唐物茶壺 vol.04 德川美術館：唐物茶壺「松花」，村田珠光、織田信長、豐臣秀吉、豐臣秀次、德川家康 - Tokugawa Museum, Karamono Chatsubo ‘Shōka’, Murata Juko - Oda Nobunaga - Toyotomi Hideyoshi - Tokugawa Ieyasu

唐物松花茶壺

銘：松花（しょうか）

南宋—元代（13–14 世紀）

現藏：德川美術館

尺寸通高 41.5 公分口徑 11.8 公分底徑 14.0 公分

「松花」為現存唐物茶壺之中，在茶會記、戰記等歷史文獻中出現頻率最高者，自戰國時代以來，其名聲即震動天下。器身以白色化妝土為底，其上施以灰釉，釉色呈現暗綠泛黃之調，發色內斂而節制，展現出沉靜、侘雅的風格。

此壺常與名物茶壺「金花」並稱。然與釉色較為明朗華麗之「金花」相比，「松花」之釉調刻意壓低明度，更顯樸素、幽靜之侘意。其銘名，或即取其與「金花」形成審美對照之意。

《信長公記》於天正四年（1576）秋、安土城天守完成祝賀條目中，明載：「せうか（松花）、きんくわ（金花）の壺とて、隠れなき名物参り、御機嫌斜ならず」，可知「松花」與大名物「金花」並列為當世無可爭議之名物。

本器屬於一般所稱之「呂宋壺」類型。「呂宋壺」一名，源於桃山時代末期此類壺大量經由呂宋島輸入日本；然實際上，同類器物早於此前即已陸續傳入。其產地推定為中國南部，尤以廣東省一帶為中心。

至十四世紀初，此類大型壺開始被轉用為葉茶容器而備受珍重。室町後期草庵風茶湯興盛後，茶壺逐漸成為茶室內之觀賞對象；至織田信長、豐臣秀吉時代，更進一步被用作書院飾具。「松花」正是此一轉變歷程中，最具代表性的實例。

「松花」為古渡唐物茶壺，屬大名物。其形制屬所謂「七斤入」之呂宋壺，為「黃清香」手。胎土略帶赤色，其上先施白色化妝土，再覆以灰釉，構成雙層釉法。肩部大幅外張，形成略帶不穩定感的強烈造形；設四耳，並具二瘤。肩部所見小判形印文極為淺淡，已難以辨識。

器物產地，一般推定為廣東省石灣鎮一帶。此壺與「松島」「三日月」兩茶壺並列，被尊為「天下三名物」。古來自宋代傳入之唐物茶壺，被稱為「真壺」而尤受珍重；其中肩部帶有「清香」廓印者，稱為「清香壺」，另有飾以蓮華文與「王」字印者，稱為「蓮華王壺」。

傳來

本器傳承脈絡清晰，歷經：室町幕府管領斯波氏 → 村田珠光 → 宗琳 → 誉田屋宗宅 → 北向道陳 → 織田信長 → 織田信忠 → 豐臣秀吉 → 豐臣秀次 → 油屋大小路次郎左衛門 → 德川家康 → 德川義直

傳承記錄見於《玩貨名物記》。

作為古來聞名之大名物，《信長公記》亦記載其於安土城天守完成之際，與「唐物茶壺 銘 松花」一同作為祝賀品進獻，深得信長歡心。其後轉歸豐臣秀吉，再傳至德川家康，後屬紀伊德川家，並分與伊予西條松平家。現器形雄渾，腹部飽滿，灰釉泛金色光澤，氣度堂然。昭和四十九年（1974）由德川美術館購藏，列為大名物。

唐物茶壺「松花」｜中英文 FAQ

Karamono Tea Storage Jar “Shōka” – FAQ

Q1｜「松花」是什麼等級的茶壺？

What level of tea jar is Shōka?

中「松花」為古渡唐物茶壺，列屬大名物，並與「松島」「三日月」並稱為「天下三名物」。其在茶會記、戰記與名物記錄中的出現頻率，為現存茶壺之最。

ENShōka is classified as a kotōri (early imported) karamono tea jar and ranks among the daimyō meibutsu. Together with Matsushima and Mikazuki, it was revered as one of the “Three Great Tea Jars of the Realm.” It is the most frequently documented tea jar in historical tea diaries and war chronicles.

Q2｜「松花」的年代與產地為何？

What are the date and place of manufacture?

中年代為南宋至元代（13–14 世紀）。產地一般推定為中國南部廣東省一帶，尤以石灣鎮周邊為可能燒造地。

ENThe jar dates to the Southern Song–Yuan period (13th–14th century). It was produced in southern China, most likely in the Guangdong region, with the Shiwan area often proposed as the kiln site.

Q3｜為何稱為「呂宋壺」？是否產於呂宋？

Why is it called a “Luzon jar,” and was it made in Luzon?

中「呂宋壺」之名源於桃山時代末期此類壺經由呂宋島大量輸入日本，並非產於呂宋。實際上，其製作地在中國南部。

ENThe term “Luzon jar” derives from the late Momoyama-period trade route via Luzon Island. It does not indicate a Luzon origin; these jars were manufactured in southern China.

Q4｜「松花」的釉色與工藝特徵是什麼？

What are the glaze and technical characteristics?

中胎土略帶赤色，先施白色化妝土，再覆以灰釉，形成雙層釉法。釉色呈暗綠泛黃，明度刻意收斂，展現侘雅、內省的美感。

ENThe body is of slightly reddish clay, coated with a white slip and then an ash glaze, creating a double-glaze structure. The resulting subdued olive-yellow tone embodies a restrained, wabi-inflected aesthetic.

Q5｜「松花」與「金花」有何審美差異？

How does Shōka differ aesthetically from Kinka?

中「金花」釉色明亮華麗；「松花」則刻意壓低亮度，風格樸素沉靜。兩者常被並提，形成華麗與侘雅的審美對照。

ENKinka is characterized by a brighter, more decorative glaze, whereas Shōka is deliberately subdued. Together they form a canonical contrast between splendor and wabi austerity.

Q6｜「松花」在歷史文獻中的地位如何？

What is its status in historical sources?

中《信長公記》天正四年（1576）記載，「松花」與「金花」並列為安土城天守完成時的祝賀名物，為戰國時代最具象徵性的茶壺之一。

ENThe Shinchō kōki records Shōka alongside Kinka as a celebratory gift for the completion of Azuchi Castle in 1576, confirming its position among the most symbolic tea jars of the Sengoku period.

Q7｜「松花」的傳承是否清晰？

Is the provenance well documented?

中是。其傳承自室町幕府管領斯波氏，經村田珠光、織田信長、豐臣秀吉、德川家康等，記載見於《玩貨名物記》，為傳世脈絡最清楚的茶壺之一。

ENYes. Its transmission—from the Shiba clan through Murata Jukō, Oda Nobunaga, Toyotomi Hideyoshi, and Tokugawa Ieyasu—is exceptionally well documented, notably in the Ganka Meibutsuki.

Q8｜「松花」今日收藏於何處？

Where is Shōka preserved today?

中現藏於日本名古屋的 德川美術館，於昭和四十九年（1974）正式購藏，列為館藏核心大名物。

ENToday, Shōka is preserved in the Tokugawa Art Museum in Nagoya, where it has been housed since its acquisition in 1974 as a centerpiece daimyō meibutsu.

Q9｜為何「松花」對日本茶道史如此重要？

Why is Shōka important in the history of tea?

中它完整見證了唐物茶壺從實用容器，轉化為茶湯審美與權力象徵的歷史過程，是「草庵之茶」與戰國政治文化交會的關鍵物證。

ENShōka epitomizes the transformation of imported jars from utilitarian containers into objects of aesthetic contemplation and political symbolism within the tea culture of medieval Japan.

Karamono Chatsubo Tea Storage Jar

Name: Shōka (“Pine Blossom”)

Southern Song–Yuan dynasty, 13th–14th centuryCollection: Tokugawa Art Museum

DimensionsOverall height: 41.5 cmMouth diameter: 11.8 cmBase diameter: 14.0 cm

The tea jar known as Shōka is the most frequently documented example among extant karamono tea jars, appearing repeatedly in tea diaries and war chronicles. Since the Sengoku period, its name has resonated throughout the realm as one of the most celebrated tea objects.

The vessel is covered with an ash glaze applied over a white slip, producing a subdued olive-yellow tone. The restrained coloration conveys a quiet, introspective aesthetic. Shōka has long been paired with the famed tea jar Kinka (“Golden Flower”), yet whereas Kinka displays a brighter and more decorative glaze, Shōka is characterized by its muted tonality and wabi-inflected austerity. The name Shōka is thought to have been bestowed in deliberate contrast to the florid brilliance of Kinka.

In the Shinchō kōki, under the entry for the autumn of Tenshō 4 (1576), commemorating the completion of Azuchi Castle, the jar is recorded together with Kinka:“Shōka and Kinka, the tea jars renowned throughout the land, were presented, greatly pleasing the lord.”This passage firmly establishes Shōka as one of the foremost meibutsu of the period.

The jar belongs to the group commonly referred to as “Ruson (Luzon) jars,” a designation derived from the large numbers imported via Luzon Island during the late Momoyama period. However, vessels of this type had already been imported into Japan in considerable quantities well before that time. They were produced in southern China, most likely in the Guangdong region.

From the early fourteenth century, such jars began to be repurposed as containers for loose-leaf tea and were highly prized. With the rise of grass-hut (sōan) tea practice in the late Muromachi period, tea jars became objects of connoisseurship within the tearoom, and under Oda Nobunaga and Toyotomi Hideyoshi they were further elevated to decorative furnishings in shoin-style interiors. Shōka stands as the most frequently cited example of this category.

Shōka is classified as a kotōri (early imported) tea jar and ranked among the daimyō meibutsu. It is a seven-kin Luzon-type jar of the “Yellow Seikō” category. The body is formed of slightly reddish clay, coated first with a white slip and then with an ash glaze, creating a distinctive double-glaze effect. The broad, projecting shoulders impart a powerful yet slightly unstable silhouette. The jar is fitted with four lugs and two raised bosses. A small, oblong seal impression on the shoulder is extremely faint and now illegible.

The kiln site is generally thought to be in or around Shiwan, Guangdong Province. Together with the tea jars Matsushima and Mikazuki, Shōka was revered as one of the “Three Great Tea Jars of the Realm.” Historically, Song-dynasty imported jars were esteemed as shin-tsubo (“true jars”); those bearing framed seals such as Seikō (“Pure Fragrance”) are known as Seikō jars, while those with lotus motifs and the character wang are referred to as Renge-ō jars.

Provenance

The jar’s transmission is exceptionally well documented:Shiba clan (Kanrei of the Muromachi shogunate) → Murata Jukō → Sōrin → Hondaya Sōtaku → Kitamukai Dōchin → Oda Nobunaga → Oda Nobutada → Toyotomi Hideyoshi → Toyotomi Hidetsugu → Aburaya Ōkōji Jirōzaemon → Tokugawa Ieyasu → Tokugawa Yoshinao

Recorded in the Ganka Meibutsuki.

Celebrated since early times, Shōka is again mentioned in the Shinchō kōki as a congratulatory gift presented at the completion of Azuchi Castle, greatly delighting Oda Nobunaga. The jar later passed to Toyotomi Hideyoshi, then to Tokugawa Ieyasu, subsequently entering the Kii Tokugawa lineage before being transferred to the Iyo Saijō Matsudaira family. With its expansive body and dignified presence, the ash glaze takes on a golden sheen of exceptional beauty. The jar was acquired by the Tokugawa Art Museum in 1974 and is preserved today as a daimyō meibutsu.

唐物茶壺 銘 松花

からものちゃつぼ　めい しょうか

南宋-元／13世紀-14世紀

総高41.5cm　口径11.8cm　底径14.0cm

【織田信長・豊臣秀吉・徳川家康所用】／｢松花｣は現存する茶壺の中で、茶会記や戦記などの記録に最も頻繁に登場し、戦国時代以来今日まで、その名は天下に鳴り響いている。白の化粧土の上からかけられた灰釉が、暗緑黄色を呈し、慎ましやかに抑えられた発色となっている。金花と並び称された名壺で、釉調は金花と異なり明るさが抑えられて、地味な侘びた趣をもっている。おそらく金花の壺の華やかさに対比して、松花の銘が与えられたと考えられる。『信長公記』の天正四年秋、安土城完成祝の項に、｢せうか（松花）きんくわ（金花）の壺とて隠れなき名物参り、御機嫌斜ならず｣と、大名物金花茶壺とともに記されている。

一般にルソン壺と称されているタイプの茶壺である。ルソン壺とは、桃山時代末期にルソン島からこの種の壺が大量に輸入されたのに由来する。しかし、これ以前に同種の壺は大量に輸入されていた。広東省を中心に中国南部で作られた壺である。十四世紀初め頃に葉茶の容器に転用され始め珍重されてきた。室町後期に「草庵の茶の湯」が盛んになると茶室内で観賞されるようになり、さらに信長・秀吉の時代には書院の飾り道具にも用いられた。「松花」は現存する茶壺の中で最も頻繁に茶会記や戦記などの記録に登場する。

古渡り茶壺。大名物。いわゆる呂宋壺の、七斤入りの黄清香の手である。土は赤みを帯び、白化粧釉の上に灰釉を施した二重釉で、肩部が大きく出っ張った不安定な形をなし、耳は四つ、瘤が二つある。肩部の小判形印はきわめて薄く、印文は判読不能。広東省石灣鎮あたりの産と考えられる。「松島」「三日月」の両茶壺と並んで天下の三名物とされる。古来、古渡りの宋壺は「真壺」と呼ばれて珍　重さ：れ、肩に「清香」などの廓印のあるものを「清香壺」、「蓮華文に王の字」など花文の印刻されているものを「蓮華王壺」という。

室町幕府の管領・斯波氏－村田珠光－宗琳－誉田屋宗宅－北向道陳－織田信長－信忠－豊臣秀吉－秀次－油屋大小路次郎左衛門－徳川家康－初代義直と伝来した。『玩貨名物記』所載。

古来名高い名物の茶壺で、『信長公記』には、安土城天守完成時に「唐物茶壺　銘 松花」(大名物、徳川美術館所蔵)と共に祝賀の品として贈られ、織田信長が喜んだことが記されています。その後豊臣秀吉が所持したのち、徳川家康へと渡り紀伊家へ、そして紀伊家の分家・伊予西条松平家へ分与されました。 胴が大きく張った堂々とした姿で、灰釉が黄金色を呈し、美しい輝きを放っています。昭和49年(1974)購入。大名物。