Korean tea bowl

A general term for tea bowls fired on the Korean peninsula. The name Goryeo does not refer to the era, but rather to the fact that Korea was commonly referred to as Goryeo during the Muromachi and Momoyama periods. In fact, examples from the Goryeo period are rare, with most fired in the early and mid-Yi dynasty (15th and 16th centuries). In Japan during the late Muromachi period (16th century), wabi-cha tea rose to replace shoin-cha tea, which had been used up until then, and as a result of searching both within and outside the country for tea bowls that fit the wabi aesthetic, Goryeo tea bowls came to the fore. The name Goryeo first appeared in a document from 1537 (Tenbun 6). By the Momoyama period, Goryeo tea bowls had become mainstream, but there were still few examples of them being used in tea ceremonies during the Tenbun era (1532-1555). During the early Tensho period (1573-1592), Chinese tea bowls, such as Tenmoku, were overwhelmingly popular, and it was only after Tensho 8 or 9 that tea masters began to show an increasing interest in Korean tea bowls. In Yamanoue Soji's 1588 (Tensho 16) book, "Yamanoue Soji-ki," written by Yamanoue Soji (a senior disciple of Sen no Rikyu), it is written that "All tea bowls are Chinese tea bowls, but in this day and age, only Korean tea bowls, Seto tea bowls, and modern-style tea bowls are available," symbolically describing the transition from Chinese tea bowls to wabi tea bowls. Most records from that time simply state "Koryo tea bowls," with the occasional mention of "Mishima," "Reki," "Ido," or "Kyogen Bakama." However, it is believed that the subdivision we see today began in the late Edo period, around the time of the tea master Matsudaira Fumai (1751-1818).

Korean tea bowls date back to the 14th century Goryeo celadon and date all the way back to those fired at the Wakan in Busan in the 18th century. However, their styles are extremely diverse and they can be roughly divided into early and late periods, with Toyotomi Hideyoshi's invasion of Korea (the Bunroku-Keicho War) as the dividing line.

In the early period, there is a group centered on Ido tea bowls, which are simple in style and do not rely on fine technique. These are so-called mitate tea bowls, selected from everyday utensils to create the beauty of wabi. Among them, the most ancient style is the celadon inlaid tea bowl with cloud and crane designs and chrysanthemum circle designs made in the late Goryeo period (14th century), which is called "tube tea bowl" or "kyogen bakama tea bowl" because of its shape. In the 15th century during the Yi Dynasty, a group of Mishima, Hakeme, Amamori, Katade, and Kohiki tea bowls were fired, followed by the famous Ido and Kumakawa tea bowls in the 16th century.

In the later period after the Bunroku-Keicho War, custom-made tea bowls were fired to suit the tastes of Japanese tea masters, but it is difficult to determine whether they were imitation or custom-made, and those that are thought to have been fired around the time of the war include Soba, Totoya, Kaki no Heta, and Goki (Goki/Goki). Soba is shallow with a wide opening, and is characterized by its soba-gata (buckwheat shape), while Totoya and Kaki no Heta are prized for their austere appearance and are considered to be rustic objects. Totoya includes Honte Totoya, Rikyu Totoya, and Hira Totoya, while Goki is divided into Ichimonji Goki, Daitokuji Goki, Momiji Goki, Kiri Goki, and Bansho Goki, and is characterized by the shape of the bachi high platform. In the Keicho era (1596-1615), compared to the natural taste of the previous period, there were more artificial and unusual styles (such as warikodai), and the rustic taste of the mitate tea bowls changed completely to lighter and more modest styles. Goshomaru, Kinkai, Irabo, Hansu, Gohon, and Tamagode are thought to date from this period. Irabo includes nail carving and katamigawari, and is extremely skilled, and together with warikodai, it can be said that it is a tea bowl that reflects the tastes of tea masters at the time. Gimhae is the name of a place in South Gyeongsang Province, and it is said that Katade, Goshomaru, and Kinkai tea bowls were fired here. The Gohon are tea bowls fired according to a model from Japan, that is, according to the Kirigata style. They were made at the Wakan in Busan, and the So clan of Tsushima were entrusted with their production by order of the shogunate, but the kiln was closed in 1717 (Kyoho 2).

[Yoshiaki Yabe]

"Goryeo Tea Bowls" edited by Hayashiya Seizo, 5 volumes (1980-1981, Chuokoron-Shinsha)" ▽ "Ceramics Series 32: Goryeo Tea Bowls" by Hayashiya Seizo (1972, Heibonsha)" ▽ "World Ceramics Collection 19: Yi Dynasty" edited by Hayashiya Seizo and Jeong Ryongmo (1980, Shogakukan)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

朝鮮半島で焼かれた茶の湯茶碗の総称。高麗の名は時代の意ではなく、室町・桃山時代には朝鮮を俗に高麗と称していたことによる。実際には高麗時代の作例はまれで、多くは李朝(りちょう)初・中期（15、16世紀）に焼かれている。日本では室町時代後期（16世紀）に、それまでの書院茶にかわってわび茶が台頭し、わびの美意識にかなった茶碗を国の内外に求めた結果、高麗茶碗が着目された。1537年（天文6）の文献に高麗の名の初出がある。桃山期に入ると、茶碗の主流をなす存在とまでなるが、天文(てんぶん)年間（1532～1555）にはまだ茶会で用いられた例は少ない。天正(てんしょう)年間（1573～1592）も前期は、天目(てんもく)に代表される唐物(からもの)茶碗に圧倒的人気があり、茶人に高麗への志向が高まるのは天正8、9年以降である。1588年（天正16）の山上宗二(やまのうえそうじ)（千利休(せんのりきゅう)の高弟）著『山上宗二記』には「惣(すべ)テ茶碗ハ唐茶盌(からちゃわん)スタリ、当世ハ高麗茶盌、瀬戸茶盌、今焼ノ茶盌迄也(までなり)」とみえ、唐物からわび物(もの)への移行が象徴的に述べられている。当時の記録のほとんどはただ高麗茶碗と記すのみで、まれに「三嶋(みしま)」「暦」「井戸」「狂言袴(ばかま)」の名が散見されるが、今日のように細分化したのは江戸後期、茶人松平不昧(ふまい)（1751―1818）のころとされている。

　高麗茶碗は、古くは14世紀の高麗青磁に始まり、下って18世紀に釜山(ふざん)の倭館(わかん)で焼成されたものまでを包括するが、その作風はきわめて多様であり、豊臣(とよとみ)秀吉の朝鮮出兵（文禄(ぶんろく)・慶長(けいちょう)の役）を境にして大きく前期と後期とに二分される。

　前期には、技巧に走らぬ素朴な作調の井戸茶碗を中心とした一群がある。これらは、わびの美を演出するために日用雑器的なもののなかから選ばれた、いわゆる見立ての茶碗である。なかでも高麗末期（14世紀）につくられた雲鶴(うんかく)文や菊丸文の文様をもつ青磁象眼(ぞうがん)茶碗がもっとも古格で、その形姿から「筒茶碗」「狂言袴(きょうげんばかま)茶碗」の呼び名がある。李朝期の15世紀に入ると、三島(みしま)、刷毛目(はけめ)、雨漏(あまもり)、堅手(かたで)、粉引(こひき)などの一群が焼かれ、続いて16世紀には名高い井戸茶碗や熊川(こもがい)茶碗がつくられた。

　また文禄・慶長の役後の後期では、日本の茶人好みの注文茶碗が焼かれたが、見立てか注文かの判定がむずかしく、戦役のころと推測されるものに、蕎麦(そば)、斗々屋(ととや)、柿(かき)の蔕(へた)、呉器(ごき)（五器・御器）などがある。蕎麦は浅めで見込みが広く、蕎麦形(な)りという形に特色があり、斗々屋、柿の蔕などはその渋さゆえ寂物(さびもの)として珍重された。斗々屋には本手斗々屋、利休斗々屋、平(ひら)斗々屋などがあり、呉器は一文字呉器、大徳寺呉器、紅葉(もみじ)呉器、錐(きり)呉器、番匠呉器などに分かれ、撥(ばち)高台の形姿に特色がある。慶長(けいちょう)年間（1596～1615）に入ると、前期の自然な味わいに比し、作為的な奇をてらった作風のものが多くなり（割高台(わりこうだい)など）、かつて見立ての茶碗にみられた素朴な趣(おもむき)から一転して、軽妙で小味なものへと変容した。御所丸(ごしょまる)、金海(きんかい)、伊羅保(いらぼ)、半使(はんす)、御本(ごほん)などのほか、玉子手などもこの時期のものと推測される。伊羅保には釘彫(くぎぼり)、片身替(かたみがわり)などがあるが、すこぶる技巧的で、割高台とともに当時の茶人の好みをよく投影した茶碗といえる。金海は慶尚南道の地名で、この地で堅手(かたで)や御所丸、金海茶碗が焼かれたといわれている。御本は日本からの御手本、つまり切形(きりがた)によって焼かせた茶碗で、釜山の倭館でつくられ、対馬(つしま)の宗氏が幕府の命でその任にあたったが、1717年（享保2）に廃窯した。

［矢部良明］

『林屋晴三編『高麗茶碗』全5巻（1980～1981・中央公論社）』▽『林屋晴三著『陶磁大系32　高麗茶碗』（1972・平凡社）』▽『林屋晴三・鄭良謨編『世界陶磁全集19　李朝』（1980・小学館）』

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