2014年10月8日
孤峰不白作 鶴亀図平茶碗—流祖の茶碗で稽古をして—
藤田宗明（羅府不白会）
流祖作の茶碗での稽古
この茶碗は不白が七十七歳の祝いに鶴亀図を施し製作したもので、聞くところによるとそれを友人に献呈したとされます。七十七歳という年齢から換算すれば、今から２１８年前、江戸後期の寛政８年に作成されたことになります。この流祖ゆかりの茶碗を手に取ると、決して重くはないにもかかわらず、手に触れる重厚感があり、赤みかかった茶色の色彩は深淵をみるごときに落ち着き深い色合いであります。この平茶碗は高さが4.7糎、径が15.4糎で、この数字からご想像がつくかと思いますが、大変に平たい、皿に近いほどの平茶碗でございます。茶碗に描かれている鶴亀の図は簡潔な一筆書きのようではございますが、亀は茶碗の周りをまるでぐるぐると如何にも泳いでいるようであり、鶴は春風駘蕩たる穏やかな立ち姿であります。高台は力強く平たい無造作のような作りであるため、茶碗は畳と平行に座らず少し傾きをもたらしますが、それがとても自然体に映ります。もしかしたら、これも流祖の作意であったのかもしれないと考えを巡らしました。こんな稚拙な検討をしながらも、流祖の人物像が浮かび上がってくるようで、「孤峰不白」と名前を授かった意味が微かながら見えるような気がいたしました。
鶴亀図平茶碗
流祖のゆかりの茶碗を扱うことだけでも、大変緊張致しましたが、このような平たい茶碗で果たして茶が点てられるのであろうか不安でもありました。しかし、いざ茶を点ててみると想像とは裏腹にある意味点てやすい茶碗であることがわかったのです。そして、抹茶が張った茶碗は生き生きとした様相を持ち、茶の緑と釉薬の赤茶色のコントラストは絶妙であり、深淵と思っていた景色が大海原に一変したように思えました。御自服で頂いたとき、暖かい茶碗を両手で取るとその重厚で豪気な茶碗の精に触れ、唇に茶碗を当てた瞬間に自分が寛政の世にタイムトリップをしたように思え大きな感動を得ました。ましては流祖の遺作で一服を頂けたことに感慨無量でしばらく言葉も出ないほどでございました。
茶道具の素晴らしさはこうした崇高な芸術品を手に取り使えることにあるのではないかと思いました。美術館でガラスに囲まれて大切に保管されている茶道具も、使われることで命が復活しその光が蘇るのではないかとも考えました。師には大変貴重な体験をさせて頂いたことに心より感謝しております。本当にありがとうございました。
抹茶の緑と赤茶色の釉薬のコントラスト
This past September, I had a lesson in Hirajawan (with a twisted tea cloth) from Madam Arai at her tea house, Kakurinan. Madam Arai said “Let’s study with Koho Fuhaku’s Hirajawan.” I was graciously granted this special opportunity to make a cup of tea with the Grand Master’s handmade tea bowl.
This tea bowl was made by Fuhaku when he celebrated his 77th birthday. I’ve heard that he made it to give to his special friend. If you calculate the year from when he was 77 years old, it would be 218 years ago, in the year 8 of Kansei, in the late Edo era.
When you carefully lift the bowl, there is no heavy weight sensation, but there is a feeling of dignified elegance. The color is a reddish brown, which expresses a sense of calmness and a profoundly distinct and special style. My imagination creates a vision of looking into an abyss of a great and deep valley.
The measurement of the bowl is 4.7cm high and 15.4cm in diameter. As you can imagine from these numbers, this bowl is very flat and wide, almost like a deep dish. The crane and the turtle design on the outside of the bowl are one stroke drawings. It is as simple as possible; however, you can almost see the movement of the turtle that is swimming around the bowl. The crane is standing so tranquilly and peacefully.
Kohdai (a bottom sitting part of bowl) is flat and powerful with an uneven design that makes the bowl not sit parallel with the tatami. This unevenness looks very natural in its design. I wonder if the Grand Master made it this way intentionally, or did it just happen during the course of its creation? The characteristics of the bowl seem to paint a picture of his personality and soul.
I was nervous about handling a bowl with such great history, and also worried about how I could make tea in this super flat bowl. However, I realized it was not that difficult as I imagined, rather it was the perfect bowl to easily make a cup of tea. I was very impressed and surprised by how it was made. The bowl looked like it came to life again with the tea in it. The contrast of the color of green and reddish brown is absolutely exquisite. What I saw as an abyss now turned into a vast beautiful ocean. I made a cup of tea for myself with the bowl. When I lifted the warm bowl, I felt like I touched the profound and bold spirit of the bowl. The moment my lips touched the bowl, I traveled back in time to the year 8 of Kansei. I was so touched with the fact that I had tea from the Grand Master’s handmade cup. I was speechless.
What is great about art of tea is that you can actually handle noble and sublime art pieces. I thought of all of the art pieces of tea utensils that are behind glass cases in museums and how they bring back their own lives once they are used. I am very grateful to have experienced this precious opportunity through my lesson. I truly appreciate Madam Arai, who gave me this rare and invaluable opportunity.