


唐物茶壺 銘「橋姫」
大名物
茶壺是一種用於儲存與運輸散茶的容器,自千利休時代以來,便被視為茶道具中最為尊崇的頂級器物,並成為品鑑與欣賞的對象。此壺通體施以茶褐色釉,形制為「四耳壺」。
其所銘「橋姫」,推測取自《源氏物語》宇治十帖中的「橋姫」篇,但具體緣由尚不明確。據傳,貞享三年(1686)十月,尾張德川家第三代當主德川綱誠(1652~1699)受邀前往江戶城二之丸觀賞御能時,獲第五代將軍德川綱吉賜予此壺,故而留下此一傳承佳話。



源氏物語 紫式部
FAQ:「橋姫」與《源氏物語》的宇治十帖
問:標題「橋姫」有何意義?
答:「橋姫」(Hashihime)可譯為「橋上的公主」或「橋之巫女」,源自日本民間傳說中的神祇形象,常被認為是守護橋梁、連結異界,或象徵怨靈的存在。在《源氏物語》的脈絡中,宇治橋成為轉折的象徵:它不僅在地理上帶領故事離開繁華都城,走向僻靜的宇治,也象徵人物情感與精神上的轉變。「橋姫」這個名稱同時暗示了「臨界性」、「轉化」以及「隱藏的熱情」等主題,在整個宇治十帖中回蕩不絕。
問:「橋姫」的場景與《源氏物語》早先章節有何不同?
答:前四十四帖主要描繪平安京(京都)貴族社會的繁華與華麗,而「橋姫」則是一個重大轉折,將故事帶到更為幽僻、沈鬱的宇治。這種地理位置的轉換,象徵了敘事重心與主題的轉移:由宮廷的愛情糾葛與生活逸樂,逐漸轉向內省、生命無常,以及在痛苦與失落的世界中尋求意義的探討。
問:「橋姫」中登場的主要人物有哪些?他們的角色是什麼?
答:「橋姫」介紹了幾位關鍵角色:選擇退隱至宇治生活的八宮(Hachi no Miya,源氏的親族),以及他在宇治一同居住的兩位女兒——大君(Ōigimi)與中君(Nakanokimi);還有受到傳聞吸引而前來的青年貴族薰(Kaoru)與匂宮(Niou / Nio no Miya)。薰以溫柔、內斂聞名,他對大君產生深刻傾慕;而匂宮則被個性較活潑的中君深深吸引。這些情感與關係糾葛,構成了宇治十帖的核心主線。
問:「橋姫」的主要情節是什麼?
答:「橋姫」描繪了八宮在宇治隱居的生活背景,並為之後的情感糾葛鋪墊。薰與匂宮因聽說八宮之女美貌孤居,便前往宇治。途中跨越宇治橋,象徵了身心的跨越與蛻變。到了宇治後,薰被大君的沈靜氣質所吸引,匂宮則對中君一見鍾情。隨著人物互動與微妙情愫的萌生,故事在本帖結尾處埋下伏筆,為後續章節的複雜發展揭開序幕。
問:「橋姫」如何展現無常(mujo)與宗教反思的主題?
答:本帖中,宇治僻靜的環境與八宮淡泊向道的生活方式,凸顯了佛教「諸行無常」的思想。登場人物在面對世間榮華轉瞬即逝時,對生死、因果與可能的精神解脫產生種種思索。這些主題在宇治十帖的後續情節中益發深刻,人物也更加意識到人世情感的短暫與脆弱。
問:宇治橋在故事中具有什麼象徵意義?
答:宇治橋遠不止是一座跨越河川的建築;它象徵一條臨界的通道或門檻。從民俗觀點看,橋往往代表連結不同領域的「邊界」。在「橋姫」中,宇治橋同時指涉從都城進入宇治的地理轉換,也暗示人物人生中從世俗走向更為內省、或潛藏著宗教覺醒的轉折。「橋姫」此名本與橋及其傳說相關,令這座橋更顯得神秘而富含暗示性。
問:「橋姫」在文學與文化上有何重要性?
答:「橋姫」作為宇治十帖的起始,為整部《源氏物語》帶來了決定性的轉折點。它同時也是文學、歷史與文化研究的重要材料:在本帖中展開的愛情、失落、宗教情懷與人生無常等主題,對後世日本文學、藝術乃至表演形式(如能劇《橋姫》)都產生深遠影響。由於關於作者身份與釋義仍存一些爭議與多重解讀,此篇也常成為學界持續探討的焦點。
問:為什麼說「橋姫」是《源氏物語》中至關重要的一部分?
答:「橋姫」不僅在場景、敘事重心和風格上帶來重大轉換,也為宇治十帖的發展奠定基礎。它將故事視野擴大至世俗之外,讓人物的內心糾結與精神求索成為新的焦點。新登場的角色以及他們彼此之間的複雜情感,推動了此後劇情的主線。這個轉折象徵著作者不再僅止於呈現宮廷浮華,更進一步探究人生苦痛、欲望與追尋解脫意義的層面,為《源氏物語》增添了更深邃的精神內涵。




(源氏物語 之一) 1帖 紙本墨書 16.5×15.0 鐮倉~室町時代 13~16世紀
東京國立博物館藏
在裝飾有波紋花樣的封皮上,貼有以假名記錄序號及卷名的楮紙條。據傳此為桑名(今三重縣內)藩主松平定信生前喜愛之物,於昭和10年(1935年)為保阪潤治氏所收藏,因此又被稱為“保阪本源氏物語”。
保阪氏收藏時似乎業已缺失一卷,箱蓋內側記有保阪氏親自書寫的“五十三帖”字樣。昭和11年(1936年)年被指定為舊國寶。 前半部分自“桐壺”開始直到“賽畫”的17帖系補抄本,為室町時代所抄,後半部分的36帖為鐮倉時代所抄。鐮倉時代的抄寫,分別為4帖青表紙本、7貼河內本、25貼別本,屬於別本(同種類同系統的另一版本)系統,作為源氏物語正文研究方面不可或缺的資料,極其珍貴。
源氏物語 橋姫
一、宇治十帖的開端
「橋姬」(はしひめ)是《源氏物語》最後十帖——即所謂「宇治十帖」的第一帖(第45帖)。
《源氏物語》全書共有五十四帖,前四十四帖多半以光源氏為中心展開,描寫他在平安京(京都)貴族社會中的愛情與政治糾葛,以及其家族與周遭人物的命運走向。
然而,隨著光源氏在第四十一帖〈幻〉(まぼろし)中隱退、第四十二帖〈匂宮〉(におうみや)以後逐漸轉入次世代角色,故事的重心也開始轉移。
到了第四十五帖「橋姬」,敘事正式進入「宇治」這處遠離京中的僻靜之地,情節與氛圍皆與此前差異顯著。

二、章名「橋姬」的由來與含意
橋姬信仰與民間傳說
「橋姬」意指「橋邊的女神」或「橋之巫女」,在日本古代的傳說與信仰中,常有鎮守橋梁、阻斷邪祟或表現怨念等意涵。宇治橋位於京都南郊的宇治川上,地理位置顯要,也常被賦予宗教色彩。傳統上認為「橋」象徵通往彼岸或異境,橋姬因此蘊含「門戶、邊界、轉換」等象徵意味。
章名與情節結合
在「橋姬」一帖中,故事由京城轉至宇治,顯示出情境與人物內心的重大轉折。宇治與京城相比,更顯清寂、隔絕,也呼應此後情節中的孤寂、煩惱以及諸多愛與救贖的主題。章名「橋姬」既與宇治橋的神話形象相互呼應,又暗示這段故事將帶領讀者跨越從繁華都城到幽僻山水的「橋梁」,同時在感情與精神層面上也是從世俗走向更深層的「內省」世界。
三、故事背景與主要人物
八宮(はちのみや)
他是光源氏的異母兄弟(或半兄),因生性淡泊和種種朝廷紛爭,選擇退隱宇治。
有兩位女兒——大君(おおいぎみ)與中君(なかのきみ)。她們的命運與本帖開始登場的次世代男性角色——薰(かおる)與匂宮(におうみや)糾結纏繞。
薰(かおる)
一般被視為光源氏的兒子,實際上是柏木(かしわぎ)與女三宮所生。然而,故事中並未明言,但平安貴族社會中對此有所暗示。
因品性高潔且身上散發淡淡香氣,故名「薰」。他是宇治十帖的主角之一,對八宮長女大君心生嚮往,展開一系列曲折互動。
匂宮(におうみや)
即東宮之孫、皇室成員,與薰青梅竹馬、關係親密,但性格比薰更為奔放浪漫。
在「橋姬」篇後,他對八宮次女中君展開熱烈追求,與薰與大君的關係形成對照,也交織出後續的多角戀情。
大君(おおいぎみ)與中君(なかのきみ)
八宮的兩位女兒,寄居在宇治的深山住所,過著較為清貧、偏僻的生活。
大君性情端莊沉靜;中君則較活潑柔和。兩姊妹的存在,在薰與匂宮心中激起愛慕、憐惜與悸動,成為宇治十帖主要敘事核心。

四、「橋姬」的情節大要
遠離京城的隱逸生活
「橋姬」開篇描寫八宮選擇避居於宇治,暗示他對朝廷和俗世的疏離。儘管出身高貴,他卻在此過著宗教與隱居相融的清寂生活。
薰與匂宮的到訪
薰、匂宮聽聞八宮有兩位女兒美貌動人,且她們的母親早逝、家世孤單,便產生探訪之意。
他們在前往宇治的路途上,需要跨越宇治川與宇治橋,這象徵了實質與精神上的「跨越」。
在陰鬱的宇治山水與淡泊的宅邸環境中,薰對大君產生深層憐惜與愛慕,而匂宮也對中君一見傾心。
愛與煩惱的開始
八宮因自覺年事已高,擔憂女兒們未有歸宿,卻又顧慮門第與世俗眼光,內心天人交戰。
大君與中君成長於深山,對外界陌生而畏懼,對薰與匂宮的接近既感到新奇,也伴隨猶疑。
「橋姬」結尾為宇治十帖其後劇情伏筆,人物的愛恨糾葛、宗教思考與人生無常等主題將在後續章回加深。
五、文學與思想層面
與前篇「光源氏時代」的對比
在光源氏活躍的前半部(第一帖~第四十四帖),故事多發生於華麗的宮廷與貴族邸第。
「橋姬」作為宇治十帖的開篇,敘事從京都轉移到偏遠清寂的宇治,風格更趨悲涼、沉鬱,象徵主題由世俗愛情轉向佛教式的無常與救贖。
人生無常與宗教情懷
八宮的出家傾向、宇治地區的僻靜氛圍,以及人物對生死與因果的思考,皆折射出平安後期貴族對人生無常的感受。
這種對「浮世」的沉思與「出世」的嚮往,在「橋姬」之後更為鮮明,體現了《源氏物語》後半部深刻的宗教與倫理色彩。
多層次的「跨越」意義
橋梁意象:宇治橋不只是一座物理上的橋,也是人物內心「渡過」感情與命運的象徵。「橋姬」的神話暗喻怨念、執著與護佑等多重元素,正好對應人物在情感、宗教體悟間的掙扎與渴求。
空間轉換:由繁華京城至幽靜宇治,亦是貴族世界觀由「顯」轉「隱」的一大轉折。

六、文本傳承與研究價值
作者與成書背景
《源氏物語》傳世版本眾多,對於「宇治十帖」的作者歸屬,也曾有過「續撰說」或「代筆說」。不過多數學者仍傾向認為此為紫式部(むらさきしきぶ)本人所作。
「橋姬」在各版本中的文字細節、詞彙運用,常成為校勘與註釋學研究的重點。
文獻參照與跨領域研究
因「橋姬」涉及神話學、民俗學、佛教思想,以及平安時代的貴族制度、婚姻觀念等,成為文學、歷史、宗教、藝術多領域研究者的重要對象。
與同在宇治十帖中的「初音」、「槿木」等篇目,互相參照可梳理人物情感演變與佛教色彩之加深。
對後世文學與藝能的影響
宇治十帖的淒美氛圍與人物悲劇命運,影響後世和歌、能劇、浮世繪的創作。如能劇《橋姫》便直接取材自古代傳說與《源氏物語》的橋姬意象。
在近現代日本文學中,作家們往往以宇治十帖做為悲劇愛情、人生轉折的象徵原型,延續「橋姬」等角色的幽暗與靈性象徵。
七、結語
「橋姬」作為《源氏物語》後期敘事的關鍵開端,不僅在故事結構上完成了從華麗京城到僻靜宇治的過渡,也展開了薰、匂宮及八宮兩位女兒之間錯綜複雜的情感糾葛。其深層的宗教與人生思辨,與「橋姬」——這位在橋旁守望或懷抱執念的神祇形象——彼此呼應,令讀者得以窺見貴族晚期對無常、苦惱、救贖的共同焦慮與渴望。
對專業研究者而言,「橋姬」章豐富的文本內涵、象徵意義及文化背景,均提供了持續探討的空間;對愛好者來說,細讀「橋姬」能感受《源氏物語》由盛轉衰、由世俗轉向宗教的獨特魅力,也能更全面地體悟平安時代人心中的愛與人生慨嘆、無常觀照。透過「橋姬」所奠定的氛圍與主題,「宇治十帖」在日本文學史上展現出別具一格的藝術與精神高度。

唐物茶壺 銘 橋姫
大名物
からものちゃつぼ めい はしひめ
茶壺は葉茶の貯蔵・運搬に用いられる容器であり、利休時代より茶道具の最上位の道具として尊ばれ、賞翫の対象であった。本品は茶褐色の釉を施した四耳壺(しじこ)で、銘は『源氏物語』の宇治十帖「橋姫」に因むと思われるが、詳細は未詳である。貞享3年(1686)10月、江戸城二之丸で行われた御能に尾張徳川家3代綱誠(つななり)(1652~99)が招かれた際、5代将軍綱吉から拝領したという由緒がある。

1. Overview: The Beginning of the Uji Ten Chapters
“Hashihime” (Chapter 45) marks the opening of what is traditionally referred to as the Uji Ten Chapters, the final ten chapters of The Tale of Genji. Composed of 54 chapters in total, The Tale of Genji primarily follows the life of Prince Genji for its first 44 chapters. By the time of Chapter 45, Genji has retreated from court life (notably in Chapter 41, “Maboroshi”), and the narrative shifts its focus to the next generation. “Hashihime” heralds a move away from the opulent world of Heian-kyo (the capital) toward the secluded setting of Uji, marking a major tonal and thematic transition.
2. The Origin and Significance of the Title “Hashihime”
Bridge Goddess and Folklore“Hashihime” literally translates to “Bridge Princess” or “Bridge Maiden.” In Japanese myth and folk belief, Hashihime is often a deity (or occasionally a vengeful spirit) who guards bridges, stands at the threshold between worlds, or sometimes embodies jealousy and resentment. The Uji Bridge, situated south of Kyoto, holds historical and spiritual importance; bridges in many religious traditions symbolize liminality—portals to an “other” realm.
Relevance to the Chapter’s StorylineAs the chapter title, “Hashihime” highlights not only the literal crossing of the Uji Bridge but also the figurative journey of the characters from the bustling capital to a remote, introspective domain. It signals a profound internal and external transition, drawing attention to the themes of isolation, longing, and spiritual reflection that pervade the latter part of The Tale of Genji.
3. Background and Main Characters
Prince Hachi no Miya (the Eighth Prince)
A half-brother (or close relative) of Genji, he chooses to withdraw from court intrigue and resides in a modest dwelling in Uji.
He has two daughters, Ōigimi (the Elder Princess) and Nakanokimi (the Younger Princess), whose fates intertwine with the next-generation male protagonists, Kaoru and Niou (or Niō no Miya).
Kaoru
Traditionally believed to be Genji’s son, but in truth (though never explicitly stated), he is fathered by Kashiwagi with Genji’s wife, the Third Princess.
Renowned for his gentle nature and a subtle fragrance that seems to emanate from him (hence the name “Kaoru,” meaning “fragrance”). Kaoru becomes a central figure in the Uji Ten Chapters, forming a deep, complex admiration for Hachi no Miya’s elder daughter, Ōigimi.
Niou (Niou no Miya)
A grandson of the Emperor, and close friend to Kaoru. Compared to Kaoru’s contemplative nature, Niou is more impulsive and romantic.
Later chapters depict Niou’s ardent pursuit of Hachi no Miya’s younger daughter, Nakanokimi, forming a poignant contrast with Kaoru’s more subdued interactions with Ōigimi.
Ōigimi and Nakanokimi
The two sisters live in secluded conditions with their father in Uji, far from courtly glamour.
Ōigimi is reserved and introspective, whereas Nakanokimi is somewhat livelier. Both become the focal point of romantic interest for Kaoru and Niou, setting up the central drama of the Uji Ten Chapters.
4. Plot Summary of “Hashihime”
The Retired Life at UjiAt the start of “Hashihime,” the narrative portrays Hachi no Miya’s life of pious seclusion, highlighting his estrangement from courtly affairs despite his aristocratic lineage.
Kaoru and Niou’s Visit
Upon hearing rumors of Hachi no Miya’s beautiful, sheltered daughters, Kaoru and Niou decide to visit Uji.
Crossing the Uji Bridge symbolizes both a literal and spiritual passage—leaving behind the capital’s worldly glamour in search of something more profound or mysterious.
There, Kaoru develops a deep, melancholic attraction to Ōigimi, while Niou becomes enamored of Nakanokimi.
The Onset of Love and Turmoil
Concerned about leaving his daughters unprotected after his passing, Hachi no Miya grapples with whether to arrange marriages befitting their noble status.
The sisters, having grown up in isolation, feel both curiosity and apprehension toward the attentions of Kaoru and Niou.
This inaugural chapter within the Uji Ten Chapters sets the stage for the emotional and spiritual complexities to come—romantic entanglements, moral contemplation, and eventual tragedy.
5. Literary and Thematic Dimensions
Contrast with “Genji’s Era”
The earlier sections of The Tale of Genji (Chapters 1–44) center on the pomp and intrigue of Heian aristocratic life.
In “Hashihime,” the focus dramatically shifts to a remote mountain retreat, adopting a more somber, meditative tone. This shift mirrors a broader thematic movement—from worldly love and courtly splendor toward introspection, renunciation, and a sense of impermanence.
Religious Reflection and Sense of Impermanence
The setting of Uji, paired with Hachi no Miya’s inclination toward ascetic life, underscores concerns about the transient nature of worldly pursuits.
The characters exhibit introspection on mortality, karma, and the possibility of spiritual salvation—key themes that deepen as the Uji Ten Chapters progress.
Multiple Layers of “Crossing”
Bridges in Myth and Religion: Uji Bridge is not just a physical structure but a symbolic threshold; the legend of Hashihime hints at both protective and vengeful energies.
Spatial Transition: Moving from the capital to Uji reflects a shift in narrative from the visible, vibrant court to a secluded, introspective space—mirroring the characters’ emotional and spiritual journeys.
6. Textual Transmission and Scholarly Significance
Authorship and Composition
While various theories suggest portions of the Uji Ten Chapters may have been added later or penned by someone other than Murasaki Shikibu, the prevailing academic consensus attributes it to her.
The existence of multiple manuscripts and varying textual details makes “Hashihime” a rich site for philological studies and textual criticism.
Cross-Disciplinary Interest
The chapter touches on mythology, folklore, Buddhist doctrine, aristocratic customs, and Heian court politics—drawing scholars from literature, history, religious studies, and art history.
Reading “Hashihime” in conjunction with subsequent chapters (e.g., “Hatsune,” “Agemaki”) helps illuminate the characters’ evolving relationships and the growing religious undertones.
Influence on Later Literature and Performance Arts
The evocative setting and tragic undertones of the Uji Ten Chapters have influenced subsequent works of poetry, Noh drama, and ukiyo-e prints. For instance, the Noh play Hashihime draws heavily from ancient legends and the motif in The Tale of Genji.
Modern Japanese writers continue to reference or reinterpret the themes of seclusion, yearning, and ephemerality first vividly depicted in “Hashihime.”
7. Concluding Remarks
“Hashihime” introduces the profound shift that defines the latter portion of The Tale of Genji, leading readers from the resplendence of the capital to a quieter, more introspective realm. Through new protagonists Kaoru and Niou, and the secluded sisters Ōigimi and Nakanokimi, the narrative explores deeper veins of melancholy, spiritual questioning, and the poignant realization of life’s impermanence.
For researchers, “Hashihime” offers a wealth of textual richness—mythological symbolism, religious connotations, and the psychological depth of its characters. For devoted enthusiasts, close study of “Hashihime” reveals the novel’s transition from the worldly to the transcendental, an evolution that cements The Tale of Genji as not only a glittering portrait of Heian aristocracy but also a profound meditation on human desire, suffering, and the quest for meaning. Through the emblem of the “bridge”—a liminal space and spiritual crossing—“Hashihime” serves as an elegant gateway into the introspective world of the Uji Ten Chapters, a highlight of Japanese literary and cultural history.

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