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茶入筆記 vol.33 酒井家:唐物養老鶴首茶入 - Sakai, Karamono Yoro Chaire



Audio cover
唐物養老鶴首 Yōrō Tsurukubi Chaire

唐物茶入 養老鶴首


「養老」鶴首茶入是一件兼具藝術性與歷史價值的茶道具。它以長壽寓意的命名、修長的鶴首造型、多層次的釉色變化以及完善的傳承記錄,成為茶道文化中一件不可多得的名品。研究時,應著重其跨文化背景(唐物)、造型工藝與釉色特徵,以及完整的文獻與實見記,這些皆為理解茶道美學與歷史傳承的重要切入點。


據說此器物由於形似「鶴首」,故取鶴之長壽之意,命名為「養老」,以寄託長壽的象徵。這件養老鶴首曾在「畠山記念館」展覽過,但近期在其更新的官網上並沒有提及。


據傳畠山記念館有出售過藏品,不知道養老鶴首是否已經被變賣,假如被出售,其又現歸何處?


It is said that this artifact was named "Yǎnglǎo / Yoro" (meaning "Nurturing Old Age") because its shape resembles a crane's head, symbolizing the longevity associated with cranes. This tea caddy / chaire was once exhibited at the Hatakeyama Memorial Museum, but it has not been mentioned on their recently updated official website.


According to one source, Hatakeyama Memorial Museum has been selling its collection through famous unamed Tokyo dealers and has recently undergone a name change. It is unclear whether this famous item has been sold, and if it was sold for financial reasons, where it currently resides.


SACA學會唐物鶴首系列:






養老

名物

唐物鶴首茶入


或因鶴之長壽而得名。本器高二寸五分(約7.6厘米),腹徑一寸八分五厘(約5.6厘米),口徑一寸(約3.0厘米),底徑一寸一分八厘(約3.6厘米),圓座高一分五厘(約0.5厘米),頸長一寸二分(約3.6厘米),重量十六匁八分(約63.0克)。


口部製作厚實,翻口較淺,頸部修長,在頸下方略有凹陷,腹部飽滿。自底部以下可見朱泥色的胎土。底部為圓形足(圓座),周圍可見刀削痕並帶有細緻的「切絲」(糸切)痕跡,邊緣磨平,起點及中央處各有一平面,截斷了切絲痕的一半。整體通施帶紫色調的柿金氣釉,其上再覆以黑釉,器物底邊(裾)一周有脫釉處,並可見少量呈青琉璃色的部分。


此茶入傳世於酒井家。仕覆為姬路間道,由俵屋宗雪所縫製。外袋箱為桐製白木,配有雙蓋。挽家(收納容器)以烏木製成。內箱為桐製白木;外箱漆成黑色並帶鎖。御物袋(保護用袋)為茶羽二重布。



【實見記】


大正九年(1920年)十二月五日,於東京市小石川區原町的酒井忠正伯爵府邸實地觀察此器。其口部厚實,翻口淺,頸部修長,腹部飽滿。底部為圓形足,帶有細緻的切絲痕;足緣磨平,並在起點與中央各留出一處平面,遮蔽了約半數的切絲紋。通體施帶紫色調的柿金氣釉,上面整體覆蓋黑釉,底部邊緣有脫釉之處,並出現些許青琉璃色。頸下方左右略帶凹陷,為此茶入更添幾分趣味。圓足以下可見朱泥胎土,並有刀削痕。內部自口緣起施釉,旋削紋一路延伸至底心,恰成一個規整的漩渦。此器雖然小巧,卻極富景致,堪稱眾多唐物鶴首茶入中極具觀賞價值的一件。


以下以「FAQ問答」的形式,對此「養老」鶴首茶入進行概要與深入探討。


問題一:為何將此茶入命名為「養老」?

回答:「養老」(Yōrō)一名,很可能與此茶入形制相似鶴首(tsurukubi)有關。鶴在東亞文化中象徵長壽,「養老」一詞本身則帶有高齡與長壽之意,因而寄寓吉祥與延年益壽的涵義。


問題二:能否描述「養老」鶴首茶入的主要外形特徵?

回答:「養老」茶入有以下幾項顯著特徵:最引人注目的是其細長的頸部(tsurukubi),形似鶴頸,賦予整體器形以修長優雅的輪廓。口沿較厚,且略帶淺淺的翻口;壺身則圓潤飽滿。整體尺寸相對小巧,約高7.6厘米,頸長3.6厘米。底部為圓形圈足(enza),可見明顯的刀切痕與細緻的「糸切」(ito-kiri)紋。此茶入的釉藥亦頗為獨特:先施帶有紫色調的柿金氣釉(kaki-ginki),再覆以黑釉。足部周圍有局部釉剝落處,露出略帶青藍色彩(帶有青琉璃色調,ao-ruri)的部分,增添其審美趣味。


問題三:「唐物鶴首茶入」在日本茶道中是何意義?

回答:「唐物」(Karamono,唐物)指的是具有中國來源或中國風格的器物,在日本茶文化中格外珍視。「鶴首茶入」(Tsurukubi Cha-ire)則是指頸部修長、宛如鶴頸的茶入(cha-ire)。不論是直接從中國輸入,或在日本以中國風格製作,這類茶入皆因其歷史、工藝與美學價值而在日本茶道(chanoyu)中地位顯赫。它們的存在為茶席帶來傳統與雅趣,同時體現了精緻講究的審美觀。


問題四:「養老」鶴首茶入的釉色有何獨到之處?

回答:此茶入最突出的特色之一在於層疊的釉面及其視覺效果。底層為帶紫色光澤的柿金氣釉(kaki-ginki),上面覆蓋一層黑釉。靠近足部處,部分釉藥剝落,裸露出底下的朱泥胎土(shudei),並產生略帶青藍(ao-ruri)色調的變化,使整件器物在視覺上更加生動。多重釉層的疊加賦予茶入深邃的層次感與質感,受到茶人與收藏家一致推崇。


問題五:關於此茶入的歷史背景,以及隨附的配件,有哪些資訊?

回答:「養老」茶入的傳承脈絡明確,曾由日本著名的大名家族——酒井家(Sakai)收藏。隨附配件包括:以姬路間道(Himeji kandomichi)織物製成的絹質仕覆(shifuku),由俵屋宗雪縫製;樸素的桐木箱(白木製);烏木挽家(hikigaya,挽製容器);另有鎖扣的黑漆外箱,以及一條以茶羽二重布料縫製的保護袋。這些配件反映出此器物之珍貴與茶器保存傳統的周到講究。


問題六:「實見記」(Jikkenki)對於「養老」茶入提供了哪些訊息?為何重要?

回答:「實見記」(Jikkenki)是針對茶器的親身觀察與記錄,詳述了形制、釉色,以及任何獨特之處。與此茶入相關的實見記,特別提及1920年(大正九年)在酒井忠正伯爵邸所做的觀察,說明了研究者對此器物的細緻檢視與用心。此類第一手紀錄對茶入之真偽鑑定、學術研究皆至關重要,亦有助於日後更深入地了解與考證。


問題七:「養老」茶入對日本茶文化及其中器物的重要性,有何揭示?

回答:「養老」茶入可謂日本茶文化的縮影。其價值體現於:


作為茶席中盛放抹茶粉的實用器物;

「唐物」身份、精妙的工藝;

與大名家族之間的淵源及明確的傳承;

優美的審美風格。


它在完善的保護與紀錄機制下長久存世,不僅佐證了日本茶道對茶器的重視,也展現了美學與歷史、社會與政治之間的交融。


問題八:是什麼使得「養老」鶴首茶入被視為特別「值得關注」?

回答:「養老」茶入之所以備受矚目,主要源於其以下特質:小巧卻極具特色的器形(尤其是頸部下方細微的凹陷)、多層次而變化豐富的釉面,以及在圓足上可見的「糸切」與刀切痕所帶來的視覺趣味。此外,它出自地位顯赫的大名家族,擁有完整的配件與文獻記錄,令其在同類型的鶴首茶入(尤其是中國風格或中國製)中脫穎而出,也充分彰顯了其製作與所處時代的藝術水準。



延伸介紹

以下詳細探討「唐物」、「鶴首」、「茶入」,以及日本收藏體系與著名的收藏家或博物館,同時從人物歷史層面,講述酒井家與德川家、千利休的關係。


A. 核心概念

  1. 唐物 (Karamono)

    • 定義與重要性: 在日本茶道語境中,「唐物」最初專指從中國輸入的器物,如陶瓷、漆器等。由於古代中國物品在日本被視為珍貴而高雅,因此武家與貴族階層特別珍視。

    • 對日本茶道美學的影響: 唐物豐富了日本茶道的風格與品味,帶來新的造型與釉色,促進日本本土陶工的創作靈感,並在茶道審美上佔有舉足輕重的地位。

  2. 鶴首 (Tsurukubi)

    • 字面意義: 即「鶴的頸部」,描述器物具有細長的頸部造型。

    • 象徵面: 鶴在東亞有長壽、吉祥之意,鶴首形器物往往給人高雅與瑞氣的感受,故在茶道器物中被視為別具趣味的形制。

  3. 茶入 (Cha-ire)

    • 茶道中的角色: 茶入是用於盛裝抹茶粉末的小型容器,於正式茶會(濃茶席)中尤為重要。

    • 材料與工藝: 茶入常以陶、磁或炻器製成,通常具備良好的密閉性以保護抹茶風味。其體型雖小,但造型和釉色的微妙差異往往在鑑賞中占據核心地位。


B. 茶入在日本收藏體系中的地位

  • 文化背景: 在日本茶道範疇,茶入一直享有極高聲譽,被視為「名物」的代表。其命名來歷、曾經使用的茶人、典故與家傳故事等,都能提升器物的價值與地位。

  • 文獻與傳承: 每件著名茶入都會附有「由緒書」、「茶會記」等佐證文獻,並藏於特製的木箱或布袋中,這些附帶資料確保了器物流傳有序。

  • 著名收藏家與博物館:

    • 德川家珍藏: 很多唐物名品都在江戶幕府統治時期進入德川家的收藏,現多分散於德川美術館等相關機構。

    • 大名家族: 前田、細川、酒井等大名家族都是重要的茶器藏家,他們將珍藏品視為家傳寶物。

    • 現代博物館: 東京國立博物館、京都國立博物館、MOA美術館、三井紀念美術館等皆藏有頂級茶道具。


C. 人物歷史與家系關係

  1. 酒井家 (Sakai Family)

    • 家系淵源: 酒井氏為德川氏的譜代大名,在德川家康崛起時便隨之征戰,受封大領地。其後裔或支系先後領有如姬路藩等要地,位階甚高。

    • 茶道贊助者: 作為武家貴族,酒井家對茶道頗為重視,典藏豐富的茶道具,並經常在政治與社交場合中以茶會作為文化交流手段。

    • 與「堺」之關係: 雖然千利休出身自大阪堺市(商業都市),但此「酒井家」源自三河,與城市「堺」同音卻實為不同脈絡。然而雙方都因茶道而在歷史上留下鮮明印記。

  2. 與德川家的關係

    • 酒井家向來是德川家康的腹心勢力,曾在重要戰役中立下功勞。幕府建立後,酒井家成為譜代大名,領有大藩,並在幕政中扮演要角。

    • 在文化層面,他們也與將軍家互通茶道具,參與江戶城內舉辦的茶會,成為武士文化與茶道傳統的重要持續者。

  3. 與千利休 (Sen no Rikyū) 的淵源

    • 利休的影響: 千利休(1522–1591)是繼承並發展「わび茶」的關鍵人物,強調質樸淡雅、美在不完美。

    • 間接傳承: 利休雖主要服務於織田信長與豐臣秀吉,但其茶道美學深遠地影響後世。江戶時期各藩主與茶人皆受其思想啟迪,包括酒井家在內的譜代大名,也融入利休所倡導的侘茶理念。

    • 文化精神: 即使沒有直接師承關係,酒井家在使用、收藏、呵護名品茶入的作法,正呼應了利休對茶器、茶境的重視與尊崇。



總結

「養老」鶴首茶入作為一件典型的「唐物鶴首茶入」,集造型、釉色與深厚歷史底蘊於一身,在日本茶道器物的收藏與研究領域極具代表性。

  • 它象徵著鶴的長壽與高雅,並具有紫色調柿金氣釉與黑釉相疊的絢麗視覺效果。

  • 其傳承背景與酒井家息息相關,進而牽涉到與德川家、千利休在文化與政治層面的間接或直接聯繫,顯示出日本茶道在政治權力與藝術鑑賞間的交織。

  • 今日,此類名品不僅是藝術珍藏,更是研究日本歷史、審美與跨文化交流的重要實物依據。透過器物本身與文獻檔案(如實見記、由緒書)相互印證,方能更全面地理解其在日本茶道史上的地位與價值。


養老(ようろう)

名物 唐物 鶴首


鶴首と云ふに因み長壽の意を寓して、養老とは名づけしならん。


高二寸五分(7.6cm)、胴径一寸八分五厘(5.6cm)、口径一寸(3.0cm)、底径一寸一分八厘(3.6cm)、円座高一分五厘(0.5cm)、首長一寸二分(3.6cm)、重量十六匁八分(63.0g)。口作は厚く、捻返しが浅く、首が長く、首の下方にやや凹んだところがあり、胴が張り、裾以下は朱泥色の土見で、底は円座で、円座廻りに切箆があり、細かい糸切で、縁が磨り、起点と中央に平面があり、糸切半面を遮断する。総体に紫色を帯びた柿金気釉の上に黒釉が掛り、裾廻りに釉ヌケがあり、少し青瑠璃色を現したところがある。



伝来は、酒井家。

仕覆は、姫路間道、俵屋宗雪切。

袋箱、桐白木。

蓋二枚。

挽家、黒檀。

内箱、桐白木。

外箱、黒塗 

錠前付。御物袋、茶羽二重。


實見記


大正九年十二月五日東京市小石川區原町酒井忠正伯邸に於て實見す口作厚手にて拈り返しく、頸長く胴張り、底願座にて絲切細かく、縁磨り、起點及び中央に平面ありて切約半分を遮蔽す。總體紫色を帯びたる柿金氣釉の上に、黒釉總體に掛り、裾廻りに於て釉ヌケあり、又少しく青瑠璃色を現はし、頸の下方に雙方より稍凹せたる處あるが為め、此茶入に一段の景色を添へたり。裾以下朱泥色の土を見せ、圓座廻りに切あり、内部口縁釉掛り、以下轆轆繞り、底中央キッカリト渦を成す、小形にて景色に富み、唐鶴首茶入中最も見所多き茶入なり。



Karamono Yōrō Tsurukubi Chaire


It is said that, taking its inspiration from the so-called “crane’s neck” (tsuru-kubi) shape, this vessel was named “Yōrō” as an allusion to long life, in reference to the crane’s traditional symbolism of longevity.


Yōrō (養老)A renowned tea caddy (meibutsu) of Chinese origin (Karamono), in the crane-neck style.


The name may have been chosen because of the crane’s association with long life.It measures 2 sun 5 bu (7.6 cm) in height, 1 sun 8 bu 5 rin (5.6 cm) in body diameter, 1 sun (3.0 cm) in mouth diameter, and 1 sun 1 bu 8 rin (3.6 cm) in base diameter; the foot ring (enza) is 1 bu 5 rin (0.5 cm) high, the neck is 1 sun 2 bu (3.6 cm) long, and the weight is 16 momme 8 bu (63.0 g).The mouth is thickly formed, with only a shallow turned rim. The neck is long, featuring a slight indentation below it. The body is full. From the foot downward, the red-clay body (shudei) is exposed. The base has a circular foot with cut marks around it and fine thread-cut lines (ito-kiri). The edge of the foot is smoothed, and at both the starting point and the center, there are flat areas that interrupt about half of the thread-cut track. Overall, a purple-tinged kaki-ginki glaze coats the piece, over which a black glaze has been applied. Around the foot (suso), there are spots where the glaze is missing, and small areas appear in a slightly lapis-lazuli (ao-ruri) color.


Provenance: The Sakai family.The pouch (shifuku) is made of Himeji kandomichi fabric, sewn by Tawaraya Sōsetsu.The bag-box is made of plain paulownia wood, with two lids.The lathe-turned housing (hikigaya) is of ebony.The inner box is plain paulownia wood; the outer box is black lacquer with a lock attached.The protective cloth bag (gomotsu-bukuro) is of brown double-layer silk (chabane-nijū).


[Record of Direct Observation]


On December 5th of the ninth year of the Taishō era (1920), I examined this piece in person at the residence of Count Sakai Tadamasa in Haramachi, Koishikawa Ward, Tokyo. The mouth is thickly formed with a shallow turned rim, the neck is long, and the body is full. The base has a circular foot with finely incised thread-cut lines; the foot’s edge is smoothed, and there are flat areas at the starting point and center, obscuring about half of the thread-cut pattern. The overall piece is coated in a kaki-ginki glaze tinged with purple, onto which a black glaze has been broadly applied. Around the foot, some glaze has peeled away, revealing areas with a slight lapis-lazuli color. Because there is a slight indentation on both sides below the neck, an extra degree of visual interest is imparted to this tea caddy. Below the foot, the red clay body is visible, with cut marks around the circular foot. Inside, the glaze extends from the rim downward, with wheel-thrown lines (rokuro) continuing until a neat spiral is formed in the center of the base. Although small in size, it is rich in visual variation and is among the most noteworthy crane-neck tea caddies of Chinese origin.


FAQ about the “Yōrō” Tsurukubi Cha-ire


Frequently Asked Questions about the "Yōrō" Tsurukubi Cha-ire

Q1: What is the significance of the name "Yōrō" for this tea caddy?

A1: The name "Yōrō" (養老) is likely derived from the tea caddy's shape, which resembles a crane's neck ("tsurukubi"). The crane is a symbol of longevity in East Asian cultures, and "Yōrō" itself carries connotations of old age and long life. Therefore, the name is meant to evoke good fortune and an auspicious sense of enduring vitality.

Q2: Can you describe the key physical characteristics of the "Yōrō" Tsurukubi Cha-ire?

A2: The "Yōrō" tea caddy is characterized by several features: Its most prominent is the long, slender neck (tsurukubi), which is reminiscent of a crane's neck, and gives the tea caddy its overall shape. The mouth is thick with a shallow turned rim, and its body has a full, rounded shape. The tea caddy is relatively small, standing about 7.6 centimeters tall with a neck of 3.6 cm. At its base is a circular foot (enza) with distinct cut marks and fine thread-cut lines (ito-kiri). Its glaze is also unique: a purple-tinged kaki-ginki glaze is applied first, followed by a black glaze. Around the foot, there are areas where the glaze is missing, revealing hints of a slightly blue-lapis tone, all of which contribute to its aesthetic appeal.

Q3: What does "Karamono Tsurukubi Cha-ire" mean in the context of Japanese tea ceremony?

A3: "Karamono" (唐物) refers to objects of Chinese origin or those made in a Chinese style, which were highly prized in Japanese tea culture. "Tsurukubi Cha-ire" (鶴首茶入) specifically denotes a tea caddy ("cha-ire") with a long neck resembling a crane's neck ("tsurukubi"). These tea caddies, whether imported from China or created in a Chinese style in Japan, are significant in the Japanese tea ceremony ("chanoyu") due to their history, craftsmanship, and aesthetic value. Their presence enriches the ceremony with a sense of heritage and refined taste.

Q4: How is the glaze of the "Yōrō" Tsurukubi Cha-ire unique?

A4: The glaze of this particular cha-ire is distinctive due to its layered application and resulting visual effect. The base layer is a kaki-ginki glaze, which has a purplish tint. A black glaze is then applied over this. In places near the foot, the glaze is partially missing, exposing the underlying red clay body (shudei) and creating a slightly blue-lapis hue (ao-ruri), giving the piece a dynamic appearance. This multi-layered application of glazes gives it depth, texture, and complexity that is highly valued by tea practitioners and collectors.

Q5: What is known about the history of this tea caddy, including its provenance and accompanying items?

A5: The "Yōrō" tea caddy has a documented history of ownership, having been passed down through the Sakai family, a prominent daimyō (feudal lord) family in Japan. It comes with several important items, including a silk pouch (shifuku) made of Himeji kandomichi fabric, sewn by Tawaraya Sōsetsu, a plain paulownia-wood box, an ebony lathe-turned container (hikigaya), a black-lacquer outer box with a lock, and a protective cloth bag made of brown double-layer silk. These accessories speak to the piece's significance and the tradition of care in preserving these objects.

Q6: What does the "Record of Direct Observation" (Jikkenki) tell us about the "Yōrō" tea caddy, and why is it important?

A6: The "Jikkenki" is a detailed, first-hand record of a personal observation made of the tea caddy. In this case, it describes the specific details of its shape, glaze, and any unique features. The fact that this is a record made of an examination at the residence of Count Sakai Tadamasa in 1920 indicates the meticulous attention paid to its care. Such detailed records are crucial in establishing the authenticity of a tea caddy and serve as an invaluable reference for future studies, helping scholars to verify details and better understand the piece.

Q7: What does the "Yōrō" tea caddy reveal about Japanese tea culture and the importance of objects in it?

A7: The "Yōrō" tea caddy is a microcosm of many aspects of Japanese tea culture. Its importance is based on the tea caddy's function as an object in the tea ceremony, along with the fact it's a "karamono," its fine craftsmanship, its association with a prestigious family, its documented provenance, and its aesthetic appeal. The meticulous care with which it has been preserved, including the creation and upkeep of its protective gear, indicates the value placed on tea implements. It also points to the intersection between aesthetics, cultural heritage, and social/political connections in the context of Japanese tea culture.

Q8: What makes the "Yōrō" Tsurukubi Cha-ire considered especially "noteworthy"?

A8: The "Yōrō" tea caddy is considered especially noteworthy for a number of reasons. Its small size, the unique, subtle indentations below its long neck, the complex layered glazes, and the visible thread-cut lines on its circular foot all enhance its visual interest. In addition, it has provenance from a high-ranking daimyō family, and a comprehensive set of accessories. All of these features combined make the "Yōrō" cha-ire stand out as one of the most significant crane-neck tea caddies of Chinese origin, showcasing the craftsmanship and artistic traditions of its time.


A. Key Concepts

  1. Karamono (唐物)

    • Definition & Significance: In the context of Japanese tea culture, “Karamono” originally signified items imported from China—particularly ceramics, lacquerware, or other objects highly valued by the warrior and courtly classes. During the medieval and early modern periods, Chinese goods were considered exotic and refined, thus sought after by tea enthusiasts.

    • Influence on Japanese Tea Aesthetics: Karamono items helped shape the evolution of chanoyu, providing new styles and glazes that inspired Japanese potters. Collectors often prized Karamono for its history, rarity, and perceived authenticity.

  2. Tsurukubi (鶴首)

    • Literal Meaning: “Crane’s neck,” referring to any vessel with a notably slender, elongated neck.

    • Symbolic Aspect: The crane is a symbol of longevity and good fortune in East Asian cultures. Tsurukubi vessels thus often carry connotations of auspiciousness, elegance, and refined taste.

  3. Cha-ire (茶入)

    • Role in Chanoyu: A cha-ire is a small container used to hold the powdered green tea (matcha) for the formal tea ceremony (chanoyu). Traditionally, cha-ire can be of various shapes (e.g., katatsuki, bunrin, tsurukubi), but they must be well-sealed to protect the powdered tea from moisture and flavor loss.

    • Materials & Techniques: Cha-ire may be made of stoneware, porcelain, or earthenware. They are typically finished with distinctive glazes. The small scale of these vessels often accentuates subtle variations in shape and color, making them objects of close inspection and admiration during the tea ceremony.


B. Tea Caddy Collecting in Japan

  • Cultural Context: Within the world of chanoyu, tea caddies are among the most highly esteemed objects. Their naming, provenance, and association with famous tea masters elevate their status to “meibutsu” (notable or celebrated objects).

  • Documentation & Transmission: Each tea caddy typically has detailed records, including certificates of authenticity (shomono), diaries from tea masters (chakaiki), and dedicated storage boxes (kiribako) with inscriptions.

  • Famous Collectors & Museums:

    • Tokugawa Clan Treasures: Many Karamono tea caddies ended up in Tokugawa collections, now dispersed among Tokugawa-affiliated museums and families.

    • Daimyō Families: Prominent feudal lords—Maeda, Hosokawa, and Sakai families, among others—became renowned patrons and collectors.

    • Modern Museums: Institutions like the Tokyo National Museum, Kyoto National Museum, MOA Museum of Art in Atami, and private museums (e.g., Mitsui Memorial Museum) house significant tea utensil collections.


C. Historical Figures and Lineages

  1. The Sakai Family

    • Origins & Rise: The Sakai clan served under the Tokugawa from the earliest stages, classifying them as fudai(hereditary) daimyō. Over generations, they held large fiefs, including the Himeji Domain, and played key roles in the Tokugawa administration.

    • Tea Ceremony Patrons: As cultured warrior-aristocrats, the Sakai family collected and preserved precious tea utensils, fostering chanoyu in their domains and at the shogunate court.

    • Connection with the City of Sakai vs. the Sakai Clan: Though Sen no Rikyū was born in Sakai (the prosperous commercial city near Osaka), the Sakai “family” or “clan” is distinct, tracing its lineage to Mikawa Province. Nevertheless, they both share a deep-rooted link to tea culture—one as a mercantile center (the city), the other as a samurai house.

  2. The Relationship with the Tokugawa Clan

    • As loyal retainers, the Sakai family supported Tokugawa Ieyasu and his successors politically and militarily. In turn, they received privileges, high-ranking positions, and lucrative domains.

    • Their alignment with the ruling shogunate also placed them in the cultural epicenter of Edo (modern Tokyo), where tea ceremonies were significant diplomatic and social gatherings.

  3. Connections to Sen no Rikyū (千利休)

    • Rikyū’s Influence: Sen no Rikyū (1522–1591) is considered the figure who perfected wabi-cha, the aesthetic that emphasizes simplicity and understated elegance.

    • Indirect Ties: While Rikyū primarily served Oda Nobunaga and Toyotomi Hideyoshi in the late 16th century, his legacy influenced subsequent generations of tea masters and samurai patrons, including those under the Tokugawa regime.

    • Transmission of Tea Culture: The Sakai family, like many high-ranking samurai houses, integrated the wabi-cha principles into their tea practice. Even if there is no direct personal link to Rikyū, their collection and reverence for famed tea utensils reflect Rikyū’s enduring impact on chanoyu.



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