近年茶會和茶道活動在中日台的茶文化中漸漸盛行，茶碗和茶杯自然是最常使用的茶具之一。剛好在11月底舉辦的第二屆本地大型陶藝節「一本地陶」，我會透過講座，簡單介紹日本茶碗的歷史及其鑑賞重點。雖然一直擔心談及這話題時，因過於簡潔的解釋會顯得膚淺；但若深度解釋的話，大概四萬字也解釋不完，所以我會嘗試多以圖像表達，讓觀眾更容易理解這主題。
日本奈良晚期至平安時期，中部地區的平民開始使用灰色無釉的小器皿與山茶碗，直到鎌倉時期，加藤四郎左衛門景正跟隨曹洞宗創始僧人道元前往中國，學習製陶技術並在日本愛知縣瀨戶市建立了瀨戶窯（雖然現在的考古調查正研究推翻這論點）。隨著安土桃山時期的茶道興起，出現大量陶工建造、以瀨戶燒為基礎的窯，如常滑、信樂、丹波、越前、備前等。這時期前後出現的茶道器皿中，展現了日本人對「不完美之美」的追求，有著宋朝「無紋之紋」簡樸、突顯「土」的自然，以及自然釉的不穩定特徵。
談及茶碗觀賞前，我們先談十分重要的基礎：日本茶碗大多拒斥形式美而追求精神美。這也是《周易・繫辭上》說的：「形而上者謂之道，形而下者謂之器。」日本人重視形而上的精神層次與自身的關係。
鑑賞茶碗時，我們會從胴部造型、口造（碗的邊緣）、內部景色以及高台來做賞析。資深古美術商還會考量土味和印銘，這些元素雖然可以單獨觀賞，但組合起來更能突顯茶碗的個性。
這些元素是由結構功能主義提倡者 Malinowski Bronisław 發明出圖表和有架構性的筆記方式來解說功能有限變異、以及基礎功能不變之下，增加細節的變異來加強可造性中的「基礎功能」。
基礎功能一：胴與腰
茶碗的形狀常以人類的姿態來比擬稱作「腰」和「胴」。口造和高台之間的部分稱為胴，而下方則稱為腰。有些情況下，茶碗的形狀可能會出現纖細的胴部及寬厚的腰部，這在不同種類的茶碗中也有所不同。常見的造型包括：
基礎功能二：口造り
口造型是指茶碗飲用時接觸的邊緣，這些邊緣的形狀依茶碗類型而異。有些茶碗邊緣較薄，有些則較厚，甚至呈現起伏的波浪狀。例如：
基礎功能三：高台
高台是茶碗腰部下接觸地面的結構，分為兩種製作方式：一種是單獨製作圓輪後再附加上去稱為「付け高 台／附加高台」，另一種則是用刀具從土中雕刻出高台稱為「削り出し高台／削出高台」。前者可參考瀬戸和美濃燒的作品，後者可參考經九州地區傳入的朝鮮風作品。
在收藏茶碗時，我注意到中國清朝的中後期（約1800至1912年）對於茶碗風格的影響是一道分水嶺。中國的五彩作品受到歐美收藏者的喜愛，相比之下，日本茶碗則以淡白、簡樸、不完整的風格展現獨特的不完美美學。不論是欣賞茶碗的形狀，還是欣賞其細節，茶碗的文化蘊含著深厚的歷史與美學。透過這些元素，我們不用追求認識每個細節，能找到自己喜愛的景色並感受背後所傳遞的精神與情感才是最重要。
In recent years, tea ceremonies and their associated events have thrived within the rich tea cultures of Japan, China, and Taiwan. At the heart of these traditions are the tea bowls and cups, which play a crucial role in the tea experience. This November, as part of the second Hong Kong Local Ceramic Art Fair, I will deliver a talk that delves into the history of Japanese tea bowls and highlights the key elements for appreciating them. While I am concerned that a brief overview may come across as superficial, I recognize that a more in-depth exploration could easily fill volumes. To address this, I plan to incorporate evocative imagery to enhance our understanding of this captivating subject.
From the late Nara to the Heian periods, commoners in Japan began to embrace simple, unglazed gray vessels, including tea bowls. It was not until the Kamakura period that Kato Shirozaemon Kage-masa accompanied the Zen master Dogen to China to study pottery techniques. He eventually established the Seto Kiln in Aichi Prefecture, although recent archaeological research has begun to challenge this narrative. As the tea ceremony gained prominence during the Azuchi-Momoyama period, numerous potters started to create kilns inspired by Seto ware, leading to the emergence of styles in Tokoname, Shiga, Tanba, Echizen, and Bizen. The tea bowls from this era embody Japan’s quest for “the beauty of imperfection,” drawing inspiration from the Song dynasty’s concept of “patternless pattern,” which celebrates the inherent qualities of clay and the very essence of the earth.
Before we explore the appreciation of tea bowls, it’s essential to recognize a fundamental principle: Japanese tea bowls often prioritize spiritual beauty over formal aesthetics. As expressed in the I Ching, “What is above form is called the way; what is below form is called the vessel.” This sentiment reflects a deep-seated value in Japanese culture—the metaphysical relationship between spirit and self.
When appreciating a tea bowl, we examine several key aspects: its shape, rim design, interior surface, and foot. Experienced art dealers also take into account the texture of the clay and any distinctive markings. While each element can be appreciated on its own, it is their interplay that reveals the unique character of each bowl, inviting us to experience the nuances and intricacies that define its beauty.
These elements can be illustrated through the structured notes and diagrams developed by Malinowski Bronisław. He emphasized that while variations in function may be limited, it is the intricate details that enhance the “basic function.”
Key Aspects of Tea Bowls – 1. Body and Waist
The shape of a tea bowl is often compared to the human form, with specific sections referred to as the “waist” and “body.” The area between the rim and foot is known as the body, while the portion below is called the waist. Proportions can vary significantly; some bowls may have a slender body with a broader waist. Common shapes include:
Key Aspects of Tea Bowls – 2. Rim Design
The rim of a tea bowl is the edge that touches the lips during drinking, and its design varies by bowl type. Rims can be thin, thick, or wavy. Here are some examples:
Key Aspects of Tea Bowls – 3. Foot
The foot of a tea bowl, or Kodai, is the structure that makes contact with the ground and can be crafted in two primary ways: Tsuke-tai (付け高台): This method involves creating a separate circular base that is then affixed to the bowl. This style is commonly seen in Seto and Mino wares. Sukuri-dashi-tai (削り出し高台): In this technique, the foot is carved directly from the clay, a style influenced by Korean ceramics that spread to the Kyushu region.
Common Foot Styles
In my experience as a collector of tea bowls, I’ve noticed that the styles from China’s Qing dynasty (approximately 1800-1912) represent a significant turning point. The vibrant colors of Chinese ceramics captivated Western collectors, while Japanese tea bowls embraced a distinct aesthetic that celebrated simplicity and imperfection, characterized by muted tones and incomplete designs. Whether one appreciates the overall form or the intricate details, the cultural significance of these bowls is profound, steeped in history and aesthetic value. Ultimately, it is less about knowing every detail and more about forging a personal connection to the scenes and emotions they evoke. Finding that resonance is what truly matters.
