typical features of a Marutsuba tea caddy?
Marutsuba tea caddies come in various shapes, colors, and styles. They often feature a slight shoulder, although some have no shoulder and a rounded body. Other variations include a high flared opening with a lower, compressed body. The Ryoko-in Marutsuba is known for its black and purple glaze with silver accents, a style referred to as "Tenmoku-style glaze".
What are the dimensions of the Ryoko-in Marutsuba tea caddy?
Height: 2 sun, 4 bu, 2 rin (approx. 7.3 cm)
Mouth diameter: 1 bu (approx. 0.3 cm)
Body circumference: 7 sun, 5 bu (approx. 22.7 cm)
Base diameter: 1 sun (approx. 3 cm)
What makes the Ryoko-in Marutsuba tea caddy unique?
The Ryoko-in Marutsuba features a unique glaze with black and purple hues, interspersed with areas of exposed clay. There are also two black lines that encircle the body. The glaze pooling is uneven, creating a dynamic visual effect. The caddy also possesses several imperfections, including a chip at the rim and a fire blister near a carved band. These imperfections contribute to the caddy's overall character and beauty.
Where is the Ryoko-in Marutsuba tea caddy currently located?
The Ryoko-in Marutsuba tea caddy is currently housed in the Ryoko-in sub-temple, which is part of the larger Daitokuji temple complex in Kyoto, Japan. It is considered a treasured artifact of the temple.
Who were some of the previous owners of the Ryoko-in Marutsuba tea caddy?
The Ryoko-in Marutsuba was initially owned by Tsuda Sogyu, a prominent figure in Japanese tea ceremony history. It was then passed down to his son, the founder of the Ryoko-in temple.
What is the significance of the three tea caddy bags associated with the Ryoko-in Marutsuba?
The three bags found with the Ryoko-in Marutsuba are said to reflect the aesthetic preferences of three famous tea masters: Furuta Oribe, Kobori Enshu, and Kanamori Sowa. These bags demonstrate the high regard in which the tea caddy was held by prominent figures in tea ceremony.
Is there a story that highlights the value placed on the Ryoko-in Marutsuba?
A story recounts how a steward of the Kaga residence attempted to acquire the Ryoko-in Marutsuba by offering gifts in exchange for authentication of antique calligraphy. However, the priest in charge refused, emphasizing that the tea caddy's value was beyond monetary compensation, showcasing its significance as a treasured cultural artifact.
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