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茶人筆記 vol.6 井伊直弼,最具悲情色彩的大名茶人 - Naosuke, the tragic Tea Master.



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井伊直弼 Ii Naosuke_ Tea Master and Tragic Daimyō

井伊直弼(Ii Naosuke)是19世紀日本的一位大名,其人生充滿悲劇性:他在出任高階政治職務的同時,亦對茶道懷有極其篤誠的投入,最終卻因政治風波而遭暗殺身亡。文本闡述了他嚴謹的自我修行,尤其體現在長達十五年的深入研習,以及他所編撰的重要茶道著作《茶湯一會集》(Chadō Ichie-shū)。此書著重於「一期一會」(ichigo ichie,意即「一生僅此一次的相遇」)與「獨坐觀念」(dokuzakonnen,意即「獨自靜坐的省思」)等哲學理念,展現他對茶道精神層面的深度投入。儘管成就斐然,他的生命卻以暴力方式結束,留下的不僅是意義深遠的茶道實踐,更包含深沉的個人悲劇。


Ii Naosuke, a 19th-century Japanese daimyō, is presented as a tragic figure whose life intertwined intense devotion to the tea ceremony with high political office and ultimately, assassination. The text explores his rigorous self-cultivation, exemplified by his fifteen years of intense study and his creation of a significant tea ceremony manual, Chadō Ichie-shū. This work emphasizes the philosophical concepts of ichigo ichie ("one time, one meeting") and dokuzakonnen ("the notion of sitting alone"), reflecting his profound engagement with the spiritual aspects of tea. Despite his achievements, his life ended violently, leaving behind a legacy of both remarkable tea practices and profound personal tragedy.



一個人從呱呱墜地的那一刻起,就注定要走向死亡。 所需的距離和時間都已確定,儘管當事人自己並不知曉。


就直弼而言,他一路走來,獲得了難以想象的升遷和富貴,但同時也難逃罕見的厄運。他忍辱負重,從早學到晚,舉辦過200多次茶會,是一個命運多舛的人。他要走的路,雖一開始就注定,最終卻是空虛無相的。


他不得不四十六年如一日地穩步前行,走向那年春天 3 月 3 日那個大雪紛飛的早晨。 在櫻田門外那個命運的雪晨,被切斷的最後一條路,身首異處……


唐物鶴首茶入(彥根城博物館蔵)井伊家12代直亮(1794~1850)


井伊直弼

文化十二年—萬延元年

1815年—1860年


幕末的大名茶人,近江彥根第十三代藩主。官至「大老」(幕府官職,地位在老中之上,是臨時性的最高職位,輔佐將軍管理政務)。


號有「宗觀、無根水、澍露軒」等。井伊直弼出生於彥根城「摫御殿」,由於將由家裡的哥哥承襲家位,作為家裡的第十四子,年輕的直弼主動搬到了北側名為「埋木捨」的屋子中,在那裡度過了大約十五年的時間。



「埋木捨」中,直弼每日早上六點至下午兩點學習禪、茶道、國學、和歌、劍術等等,此外還在內院建了樂燒窯,沈迷制陶。將其中一間房間改建成茶室,取名「澍露軒」,他想要在石州流門下開創一個新的流派,為此專門撰寫了「入門記」


▲ 「埋木捨」,澍露軒 茶室,哪怕自己是一根被埋在土中的木柴,井伊直弼也決心一如既往的修煉自己,十五年如一日,直弼在豐富充實的自我沈澱中靜靜生長


嘉永三年(1850年)承襲藩主之位,開始和家臣以及菩提寺的僧侶們一同舉辦茶會。後來將在彥根參加的茶會記錄在「彥根水屋帳」中,將在江戶藩邸參加的茶會記錄在「東都水屋帳」中,共計45次。此外還有「每會水屋帳」、「順會水屋帳」、「懷石附」等收錄井伊直弼舉辦的茶會的書籍。


據這些記錄,自嘉永三年開始,直至因「櫻田門外之變」被刺殺身亡的萬延元年,這將近十年的時間內,井伊直弼舉辦的茶會竟有200次以上



直弼除了掛軸和茶勺外,還讓匠人製作了適合自己風格的茶道具。例如用將軍御賜的竹子做了花入「千歲之始」(七本之內),按直弼的草圖製作的「漣風呂」、「栗山桶水指」、「鶴龜繪茶碗」(清水六兵衛),以及匹配到各月的「十二月茶棗」(中村宗哲)等等。


直弼在舉辦這200多次茶會的空隙間,還抽空制定了茶道的傳授體系,教授家臣茶道,執筆「茶湯一會集」。以茶會和點前的實踐為基礎,將茶道歸納為「一期一會」「獨座觀念」,使茶道具備了濃厚的哲學色彩。


「茶汤一会集」序言中的「一期一会」和「独座观念」两章分别在书中的开头和结尾。这是一本详细记录茶会中「前礼、茶事、后礼」的具体作法的茶道实操书。


茶道可謂「一期一會」是也,須知今日結束後便是一去不返。此時可為自己點一碗茶細細品味,感受一期一會的真諦;能夠與之交談的,別無他物,唯有茶釜,須仔細體會時下寂寞的心情,這是十分難以悟到的境界…


▲ 「阿弥陀堂釜」,与次郎 作


由此段可見,書中用簡明的語言記載著直弼的所思所想,堪稱近世茶書的壓軸之作。 井伊直弼影響著之後乃至當下的所有的茶人,「一期一會」讓井伊直弼成為了「最熟悉的陌生人」。


懷著每一次的相遇都是無法複製的心情,卻又絕對要求精確與茶道中的儀式感…井伊直弼就像是一個同時擁有兩個人格的人,在理性和悲憫之間踱步;他雖然看似只關心武士階層的精神提升,但其澎湃的精神世界卻彷彿那個在埋木捨中默默生長的木頭,於無聲處牽動著每一個後世的茶人


井伊直弼的一生無疑是極具啓發性的,但他也同時是如此地悲情、淒美的存在;從無聲的木頭到蒼茂的松林,井伊直弼沒有為世人留下任何言語上的答案,只有「孤獨的茶釜」和松風鳴詠於浮沈之中…



「茶湯一會集」(草稿本) 基本可以推斷最初的草稿是在嘉永元年(1848年 )以前書寫完成的。之後才加上了序言,最終定稿應該是在安政5年(1858年)。


「独座觀念」


「獨座觀念」一語出井伊直弼的著作「茶湯一會集」。「獨坐」指客人走後,獨自坐在茶室里;「觀念」是熟思、靜思,面對孤獨的茶釜一隻,獨坐茶室,回味此日茶事,靜思此日不會重演:


茶人的心裡泛起一陣茫然之情,又湧起一股充實感,此時心境矛盾又愉悅的,悲欣交集。也許味道並不重要,可能重要的是內心的余味吧…



常見問題(FAQ)


1. 井伊直弼是誰?他的歷史地位為何?

井伊直弼(Ii Naosuke,1815–1860年)是日本幕末時期的譜代大名,為第十三代彥根藩主,同時也擔任幕府大老(Tairō),在推行安政改革與日美修好通商條約方面具有關鍵政治地位。然而,他在茶道界同樣享有盛名,乃是一位深具哲理思維的茶人。他強調「一期一會」(ichigo ichie)理念,賦予茶會高度的臨時性與珍貴性。最終,他在著名的「櫻田門外之變」(Sakurada Gate Incident)遭到暗殺,其悲劇結局更凸顯了他一生在政治與茶道之間的張力與矛盾。


2. 何謂「埋木之舍」(Umoregi no Ie),其對井伊直弼的成長有何重要意義?

「埋木之舍」(Umoregi no Ie,意為「埋藏木頭之宅」)是井伊直弼青年時期所居住約十五年的住所。身為家中第十四子,他並不被視作家督繼承人選,因此在此隱居期間,專心鑽研禪學、茶道、國學、和歌、劍術與陶藝。這段深居靜修的時期對他後來的茶道哲學影響至深;他甚至為其茶室命名「秋櫓軒」(Shūroken),並以「埋藏的木頭」自喻,在幽靜無聞中逐漸涵養出深厚的思想與美學素養。


3. 何謂「一期一會」(ichigo ichie),井伊直弼如何將此理念融入茶道?

「一期一會」是井伊直弼茶道思想的核心,意指「一生一次的相會」,暗示每一場茶會皆是獨一無二、無法重現的時刻。井伊直弼主張正因生命具有流逝性,故每次相聚更需全心投入,以專注與感恩之心面對當下。此理念既揭示人生的無常,也要求在座者珍惜每一剎那的相遇,從而深化對「此時此刻」的體驗。


4. 「獨坐觀念」(dokuzakonnen)在井伊直弼的茶道實踐中有何意涵?

「獨坐觀念」(dokuzakonnen)字面意為「獨自靜坐的思考」。它指的是茶會結束、賓客散去後,主人(或茶人)獨自在茶室中留片刻,以回味剛剛結束的茶會,細品那獨特且稍縱即逝的交會。這段時間旨在促進自我省思,將方才的互動、情感與意義深度內化。井伊直弼特別強調這種「餘韻的體悟」,認為唯有在靜默反思之際,茶會的真實價值與精神才得以充分顯現。


5. 何謂《茶湯一會集》(Chadō Ichie-shū),它如何體現井伊直弼的教誨?

《茶湯一會集》是井伊直弼撰寫的茶道著作,兼具操作手冊與哲學論述的雙重性質。書中以「一期一會」為開篇、以「獨坐觀念」作為收束,闡釋了茶會在準備、進行、收尾各階段所需注意之禮數與心法。此書同時穿插作者對「專注當下」「臨在」與「反思」的深刻見解,將整個茶道過程提升為心靈修練的實踐。《茶湯一會集》以簡潔易懂的文字,綜合了近世以來的茶道理論,對後世產生了廣泛影響。


6. 井伊直弼的個人經歷與心路歷程如何影響其茶道觀?

井伊直弼一生跨越政治與藝術領域,經歷了巨大的成功(擔任大老)與無可挽回的悲劇(被暗殺)。他曾在安靜的「埋木之舍」中苦修,也在幕政風雲變幻之中身居高位,這種多重身分與時代動盪,使他同時兼具審美理想與危機意識。他對「瞬間的寶貴」與「嚴謹的儀式性」的強調,或可視為身處權力中心卻又致力於心靈修為的內在矛盾之投射;同時,他悲壯的結局更突顯了「無常」在其哲學中的關鍵地位,為後世留下深刻的感懷與省思。


7. 井伊直弼使用過哪些茶道具?為何這些器物意義非凡?

井伊直弼曾委託工匠依其自身審美設計並製作茶道具,並賦予它們獨特的象徵意涵。著名的例子包括使用將軍所贈竹子所製之花入「千歲のはじめ」(Chitose no Hajime)、「波文風爐」(Rippled Brazier)、「栗山桶水指」(Chestnut Hill Bucket Water Jar)以及「鶴龜文茶碗」(Crane and Tortoise Decorated Teabowl)。他亦曾訂製多組應對四季的茶入(茶罐)。這些器物大多根據井伊直弼的手繪草圖製成,不僅展現其對美學的高度敏銳,也充分體現他於每次茶會中,透過器物來傳遞個人理念與審美情趣的用心。


8. 井伊直弼的思想與影響如何持續啟迪當代茶人?

雖然井伊直弼壽數不長,他在茶道史上卻留下深遠影響;「一期一會」之概念更因他而廣為人知,也被奉為茶道核心精神之一。他將茶道從儀式層面推向哲理與身心修養的高度,強調用心體驗每一瞬間與聚會的「不可再得」。同時,他對「獨坐觀念」的重視,也激勵後人更深刻地體認與反思茶會的內涵。對今日的茶道愛好者而言,井伊直弼是既陌生又熟悉的「最親近的遠方之人」,其思想依舊在許多茶人心中迴盪,引導人們在茶湯之間尋求更高層次的領悟與自省。


參考:

  • 井伊直弼,《茶湯一會集》(Chadō Ichie-shū)

  • 幕末史料與茶道研究文獻

  • 彥根城與井伊家相關史料

這些問題與解答意在向對井伊直弼及其茶道哲學有深入研究興趣的讀者提供精要概述,並展開其政治、文化與精神層面的交融與影響。



Ii Naosuke (1815–1860): The Most Tragic Daimyō Tea Master

From the moment one is born, one is destined for death. The distance and time required are already determined, though the individual remains unaware.


For Ii Naosuke, his path in life brought astonishing advancement and wealth, yet he could not escape extraordinary misfortune. He bore hardships silently, studying from morning until night, hosting more than two hundred tea gatherings—a man of many vicissitudes. Although his road was determined from the start, it would ultimately prove empty and formless.


For forty-six years, he had no choice but to move steadily forward until that snowy morning of March 3rd. Outside Sakurada Gate on that fateful morning, amid swirling snow, his final path was severed—his head parted from his body…


Ii Naosuke

  • Era: Bunka 12 – Man’en 1 (1815–1860)

  • Position: A late-Edo-period daimyō tea master and the thirteenth lord of Hikone in Ōmi Province. He served as Tairō—a senior post above the Rōjū in the Tokugawa shogunate, instituted temporarily to assist the shogun in governance.

  • Tea Names (gō): Sōkan (宗觀), Mukonsui (無根水), Shūroken (澍露軒), among others.


Ii Naosuke was born in the “Konae Goten” of Hikone Castle. As his elder brother was to inherit the family headship, Naosuke—being the fourteenth son—voluntarily moved to a northern residence known as “Umoregi no Ie” [“the house of buried wood”], where he spent around fifteen years.


At Umoregi no Ie, Naosuke devoted himself daily from six in the morning until two in the afternoon to the study of Zen, the Way of Tea (chadō), kokugaku (national learning), waka (Japanese poetry), and swordsmanship. He also constructed a Raku kiln in the inner courtyard to immerse himself in pottery. Converting one of the rooms into the tea chamber “Shūroken,” he aspired to establish a new branch within the Sekishū tradition (Sekishū-ryū) and wrote the treatise Nyūmonki [“Initiation Record”] toward that goal.


“Even if one is like buried wood, one must continue to refine oneself all the same.”

For fifteen years, day after day, Naosuke quietly developed in this rich solitude, deepening his self-cultivation.

In Kaei 3 (1850), Naosuke succeeded as the domain lord (daimyō) of Hikone. He began holding tea gatherings with his retainers and with monks from the family temple. Records of tea gatherings in Hikone were compiled as Hikone Mizuya-chō, while those in the Edo residence were recorded in Tōto Mizuya-chō. In total, these contain forty-five documented events. Additional sources, such as Maikai Mizuya-chō, Junkai Mizuya-chō, and Kaiseki-fu, likewise detail Naosuke’s hosted tea ceremonies.


From these documents, we see that, from Kaei 3 until his assassination in Man’en 1 (during the Sakurada Gate Incident)—a nearly ten-year period—Ii Naosuke conducted more than two hundred tea gatherings.


Beyond scrolls and teascoops, Naosuke also commissioned artisans to create tea utensils tailored to his own aesthetic. Examples include the flower container Chitose no Hajime (千歲之始), made from bamboo bestowed by the shogun; the Sazanami-buro (漣風呂, “Rippled Brazier”); the Kuriyama-oke Mizusashi (栗山桶水指, “Chestnut-Hill Bucket Water Jar”); and the Tsurukame-e Chawan (鶴龜繪茶碗, “Crane-and-Tortoise Decorated Teabowl”) thrown by Kiyomizu Rokubei, all produced according to Naosuke’s sketches. He also commissioned a set of Jūni-gatsu Natsume (十二月茶棗, “Twelve Monthly Tea Caddies”) from Nakamura Sōsetsu.


Amid these more than two hundred tea gatherings, Naosuke still found time to formulate a systematic approach to teaching tea—training his retainers and composing the work Chadō Ichie-shū (茶湯一會集). Based on the actual practice of tea gatherings and procedures (temae), he distilled tea into the concepts of ichigo ichie (一期一會, “one time, one meeting”) and dokuzakonnen (獨座觀念, literally “the notion of sitting alone”), thus imbuing the Way of Tea with pronounced philosophical depth.


In the preface to Chadō Ichie-shū, the chapters on “Ichigo Ichie” and “Dokuzakonnen” appear at the very beginning and the very end, respectively. The book is a practical manual on hosting tea (covering etiquette before, during, and after a ceremony), yet these sections reveal Naosuke’s reflections:


“The Way of Tea may be summed up as ‘ichigo ichie’: once today has passed, it will never return. At this very moment, make yourself a bowl of tea and savor it slowly, so that you may experience the essence of ichigo ichie. Apart from your tea kettle, there is nothing else with which you can converse; you must truly feel the loneliness of the present. This is a realm exceedingly difficult to attain…”


This passage shows how Naosuke’s thoughts, couched in simple language, make Chadō Ichie-shū a culminating masterpiece of early modern tea literature. His influence endures among tea practitioners from his era to the present day. Through the concept of ichigo ichie, Ii Naosuke remains “the most familiar stranger.”


Holding in one’s heart the awareness that every encounter is unrepeatable—and yet requiring complete precision and ceremony in the practice of tea—Ii Naosuke appears as a man with two sides, pacing between rationality and compassion. Though he seemed chiefly concerned with cultivating the samurai spirit, his profoundly rich inner world, like that silent piece of wood in the Umoregi no Ie, has continued to guide succeeding generations of tea practitioners.


His life was undoubtedly inspirational, but also marked by tragedy and a heartrending quality. From soundless wood to a lush pine forest, Ii Naosuke left behind no definitive verbal answers for posterity; instead, he bequeathed only the “lonely kettle,” wherein the sound of the wind in the pines (matsukaze) echoes on through the rise and fall of time…


Chadō Ichie-shū (Draft Version)

It can be inferred that the original draft was completed before Kaei 1 (1848). The preface was added later, and the final text likely dates to Ansei 5 (1858).


“Dokuzakonnen” (独座観念)

The phrase dokuzakonnen appears in Ii Naosuke’s Chadō Ichie-shū. Literally meaning “to sit alone in reflective thought,” dokuzakonnen is the practice of remaining alone in the tearoom after one’s guests have departed, quietly contemplating the day’s tea gathering before a solitary kettle. One recalls an occasion that will not recur:


A sense of emptiness arises in the tea practitioner’s heart, yet there is simultaneously a surge of fulfillment. The mind is at once conflicted and at peace—sorrow mingling with joy. Perhaps the flavor of the tea itself is not paramount; what matters is the lingering aftertaste in one’s heart…

Frequently Asked Questions about Ii Naosuke and his Tea Philosophy

Who was Ii Naosuke and what was his significance?

Ii Naosuke was a 19th-century Japanese daimyō (feudal lord), the 13th lord of Hikone, who served as Tairō (a high-ranking advisor to the Shogun). Beyond his political role, he was a highly influential tea master known for his deep philosophical approach to the practice. He developed and popularized the concept of "ichigo ichie" (one time, one meeting) within the tea ceremony, imbuing it with a profound sense of impermanence and preciousness. He is also known for his tragic end, being assassinated at the Sakurada Gate Incident.


What is "Umoregi no Ie" and why was it significant to Ii Naosuke's development?

"Umoregi no Ie," meaning "the house of buried wood," was the residence where Ii Naosuke lived for about fifteen years during his youth. As the fourteenth son, he moved there as he was not expected to inherit the family's leadership. This period of seclusion allowed him to dedicate himself to intensive study of Zen, tea ceremony, national learning, poetry, swordsmanship and pottery. This period of quiet contemplation and self-cultivation was crucial in shaping his philosophical views on tea and life and he even named his tea room at "Umoregi no Ie" "Shūroken". He compared himself to a buried piece of wood, quietly growing and developing.


What is "ichigo ichie" and how did Ii Naosuke apply it to the tea ceremony?

"Ichigo ichie" is a core concept in Ii Naosuke's tea philosophy, meaning "one time, one meeting." He emphasized that each tea gathering is a unique, unrepeatable event. This awareness of the fleeting nature of time should be used to approach each encounter with full presence, mindfulness, and appreciation. This also speaks to the transient nature of life, and underscores the need to savour the present moment.


What is the significance of "dokuzakonnen" in Ii Naosuke's tea practice?

"Dokuzakonnen," literally meaning "the notion of sitting alone," is the practice of remaining in the tearoom by oneself after the guests have left. This time is for reflecting on the tea gathering that has just concluded, contemplating its uniqueness and the ephemeral nature of the experience. This practice aims to create a space for self reflection, and to truly process the meaning and emotional resonance of the shared experience. Ii Naosuke suggests that it is during this time of quiet reflection and contemplation that the true essence of the experience is revealed.


What was Chadō Ichie-shū and how does it reflect Ii Naosuke's teachings? Chadō Ichie-shū (茶湯一會集) is Ii Naosuke's treatise on tea ceremony, serving as both a practical manual on hosting tea gatherings and a philosophical exploration of its underlying principles. The text is organized with "Ichigo Ichie" at the beginning and "Dokuzakonnen" at the end of the text. It details the necessary steps before, during, and after a ceremony, while also weaving in his reflections on the importance of mindfulness, presence, and contemplation within the tea practice. It serves as a culmination of early modern tea literature with its accessible language and comprehensive explanations.


How did Ii Naosuke's own personal life and experiences influence his tea practice and philosophy? Ii Naosuke's life was marked by both remarkable success and profound tragedy. He was a man of great intellectual and artistic capacity, but he also bore the burdens of a changing political landscape. His experience of political power coupled with his seclusion and intensive study likely contributed to the nuanced and somewhat contradictory nature of his approach to tea. His emphasis on the uniqueness of each moment, coupled with rigorous ritual practice, seems to reflect the duality of his experience of both privilege and hardship. His tragic death adds a layer of pathos to his legacy, further cementing the sense of impermanence and loss that are fundamental to his philosophy.


What kind of tea utensils did Ii Naosuke use and why were they significant? Ii Naosuke commissioned artisans to craft tea utensils that reflected his personal aesthetic, and these items were often imbued with symbolic meaning. Some notable items include the flower container "Chitose no Hajime" made from a bamboo gifted by the Shogun, the "Rippled Brazier," the "Chestnut Hill Bucket Water Jar," and the "Crane and Tortoise Decorated Teabowl." He also commissioned sets of seasonal tea caddies. These utensils, created based on his sketches, highlight his refined artistic sensibilities, and show the importance of carefully choosing items to enhance and communicate his personal philosophy in his gatherings.


What is Ii Naosuke's legacy and how does it continue to influence tea practitioners today? Ii Naosuke is remembered as a deeply influential figure in the history of the Japanese tea ceremony, despite his short life. His concept of "ichigo ichie" is widely embraced as a fundamental principle in the practice, and he is remembered as the figure who popularized the phrase. He is considered a pivotal figure in the transformation of tea practice into a highly philosophical pursuit. His emphasis on both mindfulness in the moment and the reflective qualities of "dokuzakonnen" continue to guide tea practitioners in finding deeper meaning and insight from their practice today, making him "the most familiar stranger" to those who follow the way of tea.

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