唐物茶壺 vol.06 德川美術館：唐物茶壺「大般若」 ，大名物，德川家康、駿府御分物、伊予西條松平家- Tokugawa Museum, Karamono Chatsubo ‘Daibannya’, Heirloom by Tokugawa Ieyasu

唐物茶壺 銘「大般若」

唐物茶壺「大般若」，屬大名物。

茶壺原為葉茶之貯藏與運輸容器，至千利休時代以前，被尊為茶道具中等級最高者，亦為重要的賞翫對象。

本器形制端正，屬「真形」一類，造形素直而不事誇飾。胎體施以略帶暗色之鐵釉（或深色飴釉），釉面沉靜內斂，僅於肩部右側隱約浮現一抹朧影，呈現極具節制的視覺效果。底部可見五至六枚花押，推測為室町時代所加。

此壺為德川家康所珍藏，並明確記載於其親筆《茶壺覚書》中。其後作為家康遺產之一的「駿府御分物」，傳予紀伊德川家初代德川賴宣，再轉授其子松平賴純（伊予西條松平家初代），遂於伊予西條松平家代代相傳。昭和六十年（1985），入藏 德川美術館。

基本資料

時代：南宋—元（13–14 世紀）

材質／分類：陶磁

尺寸：通高 40.0 公分；口徑 12.4 公分；底徑 15.0 公分

收藏：德川美術館（1985 年購藏）

Karamono Tea Storage Jar

named Daibannya

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

Tea jars were originally vessels for the storage and transport of loose-leaf tea and, until the time of Sen no Rikyū, were esteemed as the highest-ranking utensils in the tea tradition, serving as primary objects of connoisseurship.

The present jar is a shin-nari (“true-form”) example, characterized by an honest and unpretentious profile. It is covered with a subdued dark iron or amber-toned glaze, restrained in tone, with only a faint, hazy emergence visible on the right shoulder. The base bears five to six kaō marks, likely dating to the Muromachi period.

The jar was owned by Tokugawa Ieyasu and is recorded in his autograph memorandum, the Chatsubo oboegaki. It was later bestowed as part of the Sunpu Gobunmotsu—Ieyasu’s posthumous bequests—to Tokugawa Yorinobu, first lord of the Kii Tokugawa house, and subsequently passed to his son Matsudaira Yorozumi, founder of the Iyo Saijō Matsudaira line. After remaining in that family for generations, the jar entered the collection of the Tokugawa Art Museum in 1985.

Object Data

Period: Southern Song–Yuan (13th–14th century)

Medium: Ceramic

Dimensions: H. 40.0 cm; mouth diam. 12.4 cm; base diam. 15.0 cm

Collection: Tokugawa Art Museum (acquired 1985)

唐物茶壺「大般若」FAQ

Karamono Chatsubo “Daibannya” – FAQ

Q1｜「大般若」是什麼等級的茶壺？

What level of tea jar is Daibannya?

中「大般若」為大名物唐物茶壺，屬茶道具體系中地位極高者。

ENDaibannya is classified as a daimyō meibutsu karamono tea jar, ranking among the most prestigious tea objects.

Q2｜其年代與產地為何？

What is its date and place of manufacture?

中製作年代為南宋至元代（13–14 世紀），產地為中國。

ENThe jar dates to the Southern Song–Yuan period (13th–14th century) and was produced in China.

Q3｜「真形」指的是什麼？

What does “shin-nari (true form)” mean?

中「真形」指器形端正、比例自然、不追求奇巧變化的正統形制，常被視為唐物茶壺中的典範。

ENShin-nari refers to a canonical, well-balanced form that avoids excessive stylization and was regarded as an ideal type among karamono tea jars.

Q4｜此壺的釉色有何特色？

What are the characteristics of its glaze?

中通體施以略暗的鐵釉或深色飴釉，發色內斂，僅於肩部右側朧然浮現釉影，極具節制之美。

ENThe jar is covered with a subdued dark iron or amber-toned glaze, with a faint, hazy emergence visible only on the right shoulder, reflecting a highly restrained aesthetic.

Q5｜底部花押代表什麼？

What is the significance of the kaō marks on the base?

中底部五至六枚花押，推定為室町時代所加，顯示其在日本早期茶道世界中即已被重視與識別。

ENThe five to six kaō marks on the base, likely added in the Muromachi period, attest to its early recognition and appreciation within Japan.

Q6｜與德川家康的關係為何？

How is the jar related to Tokugawa Ieyasu?

中「大般若」為德川家康所藏，並記載於其自筆《茶壺覚書》，屬其核心茶壺之一。

ENThe jar was owned by Tokugawa Ieyasu and is recorded in his autograph memorandum, the Chatsubo oboegaki.

Q7｜何謂「駿府御分物」？

What does “Sunpu Gobunmotsu” mean?

中「駿府御分物」指德川家康去世後，於駿府分配予德川諸家的重要遺物，本壺即在其中。

ENSunpu Gobunmotsu refers to the posthumous distribution of Tokugawa Ieyasu’s treasured possessions; this jar was included among those bequests.

Q8｜此壺的傳承是否清楚？

Is the provenance well documented?

中是。其傳承為：德川家康 → 德川賴宣（紀伊德川家） → 松平賴純（伊予西條松平家），脈絡清晰。

ENYes. Its provenance—from Tokugawa Ieyasu to Tokugawa Yorinobu and then to Matsudaira Yorozumi of the Iyo Saijō Matsudaira house—is clearly documented.

Q9｜現今收藏於何處？

Where is Daibannya preserved today?

中現藏於日本名古屋的 德川美術館，1985 年入藏。

ENToday, Daibannya is preserved at the Tokugawa Art Museum in Nagoya, where it entered the collection in 1985.

Q10｜「大般若」在茶道史上的意義是什麼？

Why is Daibannya important in tea history?

中它體現了唐物茶壺由實用容器昇華為權力、審美與記憶象徵的成熟階段，亦反映德川政權初期的文化取向。

ENDaibannya exemplifies the mature stage at which karamono tea jars transcended utility to become symbols of authority, aesthetic discipline, and cultural memory in early Tokugawa Japan.

茶壺は葉茶の貯蔵・運搬に用いる容器で、利休時代までは茶道具の最上位の道具として尊ばれ、賞翫の対象でした。 本茶壺はやや暗い鉄釉がかかり、おぼろに肩の右側が浮かんでいます。徳川家康自筆の「茶壺覚書」にも記され、徳川家康から紀伊徳川家初代徳川頼宣に駿府御分物として伝えられ、のちに紀伊徳川家の分家・伊予西條松平家に伝来しました。大名物。昭和60年(1985)購入。

【徳川家康・徳川頼宣所用・西条松平家伝来】／真形で素直な形をした唐物茶壺である。釉はやや暗い飴釉がかかり、朧に肩の右端のみ浮かんでいる。底部に室町時代のものと推される花押が5～6個ある。徳川家康が所持し、家康自筆の「茶壺覚書」に記されている。その後、家康の遺産「駿府御分物」として、紀伊徳川家初代頼宣に譲られ、さらに頼宣の子、松平頼純（伊予西条松平家初代）に与えられ、同家に代々伝来したが、昭和60年（1985）に徳川美術館の蔵品となった。

作品名	唐物茶壺　銘 大般若
作品名ふりがな	からものちゃつぼ　めい　だいはんにゃ
作者名
文化財指定
作品分類	陶磁
国	中国
時代	南宋-元
世紀	13世紀-14世紀
数量	1口
材質‧技法
サイズ	総高40.0cm　口径12.4cm　底径15.0cm