

油屋肩衝是一件著名的唐物肩衝茶入,原由堺的町人油屋常言父子珍藏,後經豐臣秀吉、福島家、德川幕府之轉贈或交易,最終歸於松平不昧手中。其造型略小巧,但肩線挺拔、胴部曲線優美,釉色富有多層次變化,千百年來被視為肩衝茶入中的頂級名器。
The Aburaya Katatsuki is a renowned Chinese-style (karamono) shouldered tea container originally owned by the Sakai townsman Aburaya Jōgen and his son. It passed through Toyotomi Hideyoshi, the Fukushima family, and the Tokugawa Shogunate before reaching Matsudaira Fumai. Although relatively compact, it boasts striking shoulders and elegant curves, with richly variegated glazes. For centuries, it has been held in the highest esteem among katatsuki chaire.

本文详细記載了油屋肩衝(Aburaya Katatsuki),一件極為珍貴的唐風茶入的歷史。其所有權經歷了包括豐臣秀吉及德川幕府成員在內的顯赫人物,最終成為松平不昧的珍貴傳家寶。文本探討了其藝術價值、精確尺寸及精美的收藏方式,突顯其在日本茶道歷史中的重要地位。多種關於其獲得及所有權轉移的記載,強調了其作為一件高度珍視且備受追捧的文物的地位。最後,文本強調了其持久的稀有性與卓越的保存狀況。
The texts detail the history of the Aburaya Katatsuki, a highly prized Chinese-style tea container. Its ownership passed through prominent figures, including Toyotomi Hideyoshi and members of the Tokugawa Shogunate, before ultimately becoming a treasured heirloom of Matsudaira Fumai. The texts explore its artistic merits, precise dimensions, and elaborate storage, highlighting its significance in Japanese tea ceremony history. Multiple accounts of its acquisition and transfer of ownership are presented, underscoring its status as a highly valued and coveted artifact. Finally, the texts emphasize its enduring rarity and remarkable preservation.


油屋肩衝是重要文化財,目前收藏於畠山記念館(荏原畠山美術館)。荏原畠山纪念文化财团由株式会社荏原制作所的创立者畠山一清于昭和35年(1960年)成立,最初名为财团法人畠山文化财团。自成立以来,财团致力于支持科学技术的研究、普及及振兴,以及通过资助育英奖学项目促进教育与学术的发展。同时,通过这些努力推动产业的繁荣,并广泛促进文化、艺术、茶道及体育的进步。


油屋肩衝
漢作唐物肩衝茶入
重文、大名物
【付属物】蓋―四 仕覆六、富田金襴・紺地花兎古金襴・本能寺緞子・宗薫緞子・太子間道・下妻緞子(図版上段右より) 家―黒たたき内真塗張木地 家仕覆 印伝革 唐物若狭盆 添軸抛筌斎(千利休)より梅村坊あて
【伝来】 油屋常言―油屋常祐 豊臣秀吉 福島正則―福島正利柳営御物土井大炊頭利勝 河村瑞軒 冬木家上田宗悟―松平不昧
【寸法】 高さ:8.4 口径:4.0 胴径:80 底径:4.4 重さ:117



「油屋肩衝」名稱由來
此茶入因最初由堺的町人油屋常言(又作「淨言」)及其子常祐(又作「淨祐」)所持有而得名。《北野茄子由緒書》及《妙國寺文書》中記載:「油屋常言將一只名為油屋肩衝的茶入獻給太閤(豐臣秀吉)」。而在閑事庵宗信所著《利休百會解》中,則有「油屋常祐,乃泉州堺人士,乃利休弟子,因持有肩衝茶入,世稱油屋肩衝」之文。
雜記
油屋肩衝(松平出羽守家藏)
高:二寸七分半
胴:二寸六分半
口徑:一寸三分
肩:二寸二分
盆付:一寸四分半
懸目:三十一匁四厘

挽製方式外表為黑敲(tataki)風,內部真漆塗於木胎之上。其所用茶入袋為疑似「荒七子織」之切料,袋緒呈茶色。御物袋使用「鳥たすき純子」等華貴織物。
蓋有三枚,其中兩枚帶有「ス」字印,推測為利休喜好之磨制印記。盛裝此茶入之箱為桐白木材質,袋上配以皮製緒帶,色為茶。
外箱則為春慶塗,配有四方鐵製金具並附鎖。另附二種袋:一為藍底花兔文樣、出自富田織物;另一種為鶏頭織止地。另有白木桐箱,以更替包裝用的紗羅沙(更紗)貼襯複合覆罩,以及利休書札(或文幅)懸物,通體以「萬字崩」文樣及單束流蘇裝飾。
中袋為萌黃色,織有鶴與菱文,銀紗輪補繪。一字風帶置於中段。另有杉木地之箱,附古筆了音之極書。另見一只若狹漆塗盆、純子製袋、黑塗箱及金色銘。外箱春慶塗。此上二物(指油屋肩衝與附茶入),均載於《古今名物類聚》中。

傳來
此肩衝原為堺町人油屋常言所有。常言本姓伊達,是堺妙國寺開山日珖上人的父親,於永祿八年十月初一,享年七十七歲而卒。其子常祐為日珖之兄,同時也是千利休之弟子。由於油屋父子藏有此肩衝茶入,遂稱之為「油屋肩衝」。
關於油屋獻此茶入予太閤秀吉的具體年代,古籍記載不一,如下:
一、《北野茄子茶入由緒書》及《妙國寺文書》中記為在文祿年間(1592–1596),由油屋常言進獻。
二、《雲州寶物傳來書》則云:「由油屋淨祐所藏,於慶長年間(1596–1615)進獻予秀吉公。」
三、《三利休百會解》又記:「由油屋常祐所有,於常春之世獻予秀吉。」
後來太閤將此茶入賞賜給福島左衛門太夫正則;其子正利再奉獻給幕府。寬永三年(1626)十一月初一日,將軍德川秀忠將此茶入賞賜給土井大炊頭利勝。其後,土井家長期收藏此物,但在財務吃緊時,曾將此肩衝與另一蔓附茶入一起,以二萬兩為質押予河村平太夫瑞賢。據說寬永年間又流傳至江戶深川冬木(亦稱上田宗五)之手;到天明三年(1783)終歸松平不昧(松江藩主松平治郷,字不昧)所有。
此時傳聞此肩衝市價號稱一萬兩,然而因逢天明飢荒,冬木家家運衰微,不昧公只花了一千五百兩便成功入手。當時他年僅三十三歲,得此稀世名器,歡喜不已。遂將之與圓悟禪師墨跡並列為家中至寶,新增箱與仕覆,於參勤交代時必載於笈櫃中,片刻不離身旁。及至晚年隱居大崎別墅時,更將此物深藏寶庫,囑世子月潭妥善保存。
據松江藩老臣相傳,曾有人問不昧公:「若將軍家欲索取油屋肩衝,您將如何?」不昧公答曰:「若宗家(德川)真要徵取,我亦不得推辭,但至少得讓我換得一國之領地。」另有一回,幕府老中欲一睹此肩衝,不昧公遂邀其至藩邸,親自開啟多重袋裝與箱櫃,將層層包覆取下,再將肩衝置於若狹漆盆之上,恭敬呈於老中面前;待對方看畢,公即問「是否盡興?」便立刻原樣包回。
此後,於雲州松平家內,僅家老在其一生中或許能得一次拝觀此器,其餘家臣無緣得見,完全奉為深藏不示人的祕寶。大正六年(1917)四月八日起三日內,為紀念不昧公百年忌,在松江市舊松江城內之興雲閣舉行展覽,末日特意將此肩衝公開,遠道而來慕名觀賞者眾多。
實見
松平不昧公閱覽天下名物茶入後,更加確認此茶入之優秀非凡,遂與圓悟之墨蹟共列,並遺囑後世妥善珍藏。足見此茶入之卓越與名貴。

其他記載
此乃大名物肩衝茶入,因由堺町人油屋常言(淨言)及其子常祐(淨祐)所藏,故名「油屋肩衝」。它是代表性之唐物肩衝茶入之一,長久以來被視為肩衝茶入中的首席。
此茶入雖尺寸略小,但口部至甑廻(上腹)稍高,肩部平展且轉折明顯,胴與腰部的曲線則優美流暢,整體形制既高雅又具有威儀。
油屋獻於豐臣秀吉後,秀吉又賜予福島正則;及其子福島正利,再進奉於德川將軍家;其後經土井利勝、河村瑞賢、冬木喜平次之手,終歸松平不昧收藏。不昧在其《雲州藏帳》中將此茶入列入「寶物之部」,並視為同家眾多茶入之首。
作為漢作肩衝茶入,比一般肩衝口徑較小,腰部有一條沈筋;因位置略低,再加上小口徑,成此器的獨特風貌。整體釉面呈柿金色,並有黑飴釉流淌之景色,肩下往下蔓延,至盆付邊緣收束;在正面右側則有一小火間。釉質富於金氣,包含青、茶等多種色彩;360度皆有可賞之景。底部露胎,胎土略帶深灰色,以板起し法製底。器形、時代、釉質、景色皆無可挑剔,且無任何瑕疵或使用磨損跡象。
天正十五年(1587)北野大茶會時,秀吉向油屋常言索取此茶入,給予三百貫錢及「北野茄子」作為交換;之後福島正則得之,其子正利再獻幕府;寬永三年(1626)時,德川秀忠轉贈土井利勝;後因財政拮据,土井家售與河村瑞賢,不久又流至冬木喜平次;天明年間(1781–1789)冬木家日益衰敗,故不昧公得以入手。傳聞此茶入價值一萬兩,然因飢荒等緣故,實際僅千五百兩便成交。不昧公閱遍天下名器後尤加珍愛,原有三種仕覆,再添太子廣東、本能寺緞子、下妻緞子等三種名物裂,並加上利休文幅懸物與若狹漆盆,同時將此作為家中最珍貴墨蹟(圓悟禪師書)之相配,收納於同一笈櫃中。
每次參勤交代時,亦有侍者負笈櫃走在最前,抵達本陣之後,未曾將此笈櫃安置於床之上,不昧公便不肯入座;家臣也不可隨意瞻覽,即使是家老一生也可能只得一見之榮。由此足見其秘藏之深。曾有薩摩藩主戲言問不昧:「若將軍意欲收取此茶入,汝當如何應對?」不昧公答:「將軍之命不可違,但請賜予隱岐一國方可。」(出處:《古今名物類聚》、《麟鳳亀龍》、《諸家名器集》、《古名物記》、《利休百會解》、《雲州寶物傳來書》、《松平不昧傳》、《大正名器鑑》)
此茶入因堺町人油屋常言與其子常祐的持有而得名。關於將之獻給秀吉的年代,文獻上有文祿年間、慶長年間、以及「常春時代」三種說法。秀吉之後又轉賜福島正則,再經其子正利獻於幕府;後歷土井家、冬木家而歸松平不昧。不昧在三十三歲時獲得此稀世之器,異常歡喜,自此將之列為絕頂名寶,加添多件仕覆與新箱,並附上利休文等。此器造型雖略小,口部與甑、肩等比例勻稱,胴部略緩,姿態甚為高雅。腰下部位有沈筋,露胎由深灰色土,底為板起し。整體釉面多呈柿金色,並有黑飴釉流淌之景;流至盆付邊緣處形成瀑布似的釉痕。另有青、茶等斑變色,四面皆有可觀之處;毫無缺陷。此一名器與「初花肩衝」、「新田肩衝」、「北野肩衝」齊名,同為著名的大名物肩衝茶入代表。
油屋肩衝因其獨特的器形與釉色、紛繁的傳承歷史,以及在茶道史上極高的地位,被公認為最重要的大名物之一。它承載了桃山至江戶時代以來的文化與政治脈絡,最終在松平不昧的珍視下成為其家寶。此器或因名流鑑賞而聲名鵲起,也因戰亂與財政周轉而多次易手,卻始終維持完好,將其稀世價值長留至今。
油屋肩衝問答
問:什麼是「油屋肩衝茶入」?為何它如此重要?答:油屋肩衝是一件極為珍貴的唐物(中國風)肩衝形茶入(chaire),被視為同類器物中最具代表性的作品之一。其重要性在於它所展現的精湛工藝:形制鮮明、曲線優美,且釉色豐富多變。此外,油屋肩衝自古以來擁有顯赫而完整的流傳記錄,歷經多位日本歷史上的重要人物收藏或轉手。它被歸入「大名物」(ō meibutsu),即在歷史與文化層面皆極具價值與重要性的茶道用具。
問:在油屋肩衝的流傳史中,哪些歷史人物最具代表性?答:此茶入最初由堺的町人油屋常言(Tsunamoto, 又作Jogen)及其子常祐(Tsunayoshi, 又作Joyu)擁有。隨後,先後經歷豐臣秀吉、福島正則、德川幕府、土井利勝、河村瑞賢與冬木喜平次等人之手,最終歸於松平不昧(Matsudaira Fumai)收藏。從16世紀末到18世紀,這些所有者均是日本政治及文化舞台上頗具影響力的人物。
問:「油屋肩衝」此名的由來是什麼?答:該茶入因最初為堺的油屋家族所擁有而得名。起初由油屋常言與其子常祐所有,因為與他們關係密切,故世人稱此器為「油屋肩衝」。
問:油屋肩衝茶入有哪些主要的外觀特徵?答:此茶入整體尺寸相對小巧,但腰部較高,肩部轉折分明。胴部曲線優美,釉色則呈柿金色與黑褐色交融,同時帶有藍色、棕色等多重色澤,在不同角度形成豐富景致。其腰部筋線位置略低,右側有一處火間(hi-aze)。底部為深灰色胎土,採板起し(itaokoshi)法製作,無釉露胎。
問:關於油屋肩衝在不同收藏者間幾度易手,其具體情況如何?答:最初,油屋肩衝由油屋家族奉獻給豐臣秀吉;秀吉又贈予福島正則。之後,它被奉於德川幕府;隨後因土井家財務問題,曾被用作抵押或出售。經數次轉手,最終在一次因飢荒而導致價值下跌的情況下,被松平不昧所得,購入價格遠低於當時的估值。
問:松平不昧如何看待並對待油屋肩衝?答:松平不昧視油屋肩衝為其最珍貴的藏品。他認為此器具有極高的藝術造詣,甚至將它與禪師圓悟(Engo)的名跡並列,作為家中至寶。他為此茶入增加了多種仕覆與收藏箱,且無論平日或出行都將之置於身旁;出行時由侍者在前恭敬捧持。即使有高官欲參觀,也需在嚴謹禮遇下才得以一睹。家族內部亦有嚴格規定,僅有最高位家臣可在其一生之中得以瞻視一次,可見不昧對油屋肩衝的重視程度。
問:在日本茶道(Chanoyu)的整體脈絡下,油屋肩衝有何特殊意義?答:油屋肩衝不僅因自身的美感與工藝而備受推崇,也因其與茶道世界歷代名師與權貴之密切關聯而獲得高度評價。身為「大名物」,它曾受到包括千利休等關鍵茶道人物所推崇。松平不昧對其悉心收藏與展示方式,進一步凸顯了該器物在茶道文化中所象徵的崇高地位與文化遺產價值。
問:油屋肩衝歷來是如何被保存並公開展示的?答:油屋肩衝一直在多層包裝與護持中被細心保存,如使用不同材質與花色的仕覆(fukuro)、多個蓋子、皮製袋、桐木箱,以及外部春慶塗箱等。這些層層包覆既用於保護,也象徵對其敬重。其後,更置於特製的笈櫃(oki-bitsu)中,視為最珍貴之物隨行或收藏。因各代所有者均嚴格遵循保護和觀看規範,此器歷經漫長歲月仍得以完好保存,並在歷史上多次受到高度禮遇與隆重展示。
油屋肩衝
堺の町人油屋常言及び其子常祐の所持せし茶入なるを以て此名あり。北野茄子由緒書及妙寺文書には『油屋常言、油屋肩衝と申す茶入を太閤に指上げらる』とあり、閑事庵宗信著利休百會解には『油屋常祐、泉州堺の人にて利休弟子地、肩衝所持して世に油屋肩衝と呼ぶ』とあり。
雑記
油屋肩衝 松平出羽守。高二寸七分半,胴二寸六分半、口一寸三分、肩二寸二分、盆附一寸四分半、懸目三十一匁四厘。挽家黒たたき内眞塗張木地、袋あらき七子織のやうなる切、緒つがり茶。御物袋鳥たすき純子。蓋三枚、内二枚スあり、印磨作利休好。箱桐白木、袋皮緒つがり茶。外筥春慶、四方鐵金具錠前附。袋二、紺地花兎、富田地、此切鶏頭織とめ地。箱桐白木、包ものさらさ袷ふくさ、利休文懸物、上下茶万字くづし一房紋純子、中萌黄鶴菱の紋銀紗輪補繪、一文字風帯中の切、箱杉木地、古筆了音極あり。若狹盆、袋純子、筥黒塗、金銘。外箱春慶塗。
右二品、油屋肩衝に添(茶入園あり)。
(古今名物類聚)














傳來
元堺の町人油屋常言所持なり、常言は本姓伊達氏、堺妙國寺の開山日珖上人の父にして、永藤八年十月朔日七十七歳を以て歿せり、其
子常祐は利休の弟子にして、日珖の兄なり。さて油屋が此茶入を太閤に獻じたる年代に就き諸書に異説あれば次に之を掲ぐべし。
北野茄子茶入由緒書及妙國寺文書には、文祿年中油屋常言より秀吉に獻せりとあり。
雲州寶物傳來書には、油屋浄祐所特、慶長の頃秀吉公へ差上とあり。
三利休百會解には、油屋常祐所持にして常春の世に秀吉に獻ずとあり。既にして太閤之を福島左衛門太夫五則に賜ひ、其子正利之を幕府に獻じ、寛永三年十一月朔日将軍秀忠之を土井大炊頭利勝に賜ひぬ。斯くて土井家は久しく之を持傳へたる後、此肩と蔓付茶入とを合せて二萬兩の質物として、河村平太夫瑞軒に附興せり、然るに寛永の頃江戸深川の冬木こと上田宗五の手に渡り、天明三年遂に松平不昧公の所職に歸せり。而して茶入は當時位金一萬兩と稱せられしを、實際一千五百雨にて譲受けられたるは、時恰も天明大磯饉の際なりしが為めならん、不味公此時三十三歳にして絶代の名器を獲たるを喜び、園悟塁蹟と併せて家寶第一と為し、箱を作り袋を添へ、參觀交代の節は笈櫃に納めて之を運び、寸時も其座右を離さず、晩年大崎の別墅に退隠するや深く寶庫に納めて其儘大切に保存すべき旨世子月潭に遺誡せらる。雲州家古老の傳ふる所に由れば、或人不味公に向つて将軍家若し油屋肩衛を所望せられたならば如何にせらるべきかと問ひたるに、公は答へて、宗家の望とあらば敢て辭すべきにおらず、然れども其代りとして領土一國を拝領せざるべからずと言はれたりとぞ。或時幕老より油屋肩衝一覧を請はれたるに公は乃ち之を藩邸に招き、親ら笈櫃を開きて、七重八重に包まれたる革袋箱包物等を取り除き、肩衝を出して若狭盆に載せ、恭しく之を老中の面前に提出して、頓て一覧し終るを待ち「もはや宜しく候や」と言ひものへず、直に又もとの箱に納めたりと云ふ。其後雲州家にて、家老には其一代に一度拝見を許されたる事あれども、其他普通家士には之を示せしことなく、全く祕藏中の祕藏と爲したりとなり。大正六年四月八日より三日間、松江市に終て不昧公百年回忌展覧会を催せる折、其最終日に於て、舊松江城内興雲閣に陳列して、始めて之を公眾の縦覧に供せしかば、之を傳聞して遠方より態々來親せし者頗る多かりき。
實見
不昧公が天下の茶入を歴覧して後、愈々此茶入の優秀なるを知り、圜墨跡と共に大切に之を保存すべき旨遺言したるを觀ても、亦此茶入の眞價如何をトすべきなり。
其他記載
堺の町衆油屋常言、常祐父子が所持したことからこの銘を得た大名物の茶入である。唐物肩衝を代表する茶入の一つで、やや小振りではあるが、甑は高く捻り返しは強い。肩は水平に伸び鋭く屈折しているのに対し、胴・腰に至る曲線は優美であり、品格の高い器形を成している。この茶入は油屋から豊臣秀吉に献上された後、福島正則・正利父子を経て柳営御物として徳川家に伝わった。その後、土井利勝、河村瑞賢、冬木喜平次を転伝し、松平不昧の手に渡った。不昧は「雲州蔵帳」の中で「宝物之部」に列し、同家所蔵の茶入の筆頭とした。
大名物。漢作肩衝茶入。古来大名物茶入中の首位として尊重されたもので、堺の町人油屋常言(浄言)およびその子常祐(浄祐)が所持していたのでこの名があります。
同種の肩衝茶入に比べて口径がやや小さく、甑廻りに輪筋が一本あります。
また腰のあたりに沈筋が一本あり、その位置か他の茶入に比べてやや下の方にあるのは口径の小さいことと共にこの茶入の特徴といえます。
総体に柿金気色でその上に黒飴釉の景色があり、置形は肩下からむらむらと一面に広がった模様の腰紐が、下の方で一筋のなだれとなり盆付際で終わっています。
この置形に向かって右手に小さい火間があります。
全体に釉質は見事で金気が多く青・茶その他数々の色彩があり、景色も全部に及んでいてどの面にも見所があります。
裾以下は濃い鼠色の土をみせ、底は板起こしであります。
時代・作行・格好・釉質・景色など何一つとして整い備わっていないものはなく、かつ無疵で持ち疲れの跡がないようです。
1587年(天正一五)の北野大茶会の際、豊臣秀吉が常言に命じて献上させ、代わりに銭三百貫および北野茄子を授けました。
のちに福島正則が拝領し、さらにその子正利になって徳川幕府に献上しました。
1626年(寛永三)に将軍秀忠はこれを土井利勝に与えましたが、土井家では財政困難のため河村瑞軒に売り渡し、程なく冬木喜平次に移りました。
そして天明年間(1781-9)に次第に家運の傾いてきた冬木家から松平不昧の手に入りました。
値一万両といわれたこの茶入も、飢饉で冬木家の家運が衰えわずか一千五百両であったといわれます。
不昧は天下の茶入を歴観してますますこの茶入の優秀さを知り特に愛蔵しました。
もと三つあった袋にさらに太子広東・本能寺緞子・下妻緞子の三つの名物裂の袋を加え、利休の文を添掛物とし若狭盆をも添えて、不昧所持品中最高位の圓悟の墨蹟と共に一つの笈櫃中に納めました。
この笈櫃は現在もこの肩衝を納めて残っています。
参勤交代の時は士人がこれを担って不昧の前を行き、本陣到着後もこれが床に据えられない前には不昧もまた着座しなかった。
家中の士もまたこれを見ることができず、家老ですら一生にただ一度拝覧の栄を得るだけであったといわれます。
その秘蔵振りがこれでわかりましょう。かつて薩摩侯が将軍がこれを所望したらどうするかと不昧に冗談でいいますと、将軍の命はもとより否むことができないが隠岐一国ほどは貰いたいと答えたということであります。
(『古今名物類聚』『麟鳳亀龍』『諸家名器集』『古名物記』『利休百会解』『雲州宝物伝来書』『松平不昧伝』『大正名器鑑』)
堺の町人油屋常言およびその子常祐が所持していたことからその名があります。油屋が秀吉にこれを献上した年代については、文禄年中常言より、二慶長の頃常祐より、三常春の世にの三説があります。秀吉はこれを福島正則に与えています。その後、土井家・冬木家などを経て松平不昧の蔵となりました。不味は弱冠33歳で絶世の名器を入手できたことを喜び、以後「流れ圜悟」(683~頁)の墨蹟とともに家宝の筆頭とし、新たに仕覆・箱を添えこれを秘蔵しました。漢作肩衝中やや小振りではありますが、口造り・甑・肩など寸法よく、胴にかかって張りがゆるやかで上品な形態をなします。やや低めに胴筋があり、裾から露われた土見もほどよとしきい。底は板起しとなっています。総体に柿金気釉がかかり、その上に黒飴釉が流れ、置形で一筋盆付際までなだれています。また青・茶色の釉変わりがあって、いずれの方面にも景色をなし、少しの癖もありません。「初花肩衝」「新田肩衝」「北野肩衝」などとともに大名物肩衝茶入の代表とされています。
“Aburaya Katatsuki”
This tea container takes its name from having been owned by the Sakai townsman Aburaya Tsunamoto (commonly read as Jōgen) and his son Tsunayoshi (Jōyū). In the document Kitano Nasu Yuiyosho and in the Myōkokuji Monjo, it is written: “Aburaya Tsunamoto presented to the Taikō (Toyotomi Hideyoshi) a tea container known as Aburaya Katatsuki.” Additionally, in Kanji-an Sōshin’s Rikyū Hyakkeige we find: “Aburaya Tsunayoshi of Izumi Province, Sakai, was a disciple of Sen no Rikyū; possessing a katatsuki tea container, which the world calls ‘Aburaya Katatsuki.’”
Miscellaneous Notes
Aburaya Katatsuki (Owned by Matsudaira Dewanokami)
Height: 2 sun 7 bu 5 rin (approximately 8.2 cm)
Body: 2 sun 6 bu 5 rin (approx. 8.0 cm)
Mouth: 1 sun 3 bu (approx. 3.9 cm)
Shoulder: 2 sun 2 bu (approx. 6.6 cm)
Base ridge (bon-tsuke): 1 sun 4 bu 5 rin (approx. 4.39 cm)
Weight (kakemoku): 31 monme 4 rin
The lathe work is in black “tataki” style on the outside, with genuine lacquer on the inside, over a wood core. The pouch (fukuro) is made of a textile resembling rough “shichiko-ori” (seven-child weave); the cord (o) is in “tsugari-cha” (brownish tea color). The official “onmono-bukuro” is a toritaski-junkyō (a type of precious textile with a bird and cord motif). There are three lids, two of which have the letter “su” (possibly an artisan’s mark). Seals indicate they were polished or burnished works favored by Rikyū. The container’s box is plain paulownia wood, the bag (fukuro) has a leather cord in tea color. The outer box is done in shunkei lacquer with iron fittings and a lock. There are two additional pouches: one of navy ground with rabbit-and-flower pattern from Tomita weaving, and the other of keitō-ori (cockscomb weave) with a tome ground. A plain paulownia box is used, wrapped in sarasa (chintz) with double-lining fukusa. Rikyū’s letter (or fragment) is attached as a kake-mono, with an arrangement of motifs in “manji kuzushi” (disrupted swastika) in a single tassel pattern. The middle bag is moegi (pale green) with a crane and diamond design in silver-threaded gauze, with a supplemental painted crest. Another band with a single line motif is inserted. There is also a cedar box in plain wood, authenticated by ancient calligrapher Ryōin. Additionally, a Wakasa tray and a pure silk bag, plus a black lacquer casket with gold inscription, and an outer box in shunkei lacquer are recorded.These two items, the Aburaya katatsuki together with an appended tea container (chaire), are cited in Kokin Meibutsu Ruishū (Anthology of Famous Objects, Past and Present).
Provenance (Denrai)
Originally owned by the Sakai townsman Aburaya Tsunamoto. Tsunamoto’s real surname was Date. He was the father of Nichikō Shōnin, the founding priest of Myōkokuji in Sakai, and he passed away on the first day of the tenth month of Eitoku 8 (1580), at the age of 77.His son Tsunayoshi, an older brother to Nichikō, was a disciple of Sen no Rikyū. Since Tsunayoshi possessed this shoulder tea container (katatsuki), it became widely known by the name “Aburaya Katatsuki.”
With regard to the date Aburaya presented this tea container to the Taikō (Hideyoshi), various sources give different accounts, as follows:
In the Kitano Nasu Chaire Yuiyosho and the Myōkokuji Monjo, it is said that “During the Bunroku era (1592–1596), Aburaya Tsunamoto offered it to Toyotomi Hideyoshi.”
In the Unshū Hōmotsu Denrai Sho (Records of Treasures in Unshū), it states: “Aburaya Jōyū possessed it, and in the Keichō era (1596–1615) presented it to Lord Hideyoshi.”
In the San Rikyū Hyakkaige, it says: “Owned by Aburaya Tsunayoshi, and in Tsunoharu’s time it was presented to Hideyoshi.”
Subsequently, the Taikō bestowed it upon Fukushima Saemon no Tayū Masanori; and after Masanori’s death, his son Masatoshi dedicated it to the Shogunate. On the first day of the eleventh month of Kan’ei 3 (1626), Shōgun Tokugawa Hidetada granted it to Doi Ōi no Kami Tadatatsu (commonly read as Doi Likatsu or Doi Takanori, but generally known as Doi Torikatsu or Toshikatsu, historically). After the Doi family passed it down for some time, they eventually used this katatsuki together with a “tsurutsuki” tea container as collateral for a loan of 20,000 ryō from Kawamura Heidayū Zuiken. Then, in the Kan’ei era, it somehow came into the hands of Fuyuki, known as Ueda Sōgo of Fukagawa in Edo. Ultimately, in Tenmei 3 (1783), it ended up in the possession of Matsudaira Fumai (Matsudaira Harusato, Daimyō of the Matsue Domain).
At the time, it was said to be valued at 10,000 ryō, yet in fact was obtained for only 1,500 ryō—likely because of the severe famine afflicting the land, which greatly weakened Fuyuki’s fortunes. Fumai, at 33 years of age, was delighted to acquire such a peerless masterpiece; he held it along with the “Engo” Zen master’s calligraphy (a renowned Zen priest’s inscription) as the domain’s foremost treasure. He prepared a special box, added a new bag (fukuro), and took it with him even when traveling to Edo for Sankin-kōtai. It never left his side for even a moment. In his later years, when he retired to Ōsaki, he placed it deep inside his treasury and instructed his heir, Gettan, to safeguard it always.
According to domain elders of the Matsue (Unshū) house, someone once asked Fumai: “What would you do if the Shōgun demanded the Aburaya Katatsuki for himself?” He replied: “If the Tokugawa main family wants it, I cannot refuse—but in return I would need to be granted an entire province.” On another occasion, a senior member of the bakufu requested a viewing of the Aburaya Katatsuki. Fumai invited him to the domain’s residence in Edo, personally opened the ornate casket, removed layer after layer of wrapping—leather bag, boxes, cloth coverings—and finally placed the Katatsuki upon a Wakasa tray, reverently presenting it before the official. Once the official had finished viewing, Fumai asked, “Is that sufficient?” Without further words, he immediately placed it all back into its wrappings.
Thereafter, in the Matsudaira of Unshū household, even senior retainers were only allowed to see it once in a lifetime. For the rest, it was never shown; it was truly the most secret of hidden treasures. In April of Taishō 6 (1917), on the occasion of a three-day exhibition commemorating the 100th memorial year of Fumai in Matsue City, it was put on public display on the final day within the old Matsue Castle’s Kōunkaku. Hearing of this, many enthusiasts traveled from afar for the chance to view it in person.
Personal Observation (Jikken)
Once Matsudaira Fumai had surveyed many of the world’s famous tea containers, he became increasingly certain that this piece was preeminent. In his final testament, he decreed that it be preserved together with a prized Engo Zen master’s calligraphy. This alone suggests how truly valuable he judged it to be.
Other Records
This is a celebrated “ō Meibutsu” tea container, taking the name “Aburaya Katatsuki” from the Sakai townsman Aburaya Tsunamoto (Jōgen) and his son Tsunayoshi (Jōyū). It is one of the most iconic katatsuki (shouldered) chaire from China (so-called “karamono katatsuki”) and has long been accorded the highest rank among such famed objects.
Although slightly smaller in scale compared to other katatsuki chaire, it has a relatively tall waist (koshi) and a strongly inverted rim near the top. The shoulders extend horizontally and sharply turn downward, while the curve descending through the body to the lower section is gentle and elegant. This gives it a refined and dignified silhouette.
After being offered by Aburaya to Toyotomi Hideyoshi, it passed into the hands of Fukushima Masanori and his son Masatoshi, then to the Tokugawa Shogunate, and subsequently to Doi Tadatatsu, Kawamura Zuiken, Fuyuki Kiheiji, and finally to Matsudaira Fumai. In Fumai’s Unshū Zōchō (Unshū’s Treasury Ledger), it is listed under “Treasured Objects” and is recognized as the foremost among the chaire in that collection.
Historically, among shouldered chaire of Chinese origin, it is somewhat narrow at the mouth, with a single raised ring around the “koshi” (the waist). Another particular point is that the waist ring is set slightly lower than on other examples, which, together with its narrow mouth, serves as a distinguishing feature. Overall, its glaze is of a persimmon-gold (kakikin) hue, accented by patches of black-brown (kuro-ame) glaze that create interesting patterns. From below the shoulder to the lower area, a swirling pattern of coloration spreads, culminating in a flowing drip (nagare) that extends down to the foot rim (bon-tsuke). On the right side of its main face is a small fire spot (hi-aze).
The glaze is splendid, showing an interplay of gold tones, blues, browns, and other hues, producing scenic variations from every angle. Its foot (suso) is unglazed, revealing a dark gray clay body. The base is made by the “itaokoshi” (raised-board) method. The overall condition is perfect—no damage or sign of wear—and the piece remains in pristine state.
During the famous Kitano Tea Gathering of 1587 (Tenshō 15), it is said that Hideyoshi demanded it from Aburaya Tsunamoto, presenting him with 300 kan in coins and awarding him the “Kitano Nasu” tea container in exchange. Later, Hideyoshi gifted it to Fukushima Masanori, and it eventually passed into the hands of Fukushima Masatoshi, who dedicated it to the Tokugawa Shogunate. In Kan’ei 3 (1626), Tokugawa Hidetada granted it to Doi Tadatatsu. Because of financial difficulties, the Doi family sold it to Kawamura Zuiken, who soon transferred it to Fuyuki Kiheiji. In the Tenmei era (1781–1789), the fortunes of the Fuyuki house declined, allowing Matsudaira Fumai to acquire it. Although it was reputed to be worth 10,000 ryō, it is said Fumai paid only 1,500 ryō, given that widespread famine had led to a depressed market.
Having inspected numerous famous tea containers, Fumai prized it above all. He added three additional fine pouches—Taishi Kanton, Honnoji donsu, and Shimotsuma donsu—on top of the original three. He also appended a letter from Sen no Rikyū as a kake-mono, included a Wakasa tray, and treasured it together with the top-ranking Zen calligraphy by Engo. He placed them all in one “oki-bitsu” (traveling casket). During his journeys for sankin-kōtai, a retainer would carry that casket before him. Upon arriving at the main lodging, Fumai refused even to take his seat until the casket was placed properly in the tokonoma. In the domain, ordinary samurai were never permitted to see it; even high-ranking elders might only view it once in a lifetime. Such was the secrecy surrounding it.
It is said that once, the daimyō of Satsuma joked with Fumai, “What would you do if the Shōgun demanded to have this piece?” Fumai responded, “It is impossible to refuse the Shōgun’s command, but I would request at least the province of Oki in exchange.” (*Source references: Kokin Meibutsu Ruishū, Rinpōkiryū, Shoke Meiki-shū, Ko-meibutsuki, Rikyū Hyakkaige, Unshū Hōmotsu Denrai Sho, Matsudaira Fumai Den, Taishō Meiki Kan.)
FAQ: The Aburaya Katatsuki Chaire
What is the Aburaya Katatsuki Chaire and why is it significant?
The Aburaya Katatsuki is a highly prized Chinese-style (karamono) shouldered tea container (chaire). It is considered one of the most iconic examples of its kind. Its significance stems from its exquisite craftsmanship, including a striking form with elegant curves and a rich, variegated glaze. Additionally, it has a prestigious and well-documented history, having been owned by prominent figures throughout Japanese history. It is a "ō meibutsu," a tea utensil that is an item of great historical importance and cultural value.
Who were the key historical figures associated with the Aburaya Katatsuki's ownership?
The chaire was originally owned by the Sakai merchant Aburaya Tsunamoto (Jogen) and his son Tsunayoshi (Joyu). It then passed through a succession of influential individuals and families including Toyotomi Hideyoshi, Fukushima Masanori, the Tokugawa Shogunate, Doi Tadatatsu, Kawamura Zuiken, and Fuyuki Kiheiji, before being acquired by Matsudaira Fumai. These owners represent key players in the political and cultural landscape of Japan from the late 16th to the 18th centuries.
What is the origin of the name "Aburaya Katatsuki"?
The tea container is named after the Aburaya family of Sakai, who were its original owners. Specifically, it was first owned by Aburaya Tsunamoto and his son Tsunayoshi. Because it was so closely associated with them, it became known as the "Aburaya Katatsuki".
What are the key physical characteristics of the Aburaya Katatsuki Chaire?
This chaire is relatively small, but has a tall waist and sharply angled shoulders. The body has a graceful curve, and the glaze is a complex mix of persimmon-gold and black-brown, with blues, browns and other colors, creating varied patterns that offer interesting views from all angles. It also features a lower waist ring, as well as a small fire spot (hi-aze) on its right side. The foot is unglazed, made of dark gray clay, created using the itaokoshi (raised-board) method.
What is known about the circumstances under which the Aburaya Katatsuki passed between different owners?
The Aburaya Katatsuki was initially presented to Toyotomi Hideyoshi, who in turn gifted it to Fukushima Masanori. It was eventually given to the Tokugawa Shogunate. Later, the Doi family, due to financial constraints, used the Katatsuki as collateral and then sold it. After passing through several owners it was acquired by Matsudaira Fumai during a period of famine that depressed prices, allowing him to obtain it at a fraction of its estimated value.
How did Matsudaira Fumai regard and treat the Aburaya Katatsuki?
Matsudaira Fumai prized the Aburaya Katatsuki as his most valued possession. He considered it a work of supreme artistic merit, placing it alongside a revered calligraphy by Zen master Engo as a foremost family treasure. He added to its collection of pouches and boxes, kept it with him at all times and had it carried before him when travelling. He treated it with the utmost respect, even during viewings by high-ranking officials. He considered it so significant that his family had strict rules around who could view it, with only the most senior retainers being allowed to see it once in their lifetime.
What is the significance of the Aburaya Katatsuki within the broader context of the Japanese tea ceremony (chanoyu)?
The Aburaya Katatsuki is not only prized for its inherent beauty and craftsmanship, but also for the historical connections it has to the world of Chanoyu. It has been admired by the tea masters and high-ranking officials throughout the centuries. Its status as a “ō meibutsu” and its association with key figures in tea history such as Sen no Rikyū make it a revered and sought-after object. The careful manner in which Matsudaira Fumai handled and stored it further solidified its importance as a cultural treasure in the context of Chanoyu.
How has the Aburaya Katatsuki been presented and preserved over time?
The Aburaya Katatsuki has been meticulously preserved and presented with multiple layers of packaging to protect and honor it, including various pouches (fukuro), boxes, and wrappings. There are three lids, a leather bag, several pouches of different textiles, a plain paulownia box, and an outer box done in shunkei lacquer. It has been kept in a specially designed carrying box (oki-bitsu) that was treated with reverence and carried as the most precious possession. The many layers of protective packaging added over time, along with the strict regulations placed on it, demonstrate how revered it has been through its long and important history.
In Conculsion
The Aburaya Katatsuki, distinguished by its elegant shape, multifaceted glaze, and storied provenance, is universally recognized as one of the most significant ō meibutsu tea containers. Spanning the eras from Momoyama to Edo, it embodies both cultural refinement and political symbolism, ultimately treasured as a house heirloom by Matsudaira Fumai. Although its ownership changed hands multiple times due to fame and financial hardships, it remained perfectly preserved, thus safeguarding its enduring rarity and artistic value.
Comments