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


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叩き塗・Tatakinuri

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叩き塗萩中棗
Tatakinuri” Lespedeza natsume (medium)

「叩き塗」の漆器はつや消しで、凹凸のある仕上げになっています。

Lacquer ware done with the “tatakinuri” technique has a matte finish and slightly rough texture.

漆に砕いた玉子の殻、豆腐、おからなどを混ぜて塗るとのこと。スポンジなどで叩いて塗り、ローラーで慣らします。

Materials such as crushed egg shells, tofu and okara (a pulpy material left over in the tofu manufacturing process) are mixed into lacquer, and the mixture is applied with a sponge by tapping (by “tataki” motions).  The surface is then smoothed out with a roller.

叩き塗は丈夫なのだそうです。成程剣道の防具にもつかわれるようです。

I hear that “tatakinuri” is very hardy.  Indeed, the technique is also used for a body armor for kendo’u (Japanese-style fencing).
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【参考・References】

http://www.shikki-shuuri.jp/2015/02/19/丈夫な漆のたたき塗り/

http://ippondo.city-yokosuka.info/prodact.html

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桂籠・Katsura Kago

katsura

籠花入銘「桂川」は、利休が京都の桂川の漁師から魚籠(びく)を譲り受け花入に見立てたものといわれます。背面に鉄鐶を付け掛花入されました。その写しは桂籠や桂川籠とも呼ばれています。

A basket hana’ire named “Katsura gawa” was originally a fish basket that Rikyu’u saw a fisherman using at the Katsura River in Kyoto.  Rikyu’u got it from him and used it as a hanging hana’ire by adding a metal ring in the back.  Its copies are also known as “Katsura kago” (Katsura basket) or “Katsura gawa kago” (Katsura River basket).

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二代少庵から三代宗旦へ渡った後、宗旦に師事した山田宗徧が宗旦に代わる茶道師範として江戸下向の際この花入を授かったそうです。宗徧が黒塗の竹筒落としに「桂川」の銘と花押とを朱漆書しました。

The second Grand Master, Sho’u’an, passed it to the third Grand Master, So’utan.  When So’uhen Yamada, who studied tea from So’utan, relocated to Edo (today’s Tokyo) to be a tea teacher in So’utan’s stead, So’utan gave it to him.  So’uhen wrote in red lacquer its name “Katsura gawa” along with his ka’o on the bamboo insert.

江戸に出た宗徧は宗旦門下の同門である吉良上野介の屋敷の茶事にも関わっていました。赤穂浪士の大高源吾が宗徧に入門して、茶会の日取りを聞きつけ討ち入ったそうです。討ち取られた本物の吉良の首は奪還されることを避けるために舟路で泉岳寺に送られ、赤穂浪士の行進にはこの花入が風呂敷に包まれ槍の先に刺されて用いられたといいます。

Once relocated to Edo, So’uhen was involved in carrying out chaji at the residence of Kira Ko’uzukenosuke, who was a fellow student under So’utan.  Gengo O’otaka, one of the famous forty-seven ro’unin, became a student of So’uhen’s, and learned Kira’s tea event schedule to plan his assassination.  Kira’s head, to avoid being stolen by the Kira loyalists, was sent by boat to Sengaku-ji while the forty-seven ro’unin marched with this hana’ire wrapped in a piece of cloth, pierced atop a spear.

本歌「桂川」は現在香雪美術館に所蔵されています。籠の下辺に槍幅ほどの繕い傷があるそうです。

The original “Katsura gawa” is held by Ko’usetsu Museum today.  It is said that there is a repair – about the width of a spear blade – at the bottom of the basket.

【参考・Reference】http://www.kosetsu-museum.or.jp/


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香炉・Incense Burner

香炉とは日本の仏具において燭台・花立とともに、 三具足のひとつ。 もとは仏や菩薩の供養のために香を焚く仏具だったものが、 床の間や書院の飾りとして用いられるようになったとか。侘び寂びの茶道では香炉はあまり使われませんが、武家茶道では香炉が今でも使われるそうです。

An incense burner is a part of “Mitsugusoku” – three items used at a Buddhist altar in Japan, along with a candle stand and a flower vase.  It was originally for burning incense as an offering to Buddhas, and was later used as a decorative item in alcoves (tokonoma) and formal parlors (sho’in).  An incense burner is not often used for “wabi sabi” tea, but I hear that an incense burner is still used today for “samura’i-style” tea (buke sado’u).

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こちらの香炉はサンフランシスコ在住アーティストの作。楽焼きで、青磁貫入釉仕上げです。

This incense burner is by a local artist in San Francisco.  It is raku ware, finished with celadon crackle glaze.

 

生まれ育ちが日本の悦子さんは2002年サンフランシスコで陶芸スタジオと出会ったことがきっかけで活動を始められました。日本の陶芸村をめぐってご自分の活動の糧にされるそうです。最近「National Council on Education for the Ceramic Arts (NCECA)」の会員となられ、2017年5月にはMaker Faireに出展されました。

Born and raised in Japan, Etsuko joined the ceramics world upon discovering a clay studio in San Francisco in 2002. For inspiration and motivation, she visits pottery villages in Japan, and recently joined the National Council on Education for the Ceramic Arts (NCECA). Her work appeared at Maker Faire in May 2017.

https://ekbceramics.jimdo.com
https://instagram.com/ekbceramics/