此茶器名為「八重櫻大海」，其名取自《詞花集》中伊勢大輔的和歌：
「いにしへのならの都の八重桜けふ九重に匂ひぬるかな」
（昔日奈良古都的八重櫻，今日在九重宮殿中綻放芬芳）
因器物於奈良被發現而得此名。
八重櫻大海
名物 唐物 大海
尺寸與重量
高：二寸三分五厘（7.1公分）
胴徑：三寸五分五厘（10.8公分）
口徑：二寸（6.1公分）
底徑：一寸七分（5.2公分）
甑高：三分五厘（1.1公分）～三分六厘（1.1公分）
肩寬：二分五厘（0.8公分）
重量：四八匁七分（182.6克）
形制與外觀此器口部薄而深，口沿有明顯的捻返；甑下略呈外張，周圍飾有一道黑色細線環繞；肩部挺立明確，胴部圓張，胴部飾有一道沈筋線，器足收窄。裾部以下顯露鐵色胎土，底部為板起製成，底面可見「ぢく」（器底粗痕跡）。通體釉色呈紫色與柿金色之間的間色，光澤華美。肩部兩側有黑釉垂流相匯於胴部沈筋處，形成一道流動釉線至裾部結束。口沿至胴腰部分有稻妻狀（雷紋形）細裂紋。
內釉分布至口沿，內部以下可見轆轤痕，底部中心滿釉，胎土稍顯粗糙，呈鐵色。器形薄巧，作工精緻，釉色濃艷，景致出眾，為器物命名「八重櫻」的由來，不僅因其奈良而來，更與其濃艷華美之釉色意象相關。
傳承與附屬物
傳承：大阪藤田家收藏
仕覆：吉野間道、柴田緞子
附屬：袋箱為桐白木，蓋一枚；挽家為欅木黑掻合塗，內箱為黑柿木，遠州書付；外箱為桐春慶塗
實見記
大正九年（1920年）五月十四日，於大阪市網島藤田彥三郎氏邸實見。此器形制薄巧，拈返深邃，甑下外張，周圍有一道黑色細線環繞；肩部挺立，胴部豐滿，器足收窄。釉色光澤明麗，呈紫色與柿金色的間色，肩部兩側黑釉垂流於胴部相匯，形成一條流釉直至裾部，釉色鮮明秀美。裾部以下顯露鐵色胎土，底部可見飛散釉點，底面為板起製成，稍顯粗糙。內部可見釉掛至口沿以下的轆轤痕，中央滿釉，胎土粗糙而呈鐵色。此器薄胎精巧，釉色與景致堪稱美妙，為名物「八重櫻」增添詩意。
八重櫻大海 FAQ
什麼是八重櫻大海？
八重櫻大海是一件唐物茶入，即原自中國進口的日本茶器。它被視為名物，即著名或珍貴的藝術品。
「八重櫻大海」這個名稱的含義是什麼？
「八重櫻」意為「重瓣櫻花」，形容其釉色的豐富層次，讓人聯想到盛開的櫻花樹。「大海」是茶入的一種特定形制。此名稱同時與伊勢大輔的一首和歌相關，詩中描述奈良的櫻花，而這件茶入正是在奈良被發現。
八重櫻大海的主要特徵是什麼？
八重櫻大海以以下特徵著稱：
形狀：薄胎，深口沿，甑下呈外張形狀，器足收窄。
釉色：紫色與柿金色相間，肩部有黑釉如瀑布般垂流，細膩的稻妻狀細裂紋分布。
材料：底部可見鐵質胎土，內部顯露轆轤痕跡，底部中心滿釉。
八重櫻大海上的黑色線條有何意義？
器物甑下和胴部環繞的黑色線條是精心設計的裝飾，突顯出器形的優美。同時，這些線條也強調了黑釉與紫色和柿金色釉面的對比美感。
八重櫻大海的底部是如何製作的？
底部採用了「板起」技法製作，形成稍微隆起的底盤。此外，底面留有製作痕跡，增添了器物的獨特性。
八重櫻大海配有什麼傳統附屬品？
八重櫻大海有一整套傳統附屬物：
仕覆：由吉野間道與柴田緞子製成的絹製袋。
箱：包括桐木製的袋箱、黑柿木製的內箱（遠州題字）、桐木春慶塗的外箱。此外，還有欅木製的黑漆挽家（底座）。
八重櫻大海曾存於何處？
八重櫻大海原為大阪藤田家收藏，屬於極具聲望的藝術品。
八重櫻大海的藝術價值何在？
八重櫻大海因其歷史意義、優美的器形、獨特的釉色與精湛的工藝而被列為名物。其詩意的名稱以及與著名和歌的聯繫，更提升了它的藝術價值。
八重桜大海
名物 唐物 大海
奈良で見出されたところから『詞花集』の伊勢大輔「いにしへのならの都の八重桜けふ九重に匂ひぬるかな」の歌を引いて名付けられたもの。
高二寸三分五厘（7.1cm）、胴径三寸五分五厘（10.8cm）、口径二寸（6.1cm）、底径一寸七分（5.2cm）、甑高三分五厘（1.1cm）～三分六厘（1.1cm）、肩幅二分五厘（0.8cm）、重量四八匁七分（182.6g）。
口作は薄く、捻返しが深く、甑下が張り、その周囲に黒筋一線が廻り、肩がキッカリと衝き、胴が張り、胴に沈筋一線が廻り、裾が窄まり、裾以下は鉄気色の土見で、底は板起しで、底面にいじいじがある。総体に紫釉と柿金気色の間色で光沢があり、肩先双方から黒釉がなだれ合い胴沈筋のところで一つになり、裾までなだれ置形となっている。口縁から腰の辺りまで稲妻形のヒビキがある。
伝来は、大阪藤田家。
仕覆は、吉野間道、柴田緞子。
袋箱、桐白木。
蓋一枚。
挽家、欅黒掻合塗。
内箱、黒柿、書付遠州。
外箱、桐春慶塗。
實見記
大正九年五月十四日、大阪市網島藤田彦三郎氏邸に於て實見す。口作薄手にて拈り返し深く、甑下張り其周圍に黒筋一線を繞らし、肩キッカリとして胴張り、裾窄まる、總體紫釉と柿金氣色との間色にして光澤麗しく、置形肩先雙方より黒釉落合ひ、胴沈筋の處に於て相合し、夫れより一筋ナダレとなりて裾に至りて止まる、口緣より腰の遷まで稲妻状を成したる細きヒドキあり、地色薄きに加へて黒釉麗しきがめ、置形極めて鮮明なり、裾以下鐡色の土を見せ、底廻りに飛熱散點し、板起しにて底面ぢくあり。内部口縁釉掛り、以下轆轤目選くり、底中央に至りて満狀を成し、土稍荒く、鐡氣色を現はす、薄手にて作行精巧なるに、景色も亦美事なれば、八重櫻の銘は其奈良より出でたりと云ふのみならず、蓋し其濃艶を形容したる意味あるべしと思はる。
Yae-zakura (Double Cherry Blossom)
Omeibutsu, Karamono Chaire (Tea Caddy)
This tea vessel, named "Yae-zakura Ōmi" (Double Cherry Blossom Ōmi), derives its name from a waka poem by Ise no Tayū in the Shika-shū anthology:"Inishie no Nara no miyako no yae-zakura, Kyō kokonoe ni nioi nurukana"(The double cherry blossoms of ancient Nara bloom fragrantly today in the imperial palace.)The name was inspired by its discovery in Nara.
Dimensions and Weight
Height: 2 sun, 3 bu, 5 rin (7.1 cm)
Body Diameter: 3 sun, 5 bu, 5 rin (10.8 cm)
Mouth Diameter: 2 sun (6.1 cm)
Base Diameter: 1 sun, 7 bu (5.2 cm)
Kōgō (ridge height): 3 bu, 5 rin to 3 bu, 6 rin (1.1 cm)
Shoulder Width: 2 bu, 5 rin (0.8 cm)
Weight: 48 momme, 7 bu (182.6 g)
Design and Appearance
This vessel has a thin, deeply turned rim with a pronounced noburi (turned lip). Below the ridge, the body flares outward, encircled by a single black line. The shoulder is well-defined, and the body is full and rounded, with another single incised line encircling it. The foot narrows and exposes the iron-rich clay, with the base formed by a itaokoshi (raised plate), showing rough finishing marks (jiku).
The glaze is a blend of purple and persimmon-gold tones, exuding a lustrous sheen. Black glaze flows down from both shoulders, converging at the body’s central incised line and forming a stream-like flow to the foot. From the rim to the midsection, fine crackles resembling lightning bolts (inazuma) add further texture.
The interior glaze extends down from the rim, revealing wheel marks below. The bottom center is fully glazed, and the slightly coarse clay has an iron-hued appearance. With its thin walls, meticulous craftsmanship, and richly hued glaze, this vessel is a masterpiece. Its name, "Yae-zakura," not only reflects its origin in Nara but also conveys the vivid elegance of its glaze.
Provenance and Accessories
Provenance: Formerly in the collection of the Fujita family of Osaka.
Shifuku (silk pouch): Yoshino brocade, Shibata damask.
Accessories:
Bag box: Made of uncoated paulownia wood.
Lid: One piece.
Carved pedestal: Zelkova wood with black lacquer.
Inner box: Made of ebony, with inscription by Enshū.
Outer box: Paulownia with shunkei-style lacquer.
Observation Record
On May 14, 1920, this vessel was observed at the residence of Mr. Fujita Hikozaburō in Amijima, Osaka. The thin rim with deep noburi, outward flare below the ridge, and encircling black line were striking. The shoulder was sharply defined, the body well-rounded, and the foot narrowed gracefully.
The glaze, blending purple and persimmon-gold tones, was vibrant and lustrous. Black glaze cascaded from the shoulders, forming a single stream to the foot. The vivid glaze composition was particularly eye-catching. Below the foot, the exposed iron clay revealed scattered glaze flecks. The base, crafted with a itaokoshi method, showed a slightly coarse texture.
The interior featured wheel marks and full glazing at the center, while the clay revealed a slightly rough, iron-rich character. This vessel’s thin walls, refined craftsmanship, and exceptional glaze make it a true "meibutsu" (famous item), perfectly complementing its poetic name, "Yae-zakura."
Yae-zakura Daikai FAQ
1. What is the Yae-zakura Ōmi?
The Yae-zakura Ōmi is a karamono chaire, a type of Japanese tea caddy originally imported from China. It is considered a meibutsu, meaning a famous or celebrated object.
2. What does the name "Yae-zakura Ōmi" mean?
"Yae-zakura" translates to "double cherry blossom" and refers to the vessel's rich glaze, evoking the image of a blossoming cherry tree. "Ōmi" is a type of chaire known for its distinctive shape. The name is also linked to a waka poem by Ise no Tayū referencing cherry blossoms in Nara, where the tea caddy was discovered.
3. What are the key physical characteristics of the Yae-zakura Ōmi?
The Yae-zakura Ōmi stands out due to several features:
Shape: Thin walls, deep rim, flared body below the ridge, narrow foot.
Glaze: Blend of purple and persimmon-gold tones, black glaze "waterfall" flowing from the shoulder, fine lightning-like crackles.
Materials: Iron-rich clay visible at the base, interior shows wheel marks and full glaze at the center.
4. What is the significance of the black lines encircling the Yae-zakura Ōmi?
The single black lines around the ridge and the body are deliberate design elements that highlight the vessel's elegant form. They also serve to accentuate the contrast between the black glaze and the purple and persimmon-gold hues of the main glaze.
5. How was the base of the Yae-zakura Ōmi constructed?
The base was formed using the itaokoshi method, which involves creating a raised plate. This technique, along with visible finishing marks, contributes to the vessel's unique character.
6. What accessories were traditionally kept with the Yae-zakura Ōmi?
The Yae-zakura Ōmi was stored and presented with a set of traditional accessories:
Shifuku: A silk pouch made of Yoshino brocade and Shibata damask.
Boxes: A nested set of boxes including a bag box made of paulownia wood, an inner box made of ebony with an inscription by Enshū, and an outer box with shunkei-style lacquer. A carved zelkova wood pedestal was also used.
7. Where was the Yae-zakura Ōmi previously kept?
The Yae-zakura Ōmi was formerly part of the prestigious collection of the Fujita family of Osaka.
8. What makes the Yae-zakura Ōmi a notable piece of Japanese art?
The Yae-zakura Ōmi is considered a meibutsu due to its combination of historical significance, elegant form, unique glaze features, and meticulous craftsmanship. Its poetic name and connection to a famous waka poem further enhance its artistic value.
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