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茶入筆記 vol.32 德川家康、井伊直孝:唐物宮王肩衝茶入,大名物、彥根城博物館藏 - Tokugawa Ieyasu, Ii Naotaka, Miyaō Katatsuki Chaire



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宮王肩衝:Miyaō Katatsuki Chaire_ Ii Family Treasure

此器物肩部圓潤,頸部下緣與器身中央環繞刻有凹槽紋,在紫褐色釉面上淋覆一層黑色糖釉。它被視為室町幕府第八代將軍足利義政舊藏的大名物,後為越前朝倉九郎左衛門所有,並傳至宮王三郎大夫,因而得名“宮王”。


天正十一年(1583年),曾在織田信長與豐臣秀吉麾下負責蒐集名物茶器的松井友閒將此器進獻給秀吉。慶長二十年(1615年)大阪城陷落時,德川家康獲得此器,並於論功行賞時賜予第二代藩主井伊直孝(1590–1659)。此後,該器作為井伊家世代相傳的重寶而廣為人知。


宮王肩衝茶入

大名物

高9.6 口径4.6cm

中国・宋時代

井伊家伝来資料


此茶入被列為大名物,並收錄於《東山御物內別帳》《玩貨名物記》《古名物記》《古今名物類聚》《萬寶全書》等多部名物錄中。它是一件所謂“漢作肩衝茶入”,歷來備受推崇。由於關東大地震的影響,其大部分附屬品已散失,現保存於一只橫插式蓋之堅固匣中。



傳承與名稱

文獻顯示,此茶入最早由越前的朝倉九郎左衛門收藏,後轉入宮王三郎大夫(史料中常簡稱“宮王”)之手,因此得名「宮王」。天正十一年(1583年)前後,宮內卿法印(文獻中亦稱“宮法”)將此茶入獻給豐臣秀吉。慶長二十年(元和元年,1615年)大阪城陷落時,德川家康得到此物,賞賜給因軍功卓著而備受器重的井伊掃部頭直孝(井伊直孝,1590–1659)。此後,本品一直作為井伊家之傳世家寶保存至今。


另據記載,此茶入或曾歸屬於室町幕府第八代將軍足利義政,為其著名蒐藏之一。《津田宗及茶湯日記》亦記錄,天正五年(1577年)時,“宮法”曾在茶會上使用此茶入,顯示它自古即在大名與茶人間輾轉流傳。至於“宮王大夫”其人,雖然相關詳細生平尚不明晰,但眾多史料均證實此器在茶道史上地位顯赫。



造型與釉色

此茶入口部做工寬厚,捻返明顯,肩部略高,胴部自然鼓脹,整體造型沉穩大方,半腰處有一道環繞的沈刻線。釉色方面,以帶茶味的紫色地為底,並在其上施以黑飴釉;自肩部兩側流下的黑釉於胴帶下方匯合成一道,最終在近底處凝止,形成獨特的「置形」。黑釉厚積之處可見帶有青瑠璃光澤的釉溜,散發幽藍的雅致光彩。底足淺平,邊緣微微隆起,與整體造形渾然一體。


評價與記錄

此器胎釉無瑕,黑飴釉在茶紫地上流動自如,並隱隱帶有深沈光澤,兼具大名物應有的典雅與風韻,因此在多部古文獻和茶器名鑒中都備受推崇。它的各種稱呼如「宮王肩衝」等,散見於《寛政重修諸家譜》和《大正名器鑑》等書籍。其渾圓雍容的肩部與分明可辨的釉色流痕,使之成為日本茶道史上極具代表性的肩衝茶入之一。



現狀與收藏

此茶入通過井伊家代代相傳,現存於該家族創立的井伊美術館。曾有一只以整塊樺木挖空製成的外箱,高約27公分,長寬均約30公分,用以防範地震、火災及盜竊等風險。後來茶入的仕覆、箱等附屬品或毀於火災,或散失於關東大地震,但茶入本體幸運地保存完好。如今則收藏於橫插式蓋之堅固木箱內,藉此繼續延續其珍貴價值。

尺寸:高9.8公分,胴徑7.0公分

收藏處:彥根城博物館



唐物漢作宮王肩衝問答 FAQ


1. 宮王肩衝茶入是什麼?為什麼如此重要?

回答:宮王肩衝茶入是一件日本茶道中極具價值的茶入(chaire),被列為「大名物」(ō Meibutsu),意指曾為歷代大名或重要權貴收藏的名品。它在日本茶道史上具有重要地位,原因包括其顯赫的傳承背景(曾為室町幕府將軍足利義政、豐臣秀吉、德川家康等人持有)、優雅的造型與獨特的釉色,以及它在肩衝形(Katatsuki,「肩衝」)茶入類別中的代表性。對日本茶道愛好者與研究者而言,它象徵了審美、權力與歷史的交織,因而備受推崇。


2. 宮王肩衝茶入的主要外觀特徵是什麼?

回答:此茶入的外形呈肩衝式,肩部渾圓飽滿,口部寬大且有明顯的「捻返」(日語稱 hineri-kaeshi)。頸部下緣與胴部中央各有一道雕刻凹槽環繞。整體以紫褐色釉為底,再淋上類似太妃糖質地的黑飴釉,形成獨特的「置形」(okigata)流紋。兩股黑色釉流自肩部兩側延伸並在胴帶(凹槽)下方匯合,於底部積釉處呈現深邃的青瑠璃色(seiruri)光澤。全器約高9.8公分、胴徑7.0公分,線條優雅且極富視覺層次。


3. 宮王肩衝茶入的名稱由來是什麼?

回答:「宮王」之名源自曾經擁有此茶入的宮王三郎大夫(Miyao Saburōdayū)。此人早先掌握此器,後來它輾轉流傳給其他知名權貴。雖然有關宮王三郎大夫的詳細事蹟並不多,但他對此茶入的持有權,奠定了「宮王肩衝」的命名基礎,使其在日本茶道史中的名聲更加明確。


4. 宮王肩衝茶入的傳世歷程如何?

回答:文獻顯示,這件茶入曾歸足利義政(室町幕府第八代將軍)與越前朝倉九郎左衛門所有,接著傳至宮王三郎大夫;之後由宮內卿法印(Miyauchi-kyō Hōin)獻給豐臣秀吉。大阪城陷落(慶長二十年,亦作元和元年,西元1615年)後,茶入落入德川家康之手,並被賜予井伊直孝(Ii Naotaka)以獎勵其軍功。此後,該茶入便成為井伊家世代相傳的重要家寶。如今它由位於彥根城的博物館(Hikone Castle Museum)珍藏,成為該館代表性文物之一。


5. 宮王肩衝茶入在歷史文獻中有何記載?

回答:此茶入在多部古代名物記與茶器文獻中皆有詳細記載,如《東山御物內別帳》、《玩貨名物記》、《古名物記》、《古今名物類聚》、《萬寶全書》,以及《寛政重修諸家譜》《大正名器鑑》等,突顯其身為「大名物」的崇高地位。這些文獻除了記載它的造型與釉色,也反映了歷代權貴、茶人對其的珍視與評價。


6. 什麼是「置形」(okigata)釉流?在此茶入上是如何形成的?

回答:「置形」(okigata)指釉藥在陶器表面自然或刻意流動、堆積的視覺效果。宮王肩衝茶入以紫褐色地為底,並在其上淋覆黑飴釉。黑釉從肩部沿兩側往下流,於胴部環繞線下方匯合並持續向底部堆積。最終在接近底部處凝滯,形成特殊且富有動感的流紋。此種釉流非僅出於偶然,更體現了製作者與使用者對「流動之美」的審美追求。


7. 宮王肩衝茶入原先的附屬品與外箱如今何在?

回答:此茶入原先配有使用樺木整段挖空製成的外箱,以及絹製仕覆(shifuku)與漆製箱等精緻附屬品。不幸的是,多數附屬物已在火災與關東大地震等災禍中散失。如今所見的收納箱為堅固的橫插式蓋箱,能有效保護茶入,防範地震、火災或竊盜等意外風險。


8. 宮王肩衝茶入的現藏地點在哪裡?

回答:目前,宮王肩衝茶入收藏於位於滋賀縣的彥根城博物館(Hikone Castle Museum),做為日本茶道史與藝術史的重要實物證物。它既代表了日本傳統陶藝的巧思與技藝,也因其歷經多位歷史要人之手而富含文化、政治與美學價值,成為該館展示與研究的核心藏品之一。



『古名物記』のほか『東山御物内別帳』『玩貨名物記』『古今名物類聚』『万宝全書』など諸名物記に記載されています。【付属物】関東大震災のため付属品の大半は失われ、現在横差込蓋の箱に納められています。【伝来】朝倉九郎左衛門―宮王大夫 宮内卿法印 豊臣秀吉 徳川家康 井伊掃部頭直孝―井伊家【寸法】 高さ:98 胴径:7.0【所蔵】彥根城博物館


丸みのある肩を持ち、頸部下辺と胴の中央に彫り筋をめぐらし、紫褐色の釉薬の上から黒飴を流し掛けています。室町幕府8代将軍足利義政旧蔵の大名物(おおめいぶつ)とされ、越前朝倉九郎左衛門(あさくらくろうざえもん)が所持、宮王三郎大夫(みやおうさぶろうだゆう)に伝えられたことから「宮王」の名で呼ばれました。のち天正11年(1583)、織田長や豊臣秀吉の下で名物茶器蒐集を主導した松井友閑(まついゆうかん)から秀吉へ献上され、慶長20年(1615)の大坂城落城の際、徳川家康が入手、戦功の賞として2代直(1590~1659)が拝領しました。井伊家累代の重宝として知られています。


大名物。漢作肩衝茶入。口造りの捻り返しは両削ぎで刃先鋭く、甑下が張り、その周囲に不規則に黒筋が二本廻り、一本は浮筋であります。肩際は少し面取り、胴が張り、沈筋一線が茶入半分を廻ります。総体に薄紫地に黒飴釉が掛かり、中に少し茶味を帯び、釉溜まりに青瑠璃色の景色があります。置形の一なだれは、肩下双方から起こって胴紐下で一筋に合わし盆付際に至って止まります。釉溜まりは厚く青瑠璃釉が特に麗しく現れています。相好円満で品位が高く、地色は紫に茶味を帯び、その色が冴え冴えとしているので黒飴釉の景色が分明に現れ、黄釉および青瑠璃釉ともに光沢が麗しく、全部無疵で十分大名物の品位を具えた茶入であります。もと朝倉九郎左衛門所持、のち宮王大夫に伝わり初めて宮王肩衝の名が出ました。1583年(天正一一)宮内卿法印から豊臣秀吉に献じ、1615年(元和元)大阪落城の際徳川家康がこれを得て、井伊掃部頭直孝に授けて当時の戦功に報いました。以来井伊家の家宝であります。この茶入の外箱は大きい樺の柱をくりぬいたもので、高さ27cm余、縦30cm余、横約30cm、地震盗難火災除けのためにこのように重く強く大きな箱をつくったとのこと。(『東山御物内別帳』『玩貨名物記』『古名物記』『万宝全書』『寛政重修諸家譜』『大正名器鑑』)


『古名物記』によれば、前宮王大夫が所持したことが記されていて、銘の出所がわかりますが、その人物については明らかでありません。『津田宗及茶湯日記』には天正五年、宮法(宮内卿法印)の茶会でこの茶入が用いられていることが記録されていますが、宮王大夫については記されていません。その後、茶入は天正十一年、宮内卿法印から秀吉に献納、元和元年、大阪落城とともに家康の所蔵するところとなりました。家康はこれを当時軍功のあった井伊掃部頭直孝に与えましたので、以後代々同家の家宝として伝えられました。その後、火災をこうむり仕覆・箱などの付属物を失いましたが、幸い本体は無事に残り、現在同家設立の井伊美術館に所蔵されています。姿は口造りが堂々として、口広く、捻り返しが強いです。肩はほどよく衝き、胴も自然のふくらみをみせて、総体におだやかな造形を呈しています。釉景は全体に茶紫地に黒飴釉がかかり、置形は双方から流れ下がった黒釉が胴紐下で一本にまとまり、盆付際に至って止まっていて、置形をなしています。裾は浅く土見で、底は板起しで周縁が少しもち上がっています。


This tea caddy—classified as a Daimyō Meibutsu (noted masterpiece of feudal lords)—is recorded in multiple historical inventories such as the Higashiyama Gomotsu Uchi Betchō (『東山御物内別帳』), Ganka Meibutsuki (『玩貨名物記』), Ko Meibutsuki (『古名物記』), Kokon Meibutsu Ruijū (『古今名物類聚』), and Manpō Zensho (『万宝全書』). Traditionally referred to as a Chinese-made “Katatsuki” (shouldered) tea caddy, it has been venerated for centuries. Most of its original accessories were lost during the Great Kantō Earthquake, and it is now kept in a protective box with a horizontally sliding lid.


Provenance and Naming

According to surviving records, it was once owned by Asakura Kurozaemon of Echizen. Subsequently, it came into the possession of Miyaō Saburōdayū (often shortened in documents simply to “Miyaō”), from which it acquired its name, “Miyaō.” Later, around 1583 (Tenshō 11), it was presented by Miyauchi-kyō Hōin (宮内卿法印; sometimes abbreviated as 宮法) to Toyotomi Hideyoshi. After the fall of Osaka Castle in 1615 (Keichō 20 / Genna 1), Tokugawa Ieyasu claimed it and bestowed it upon Ii Naotaka (1590–1659), also known as Ii Kamon-no-kami Naotaka, in recognition of his military achievements. It has remained an heirloom of the Ii family ever since.

Earlier sources also connect this piece to the eighth Muromachi shōgun, Ashikaga Yoshimasa, suggesting it was once part of his renowned art holdings. Additionally, in the Tsuda Sōgyu Chayu Nikki, there is a record that in 1577 (Tenshō 5), a tea gathering was held by “Miya-hō” (宮法), during which this caddy was used. Although details about “Miyaō Dayū” remain sparse, these references confirm the caddy’s continuous presence among high-ranking daimyō and tea connoisseurs.


Form and Glaze

The caddy’s basic silhouette features a firm, wide mouth with a pronounced “twist-back” (捻り返し), flaring shoulders, and a gently swollen midsection. An incised line circles the body’s midpoint. The overall appearance is serene and well-proportioned.The surface glaze combines a purplish-brown (cha-murasaki) base over which a black, toffee-like glaze is poured, creating a dramatic “cascading” effect (okigata, 置形). Two irregular black streams descend from opposite sides of the shoulder and converge beneath the incised band. The black glaze pools thickly near the lower portion, producing lustrous patches with subtle tinges of deep lapis (a seiruri or “blue-lapis” sheen). The foot is shallow and the base is slightly raised at the edges.


Notable Features and Historical Reception

Because of its flawless condition and exquisite glazing, this tea caddy has long been lauded as befitting the status of a Daimyō Meibutsu. In older inventories, it also appears under names such as “Miyaō Katatsuki” and is discussed in sources like Kansei Chōshū Shokefu (『寛政重修諸家譜』) and Taishō Meiki Kan (『大正名器鑑』). Its graceful shape, refined coloration, and elegant gloss of black over tea-purple ground make it highly prized in the tradition of Japanese chanoyu(tea ceremony).


Current Ownership and Storage

Following its transmission through the Ii family, the caddy is now housed at the Ii Museum (井伊美術館). At one point, an outer container was fashioned from a large, hollowed-out piece of birch—measuring approximately 27 cm in height and 30 cm on each side—to protect the vessel from earthquakes, fires, and theft. Although various accessory items (such as the original silk pouch shifuku and lacquered boxes) were destroyed in a later fire and also during the Great Kantō Earthquake, the tea caddy itself survived intact. Its present storage box is a sturdy, side-inserting lid container intended to safeguard it from further harm.

Dimensions: Height 9.8 cm; body diameter 7.0 cm.Collection: Hikone Castle Museum.


This piece features gently rounded shoulders, with carved lines encircling the lower edge of the neck and the midpoint of the body. A black, toffee-like glaze is poured over the underlying purplish-brown glaze. Recognized as an esteemed “daimyō meibutsu” (famous masterpiece) once owned by Ashikaga Yoshimasa, the eighth shogun of the Muromachi shogunate, it later came into the possession of Asakura Kurozaemon of Echizen, and was handed down to Miyao Saburōdayū, thus acquiring the name “Miyao.” In the eleventh year of the Tenshō era (1583), Matsui Yūkan—responsible for gathering celebrated tea utensils under Oda Nobunaga and Toyotomi Hideyoshi—presented it to Hideyoshi. During the fall of Osaka Castle in the twentieth year of the Keichō era (1615), Tokugawa Ieyasu obtained the piece and awarded it to Ii Naotaka (1590–1659), the second-generation lord, in recognition of his military service. Ever since, it has been cherished as a hereditary treasure of the Ii family.


FAQ: Miyao Katatsuki Chaire

What is the Miyao Katatsuki Chaire and why is it significant?

The Miyao Katatsuki Chaire is a highly prized Japanese tea caddy ("chaire") classified as a Daimyō Meibutsu, meaning a noted masterpiece owned by feudal lords. It’s significant due to its history of ownership by powerful figures such as Ashikaga Yoshimasa, Toyotomi Hideyoshi, and Tokugawa Ieyasu, as well as its aesthetic qualities. Its form is specifically a “Katatsuki” or shouldered shape, and it's revered for its elegant glaze and historical associations within the Japanese tea ceremony tradition. It’s considered a representative example of a shoulder-shaped chaire.


What are the defining physical characteristics of the Miyao Katatsuki Chaire?

This chaire features a rounded, shouldered shape with a wide mouth and a pronounced "twist-back." It has carved lines encircling the lower neck and the center of the body. The glaze is particularly notable: a black, toffee-like glaze is applied over a purplish-brown base, creating a cascading, or okigata effect. The pooling of the black glaze at the bottom results in areas with a deep, lapis-blue (seiruri) sheen, adding to its unique beauty. It stands approximately 9.8 cm tall with a body diameter of 7.0 cm.


How did the Miyao Katatsuki Chaire get its name?

The chaire's name, "Miyao," comes from Miyao Saburōdayū, a previous owner of the caddy. This individual held the caddy in his possession before it passed through the hands of figures like Toyotomi Hideyoshi. While detailed information about Miyao Saburodayu is scarce, his ownership is integral to the chaire’s established name.


What is the known history of ownership and transmission for this chaire?

The chaire’s known history includes ownership by: Ashikaga Yoshimasa (8th Muromachi Shogun), Asakura Kurozaemon, Miyao Saburodayu, then it was presented to Toyotomi Hideyoshi by Miyauchi-kyō Hōin. Later, Tokugawa Ieyasu acquired it after the fall of Osaka Castle and awarded it to Ii Naotaka. Since then, it has remained an heirloom of the Ii family, and is currently housed at the Hikone Castle Museum as a key piece of their collection.


How has the Miyao Katatsuki Chaire been documented historically?

This tea caddy is meticulously documented in various historical inventories and texts, underscoring its significance. It appears in the Higashiyama Gomotsu Uchi Betchō, Ganka Meibutsuki, Ko Meibutsuki, Kokon Meibutsu Ruijū, and Manpō Zensho, among others, which all are classic texts on noted wares of Japan. These records emphasize its recognition as a Daimyō Meibutsu and provide insights into its revered status. Further documentation appears in the Kansei Chōshū Shokefu and the Taishō Meiki Kan.


What is the "okigata" glaze effect, and how is it created on the Miyao Katatsuki Chaire?

The "okigata" refers to the cascading glaze effect seen on the chaire. It's achieved by pouring a black, toffee-like glaze over the purplish-brown base. The black glaze descends from the shoulder, forming two streams on opposite sides that converge and continue to flow downward, eventually pooling and stopping near the base. This is not a random flow, but a calculated and sought-after effect, in which the convergence occurs below the central incised line, and is key to the “okigata” shape.


What happened to the original accessories and protective containers of the Miyao Katatsuki Chaire?

The chaire originally had an outer container made from a hollowed-out birch trunk, as well as silk pouches (shifuku) and lacquered boxes. Unfortunately, most of these original accessories were either lost in a fire or during the Great Kantō Earthquake. Today it is kept in a robust, side-inserting lid container to ensure its safekeeping.


What is the current location of the Miyao Katatsuki Chaire?

The Miyao Katatsuki Chaire is currently housed at the Hikone Castle Museum, where it is preserved as an important artifact of Japanese history and the tea ceremony. It remains a significant piece due to its cultural importance, historical connections, and exquisite craftsmanship.

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