THE POTTERY OF CHA-NO-YU
茶陶
A few words may not be out of place of this subject, rather in explanation of matters referred to elsewhere than as an attempt to deal with it adequately, which could only be done by a separate work, well illustrated, in the style of the Kwan-ko-zu-setsu of Ninagawa.
Ninagawa氏のKwan-ko-zu-sestuは、素晴らしいイラストや区分がされていて、この項を書くにあたり極めて的確であると思います。
The most important pottery of Cha-no-yu is first the Cha-ire and the Cha-wan.
茶の湯においてもっとも重要な陶器は茶入と茶碗です。
It is said that among the military class the most precious possessions were first Tea-caddies, second writings and third swards.
武士の世界において価値がある物は、一に茶入、二に書き物、三に刀です。
For this was the order in which they were presented by the Shogun to one he desired to honor.
これらはいずれも主人である将軍から拝領された物です。
Consequently it was the ambition of all Daimyous of over a hundred thousand Koku to possess all three, without which they considered their household treasures to be incomplete.
それ故に、十万石以上の大大名達にとってこの三つを所有することが悲願であり、家宝として必須の物なのです。
Tea-caddies were put in the first rank because they were impossible to counterfeit owing to their characteristic feature being something that was the fortuitous result of the action of the fire, while at the same time they were not liable to damage by rust or moth and so needed no special attention.
茶入れはその中でも一番に位置付けられるわけですが、その理由として、家の未来の繁栄を形として表す方法として炎芸術である故の模造の不可能性と希少価値、錆や虫食いなどの劣化の無さが上げられます。
Chinese specimens are considered the most valuable.
中国の物がもっとも珍重されます。
They were originally bottles used in China in the Sung period for oil or drugs, and were only imported into Japan for use as caddies up to the end of the Ashikaga or beginning of the Tokugawa era.
中国宗時代、これらはもともと油や薬に入れ物でした。それを、茶入として使うために足利時代の終わり頃に日本へ輸入され、徳川時代にかけて利用されました。
Tea-caddies are thus classified.
茶入の分類
Japanese
日本
Provincial Ware
焼き物産地
Karatsu.Sastuma.Shigaraki.Takatori.Omuro.Tamba.Bizen.
唐津、薩摩、信楽、高取、御室、丹波、備前。
Later Kilns.
後の窯
Maemon,Rikyu.Genjuro.Oribe.Kichibei.Sohaku.Shidoro.Zeze.Moemon.Shimbei.
Original Kiln.
独立窯
Tojiro 2.Tojiro3.Tojiro4.
Heiji Kiln.
Old Seto.Tojiro1.
Chinese
中国
Nasu.Bunrin.Katatsuki.Marutsubo.Taikai.Tsurukubi.Shirifukure.
茄子、文琳、肩衝、丸壺、大海、鶴首、尻膨。
The Japanese go by the names of the potters and kilns, the Chinese by those of their shapes.
日本製は作者や窯の名前で呼ばれ、中国製の物はその形にによって呼ばれます。
Tea-bowls are divided in to three classes, Chinese, Korean and Japanese.
茶碗には中国、朝鮮、日本の三種類があります。
The Chinese varieties were always used for tea, but those of Korea were rice bowls adapted for tea in Japan just as the Chinese oil-bottles were used as Tea-caddies.
中国製のはお茶を飲むための茶碗ですが、朝鮮製はもともと飯碗でした。これは、中国では油壺だったものを茶入として代用した事と同じことです。
The Korean wares were admired by Rikyu and his followers since their rough naive was just what their standard demanded.
高麗茶碗は利休やその弟子達によって茶の湯茶碗に取り入れられました。理由は、粗野でナイーブなところが茶の湯の感性に合ったと思います。
Here also Matsudaira Fumai’s work Ganka Meibutu-ki is considered the criterion, and those described in it are regarded as Great Masterpieces, while all others are styled Later Treasures.
松平不昧公が記した「古今名物類聚」には素晴らしい見本一覧が記されて、名物とよばれる多くの道具が載っています。
They are arranged thus.
以下列記します。
Japanese
日本
Provincial :
産地
Karatsu,Asahi,Oku-gorai,Iga,Hagi,Seto,Izumo,Shigaraki,Oribe,Shonzui,Gempin,Shino,Satsuma.
唐津、朝日、奥高麗、伊賀、萩、瀬戸、出雲、信楽、織部、祥瑞、元贇、志野、薩摩。
Rku
楽
chojiro1,koetsu,nonko.
長次郎、光悦、ノンコウ。
Korean
高麗
Kaki-no-hata,Kinsan,Ido,Goki,Goshomaru,Mishima,Totoya,Katadekomogai,Kohiki,Amamori,Hageme,Sohaku,Gohon,Tamagote,Soba,Unkaku,Wari-kodai,Iraho.
柿の蔕、金海、、御所丸、三島、斗々屋、堅手熊川、粉引、雨漏、刷毛目、ソハク、御本、玉子手、蕎麦、雲鶴、割高台、伊羅保。
Chinese
中国
Tenmoku(Haikatsugi,Yohen,Kensan,Yuteki,Taihisan.)
天目（灰被、窯変、建盞、油滴、玳皮盞）
Celadon(Seiji)
青磁
Blue-and-white(Sometsuke)
染付
The glaze of the old Chinese Tea-caddies is more brilliant than that of the early Japanese specimens, but as they are of persimmon or ame color (reddish yellow), or sometimes very dark brown, their brilliant glaze does not given them a glittering appearance.
中国の茶入は日本のものよりも光沢があり、柿色や濃茶色をしていますがぴかぴかした感じではありません。
Moreover their being made for ordinary purpose prevents them having the conscious air of the Japanese pieces, which were specially made to contain tea by professional potters.
さらに、それらは日本の趣とは同じにならない様に工夫されていて、腕のある陶工によって茶を入れるために作られています。
But though they have not quit the natural dignity of the Chinese specimens they certainly have a very definite quality of “Wabi,” and seem to be suitable for a more easy-going and intimate style than the former, which demand that only a great Tea master shall handle them.
しかし、さりとて中国の趣だけとは言えず、茶の湯の侘を意識した作りになってます。完成度よりも粗野を基調に、これは、日本の茶人の趣向を取り入れたものだと解ります。
Owing to their brilliance they are kept in a bag of very quiet type to quench it a little, while the Japanese caddies should have a bright covering of gold brocade to set them off.
茶入は仕服と呼ばれる袋に納められています。その生地は渋い錦織りて仕面われています。
Chinese Temmoku and celadon Tea-bowls are artistically fine and pleasing to look at but they are not good for tea drinking on account of their hardness.
中国の天目や青磁の茶碗は芸術性にすぐれているために茶を飲むための器としては不向きさがあり、所作において練習をしなければなりません。
The best of the Korean bowls have a pleasant softness to the touch as well as an interesting unevenness and lack of symmetry.
高麗茶碗はやわらかさと粗野な作りがとてもよい所です。
They were originally made as rice-bowls by some quite unknown village potters and so have the required quality of unsophistication.
もともとは朝鮮半島の村の陶工によって焼かれていた飯碗です。その素朴な味わいによって見いだされました。
Even now in Korea this kind of vessel may be bound combining traditional quality with artless elegance.
現在においても、その伝統は続いていると思います。
It was after the decline of the Li dynasty of Korea that some of the best work was done in kilns roughly constructed on the hill sides to supply the everyday wants of an impoverished population.
李朝時代の終わりころから、丘に簡単な窯を作り一般雑器として作られて来ました。
Hageme, Mishima and Irabo ware is of this kind.
刷毛目、三島、伊羅保などがそれです。
It is unnecessary to say, perhaps that the Koreans themselves, as well as the Chinese and also Europeans, who do not understand the Cha-no-yu point of view, have little or no interest in these wares.
言うまでもありませんが、朝鮮においても中国やヨーロッパ同様に日本の茶の湯を理解していた訳ではなく、意識をして作ったのではありません。
Satsuma has become famous in the world as a gaudy ware well suited for export, but the real Satsuma that is sought after in Japan is this rough Korean ware make by the artizans of that country who were brought over by Shimazu.
薩摩焼は豪華な装飾が輸出品として知られていますが、後の薩摩焼は島津候によってつれてこられた朝鮮の陶工によって荒い焼き物が作られました。
At the same time, as these Korean bowls were made for rice, they are rather too wide and flat in shape for the ideal Teabowl.
本来、朝鮮の焼き物はご飯を食べるための器です、広い口と平らな形が茶の湯の茶碗に適していました。
Therefor the Raku type made in Japan is more effective.
対して、楽は茶の湯の為に作られた茶碗なのです。
It has the requisite thickness and quiet feeling, is pleasant to handle and soft to the touch, while it is wide at the bottom and rather cylindrical so that the Tea-whisk can be used freely and the contents are not likely to spill.
適度な厚さと落ち着いた感じ、もった時の柔らかさ、底が広く茶筅（ちゃせん）でお茶をたてやすくこぼれずらいように作られています。
The thickness of a Tea-bowl is a very important matter, for if too thick it does not get warm enough, and if too thin it becomes too hot to hold comfortably.
茶碗の厚さはとても重要で、厚すぎると茶の湯のぬくもりを感じあれないし、薄すぎると熱すぎてしまいます。
Raku ware is very successful in fulfilling all these conditions and moreover is inexpressibly pleasing to the touch.
楽茶碗は茶碗の要件をすべて見たし、さらには言い表せないほどすばらしい感触があります。
This sense of touch is highly developed among devotees of Cha-no-yu, and they obtain very great satisfaction from the mere feel of the Tea-utensils, just as others do from handling jade or ink-stones, quite apart from any use they may have.
この感性は茶の凝り性達の手によって作られました。上辺だけの道具から最高の充足感を得られるモノを手に入れたのです。これは、ヒスイや墨を持つように、ふだん使うモノとは別次元のモノなのです。
* CF. The verse:
Who’s the biggest fool
In this witless world of ours
But the connoisseur,
Dropping heartfelt tears of joy
As he feel a Raku bowl.
But the folly here is that Zen simplicity without which one does not enter the kingdom of enlightenment.
Then also the taste of tea from Raku bowls far surpasses that the same liquor drank from the celadons of China and Korea.
茶の湯における楽茶碗の役割については、中国の青磁や朝鮮の酒器よりも超越していると思われます。
And when connoisseurs wished to judge of the quality of water for making tea, it was from Raku Cha-wan they used to taste it.
鑑定家がお茶をたてるときの水を吟味するときは楽茶碗を使います。
The most unsuitable wares for Tea-bowls are the gilt types of Satsuma and Kutani, quite lacking in the necessary quality of reticence, and Kenzan and Ninsei bowls with their color decoration, which although, by virtue of the vigor in them, not entirely to be rejected, are only suitable for very occasional use and for the delectation of lady guests.
もっとも適さない焼き物は薩摩焼と九谷焼、侘寂とは対極にあります。乾山や仁清の色絵もそれにあたります。それらの品性により、まったく拒絶というわけではなく、特別な場合や女性がゲストの時には使われることがあります
The Tea-caddies of Japanese make that were so much valued in the days of Hideyoshi and afterwards on the Tokugawa era were mostly the early wares of Seto made by Kato Shirozaemon called Toshiro, who went to China to study ceranics in 1223, and who made the first Tea-caddies for Nyoei Shonin at the very beginning of the first period of the popularity of the herb then lately imported.
日本で作られた茶入については、秀吉から徳川の時代にかけてもっとも価値があったのは瀬戸の加藤籐四郎と言う陶工が作ったものです。彼は１２２３年ごろ道元禅師などと中国へ渡り、陶芸の勉強をして来きた人で、明恵上人の為に茶入を作ったのが最初だそうです。明恵上人という人は、薬草を日本に紹介した人です。
Some of these pieces were made of earth brought from the continent, and some with mixed Chinese and Japanese clay.
いくつかは大陸の土で作られて、またいくつかは中国と日本の土を混ぜて作られました。
What are called Kara-mono or Chinese wares were sometimes pieces actually brought from that country and sometimes these works of Toshiro.
唐物と呼ばれた中国製の物は輸入品と籐四郎が作った物と混在します。
Afterwards, so much was Toshiro’s work appreciated, pieces that he made before he went to China, some of them very rough and imperfect and incompletely glazed about the mouth because he fired them standing on this part, were much sought after also, and even faulty work that he had thrown away was dug up and eagerly acquired.
籐四郎の仕事は大変高く評価されました。中国へ行く前に彼が作った物は荒く不完全、口作りも立てて焼いたために釉薬がかからないものなど、多くの探求の跡が見うけられます。彼が失敗として捨てられたものが発掘され、彼の探求心がそこから見うけられたのです。
These two varieties are known as “Kuchi-hagete” or “Bare mouth ware”, and “Hori-dashite” or “Disinterred ware.”
この残された彼の作品を「口禿手」と「掘出手」と言っています。
The ware made by Ito Gorodayu of Ise in China, or made by Shonzui and brought home by Gorodayu, or made at Karatsu by the Hizen potters under his direction, whatever may be the truth about it, is also much valued, but it is not till the time of Rikyu that the potters began to work essentially for the Cha-no-yu taste, and so it is that the Japanese histories of ceramics call this period by his name.
Ｇｏｒｏｄａｙｕによって作られた生地や祥端（しょんずい）で作られた生地、唐津のＨｉｚｅｎの指導によって作られたものなど、いずれも価値が高いものです。これらは茶の湯の精神が確立される前のものであり、日本の陶工達がすでにその精神にのっとって焼き物を作っていたことになります。すなわち、彼の名前が日本の陶芸の歴史の1ページに刻まれていることはたしかなのです。
This enthusiasm on the part of the potters was the natural result of the great うようencouragement given them by Nobunaga, Hideyoshi and even Ieyasu, for Nobunaga went round the potteries of Seto and appraised the products of the kilns, giving special honor to six craftsmen whom he designated the Six Masters of Seto, while Hideyoshi gave a golden seal bearing the second character of the name of his Palace of Juraku to Chosuke, son Sokei, hence the name Raku applied to the ware he made.
この陶にたいする情熱は信長、秀吉、家康の庇護によるところが大なのです。信長は瀬戸へ赴き自ら監修したりしました。そして、六人の陶工に名誉と称号をあたえたりもしています。秀吉にいたっては、彼の宮殿である聚楽第の楽の字を陶工である長次郎、二代目宋慶（そうけい）に与えて、それが今の楽茶碗の始まりなのです。
It is a soft pottery only fired to red heat, easy to make compared with the harder wares, and lending itself well to amateur efforts.
楽茶碗は低い温度で焼くためにとても軟らかい焼き物で、普通の陶磁器に比べると製作が容易なのです。よって、お墨付きが付いています。
(a)Katatsuki or Shouldered caddy. So called from its shape.
肩衝（かたつき）茶入はその形から名付けられました。
(b)Bunrin or Bunrinro. This name was given because it resembles an apple (Ringo). It is said that Li Kin presented an apple to Kao Tsu of Han and received from the Emperor a salary and an office entitled Bunrinro, hence this word was used henceforward as a nickname for an apple.
文琳（ぶんりん）茶入、りんごの形に似ていることから名付けられた。文琳の語源は中国、Ｌｉ Ｋｉｎと言う人がHANのKao Tsuにりんごを贈った、そしてその返礼として皇帝よりお金と文琳庵をもらう、そのことによってりんごが文琳と呼ばれるようになった。
(c)Nasubi or Egg-plant. Also from its shape.
茄子茶入、もちろんその形から。
(d)Shiri-fukure. Bluge-Bottom.
尻膨（しりぶくれ）茶入、下が膨らんでいるもの。
(e)Bunna. Hideyoshi gave it this name which is composed of the first syllable of Bunrin and the first of Nasubi because it partakes somewhat of the shape of both.
文茄（ぶんな）茶入、秀吉が命名、文琳と茄子に似ている為にその頭文字をあてた。
(f)Taikai. Great Ocean. From its wide mouth. It was originally used as an intermediate receptacle for the Tea as it came from the mortar before it was transferred to one of the smaller sizes. Hence it was never put in the Tea-room but kept on a shelf in the Reception Room.
大海（たいかい）茶入、口が広いことから来ている。もともとは中間でお茶を入れておく容器で、モルタルで出来ていました。それを小さい入れ物に入れ替えるわけです。よって、茶室に置かれることはなく、客間の棚の上に飾られていました。
(g)Utsumi. Inland Sea. A smaller variety of the above.
内海、大海のより小さな物。
(h)Hitachi-obi. On the tenth day of the first month it is the custom to present an obi or girdle to the shrine of the God Kashima in Hitachi, and since this caddy has a girdle the name was suggested.
常陸帯、一月十日に常陸の鹿島神宮で帯を下げることから命名された茶入。
(i)Ass’s hoof. From the resemblance of the mouth to the hoof of an ass.
驢蹄（ろてい）、ロバの足の意味、形が似ているところから。
(j)Gourd shape.
瓢箪茶入（ひょうたん）
(k)Anko or Fishing-frog. Kobori Enshu gave it this name because it had a wide gaping mouth like that of this fish.
鮟鱇（あんこう）茶入、小堀遠州が命名、この魚の口に似ているところから。
(l)Efugo. Name of the utensil in which hawk’s food was kept.
餌蘿（えふご）茶入、鷹匠の鷹の餌入れの形。
(m)Uri or Melon. The shape of the mouth here is that called Uba-guchi or Hag’s mouth.
瓜（うり）茶入、口作りがおばあさんの歯がない口、姥口（うばぐち）とも呼ばれている。
Chojiro is famous for his Seven Tea-bowls (Chojiro shichi-shu) called Daikoku, Toyobo, Hachibiraki, Komori, Hayabune, Kengyo, and Rinzai.
長次郎は七つの有名な茶碗があります（長次郎七種）。大黒、東陽坊、鉢開、木守、早舟、検校、臨済です。
Daikoku was named from its black color, the characters of the Deity’s title being Great and Black, while the second was given by Rikyu to the Toyobo Hall of the Shinnyodo Temple.
大黒は黒い生地、偉大の大と黒で大黒さまという神様です。二番目の東陽坊は真如堂に住んだお坊さんで利休さんが命名しました。
Both of these have Rikyu’s inscription their boxes and belong to the family of Konoike.
両方とも利休の箱書があり、鴻池家で所有されています。
Komori or Tree Warden gets its name because it was left over when Rikyu showed his pupil ten bowls and told them to chose which they liked from them, thus showing their lack of appreciation .The word Komori is used of a single fruit purposely left on a tree to “guard” it when it is denuded of all the rest.
木守は利休が弟子達に好きな茶碗を選ぶように言った時に最後まで残った茶碗で、鑑識眼の無さを指摘されました。字のごとく、木の横で果実の番をしているのに盗まれたと言う意味です。
Hayabune or Swift is so called because when in Osaka Rikyu sent a swift ship specially to fetch it from Kyoto. He once served tea in it to Hosokawa Tadaoki who asked what ware it was, whereupon Rikyu laughingly replied that he had sent a swift ship all the way to Korea for it. On his return home Tadaoki sent a retainer to ask for it but apparently did not get it.
利休が京都からこの茶碗を早船で取り寄せたことからこの名前が付きました。細川忠興にこの茶碗で茶を出したところ、朝鮮出兵の彼がわざわざ早船をだしてまで利休にこの茶碗を所望しました。その時利休は笑いながら返事を書いたそうです。忠興が帰国してからも所望し続けましたが、外見上はそれを手に入れることは無かったとされています。
* Chosuke or Chojiro 1. was received in audience by Hideyoshi and given an income so that he did no more commercial work.
長助、長次郎は秀吉よりお墨付きをもらい作陶に専念しました。
He was formally appointed Tea-bowl Maker (O-Chawanya) to the Taiko to work under Rikyu, who gave him his own surname of Tanaka.
彼は利休のもと「お茶碗屋」として太閤のために仕事をしました。利休は彼へ自分の姓である田中姓を名乗らせています。
His father was a Chinese who had become naturalized and was known as Ameya (Rice-jelly seller) and afterwards took the title Sokei.
父は中国人で日本に帰化したとされています。本人は飴屋と記述されていて、後、宗慶の称号を受けています。
He died in 1575 and his widow carried on his work, and since she became a nun in order to pray for his happy rebirth her pottery is termed “Nun’s ware.”
１５７５に没、婦人が彼の後を継ぎ仕事を続けました。彼女が後、尼になるまで続けられその茶碗を尼焼と言います。
It was by her name of Sasaki that Chojiro was known until he was given that Tanaka.
長次郎は田中姓を名乗るまで妻の姓である佐々木を名乗っていました。
Sokei was really the founder of the Kyoto wares, for until hid day nothing of any importance had been made there.
宗慶は京都の焼き物の開祖です。それまで、焼き物はありませんでした。
The Chinese character Raku with which Cojiro’s ware was signed was written by Homami Koetsu.
長次郎の楽焼という字はHomami Koetsuによって書かれたものによって表記されています。
When Hideyoshi built the Juraku-tei he brought Chojiro to live there and had him make tiles and Tea utensils.
秀吉が聚楽亭を作った時に長次郎は亭に赴き、瓦と道具を作っています。
And since the character “Raku” was tamped on the tiles his ware came to be known as Raku ware. (Tokutomi, Kinsei Nihon Kokuminshi.)
楽の刻印が押された瓦が見つかっていて楽焼が使われたことが分かっています。
（Tokutomi, Kinsei Nihon Kokuminshi.）
Kengyo or Blind Minstrel was named on the same principle as Komori.
検校（盲目吟遊詩人）、は木守同様の理由によって名付けられました。
Rikyu once went to see Chojiro and asked him if he had any Tea-bowls. The potter replied that he had only one left which the connoisseurs who had taken his others had not appreciated. “They are like Kengyo,” he observed. So Rikyu gave the Tea-bowl this name. It is in the possession of the Lord of Satsuma.
利休が長次郎の所へ行きました。「何かよい茶碗があるかい？」「目利きの方々が来て他の茶碗を持って行きました。これはダメっと言ったこの一つしかありません。」「彼らは検校（盲目吟遊詩人）だね。」っと言ってこの茶碗に検校と名付けました。薩摩藩の持ち物になっています。
Rinzai is called after the great Zen monk of that name, because it was as preeminent in its way as he.
臨済は偉大な禅寺から付けられた名ですが、その意味は未熟であると言う意味があります。
Hachibiraki or Bowl Inauguration was a black one, and Rikyu was going to use it for the first time at a Tea to Hideyoshi, but the Taiko objected because he had been told that the black glaze had some impurity in it. So Rikyu went through the form inaugurating it, but did not actually use it.
鉢開は黒い茶碗です。利休は初めに秀吉との茶会にて使おうとしましたが、太閤殿下が黒い釉薬に不純物が入っているために不平を言いました。それで利休は開いた形にして実際は使わなかったのです。
The Chojiro family has continued to the present day and is now in the twelfth generation.
長次郎の家はその後続き、現在は十二代になっています。
* The generation of the family are as follows.
(1) Sokei
宗慶
(2) Chojiro, d.1590.
長次郎
(3) Jokei, d. 1636 aet.100, younger brother of Chojiro.
常慶は長次郎の弟
(4) Donyu or Nonko, d.1658, son of Jokei.
道入またはノンコウ、常慶の息子
(5) Ichinyu, d. 1697, younger brother of Donyu.
一入、道入の息子
(6) Sonyu, d. 1725, pupil of Ichinyu.
宗入、一入の弟子
(7) Sanyu, d. 1740, adopted spn of Sonyu.
左入、宗入の養子
(8) Chonyu, d. 1769, younger brother of Sanyu.
長入、左入の弟
(9) Tokunyu, d. 1775, son of Chonyu.
得入、長入の息子
(10) Ryonyu, d. 1835, son of Tokunyu, who retired in his old age to Ishiyama and there signed his word “Gwando Rojin” or “The old man who plays with clay.”
了入、得入の息子。彼は隠居後石山寺で作陶、「翫土老人」と名乗る。
(11) Tannyu, d. 1854, son of Ryonyu.
旦入、了入の息子
(12) Keinyu, d. 1893, son of Tannyu.
慶入、旦入の息子
(13) Konyu.
弘入
(14) Seinyu.
惺入
(15) Kakunyu
覚入
(16) Kchizaemon.
当代吉左衛門
It produced many famous potters especially the third of the line named Donyu, usually known as Nonko, also renowned for his Seven Bowls.
中でも有名な陶工と言えば三代目道入、またの名をノンコウと言います。彼の七茶碗が代表作として残っています。
Then there were the potteries started by the Korean craftsmen brought back after the campaign in that country by Nabeshima of Hizen and Shimazu of Satsuma and other Daimyos.
そのころ、肥前の鍋島藩や薩摩の島津藩をはじめ他の大名達が朝鮮半島より陶工達を連れて来て焼き物を始たのです。
Their purpose was to make Tea vessels, and it is curious that the name of Satsuma especially should be so widely known in Europe and America in connection with a ware of a very different type.
その最初の目的は茶碗を作ることにあったと思います。しかし、違う意味での生産物として変貌した例もあり、ヨーロッパやアメリカではその代表的な産地として薩摩がよく知られています。
Hideyoshi with his usual shrewdness was not slow to seize the opportunity offered by Cha-n-yu of encouraging the fashion for things of no intrinsic value among his vassals the great Daimyos, for since this value was created by his own connoisseur Rikyu and soon soared to a huge extent, he found it an easy matter to reward services to himself with Tea vessels instead of fiefs on many cases, an example which Tokugawa Ieyasu and his successors were naturally very pleased to follow.
秀吉輩下の多くの大名達は利休が作り上げた茶の湯文化以外の物を生産することはしませんでした。茶の湯道具が領地に匹敵するぐらいの価値があるという理念が浸透していて、その価値基準を巧みに利用したのが徳川家康以下封建武士階級だったのです。
* That these rewards were not always appreciated is evident from the story told of Mastudaire Tadanao, Lord of Echizen, who was presented with a Tea-caddy by Hidetada as a mark of appreciation of his victory in a fight at Osaka, the Shogun telling him that his exploit was worth a million Koku.
この価値観がいつも成功したとはかぎりませんでした、松平忠直と言う越前の大名の例があります。彼は徳川二代将軍の秀忠から大阪の戦い戦勝の褒美として茶入れを拝領しました。将軍は彼に一万石の働きがあったと言ったのです。
Tadanao called his men together and announced the receipt of the Tea-caddy to them, thanking them for their loyal help to which his success was entirely due.
忠直は家臣たちを呼び茶入をもらったことをつげ、この名誉は皆の忠誠心のたまものであり褒美は当然の権利であると言いました。しかし、不幸にも、と彼は続け、この茶入以外皆に分け与えるものがないっと言いました。そして、これは明白に公平ではないといい、その茶入を地面にたたきつけて粉々にして皆に破片をもって行くように促したのです。
Under the Tokugawa Shoguns a gift of a Tea-caddy was only for life, and on the death of the recipient it had to be returned. The treasure might be granted to the heir or it might be issued again to some other person the Shogun wished to honor.
So it is with the more modern Orders of merit, which must be sent back on the death of the possessor and cannot be sold.
徳川体制化において、茶入の拝領は絶対であり、死ぬまで所有していました。この宝物は徳川幕府の意によって後継者へ、同様に、領主が変えられた場合の新しい大名にも継承されたのです。このシステムはとても有効なものであり、所有者が死ぬまで売ることもできない、すなわち、徳川体制堅持の手段として利用されました。
Japanese pottery benefited greatly by the importation of both craftsmen and specimens from the continent, and the potteries founded or encouraged by Rikyu produced fine work, but the same time the comparatively rare imported utensils came to be valued at such huge price that the Master’s dictum that the standard of criticism for these things should be only that of their fitness for the purpose of Cha-no-yu itself and should have nothing to do with realty seemed likely to be for gotten.
日本の焼き物は大陸からの陶工や生産品の輸入によって多くの利益をもたらしました。利休が完成させた茶の湯道具の世界において、日本の陶工自身も触発され、新たな発見がなされたのです。同時に、大陸の珍品に高額な価値が出たことも確かです。茶人達の独特の価値基準と目利きによってその中に組み込まれたのです。本当に不思議な感性だと思います。
This tendency Kobori Masakazu did something to correct by insisting that Japanese pottery was far superior to Chinese for these utensils, and by investigating to the possibilities of the material of various districts and encouraging them to produce suitable ware which he himself patronized; he was abke, owing to the commanding position he occupied as Tea Master to the Shogun Iemitsu and acknowledged chief esthete of the Empire, to stimulate and maintain a powerful interest in the native craft.
この傾向は小堀正一（遠州）に引き継がれました。茶の湯道具は中国趣味からさらに離れ、国内窯の特色が吟味研究されて行ったのです。その陣頭指揮をとったのが遠州であり、彼は時の将軍、家光へも茶人として意見指導するまでになり、皇帝の美意識の基本として承認された存在になりました。工芸分野を活気付け、旺盛な好奇心を維持発展させる役割を果たしました。
Moreover as the land was now at peace under the Tokugawa rule, and all the feudal lords had to spend so much time in Edo under the Sankin Kotai system, the fashion for Cha-no-yu caused them to set up kilns first in their own mansions and them in their provinces, and the rivalry that sprang up among them in the production of ware for presents to the Shogun and each other gave a further impetus to ceramics, and during this era five work was done in all parts of the Empire, in which undoubtedly the Seven kilns of Enshu may be regarded as pioneers.
さらに、徳川幕府体制化において大名たちは参勤交代という制度によって地元と江戸に住居を構えなければならなくなり、将軍の配下として先を争うように、茶の湯釜を両屋敷にしつらえたのです。それによって、焼き物もさらに向上して行きました。五代の将軍にまたがり、遠州七窯とよばれる窯元がその地位を確立して行ったことは間違いありません。
Seven Kilns of Enshu were Shidoro in Totomi, Zeze in Omi, Agano in Buzen, Takatori in Chikuzen, Ssahi in Yamashiro, Kosobe in Setsu, and Akahada in Yamato.
遠州七窯は遠江の志戸呂焼、近江の膳所焼、豊前の上野焼、筑前の高取焼、山城の朝日焼、摂津の古曾部焼、大和の赤膚焼です。
INTRODUCTION-1 TITLE CONTENTS