唐物茶壺 vol.05 德川美術館：唐物茶壺「金花」，織田信長、豐臣秀吉、德川家康 - Tokugawa Museum, Karamono Chatsubo ‘Kinka’, Oda Nobunaga - Toyotomi Hideyoshi - Tokugawa Ieyasu

唐物茶壺「金花」

德川美術館藏

南宋—元（13–14 世紀）

總高 41.5 公分｜口徑 11.8 公分｜底徑 14.0 公分

大名物

「金花」為自古聞名的名物茶壺之一。據《信長公記》記載，天正四年（1576）秋，安土城天守完成之際，此壺與唐物茶壺「松花」（同為大名物，德川美術館藏）一併作為賀禮進獻，織田信長見之大為欣喜。其後此壺先後為豐臣秀吉、德川家康所藏，傳至紀伊德川家，再分與紀伊家支系之伊予西條松平家。

本壺胴部豐滿外張，氣勢堂堂，下收穩健，整體比例沉著而具安定感。胎體施白化妝，其上覆以灰釉，釉色明朗，呈現罕見之金黃色澤，光彩奪目，「金花」之銘，實至名歸。

在元龜三年（1572）具奧書的茶歌百首《鳥鼠集》中，有詩云：「清香に金花松花のあるも名物」，將「金花」與「松花」並舉為名物。又《信長公記》天正四年秋、安土城普請祝賀條下記載：「せうか（松花）の壺、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」，明言二壺皆為舉世無隱之名物。

肩部大幅外張，向底部緩緩內斂，形成穩重而雄渾的造型。白化妝之上所施釉層，使釉色鮮明發亮，通體閃耀金色光澤，為目前所知極為罕見之例。

【傳來】佐佐木六角氏 → 織田信長 → 豐臣秀吉 → 松井有閑 → 德川家康 → 紀伊初代賴宣 → 伊予西條松平家昭和五十年（1975）入藏德川美術館。

《玩貨名物記》「諸方道具分・茶壺」條下記有：「きんくわ、同（紀伊樣）」。並記其為「黃金釉四耳壺」，壺底見二枚花押，其中之一被認為屬足利義晴。如此呈現金黃色澤之茶壺，別無他例。《信長記》中亦以「せうくわ（松花）の壺、きんくわ（金花）の壺」並稱，明確標示其為「無隱名物」。

唐物茶壺「金花」｜中英文 FAQ

Karamono Tea Jar “Kinka” | Bilingual FAQ

Q1｜「金花」茶壺是什麼時代的作品？

What is the date of the tea jar “Kinka”?

中：一般認為為**南宋至元代（13–14 世紀）**製作的唐物茶壺，屬中國製陶體系中供應日本茶道世界的高級貯茶容器。

EN:“Kinka” is generally dated to the Southern Song–Yuan period (13th–14th century). It belongs to the category of high-grade Chinese storage jars later incorporated into the Japanese tea tradition as karamono.

Q2｜為什麼稱為「唐物茶壺」？

Why is it classified as a Karamono tea jar?

中：「唐物」指中國製、經日本茶道體系高度評價並制度化的器物。「金花」雖非為日本燒製，但在日本被賦予銘名、傳承與審美地位。

EN:Karamono refers to Chinese-made objects that were formally incorporated into and valorized by the Japanese tea system. Although produced in China, “Kinka” acquired its name, status, and historical meaning within Japan.

Q3｜「金花」為何被列為「大名物」？

Why is “Kinka” designated as an Ō-meibutsu (Great Tea Utensil)?

中：其地位來自三個層面：1）戰國最高權力者所用（織田信長、豐臣秀吉、德川家康）2）一流史料反覆記載（《信長公記》《鳥鼠集》《玩貨名物記》）3）釉色與形制的不可替代性（罕見金黃色灰釉）

EN:Its status derives from three factors:

1. Use by the highest political figures of the Sengoku period

2. Repeated documentation in primary historical texts

3. An unparalleled combination of form and golden-toned ash glaze

Q4｜「金花」的釉色為什麼如此特殊？

Why is the glaze of “Kinka” considered exceptional?

中：其釉層施於白化妝之上，灰釉燒成後呈現穩定而明亮的金黃色。文獻明言「如此發色者，別無他例」，顯示其為孤例型存在。

EN:Applied over a white slip, the ash glaze fires to a stable and luminous golden tone. Historical records explicitly state that no comparable example is known, underscoring its singularity.

Q5｜「金花」與「松花」是什麼關係？

What is the relationship between “Kinka” and “Shōka”?

中：二者常被並舉書寫與吟詠，在《鳥鼠集》《信長公記》中同時出現，被視為同一等級、同一審美體系中的對應名物。

EN:“Kinka” and “Shōka” are repeatedly paired in historical texts and poetry, indicating their recognition as parallel masterpieces within the same aesthetic and cultural hierarchy.

Q6｜「金花」的傳承是否清楚可靠？

Is the provenance of “Kinka” well established?

中：是。其傳承鏈清晰且由多種史料互證：佐佐木六角氏 → 織田信長 → 豐臣秀吉 → 松井有閑 → 德川家康 → 紀伊德川家 → 伊予西條松平家 → 近代入藏博物館。

EN:Yes. Its provenance is continuous and corroborated by multiple sources, tracing an unbroken line from Sengoku warlords through Tokugawa domains to modern museum ownership.

Q7｜目前「金花」收藏於何處？

Where is “Kinka” housed today?

中：現藏於日本名古屋的**Tokugawa Art Museum**，並被正式認定為館藏核心茶道名物之一。

EN:“Kinka” is preserved at the Tokugawa Art Museum, Nagoya, where it is recognized as one of the institution’s most important tea-related masterworks.

Q8｜「金花」在中國陶瓷史中如何定位？

How should “Kinka” be positioned within Chinese ceramic history?

中：其價值不在於代表某一「標準器型」，而在於展示南宋—元灰釉體系在偶發條件下所能達到的極限效果，屬跨文化語境中被保存與放大的中國陶瓷成果。

EN:Rather than exemplifying a standard Chinese ceramic type, “Kinka” represents an extreme and rare outcome within the Southern Song–Yuan ash-glaze tradition, preserved and amplified through a cross-cultural context.

Q9｜「金花」是否具有市場層面的參考意義？

Does “Kinka” have relevance to the art market today?

中：作為博物館級、不可流通的大名物，其意義主要體現在價值體系的建立而非價格比較，為理解唐物茶壺等級結構提供最高參照點。

EN:As a non-circulating, museum-held Ō-meibutsu, its relevance lies in defining value hierarchies rather than price benchmarks, serving as a top reference point for karamono tea jars.

Q10｜研究「金花」對今日有何意義？

Why does “Kinka” still matter today?

中：它同時連結中國陶瓷技術、日本茶道制度與戰國政治史，是少數能在三個體系中同時成立的實物證據。

EN:“Kinka” uniquely bridges Chinese ceramic technology, Japanese tea aesthetics, and Sengoku political history, making it a rare object that operates meaningfully across all three domains.

Karamono Tea Jar “Kinka”

Collection of the Tokugawa Art Museum

Southern Song–Yuan dynasty, 13th–14th century

Overall height: 41.5 cm ｜ Mouth diameter: 11.8 cm ｜ Base diameter: 14.0 cm

Ō-meibutsu (Great Tea Utensil)

“Kinka” is one of the most celebrated karamono tea jars known since early times. According to the Shinchō kōki (Chronicle of Oda Nobunaga), when the tenshu of Azuchi Castle was completed in the autumn of Tenshō 4 (1576), this jar, together with the famed karamono tea jar “Shōka” (also an Ō-meibutsu, now in the Tokugawa Art Museum), was presented as a congratulatory gift. Oda Nobunaga is recorded as having been greatly pleased. The jar later passed into the possession of Toyotomi Hideyoshi, then Tokugawa Ieyasu, subsequently entering the Kii branch of the Tokugawa family, and was later allotted to the Iyo Saijō Matsudaira house, a cadet branch of the Kii Tokugawa.

The jar is powerfully modelled, with a broad, swelling body that tapers gently toward the base, creating a dignified and stable profile. Over a white slip, an ash glaze has been applied, producing an exceptionally luminous golden tone. The brilliance of the glaze fully justifies the name “Kinka” (“Golden Flower”).

In the Chasō hyakushu anthology Chosojū (Bird-and-Rat Collection), bearing a colophon dated Genki 3 (1572), a verse reads: “Among the meibutsu are Kinka and Shōka, fragrant and pure,” explicitly pairing the two jars. Likewise, the Shinchō kōki records under the entry for the Azuchi Castle celebration in Tenshō 4: “The jars Shōka and Kinka, unmistakable meibutsu, were presented, and [Nobunaga’s] pleasure was extraordinary,” underscoring their unmatched fame.

The jar’s boldly expanded shoulders contract gradually toward the foot, imparting a sense of gravity and composure. The glaze, applied over white slip, fires to a bright, radiant surface, shimmering with a golden hue. No other example is known to exhibit such a pronounced golden coloration.

Provenance

Sasaki Rokkaku clan → Oda Nobunaga → Toyotomi Hideyoshi → Matsui Yūkan → Tokugawa Ieyasu → Tokugawa Yorinobu (first lord of Kii) → Iyo Saijō Matsudaira family.

Acquired by the Tokugawa Art Museum in Shōwa 50 (1975).

The Ganka meibutsuki lists this jar under “Tea Jars” as “Kinka (Kii family).” It is described as a “golden-glazed four-lug jar,” with two kaō marks on the base, one of which is attributed to Ashikaga Yoshiharu. Tea jars firing to such a golden hue are otherwise unknown. In the Shinchō ki, the jars “Shōka” and “Kinka” are jointly praised as “unconcealed meibutsu,” affirming their supreme status within the canon of tea utensils.

唐物金花茶壺

総高41.5cm　口径11.8cm　底径14.0cm

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。

【織田信長・徳川家康所用・紀伊徳川家伝来】／元亀3年（1572）の奥書を持つ茶歌百首「鳥鼠集」に「清香に金花松花のあるも名物」と詠まれ、『信長公記』の天正四年秋、安土城普請祝の項にも「せうか（松花）の壺、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、松花茶壺とともに記されている。肩は大きく張り、底部に向かい穏やかにすぼまって、どっしりとした安定感がある。白化粧の上に釉がかけられて明るく発色し、黄金色に輝き、金花の銘がふさわしい唐物茶壺である。

［伝来］佐々木六角氏－織田信長－豊臣秀吉－松井有閑－徳川家康－紀伊初代頼宣－伊予西条松平家と伝来したが、昭和五十年、徳川美術館の蔵品となった。

『玩貨名物記』の「諸方道具分、茶壺」の部に「きんくわ、同（紀伊様）」とある。黄金釉四耳壺。底部に花押二つ、うち一つは足利義晴カ。この壺の様に黄金色に発色した壺は他に例を見ない。「信長記」に「せうくわ（松花）の壺 きんくわ（金花）の壺として無隠名物」と称されている。