Ueda Sōko Ryū Heritage Tea Equipage

上田宗箇流の道具

  

1. 竹隠号の偈 春屋宗園 墨跡
慶長四年(縦31.1cm 横39.2cm)

この年、上田宗箇は「竹隠」の号を授かり、得度したことを証する貴重な墨跡である。筆者の春屋国師(1529~1611)は山城の人で笑嶺宗訴の法を嗣 ぎ、永禄一二年(1569)大徳寺第111世となった。また山内の大仙、聚光両院に住し、次いで三玄院を創建した。参禅した茶匠、大名も多く、利休寄進の大徳寺三門の供養導師となっている。道号としては、古田織部の「金甫 」、小堀遠州の「大有」などが知られており、この宗箇の「竹隠」の偈も同じ形式を取っている。

 

1. Calligraphy gatha of the Buddhist name ‘Chikuin’「竹隠」 

by Shunoku Sōen, 4th year of Keichō Era (around year 1600)

 

H: 31.1cm W: 39.2cm

In the 4th year of the Keichō Era (around year 1600) Ueda Sōko’s Zen master Shunoku Sōen composed this irreplaceable calligraphy work to bestow the Buddhist name ‘Chikuin’ 「竹隠」to Sōko,  thereby acknowledging Sōko’s devotion to to Zen Buddhism. Revered Priest Shunoku (1529 -1611) was originally from Yamashiro Province. He received the teachings of Shōrei Sōkin and in the 2nd year of the Eiroko Era (1569) Shunoku Sōen became the 111th Head Priest of Daitokuji. Shunoku resided at Daisen-in and Jyukō-in sub-temples in the compound of Daitokuji before founding the sub-temple Sangen-in. Many Tea masters and Daimyō received their zen training under Shunoku Sōen and he was the officiating priest for the renovation of the Sanmon gate from funds donated by Sen Rikyū. In addition to ‘Chikuin’ 「竹隠」to Ueda Sōko, Shunoku Sōen bestowed Buddhist names to other Tea masters including ‘Kinbo’ 「金甫」to Furuta Oribe and ‘Taiyū’有」to Kobori Enshū.

 


 

2. 一行書「門無俗士駕」 上田宗箇 筆
桃山江戸時代 16~17世紀 (縦91.5cm 横26.5cm) 

落款は宗古となっている。「我住まいには俗人をお迎えしない」という意味か。「自分自身を律すれば学芸に乏しく見識のない人が来訪することは無い」と読んで、家訓になることを願った毅然とした意志を見る解釈もある。筆勢は禅僧の墨跡に劣らず気骨に満ちている。変転極まりない戦乱の世を生き抜いた宗箇は、参禅して心の安静を求めており、この一行には脱俗し物にこだわらない悟道の精神があふれている。

 

2. Single-column scroll 「門無俗士駕」(mon (ni) zokushi (no) ga nashi)
 

'I welcome no layman to my abode'

 

By Ueda Sōko

Composed in the Momoyama or Edo Period (late 16th ~ early 17th century)

(H: 91.5cm W: 26.5cm)

 

Sōko’s signature is in the characters 「宗古」(usually 宗箇). At first glance, this is a very bold message to commit to a scroll. The implication of the characters is ‘Upon mastering oneself through arduous refinement, discipline and cultivating morality, those without such education, taste for the arts and good judgement naturally lose association with me and never show at my door’.

 

From this work we see Ueda Sōko’s resolute will for the person of refinement the scroll points to to become the exemplar for his family and followers in the Way of Tea.

 

The brushstrokes are enriched in a bold spirit seen in many of the fine works by Zen masters. Ueda Sōko mastered living as a samurai in the turbulent Warring States Period (Sengoku). Throughout his life he pursued quietude for his mind and an unshakable spirit through the practice of Zen. This work emits a powerful aura of one who has transcended worldly desires, and is living an enlightened existence.


 

3. 竹一重切花入 上田宗箇 作
桃山時代 17世紀初頭 (口径14.3cm 高29.0cm) 

宗箇自作の花入は今日一重切六本、二重切三本が伝わっている。織部は竹花入を作ったと伝えられていないが、宗箇は竹花入に積極的に取り組んでいる。宗箇花入の特徴は峻烈と評して良いほど力強い鉈目があり、一気に切り落としたようなきわめて豪快な作ぶりである。更に左側の下部と右側の下部に鉈目がわずかに入れてあり、それによってこの竹花入は力強さだけでなく、より躍動感を感じさせる。

 

3. Single-section cut bamboo flower vase by Ueda Sōko

(take ichi jū giri hana ire)

 

Composed in the Momoyama Period, early 17th century

(Top diameter: 14.3cm H: 29.0cm)

 

There are six single-section cut, and three double-section cut bamboo flower vases made by Ueda Sōko remaining in existence. There are no records of Furuta Oribe making bamboo flower vases, however Ueda Sōko certainly devoted time to the art. Sōko’s bamboo flower vases are characterised by strong, almost fierce blade marks cut down the face of the vase in single thrusts. On this flower vase there are additional cuts made to the left and right bottom of the vase. These subtle additions add dynamic energy to the powerful presence of the piece.

 


 

4. 瓜形尾垂釜 芦屋
室町時代 16世紀 (口径12.0cm 総高23.2cm) 

宗箇所持と伝わるこの釜は、力強い造形を見せている。釜としては珍しい意匠で、芦屋よりは天明にありそうな形であるが、釜肌の味わいや色調は芦屋の特長を見せている。縦筋の位置も不揃いでそれだけまた野趣が感じられる。尾垂になっていて、もとの底の姿が想像できないが、かなり下まで縦筋が溝を掘り、全体としては阿古陀(南京)に近く、また兜にも近い。

 

4. Gourd-shaped ‘odare’ uneven bottom tiered kettle - an Ashiya Kettle (Fukuoka Pref.)

(Mouth diameter 12.0cm Total height: 23.2cm)

 

A kettle with a bold presence, and one owned by Ueda Sōko. The kettle has a very unique design, a form that looks more like a Tenmyō kettle (Tochigi Pref.), though the surface texture and colour are characteristically Ashiya. The irregular position of the vertical surface lines projects rustic beauty. As the bottom of the kettle stops at an odare tier, the whole form of the object on which the kettle is based can’t be known. The vertical lines do, however, continue to the end of the tier, which leads one to see the kettle shape as based on an akoya gourd, perhaps even a samurai helmet.

 

 

5. 丹波耳付水指 上田宗箇 所持
桃山時代 (高18.6cm 口径19.9cm) 

恐らく織部の意匠を唐物屋の新兵衛あたりが取り次いだものであろう。丹波らしさはその釉色にあり、反面幅広く上釉がかかり、中程が焦げ、その左右が色変 わりの景を見せている。底に粒足が三つ付き、蓋は共蓋である。箱に「拝領」とあり、秀吉から宗箇が授かった物と見られる。 

 

5. Tanba mimi-tsuki ‘eared’ fresh water container (mizusashi) Owned by Ueda Sōko

 

Momoyama Era

(H: 18.6cm  12.0cm Mouth diameter: 19.9cm)

 

This fresh water container is possibly the result of Oribe’s original design ideas being conveyed from art dealers to potters in the Shinpe-e area. The glaze colour is characteristically Tanba. The glaze of the reverse side wraps around to the front, the bare clay of the front-centre is charred, and the edge of the glaze on the front left and right showing beautiful variations of colour. There are three feet on the bottom of the piece, and the lid is a matching lid (tomobuta). The storage box has ‘received from my lord’ (拝領 hairyō) written on it, making it highly likely this fresh water container was given to Ueda Sōko.

 


 

6. 備前耳付水指 蓋 上田宗箇 作 上田宗箇所持
桃山時代 (高19.0cm 口径21.5cm) 

桃山時代を代表する傑作の一つといえるこの造形は如何にも逞しく、篦の躍動には目を瞠る物がある・さらには腰の張り出しや、耳の付き様、四角い口造りなど他に見られぬ個性もあり、加えてこの水指の蓋が宗箇の手作りであるということが、この水差を一層価値のあるものにしてくれている。箱書きには「蓋宗箇様挺 備前焼水指」と記されている

 

6. Bizen mimi-tsuki ‘eared’ fresh water container (mizusashi) with custom made lid

Owned by and lid made by Ueda Sōko.

 

Momoyama Era (1568–1603)

(H: 19.0cm  12.0cm Mouth diameter: 21.5cm)

 

This is a masterpiece representative of the Momoyama Era. The spectacular tool marks on the powerful body, dynamic wide base, stylised ears, and square mouth are features not seen together on another piece. The lid was also made by Ueda Sōko which makes the piece all the more valuable. On the box is written ‘Lid by Ueda Sōko, Bizen ware fresh water container’.


7. 庭焼赤楽茶碗 銘 さても 上田宗箇 作

(高8.2cm 口径12.cm)

 

宗箇が茶入、茶碗の手造りに秀でていることは世に知られているが、この茶碗はまさに代表作といえる。外箱に譲翁(上田家一二代)が次の如くその由来を記している。「遠祖君御手づから此器を作りたまひて、御子重政君にたまひたれば、さてもめでたしさてもめでたしとのたまひて、やがてこの器をさてもと名付けたまひし」とある。

   作風は豪快でその手強い篦取りはまさに圧巻である。茶碗は広島河原町の下屋敷で焼かれている。

 

7. Niwayaki Akaraku Chawan ‘Satemo’  by Ueda Sōko

 

Sōko was known for his skill in making chawans (tea bowl) and this piece is the leading example of his skilled hand. The 12th Grandmaster Jyōō wrote this account of how the chawan got its name: “When our forefather Sōko presented this piece made by his own hand to his son Shigemasa, the only utterance to escape his lips was ‘Satemo . . . . . satemo . . .’ (My! . . . My! . . . (An articulation of a phrase like ‘what a fine piece!’ is implied after the Japanese exclamatory ‘satemo’)). Over time this utterance was the very name to become of this piece.”


 

8. 織部沓形茶碗

桃山時代 (高7.0cm 口径 13.6cm)

 

桃山陶を彩る織部意匠は、茶碗において直接の指導であることが作品の上で実証されている。即ち織部在判の茶碗が赤黒各一点伝えられており、ともに沓形で異色の図柄を見せている。この菱紋沓形茶碗もやはり同類を代表する一つで、不等辺梯形の造形も面白く、菱紋の白抜きがいかにも斬新である。織部門人宗箇が直接もらい受けたとしてももっともであり、紋様からいっても上田家にふさわしい好碗といえよう。

 

8. Oribe kutsu gata chawan

 

Oribe’s vision had a great impact on Momoyama period pottery. He oversaw the creation of a distinctive style of chawan (tea bowl). The distinctive shape you see in this photo is called ‘kutsugata’ kutsu = shoe, kta = shape. The chawan has the Ueda family crest, kuginuki mon, on it and has been a treasured chawan for hundreds of years in the Ueda family.


 

9. 庭焼赤楽茶入 上田宗箇
(
高8.9cm 胴径5.8cm) 

如何にも宗箇の手造りらしく、豪快なその篦さばきが茶入を特徴づけている。それは同じ宗箇の手造り茶碗「さても」と全く軌を一にしており、窯もまた同じく広島河原町の上田家下屋敷で焼かれたもので、土、釉も等しい。また茶入の造形と釉色は所蔵の利休瀬戸にも通じている。巣入りの牙蓋とオランダ縞の仕覆が添い、箱は鉄刀木で花鳥の象嵌がされている。

 

9. Niwayaki akaraku chaire (Niwa-ware red raku tea caddy) by Ueda Sōko

 

Momoyama Era (1568–1603)

(H: 8.9cm  12.0cm Body diameter: 5.8cm)

 

With dynamic tool marks the standout feature, this tea caddy is a classic example of Ueda Sōko’s hand-formed works. This work was fired in the same kiln, made from the same clay, and glazed with the same glaze as Sōko’s most famous work, the chawan (tea bowl) ‘Satemo’. The kiln was on the grounds of the Kawara estate of the Ueda family in Hiroshima. The shape and glaze of the tea caddy are reminiscent of the Rikyu Seto tea caddy that Sōko possessed. The ivory lid has a ‘su-iri’ blemish, and the pouch for the tea caddy is made from a Dutch stripe fabric. The box is made from ‘tagayasan’ Bombay blackwoood and has an inlay of flowers and birds. 


 

10. 唐物大海茶入 銘 上田大海 上田宗箇 所持

(高6.9cm 口径5.8cm 胴径8.6cm)

 

代々上田家に伝来したことで上田大海の銘がある。「唐物大海」としてその姿も整っており、ことに甑が高く、真っ直ぐに立ち、捻り返しも強い。また肩が水平に伸びてカッキリと衝き、胴の中程が少し突き出た感じに張り出している。釉景は茶色の地釉の上に、黒褐釉が流れ下り、見事な置形を成している。蜀紅錦と亀甲繋文銀襴仕覆が添い、蓋も瓶子のづくを持つ大蓋が添えられている

 

10. Karamono taikai chaire ‘Ueda Taikai’ (Chinese ‘open sea’ shaped thick tea powder caddy)

Owned by Ueda Sōko.

(H: 6.9cm Mouth diameter: 5.8cm Body diameter: 8.6cm)

 

The name ‘Ueda Taikai’ comes from this taikai (‘open sea’) shaped thick tea caddy being handed down through generations of the Ueda family. The tea caddy is a classic example of a Chinese taikai. The standout features on this piece are the tall ‘koshiki’ neck, the tall, straight appearance, and the robust lip. The shoulder extends horizontalto a sharp edge. The middle of the torso area is full and projects out to the widest point of diameter of the caddy.

The blackish-brown glaze sits as a beautiful accent over the brown earth base glaze. Two shifuku pouches are paired with the tea caddy: one made from ‘Shikō no nishiki’ Sichuan silver brocade and another from ‘kikkō kaimon ginran’ tortoise shell pattern silver brocade. The large lid is completed with a heishi (sake flask) shaped knob.


 

11. 竹茶杓 銘 敵がくれ  上田宗箇

元和元年 (長19.0cm 長18.3cm)

 

元和元年大阪夏の陣の緒戦、泉州樫井の戦で味方全軍が撤退し、敵が迫ってくる中で軍を引かず、竹藪に名竹を見つけ小刀をもって茶杓二本を作った。銘は「敵がくれ」といい、宗箇が戦場にあって沈着不動の精神を持っている逸話として古来から知られた茶杓である。二本とも平時の宗箇の茶杓と異なる、櫂先もゆるやかで平たい作りとなっているが二重折撓めである。上田家一二代上田安敦(譲翁)が由来を巻物にしている。

 

11. Bamboo tea scoops with poetic name ‘teki-gakure’ (Waiting for the enemy)

by Ueda Sōko

 

Made in the first year of the Genwa period, 1615.

Lengths: 19cm & 18.3cm

 

During the Battle of Kashii in the early stages of the Summer Campaign of the Siege of Osaka, though all other supporting forces had withdrawn, Sōko refused to withdraw his own troops and held ground waiting for the enemy to approach. As he waited, he discovered fine bamboo in a bamboo grove and carved two chashaku with his small sword.  The poetic name ‘Teki-gakure’ or ‘Waiting for the enemy’ was given to these chashaku that stand as a vestige to Sōko’s composed and unyielding spirit during times of battle.

The two tea scoops have different characteristics than those carved by Sōko off the battlefield. These scoops are flat with soft-edged tips, and the tips have been bent in two places. The 12th Grandmaster Ueda Yasuatsu (Jyōō) created the pouch for the tea scoops.   

 

12. 竹茶杓 共筒 上田宗箇 作

桃山-江戸時代 (長17.6cm)

 

 宗箇の茶を書き留めた『宗箇様御聞書』に、「織部の茶杓の櫂先はゆったりとした曲線を示すが、宗箇は折撓めであり、利休と同じである」と述べている。

  削り上げた躍動的な中節の蟻腰は、利休・織部と共通するが、櫂先の折撓めは利休より更に鋭角的に強く折り曲げられているし、全体的に織部より肉厚である。

この茶杓は宗箇の茶杓の中で最も宗箇の特徴が出ている茶杓である。筒も共筒として伝えられている。

 

 

12. Bamboo tea scoop (chashaku) with case by Ueda Sōko

Made in during around the end of the Momoyama Period (1568–1603) and start of Edo Period (1603 to 1868)

Length: 17.6cm

 

In the ‘Sōko sama o-kikigaki’ or ‘Notes from Sōko’, a document that records details of Ueda Sōko’s characteristic way of conducting chanoyu, it is written: ‘The tips of Oribe’s chashaku are free-flowing curves, but the tips of Sōko’s chashaku have a bent to a sharp angle, reminiscent of Rikyu’s chashaku.’

The underside of the middle knot is carved away to form a dynamic raised ridge (arigoshi). This feature is seen in both Oribe and Rikyu’s chashaku. The curve in the tip, however is not seen as sharp and with such dynamism  in Rikyu’s chashaku as it is in Sōko’s. Sōko’s chashaku are carved thicker than Oribe’s.

This chashaku is the most characteristically ‘Sōko’ of all of Sōko’s chashaku. The chashaku is still with its original case.