此茶入因作為龍光院的珍藏之物而得名。津田宗及（江月和尚之父）最初持有此茶入，後傳予江月和尚，最終成為龍光院的收藏品。
唐物鶴首茶入
附朱漆木瓜菱形盆
年代：南宋時期 12-13世紀
傳承：津田宗及—江月宗玩持有
盆：孤蓬庵直入軒舊藏 朱漆木瓜菱形盆
類別：名物、唐物、鶴首
尺寸：
高：2寸4分（7.3cm）
胴徑：1寸8分4厘（5.6cm）
口徑：8分（2.4cm）
底徑：8分（2.4cm）
頸長：7分（2.1cm）
重量：12匁4分（46.5g）
口沿圓潤，撚返淺而優雅，頸部修長緊致，胴身飾一條淺凹線環繞，底部一半高一半低，露出朱泥色胎土，上方以轆轤三段紋飾環繞，底部以細緻的切絲紋裝飾。整體施以黑飴釉，釉面光澤中可見細小砂斑，呈現南宋茶入典雅之韻。
附屬品：小牡丹古金襴仕覆、單片茶入蓋、桐白木箱，附江月和尚題字，黑漆桐木挽家以及堆朱圓形添盆。
實物鑑賞記錄
時間：大正九年（1920年）5月16日
地點：京都市上京區紫野町大德寺龍光院
實物口部圓潤，撚返淺雅，頸部修長，胴身環繞一條淺凹線，但部分中斷。底部一半高一半低，露出朱泥色胎土，上方環繞轆轤三段紋飾，底部細密切絲紋間見釉飛現象。
整體黑飴釉施於表面，光澤瑩潤，內有砂目斑點。口沿內部亦有釉，以下轆轤線條淺顯，整體呈現高雅端莊之風。雖釉色樸實，但質地精良，為一件品味極高的鶴首茶入。
龍光院鶴首茶入常見問題
什麼是龍光院鶴首茶入？
龍光院鶴首茶入是一件極具價值且著名的唐物茶入（chaire），以京都大德寺龍光院命名，目前收藏於該寺院內。作為茶道中著名的名物（meibutsu），它在茶道文化中享有極高地位。
龍光院鶴首茶入有哪些物理特徵？
此茶入屬於鶴首（tsurukubi）樣式，以其修長的頸部而聞名。其高度為7.3公分，胴徑5.6公分，口徑2.4公分。底部部分略微抬高，露出朱泥胎土。胴部飾有一道凹線，底部環繞三道轆轤紋，底部並帶有細緻的絲紋切跡。整體施以光澤亮麗的黑飴釉，釉面可見砂眼斑點。
龍光院鶴首茶入的製作時間與地點？
此茶入製作於中國南宋時期（12至13世紀）。
龍光院鶴首茶入使用的是什麼釉？
茶入表面施有黑飴釉，這種釉以其深邃的色彩和自然細微的變化而聞名。釉面上的「砂眼」（sand-me）小斑點是黑飴釉的典型特徵。
龍光院鶴首茶入的傳承有何意義？
茶入的傳承脈絡清晰，最初由著名茶人津田宗及收藏，後傳予其子、僧人江月宗玩，最終捐贈予龍光院。此清晰的傳承記錄為其增添了重要的歷史和文化價值。
龍光院鶴首茶入配有什麼附屬物？
龍光院鶴首茶入與一系列傳統附屬物一起存放與展示，包括：
仕覆：一個帶有牡丹紋樣的小型錦緞袋，用於保護茶入。
蓋子：一個單片蓋，與茶入口徑相配。
箱子：一個普通的木箱，內有江雪和尚題字。
挽家：黑漆木製攜帶盒。
添盆：一個雕漆製成的圓形托盆，用於展示茶入。
1920年的記錄檢查中，有哪些值得注意的特徵？
1920年5月16日，於龍光院進行的詳細檢查記錄指出，此茶入口沿淺雅，頸部修長，胴部的凹線部分中斷，底部露出朱泥胎土，並環繞三道轆轤紋。底部帶有細密的絲紋切跡與輕微的釉飛現象。整體呈現低調且精緻的優雅氣息。
為什麼龍光院鶴首茶入被認為是重要的物品？
龍光院鶴首茶入因以下幾點而備受推崇：
歷史價值：製作於南宋時期，見證了中國陶瓷發展的重要階段。
美學魅力：茶入的形態簡約而精緻，釉色變化微妙且工藝細膩，體現出永恆的優雅。
文化意義：作為名物，其在日本茶道史上占有重要地位，並體現了侘寂美學，即對不完美與簡樸之美的欣賞。
傳承背景：清晰的傳承歷史，經由多位茶道名人之手，使其具備高度的真實性與價值。
龍光院の什物であるところからこの名がある。高二寸四分（7.3cm）、胴径一寸八分四厘（5.6cm）、口径八分（2.4cm）、底径八分（2.4cm）、首長七分（2.1cm）、重量十二匁四分（46.5g）。口作は丸く、捻返しが極めて浅く、頸が締り、胴に沈筋一線が廻り、底廻り半分高く半分低く朱泥色の土を見せ、その上を轆轤三段が廻り、底は細かい糸切。総体に黒飴釉が掛り、中にボツボツと砂目が見える。伝来は、津田宗及～江月和尚～龍光院。仕覆は、小牡丹古金襴。蓋一枚。箱、桐白木。書付、江雪和尚。挽家、桐黒塗。添盆、堆朱丸盆。
傳來
津田宗及（江月和尚の父）所持にして、江月和尚に傳はり、龍光院什物となる。
實見記
大正九年五月十六日、京都市上京區紫野町大徳寺町龍光院に於て實見す。
口作丸く拈り返し極めて淺く、頸締り、腰を廻れる沈筋一部途切れたる處あり、底廻り（半分高く）半分低く、朱泥色の土を見せ、其上を轆轤三段に繞り、底絲切細かく、其内に釉飛びあり、總體黒飴飛釉麗しく、中にボツボツ砂目見の、内部口縁釉掛り、以下轆轤極め
て浅く繞る、全體黒飴色にて、景趣判明ならざれども、釉質精良にして頗る上品なる茶入なり。
Chinese Tsurukubi Chaire with a Red-Lacquered Mokko Rhombus-Shaped Tray
Period: Southern Song Dynasty, 12th–13th Century
Provenance: Tsuda Sogyu → Kogetsu Sogan
Tray: Formerly owned by Kyuhon-an Jikkyu-an, a red-lacquered mokko rhombus-shaped tray
Category: Famous object (meibutsu), Chinese object (karamono), crane-neck style
This tea container is named after Ryoko-in, where it is preserved as a treasured item.
Dimensions:
Height: 2 sun 4 bu (7.3 cm)
Body Diameter: 1 sun 8 bu 4 rin (5.6 cm)
Mouth Diameter: 8 bu (2.4 cm)
Base Diameter: 8 bu (2.4 cm)
Neck Length: 7 bu (2.1 cm)
Weight: 12 monme 4 bu (46.5 g)
Details: The mouth is round with a very shallow turned lip, the neck is slender and tight, and the body is encircled by a single indented line. The base alternates between high and low areas, exposing the reddish clay. Above the base, three wheel-thrown lines encircle the bottom. The base is finely cut with thread-like marks, and traces of glaze splashes are present. The entire piece is coated with glossy black ame-yu glaze, showing specks of sand. It is a fine example of a Southern Song tea container with elegant simplicity.
Provenance: Passed from Tsuda Sogyu to his son Kogetsu Sogan, eventually becoming part of the Ryoko-in collection.
Accessories: Small peony-patterned brocade pouch, single lid, plain wooden box with a note by Kosetsu Oshō, black lacquered wooden case, and a carved red lacquer round tray.
Provenance
Originally owned by Tsuda Sogyu, passed to his son Kogetsu Sogan, and later became part of Ryoko-in’s collection.
Inspection Record
Date: May 16, Taisho 9 (1920)
Location: Ryoko-in, Daitoku-ji, Kamigyo Ward, Kyoto City
The mouth of the tea container is round with a shallow turned lip. The neck is slender and tight, and the body is encircled by a shallow groove, which is partially interrupted. The base alternates between high and low sections, exposing the reddish clay beneath. Above the base, three wheel-thrown lines encircle the bottom. The finely cut thread marks on the base show slight traces of glaze splashes. The overall glossy black ame-yu glaze is elegant, with sandy specks visible beneath. The glaze covers the interior rim, and faint wheel-thrown lines are visible below. The overall appearance exudes understated refinement, making it a highly elegant tea container despite its simple glaze.
Ryoko-in Tsurukubi Chaire FAQ
1. What is the Ryoko-in Tsurukubi Chaire?
The Ryoko-in Tsurukubi Chaire is a highly valued and renowned Karamono (Chinese) tea container / caddy (chaire) named after the Ryoko-in subtemple of Daitoku-ji Temple in Kyoto, Japan, where it is currently housed. It is considered a meibutsu, or famous object, within the realm of Japanese tea ceremony.
2. What are the physical characteristics of the Ryoko-in Tsurukubi Chaire?
The chaire is a tsurukubi ("crane neck") style, characterized by its elongated, slender neck. It stands at 7.3 cm tall with a body diameter of 5.6 cm. It has a round mouth opening (2.4 cm) and a unique base that is partially elevated, revealing the reddish clay beneath. The body is decorated with an indented line, three wheel-thrown lines, and fine thread-like marks on the base. The entire piece is covered in a glossy black ame-yu glaze with visible sand-like speckles.
3. When and where was the Ryoko-in Tsurukubi Chaire made?
This chaire dates back to the Southern Song Dynasty period in China, which spans the 12th and 13th centuries.
4. What is the glaze type used on the Ryoko-in Tsurukubi Chaire?
The chaire is covered in a glossy black ame-yu glaze. This type of glaze is known for its rich, deep color and subtle, natural variations. The presence of sand-me or "sand eyes," small speckles within the glaze, is a characteristic feature of ame-yu glazes.
5. What is the significance of the Ryoko-in Tsurukubi Chaire's provenance?
The chaire has a well-documented history, tracing its ownership back to the prominent tea master Tsuda Sōgyū. It was passed down to his son, the monk Kogetsu Sōgan, who eventually gifted it to the Ryoko-in Temple. This clear lineage adds to the chaire's historical and cultural importance.
6. What accessories accompany the Ryoko-in Tsurukubi Chaire?
The Ryoko-in Tsurukubi Chaire is stored and displayed with a collection of traditional accessories:
Shifuku: A small, peony-patterned brocade pouch designed to protect the chaire.
Lid: A single lid that fits the chaire's opening.
Box: A plain wooden box for storage, inscribed with a note by the monk Kosetsu Oshō.
Case: A black lacquered wooden carrying case.
Tray: A round, carved red lacquer tray used for presentation.
7. Are there any notable features observed during a documented inspection of the Ryoko-in Tsurukubi Chaire?
A detailed inspection of the chaire was recorded on May 16, 1920, at the Ryoko-in Temple. The record notes the chaire's shallow, elegant lip, its slender neck, and the partially interrupted groove encircling the body. It also highlights the exposed reddish clay on the base, the wheel-thrown lines, and the fine thread marks with slight glaze splashes. The overall impression is described as one of understated refinement and elegance.
8. Why is the Ryoko-in Tsurukubi Chaire considered a significant object?
The Ryoko-in Tsurukubi Chaire is a remarkable object for several reasons:
Historical Significance: Its creation during the Southern Song Dynasty links it to a pivotal period in Chinese ceramics.
Aesthetic Beauty: The chaire exhibits a timeless elegance with its simple yet refined shape, subtle glaze variations, and carefully crafted details.
Cultural Importance: As a meibutsu, it holds a revered place in Japanese tea ceremony history and embodies the principles of wabi-sabi, the appreciation of beauty in imperfection and simplicity.
Provenance: Its clear line of ownership, passing through notable figures in tea history, adds to its authenticity and value.
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