茶の湯 in サンフランシスコ ・ Japanese Tea Ceremony を San Franciscoで

表千家四方社中の茶の湯ブログ Japanese Tea Ceremony Blog for Shikata Shachu – Omotesenke


Leave a comment

長板で諸飾り・Naga’ita Morokazari

染付葡萄棚皆具・Sometsuke ka’igu with grapevine trellis painting

久しぶりの長板で諸飾りのお稽古です。水指、柄杓立、建水、蓋置がおそろいの皆具をつかいました。諸飾りの一番のポイントはやはり「座り火箸に立ち火箸」ですね。ですが、点前畳には「忘れ畳」という別名もある位ですからとかく忘れがちです。

We used naga’ita (literally, a long board) for practice of morokazari – the first time in a long while.  Accompanying it was a ka’igu set of mizusashi (a water container), hishakutate (a ladle stand), kensui (a waste water vessel) and futa’oki (a lid rest) – all with a matching grapevine trellis painting.  The most important take-home point for morokazari is without a doubt: “suwari hibashi ni tachi hibashi” (hibashi for sitting down, hibashi for standing up).  Such a seemingly simple rule to remember – but you know what?  Tema’e-datami (tatami for the host to make tea) is also known as wasure-datami (tatami for forgetting)….

稽古とは一より習ひ十を知り 十よりかへるもとのその一」という利休さんのお歌が有名ですが、基本はやはりおろそかにできませんね。精進を重ねならねばならぬと考えさせられます。

There is a well-known poem attributed to Rikyu: “Keiko towa ichi yori nara’i ju’u wo shiri ju’u yori kaeru motono sono ichi” (What is practice?  You learn from 1 to 10, and then go back from 10 to 1).  As they say, practice makes perfect.  You can never neglect the basics.

Advertisements


Leave a comment

四座金襴・Shiza Kinran

四座金襴茶入仕覆・Pouch for cha’ire with Shiza Kinran fabric

四座金襴(しざきんらん)とは紺、白、赤、茶、うす萌葱(もえぎ)のなどの色で縦縞を織った上に、二重蔓小牡丹唐草文様(ふたえづるこぼたんからくさもんよう)を金糸で施した裂地です。

Shiza kinran is a fabric created by weaving threads of various colors (such as navy blue, white, red, brown, sea-foam green) into stripes, and by overlaying a double-strand arabesque pattern of peonies with gold thread.

江戸時代に演能組織である観世(かんぜ)座・宝生(ほうしよう)座・金春(こんぱる)座・金剛(こんごう)座を総称して「四座」(よざ、又はしざ)といったそうです。その由来は分かりませんが、この裂地は絢爛豪華な能装束に使われたのでしょうか。

In the Edo Period, four companies of Noh performance, comprised of Kanze-za, Ho’usho’u-za, Konparu-za and Kongo’u-za, were collectively referred to as “Shiza” or “Yoza” (four companies).  It is not known how this fabric came to be called “Shiza kinran” – but it is possible that it was used to create fabulously rich and opulent Noh theater dresses.

「よざ」とも「しざ」とも読むようですが、裂地の名として「しざ」と読むのが一般的のようです。

Between “shiza” or “yoza,” it appears more common to say “shiza” when referring to the fabric pattern.

東京国立博物館写真提供
Image Courtesy of Tokyo National Museum

【参考・Reference】


Leave a comment

高取焼・Takatori Ware

13代高取八仙作高取焼耳付茶入・Takatori cha’ire with “ears” by 13th Hassen Takatori

高取焼(たかとりやき)は、福岡県直方市、福岡市早良区などで作られている陶器で、400年ほどの歴史がある古窯です。

Takatori ware is a type of pottery produced in the city of No’ogata, the city of Fukuoka (the Sawara district) and environs in Fukuoka Prefecture.  Its history goes back some 400 years.

高取焼は元々、福岡県直方市にある鷹取山の麓にて焼かれており、朝鮮出兵の際に筑前福岡藩初代藩主黒田長政が陶工、八山(日本名・八蔵重貞)を連れ帰って焼かせたのが始まりで開窯は1600年と言われています。この初期の作品を「古高取」と呼んでいます。

It is said that Takatori ware’s original kiln started at the foot of Mount Takatori in No’ogata in 1600 when  Nagamasa Kuroda, the first Lord of the Chikuzen Fukuoka Province, brought back a potter named Hachizan (八山 Palsan)(later, Shigesada Hachizo’u) after the campaign to Korea.  Works from this early period are referred to as “Ko Takatori” (Old Takatori).

江戸時代には黒田藩の御用窯として繁栄しました。二代目藩主黒田忠之は「きれいさび」で知られる小堀遠州との交流を深め、遠州好みの茶陶を多く焼かせました。その縁で遠州七窯の一つに数えられています。遠州好みの茶陶は「遠州高取」とも呼ばれました。

In the Edo Period, Takatori ware flourished as the official kiln of the Kuroda clan.  The second Lord of the province, Tadayuki Kuroda, had close ties with Enshu’u Kobori known for his “austere but pretty” taste, and had the kiln produce many tea utensils that appealed to Enshu’us’ aesthetic.  Thanks to that connection, Takatori is one of the seven kilns as Enshu’u’s favorites.  Tea utensils of Enshu’u taste are sometimes called “Enshu’u Takatori.”

その後八山の孫の八郎が小石原へ移り住んで 「小石原高取」を始めました。更に福岡の大鋸谷に移転し(御庭高取)、1716年早良郡祖原に東皿山窯を開しました。東皿山は茶陶を専門としたため、庶民の日用品生産のため西皿山窯が築かれ、東西二つが運営されていました。

Later Hachizan’s grandson, Hachiro’u, relocated to Koishiwara, and started “Koishiwara Takatori.”  Then the kiln moved again to Ogaya in Fukuoka (referred to as “Oniwa Takatori“), and to Sohara in Sawara County in 1716 to be known as Higashisarayama kiln.  Because Higashisarayama specialized in tea utensils, Nishisarayama kiln was established to produce everyday household items, and higashi (east) and nishi (west) were operated simultaneously.

明治4年(1871)廃藩置県以降は藩の庇護がなくなり、自立自営を余儀なくされたため一時衰微しましたが、現在は亀井味楽氏が東皿山窯系の茶陶の技法を、原豊氏が西皿山窯系の日用雑器の技法を伝えてます。

In 1871 (the 4th year of the Me’iji Period), the provinces were abolished and new “prefectures” were put in place.  With that, the provincial lord’s patronage was lost, and the kilns were forced to survive without it.  Although suffering temporary setbacks, today Mr. Miraku Kame’i continues the techniques of the Higashisarayama-style tea pottery, while Mr. Yutaka Hara carries on the Nishisarayama tradition of household items.

 

高取焼平水指・Takatori hiramizusashi

高取焼は時代によって特徴が変化しました。高取焼初期の「古高取」は豪放かつ大胆な織部好みだったとのこと。「遠州高取」になると器は端正になり、古高取とは対照的に瀟洒な作品となりました。「小石原高取」 の頃には「遠州高取」よりも更に繊細になりました。今日の作風は小石原高取以後の技法で、個性的な釉薬が多くなっています。

Takatori ware’s characteristics changed overtime.  In the earlier time of Takatori, “Ko Takatori (Old Takatori)” sported a bold and dynamic design that suited Oribe’s taste.  “Enshu’u Takatori” became more refined in a stark contrast to “Ko Takatori.”  By the time of “Koishiwara Takatori,” the style became even finer.  Today’s style takes after the “Koishiwara Takatori” techniques, and utilizes many unique glazes.

高取喜恵作高取焼茶入・Takatori cha’ire Ki’e Takatori
(13代高取八仙さんの奥様・Wife of 13th Hassen Takatori)

【参考・References】

http://ja.wikipedia.org/wiki/高取焼

http://www.takatori.org/

http://bunkazai.city.fukuoka.lg.jp/cultural_properties/detail/8