The Japanese tea ceremony is said in a phrase by Okakura Tenshin that the tea ceremony is basically a worship of imperfection, just as it is a gentle attempt to achieve something in a difficult life. Well, as the core of the Japanese tea room, the kettle carries all this.
Murata Zhuguang once proposed "respectful silence" as the spirit of the tea ceremony, and Senritsu only changed one word, with the purpose of "and respect for silence", concise and rich in connotation. "Silence" is also written as "Silence". It refers to aesthetics. This consciousness of beauty is embodied in the "silence". The word "侘" is "wabi", which originally meant "lonely", "poor", "cold", and "bitter". During the Heian period, the term "servant" referred to a frustrated, depressed, depressed, lonely person. By the end of the Heian period, the meaning of "silence" gradually evolved into the meaning of "silence" and "leisurely", which became a consciousness that was greatly appreciated by some people at that time.
The Japanese tea ceremony is based on tea, not for tea. It is inherently religious rather than substantive. It is another existence that distinguishes it from monastic Zen– at home. That is, the imitation of Vimal Guru Zen at home, this matter can be derived from Wang Wei of the Tang Dynasty. Historical records record that there was nothing in his fast, only tea bells, medicinal mortars, sutras, and rope beds. Burning incense sat alone, thirty years of solitude in a room, the screen is absolutely dusty.
Hanging in the niche is a silent calligraphy about the emptiness of all things, written by an ancient monk. At this time, the snow was heavy outside, and the kettle in the earth furnace emitted six sounds in the silence. The six tones of the kettle refer to the fish eye, crab eye, earthworm sound, finch tongue, shore wave, and distant wave. Or make up for it with XiaoTao, Datao, Lianzhu, Songfeng, Silent, silent, etc. Take Lu Yu's "Five Boils" in the Tea Classic as an example: its boiling, such as the slight sound of the fish's eyes, is one boil, the edge is like a spring and beads is two boils, and the tengbo drum wave is three boils. It is old and inedible. This passage describes three stages of the sound of water when it is boiling.
Wait and see, as if not moving. It can be seen that although the world is complicated, it is directly indifferent. Dialing a handful of furnace ashes, there are occasional sporadic fires, which are not seen and already understood. Gaze at the mouth of the cauldron, layer upon layer. The Zen master has a saying, "For example, if you look for the beginning and the end on the ring wheel, and seek to turn your back on the void, then the love of life and death will be exhausted!"
It is said that the original kettle was forged with sword fragments. Sword Shattering – This title really has the meaning of transforming the world, using the broken iron of the cold sword to forge a calm and quiet kettle, and then listening to the boiling sound of the kettle, and all of this seems to dissolve into nothingness in the boiling sound of the moment.
The origin of the Japanese kettle is still inconsistent, according to personal inferences, the kettle is indiscriminately coveted in ancient Chinese bronzes, and the kettle body should be a derivative artifact of Ding. The kettle gradually changes from the three-legged of the kettle to the footless, which is closely related to the production of the stove, and the production of the stove degrades the three-legged of the kettle. Kettle ear and kettle ring is the evolution of the ear, the original shape of the ear is the gluttonous animal face, the two sides of the animal face each mouth a ring. The evolution of Ding Xiang Cauldron is the process of transformation from noble artifacts to commoners. The ding is a royal sacrificial vessel or ceremonial vessel, and the kettle is a daily cooking or cooking vessel. Words such as "pumping the salary" and "breaking the cauldron" vividly confirm this to us.
The time when the kettle was introduced to Japan, according to the literature, was first recorded in the Nara period, when it was called Tang Dynasty. The kettles of the Tang Dynasty had copper kettles, iron kettles, porcelain kettles, and mud kettles, while the nobles mostly had gold kettles or silver kettles. The shape of the original Japanese kettle is similar to that of the Tang Dynasty. Split foot kettle (three feet under the kettle), suspension kettle (with chain hook suspension), row stove kettle (travel portable). The material is divided into two types: copper and iron.
The general characteristics of the kettle consist of six parts,
1. Mouth; It is roughly divided into Jiaokou, Yaokou, Tongkou, Koshiguchi, Tiankou and so on.
Second, keto-shaped; That is, the form of the kettle body.
3. Feathers; One-word wen feather, straight fold feather, curved fold feather and feather fall. Feather is a term for a special processing of the waistline.
4. Bottom; Kettle bottom features. It is roughly divided into Lixiudi, Weaving Bottom, Daoandi, Yuanzhou Bottom and so on.
5. Ring payment; That is, the title of the two sides of the kettle ear. It is roughly divided into Gluttonous Ghost Face, Drum Ear, Yuanshan, Changzhang, Matsukasa, Bamboo Knot, Lion, Crane, Ape, Shrimp, Snail and so on.
6. Cover; From the material, it is roughly divided into tangjin copper cover, purple spot copper cover, iron cover. Originally, China also had wooden covers. Tang jin gai is a copper-tin alloy; The purple-spotted cap is made of metal coloring technology. From the shape of the system, it is roughly divided into sheng lid (upper concave), lid (sunken), one-character wen cover (flat), Huiming cover (zhou shang concave heart sinking), ancient mirror cover, woolen cover and so on.
The lid still has a knob part, or pinch. Roughly divided into form: through the eggplant, mountain gardenia, plum bone, iron vertebrae, straw scoop, nameless, cut and so on.
There are about fifty kinds of names for kettles depending on the form:
Metamorphics: Shingata-kama, Buttoshi-kama, Sardine kettle, Tang Inu-kama, Flat Spider, Shoulder Chugama, Yashogama, Tan Gogor, Tsugama, Marugama, Shiroguchi-kama, Koguchi-kama, Take-pot, etc.
Kettles famous for decorative patterns such as: 霰釜, 霙釜, Yunlong kettle, Shide kettle, Dalaitang kettle, etc.
Kettles named after the holder or location or inheritance such as: Hyakukai Kettle, Kunishi Kettle, Bandai Ya Kettle, Dharma Hall Kettle, Amitabha Hall Kettle, etc.
The texture of the kettle is roughly divided into pull muscle, kasumi muscle, catfish muscle, naringe muscle, elastic muscle, sand muscle, barren muscle, shi rain muscle, stone eye muscle and so on.
The morphological manifestations of the kettle and the origin of history can be roughly divided into three areas:
1. Ashiya Kettle and its lineage: Ashiya Tsu, Chikuzen Kingdom (present-day Ashiya Town, Enoga-gun, Fukuoka Prefecture). Most of them are real-shaped kettles, most of them are the mainstream of the tarantula performance, the pattern is centered on Yamato-e, and the casting and production technology has the highest status. It was active from the late Muromachi period to the Momoyama period. The characteristics of the Ashiya kettle are delicate and smooth surface texture, which is cast with patterns such as landscapes, flowers and birds, character stories, etc. The ring of the Ashiya kettle is multi-gluttonous and ghostly, more dignified, far less than the later generations.
Second, the Mandate of Heaven Kettle and its lineage: it is known as the West Ashiya and the East Mandate of Heaven. Shimono Kuni Sano (present-day Sano City, Tochigi Prefecture). In the later period of Muromachi, skin kettles became mainstream, and the heyday was extremely short. From the Yonglu year (1558--1570) to the Tianzheng period (1573--1592), there are not many Heavenly Destiny skin kettles, and the biggest feature is the complex shape and line. The characteristics of the Heavenly Destiny Kettle are that the number is small, the surface texture is relatively coarse, and there are more primitive utensils. The Ring of the Destiny Kettle has many natural themes, such as distant mountains, insects and birds, fish shells, plants, etc., and the overall feeling is quite interesting.
3. Kettle master's kettle: Momoyama to the early Edo period is the heyday of the kettle master, the initial casting division called itself "kettle house", and the middle period of Edo began to have the name of "kettle master". Muromachi and Momoyama are active in Nishimura Michihito, Nagoshi Zensho, Tsuji and Jiro Tsujiro. In the middle of Edo, the Nishimura family lineage, thousands of people came and went. Others such as: Nagoshi, Nishimura, Onishi, and Kanchi family genealogies continue to this day. As far as history is concerned, by the end of Momoyama, Ashiya and Mandate of Heaven represented the activity of the field industry function group; From the late Momoyama period to the end of the curtain, it was the era of the urban caster group centered on the Kettle Division.
The legacy of the kettle system.
Both the ancient ashiya and the ancient mandate of heaven belong to the ancient kettle family, which are rare and difficult to see. In addition, it is widely known as Kyobu, Edo-kettle, and Local Kettle. And because the age is not as old as the ancient kettle, there are still many visible famous objects. The vein of the cauldron lineage can also be followed, and there should be many chen canons.
Both kyobu and Edo-kettle are from two major lineages, namely the Nagoshi lineage and the Daisei lineage.
Under the famous YueMen, famous families have emerged, and the oldest line of kettle masters. The famous Nishimura lineage is from the ten generations of the name Ofimi Shichirō, the first generation of the Nishimura family is the famous kettle master Nishimura Michihito, then known as the world's first and most senior casting master, as Takeno Shou no Kazushi. Tsuji and Jiro were the imperial masters of Toyotomi Hideyoshi, the de facto ruler of Japan at the end of the Sengoku period, and Senritsu, the master of the Tea Ceremony, under Nishimura Michihito. The eleventh generation of the name Yue Zen Masa was the Tokugawa Ieyasu Imperial Kettle Master, and the name Yue Family was divided into two families after the name Yue Zen Masa. The first line is the Kyoto clan of the Nagoku clan, which is passed down from the Yaemon Gate; The other lineage is the Edo clan of the Nagoku clan, which is passed down from Yagoro. The original name of the Edo clan, Echie Ieyasu, was the imperial pot master of the Edo shogunate, and was hereditary from generation to generation. The Edo Horiyama Castle lineage is from the first generation of the Nagoshi family in Kyoto. The Shimoma Shobei department is from the fourth generation of the Kyoto Nagoshi family, the Etsuzosan.
The Onishi family has been divided into two lineages since the second generation of onishi Kōki. The first line is the Kyoto-based Onishi clan, which is passed down from the Onishi Clan to the Ōnishi Clan; The other line is the Edo family of the Ōnishi clan, which is passed down from the Ōnishi Clan; The original Edo Ōnishi Tsunehi was the son of Ōnishi Kiyoshi. The Kyoto Onnishi family has been passed down to this day and has a great influence until the sixteenth generation. The second generation of Onishi Jingqing is the younger brother of the first generation of Onishi Jinglin. Onishi Junhisa is the younger brother of Kiyoshi. Ōnishi Jingyun is a disciple of Jingqing. The OpinSabei guard is from the 10th generation of Ōnishi Kiyoshi, and is called the Yuki Ōnishi family. The first generation of Okuhei Snow is the seventh generation of The Great West Pure Genmon, and the second generation of Opin is the younger brother of the Great West Pure Snow. Three generations of Opinsa Guards are the sons of Bao. It can be seen that the origin of the Okuhira family and the Ōnishi family has its own origins.
In addition to the Kyobu and Edo kettle families, there are also local kettle masters, such as the Miyazaki Han Pheasant family. The Miyazaki family lineage has also been passed down to fourteen generations, which is very tortuous. He has a strong relationship with the Kyoto Onishi family, and the first han pheasant was a disciple of the second generation of Onishi Junqing.
According to the age of the work, Kyobu is divided into Daimyobu, ZTE Andyo, and Today's Famous Cauldron. Most of them are well-known objects or heavy objects with an orderly heritage.
Today, the most famous people in the kettle division are Nagano Yukishi, Kazukei Kakutani, and Keinori Takahashi. They are all masters who are called "national treasures on earth" by Japan. Keinori Takahashi studied under Nagano Yoshishi, and the two of them became "national treasures on earth", and they were said to be a good story in the karateshi world.
Nagano Washi is one of the earliest recognized "national treasures" by the tea ceremony masters. For the sake of "The Complete Collection of Tea Soup Kettles", the author has been poor for more than forty years, and Hao Shou has explored and studied in rare literature, the investigation of the kettle, the comparison of the measured and expanded version of the remaining kettle, and the review of the corrosion status of the material. Finally, it took more than a year to devote more than a year to the classification of the pot and relics, which made the Huanghuang ten-volume tea pot masterpiece and became the absolute authority of the japanese tea ceremony industry so far.
As for whether iron is suitable for tea, there are still many objections to this day. It is reported that as early as the Tang Dynasty, some people questioned this matter and asked Yu Lu Yu. Lu Yu only made a minimalist reply. Tea, the five elements of darkness. This phrase is extremely deep and high, and it is to know that today's tea is short of gold.
The iron quality of the kettle is very important, which directly affects the taste of the water, the water boiled out of the excellent iron is very sweet, and the poor iron quality is astringent. Famous artists generally use high-quality sand iron as raw materials to make tea kettles, and also use rock iron. Tea kettles made from iron produced in Japan are collectively known as "Washi milling".
The feeling of the top kettle is that it looks like it is very weighty, in fact, the kettle wall is not thick, it is easy to do thick and difficult to do thin, because there is a danger of trachoma cracking, so it is necessary to take into account the coexistence. It is easy to reflect the hardness of iron, but it is very difficult to show the softness of iron. Therefore, Takahashi Keinori once said: "You want to make a soft object with hard iron." ”