Furuta Oribe

Sen no Rikyu was a tea master from the Azuchi-Momoyama era. He developed and perfected the tradition of Wabi-cha.

A tea ceremony master of the early Edo period (about 1603–1700), founder of the Enshu School of tea ceremony. He learned the tea ceremony from Oribe Furuta. He was an administrator in the Tokugawa Shogunate, who excelled in architecture, civil engineering, and Japanese garden design and was also known as a skilled calligrapher.

One of the most outstanding artists of the Momoyama and early Edo periods who produced masterful calligraphy, lacquerware, and ceramics 1558-1637

A courtier of the Azuchi-Momoyama period (1573 – 1603). More than a dozen letters addressed to Nobutada from Oribe Furuta, who received Nobutada’s instruction in the genre of renga (linked verse), are preserved to this day in the historical archive of the foundation Yomei Bunko.

Nobunaga Oda was a Busho (military commander) of the Sengoku and Azuchi-momoyama eras. In spite of his aspiration to unify Japan, he took his own life during an attack by his subordinate, Mitsuhide Akechi, while staying at Honnoji Temple.

A warlord of the Azuchi-Momoyama period who rose from lowly origins to overlord of all Japan 1537-1598

The first shogun of the Edo shogunate. After the death of Hideyoshi Toyotomi, Ieyasu Tokugawa became Oribe’s lord, and at the Battle of Sekigahara, Oribe fought on the Tokugawa side.

The tea ceremony is an activity where matcha is enjoyed through the Japanese tea culture. It was developed into a composite artform, combining architecture, gardening, shodo (calligraphy), craftsmanship, philosophy, and cooking.

Items used to perform the tea ceremony. In the tearoom, participants appreciate both the function and beauty of these utensils

Seto and Mino tea ware

松山米太郎 編,秋豊園

江戸時代前期の奈良の富商、茶人、松屋久重（ひさしげ、1566～1652）が編纂した茶道の伝書。最古の茶会記録『松屋会記』で知られる松屋歴代の茶会記録の中から、千利休、古田織部、細川三斎、小堀遠州に関わる記事を編集したもので、各茶人の肉声がわかる資料として知られている。ここに掲げたのは、天正13年（1585）5月の古田左助（織部）が出席した茶会の記録。松屋久政が亭主で、使用された道具の中に、松屋三名物と言われた「松屋肩衝 （かたつき） 」、徐煕 （じょき） 筆「鷺絵 」の名が見える。掲出本は、小堀遠州流8世の小堀宗中（1786-1867）の書写本を複製したもので、昭和8年に『茶道四祖伝書』の書名で刊行された。

松山米太郎 編,秋豊園

天正19年（1591）2月13日、豊臣秀吉に謹慎を命じられた千利休が堺に下る際、古田織部と細川三斎の二人だけが淀の舟本でまで利休を見送り、利休の乗物を手配して舟に載せたことを記す『松屋会記（利休居士伝）』の一節。このすぐ後に利休は自刃するが、この厚誼に対する両名宛の自筆の礼状は今も財団法人松井文庫に保存されている。掲出本は、江戸時代前期の奈良の富商、茶人、松屋久重（ひさしげ、1566～1652）が編纂した茶道の伝書の複製本。原本は、『松屋会記』で知られる松屋歴代の茶会記録の中から、千利休、古田織部、細川三斎、小堀遠州に関わる記事を編集したもので、各茶人の肉声がわかる資料として知られている。

写

慶長9年（1604）から慶長17年(1612)にわたる8年間の、古田織部による茶の湯の聞き書き。書名に「宗甫（小堀遠州）公」とあるように、かつては、小堀遠州が自身また人を介して織部に質問し、織部がそれに答えたものとされていたが、近時、竜谷大学所蔵本の「茶道長問織答抄」がその原本であることが発見され、これらの聞き書きの作成者は、浅野幸長の意をうけた上田宗箇であることが明らかになった。いずれにしても、茶人としての織部が最も活躍した時期の聞き書きで、茶会についての日時やその背景も記された資料として信頼性が高い。掲出本は、嘉永5年の写本で、今泉雄作の旧蔵。今泉は、明治・大正時代の美術史家・鑑識家で、常真居士、无礙菴と号した。『宗甫公古織へ御尋書』は、『古織正伝慶長御尋警』『宗甫公古織江御尋書』などの名称でも呼ばれている。

茶の湯入門書。寛永3年（1626）刊。茶書の版本としては最初のもの。書名の由来は、「茶」の字を分けて、冠（かんむり）を「草」とし、その下を「人」と「木」の二字に分けたことによる。利休以前を上古、利休を中興、古田織部・織田有楽を当世として扱い、茶の作法・座敷・器物の変遷について述べる。掲出は、国立公文書館所蔵の寛永3年刊本で、古田織部の道具立てを述べた一説。「茶碗は年々に瀬戸よりのほりたる今焼のひつみたる也」とある部分（文末から4行目）。形のひずんだ織部焼との関連があるかとされる箇所。

「織部」の名が焼き物の名称に使われ始めたことを示す『醒睡笑』の笑い話。古田織部が数寄に出す品が世間一般でもてはやされて、食事の席に出す盃も「織部盃」と呼ばれるほどであったので、ある男、盃のことを 織部というのだと勘違いして、「今朝は織部を続けざまに三杯飲んですっかり酔った」と言って恥をかく。『醒睡笑』は、江戸初期の笑話本。安楽庵策伝作。元和9年（1623）の成立。この頃には庶民の間にも「織部焼」の流行が定着していたことがわかる。

織部流の茶の湯の手前について述べた茶書。江戸初期の成立。掲出本は万治3年の刊本。

寛文12年（1672年）刊行の茶書『弁玉集』の「織部焼」の項。「古田織部物数寄（モノスキ）ノ焼物也」と紹介されている。文献に登場する「織部焼」の例としては早いものと思われる。『弁玉集』は、作者不詳。5巻の本で、巻1と巻2は画工（絵師）とその印章を、巻3～5は、茶碗、茶入れなどの茶器を扱っている。

遠藤元閑,和泉屋茂兵衛

茶書『茶之湯六宗匠之伝記 』に載る古田織部像。同書は、村田珠光・鳥居引拙・武野紹鴎・千利休・古田織部・小堀遠州の6人の宗匠の伝記。遠州流の茶人遠藤元閑の著。元禄15年（1702）刊。

元禄7年（1694）刊行の茶道書、『古今茶道全書』に載る「古田氏作ル 露地庭ノ図」。

藤村庸軒 述,河東散人鷯巣 記,今井重左衛門

江戸中期の茶人、藤村庸軒（ふじむらようけん）の『茶話指月集』の伝える古田織部の逸話（掲載箇所）。千利休が、「雲山」という名の肩衝（茶入）の欠けた風情を面白いと言って称美した話に関連して、古田織部もきずの無い完全な茶碗を「ぬるき物（もの足りない物）」だと言って、わざと欠いて使うことがあったという。『茶話指月集』は、藤村庸軒の女婿、久須美疎安 （くすみそあん） が義父から聞いた茶話をまとめたもの。元禄14年（1701）刊行。版行された茶の逸話集としては最初のもので、千利休、宗旦の逸話が七十数話収められている。

写

京都市下京区西洞院通にある、茶道藪内家宗家の代表的な茶室「燕庵（えんあん）」の全体図。写本一冊。燕庵は、初代藪内剣仲が義兄古田織部から譲られた茶室の写しで、元治元年（1864）の兵火で焼失した。現在の燕庵は、摂津有馬の武田儀右衛門が忠実に写し建てていた茶室を移築（1867）したもの。

座右宝刊行会 編,座右宝刊行会

奈良国立博物館園内にある茶室。古田織部の好みと伝えられる。明治25年（1892）現地に移されたが、もとは興福寺大乗院の邸内にあり、含翠亭と呼ばれていた。入母屋造・茅葺で、前面に柿（こけら）葺の庇を付け下ろし、中間にも袖壁を設けて土間庇を二分している。

座右宝刊行会 編,座右宝刊行会

八窓庵の内部。横長の三畳台目に床前の貴人畳を付した四畳台目。給仕口と茶道口が矩（かね）折りに配され、茶道口には竹の方立が立つ。躙口（にじりぐち）は壁面の中央にある。

山科言継 著,国書刊行会

戦国時代の公卿、山科言継（やましなときつぐ）の日記に登場する古田左介（織部）。元亀2年（1571）3月3日の記事に、「武家御足（軽脱カ）衆、山口甚助、同子、古田左介来」として記されている。『言継卿記』は、大永7年（1527）から天正4年（1576）におよぶ日記で欠けている年も多く、通年で残っているのは14年間だけであるが、現存分だけでも分量は膨大で戦国期屈指の日記といえる。当時の政治・経済・文化を知る上で貴重な史料。掲出本は、国書刊行会による翻刻本。大正4年（1915）刊。

松山米太郎 評註,津田宗及茶湯日記刊行後援会

安土桃山時代の茶人、津田宗及の茶会記「津田宗及茶湯日記（天王寺屋会記）」の天正12年（1584）10月15日の部分に登場する古田左介(織部）。豊臣秀吉の座敷での茶会で、宗易（千利休）をはじめとして、宮内卿法印（松井友閑）、長岡（細川）幽斎、高山右近、芝山源内（監物）らの利休の高弟とともに名を連ねている。『津田宗及茶湯日記』は茶書。『天王寺屋会記』とも。堺の豪商、天王寺屋の津田宗達・宗及・宗凡の三代にわたる茶会記。天文16年（1548）より天正18年（1590）にわたる。宗及の茶会記が中心をなしているところから、この名がある。掲出本は、昭和12年（1937）、「津田宗及茶湯日記刊行後援会」刊行。

英俊 著,辻善之助 編,三教書院

室町後期から江戸前期にかけて奈良興福寺の塔頭・多聞院の院主によって書かれた『多聞院日記』に登場する織部の名前。利休死後、織部が声望を高めつつあった頃のもので、「伏見より織部ト云茶湯名人来候」とあり、「茶湯名人」という表現が用いられている。『多聞院日記』の執筆は文明10年（1478）から元和4年（1618）におよび、奈良・京都を中心とする政治・仏教・経済・文化・風俗の諸般にわたる文献史料として信頼性が高い。掲出本は、辻善之助編の刊本（1935－1939）。

国書刊行会 編,国書刊行会

慶長20年（1615）6月11日、古田織部が「大坂内通者」として息子とともに伏見で切腹を命じられたことを記す『駿府記』の記事。『駿府記』は、江戸時代初期の記録。一巻。『駿府政事録』ともいう。徳川家康が将軍職を秀忠に譲って駿府（静岡市）に引退した16慶長16年（1611）から死の4か月前の年元和元年（1615）12月までの家康の動静を漢文体で記したもの。記主は後藤庄三郎とも林羅山とも伝えられる。記事の信憑性はきわめて高く、この期の研究上重要な史料である。掲出本は、『史籍雑纂2』所収の翻刻本。大正元年（1912）刊。

『太閤記（豊臣記）』の巻22。豊臣秀吉の死後、遺贈の人々の名前のなかに「金子十枚」として「古田織部正」の名が見える。掲出本は、無刊記版の『太閤記（豊臣記）』。寛永14年（1634）～17年（1637）頃刊。『太閤記』の刊本のうち、もっとも早い時期のもの。

著者:山科道安,著者:山科道安

江戸中期の公卿、近衛家熙（このえいえひろ）の日記『槐記』に記された織部焼の器についての記述。享保10年（1725）5 月18日に催された茶会に御菓子として、「御菓子 山形羊盰（羊羹） ヲリヘノ手付ノ鉢ニ入ル」とある。『槐記』は、享保9～20年（1724～1735）にかけての家熙の言行を、侍医であった道安が記録したもの。内容は文学、芸能など多岐にわたり、家熙の博学多芸ぶりがうかがえる。掲出本は、内閣文庫所蔵、外題に「槐下余聞」とある写本。

古田織部作,By Furuta Oribe (1543–1614),広田松繁氏寄贈,Gift of Mr. Hirota Matsushige,東京国立博物館,Tokyo National Museum

古田織部作の茶杓。氷割れのある竹を使い、節が強く屈曲する蟻腰の形で、櫂先はくっきりと曲がる折撓めとなっています。

圜悟克勤筆,By Yuanwu Keqin (1063–1135),松平直亮氏寄贈,Gift of Mr. Matsudaira Naoaki,東京国立博物館,Tokyo National Museum

中国の僧侶、圜悟克勤（えんごこくごん）が弟子の虎丘紹隆（くきゅうじょうりゅう）に対し、禅の教えを授けたことを証明するために与えた「印可状」の前半部分。伊達政宗の所望により春屋宗園(しゅんおくそうおん)と古田織部が相談し二つに切断し、後半は伊達家に伝えられた。弟子の免許皆伝を証明する印可状とされるが、本来は圜悟の仏法に対する考えを述べた法語と解釈されている。大坂・堺の豪商茶人である谷宗卓（たにそうたく）や、松江藩主で茶人としても名高い松平不昧（まつだいらふまい）が一時は所有するなど、名だたる茶人にも珍重されたもの。桐の筒に入って薩摩の坊津（ぼうのつ）海岸に流れ着いたとの伝承から、「流れ圜悟」（ながれえんご）の異名もある。

近衛信尹　

Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga (1534-82) assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). Nobutada later incurred the displeasure of Emperor Goyozei (1571-1617) due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi (1527-98), and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and tea ceremony. In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him.Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu (1558-1637) and Shokado Shojo (1582-1639). This letter is addressed to feudal lord and tea connoisseur Furuta Oribe (1554-1615), and Nobutada apologizes that his messenger has arrived at Oribe’s residence at an untimely midnight hour. It is signed simply with a single character meaning ‘cedar’: This practice of using a partial name was customary among close friends, thus implying a close association between Nobutada and Furuta Oribe.

江戸初期の佐賀藩の家老だった鍋島生三に宛てた真久の書状。文中に「古織部殿」が登場する。筆者「真久」については不詳だが、全体に茶道具の手配について述べられた手紙の一部で、「古自在は殊外高直（に）可有之と申候間、新自在古織部殿茶湯坊主に理申候て、人の持候を所望候て下申候」とある。古い自在（自在鉤）は値段が高いので、古田織部の計らいで茶湯坊主にかけあって他人の持っていた新しい自在を手に入れたことを伝えたものか。

伝幸阿弥長玄作,Attributed to Kōami Chōgen,東京国立博物館,Tokyo National Museum

蒔絵師の名門・幸阿弥（こうあみ）家出身の長玄は古田織部と親交があり、その求めによって蒔絵の厨子棚を制作したという。天板に梅の枯木、２段目に虎渓三笑の図、引戸に柴垣を描いた棚で、後に「織部棚」と称されて流行したらしく、同じ形式・図柄の棚が数件確認されている。

古田織部

Warrior and tea master of the Momoyama and Edo periods Furuta Oribe (1544-1615) was one of Sen-no-Rikyu’s (1522-91) senior disciples and was also the originator of the Oribe School in the art of ceremonial tea. He was born in Mino Province and was first named Shigeteru (also Shibenari). In 1585, he was given the post of Director of Oribe and, thereafter, began to use this as his name. With his father, Shigesada, Furuta Oribe served powerful feudal lords Oda Nobunaga and Toyotomi Hideyoshi and cultivated friendships with many daimyo (military patrons; landed general) and other influential people, as well as wealthy merchants. After the Battle of Sekigahara, he joined the Tokugawa faction. His fame was firmly established when in 1610 he instructed the second Tokugawa Shogun, Hidetada, in the method of preparing tea using a classical daisu, or a four-legged table on which to place the tea paraphernalia. However, during the Summer Campaign against Osaka Castle, he was sued for secretly contacting Tokugawa’s rival, the Toyotomi clan, and thus was ordered to commit suicide.The upper left part of this letter has worn away, thus eliminating the name of the addressee. From the content, however, one can see it is a thank-you letter for the full-length garment (the predecessor of the modern-day kimono) that he had received as a year-end gift. As it is signed “Shigeteru,” Oribe’s new name after 1588, it must have been written after he turned 44. However, at the end of the letter is written an apology: “With a sudden visitor, I have no time to write the letter myself.” So this is clearly written by a secretary, but it is still a valuable piece of calligraphy from the Middle Ages.Warrior and tea master of the Momoyama and Edo periods Furuta Oribe (1544-1615) was one of Sen-no-Rikyu’s (1522-91) senior disciples and was also the originator of the Oribe School in the art of ceremonial tea. He was born in Mino Province and was first named Shigeteru (also Shibenari). In 1585, he was given the post of Director of Oribe and, thereafter, began to use this as his name. With his father, Shigesada, Furuta Oribe served powerful feudal lords Oda Nobunaga and Toyotomi Hideyoshi and cultivated friendships with many daimyo (military patrons; landed general) and other influential people, as well as wealthy merchants. After the Battle of Sekigahara, he joined the Tokugawa faction. His fame was firmly established when in 1610 he instructed the second Tokugawa Shogun, Hidetada, in the method of preparing tea using a classical daisu, or a four-legged table on which to place the tea paraphernalia. However, during the Summer Campaign against Osaka Castle, he was sued for secretly contacting Tokugawa’s rival, the Toyotomi clan, and thus was ordered to commit suicide.This letter is addressed to “Haukon,” short for “Hashiba Ukon.” When one searches for contemporaries of Furuta Oribe with the family name and self-appointed name written here, one comes across Mori Tadamasa (1570-1634). Tadamasa was the son of Mori Yoshinari (1523-70), a warrior loyal to Oda Nobunaga and the younger brother of Mori Ranmaru (1565-82). He worked under Toyotomi Hideyoshi and held a 70,000-koku (old unit for counting bales of rice; one koku equals approximately 5 bushels) stipend, including a Mino gold mine. He was given an official title in 1585 and started to call himself Ukon-Dayu. He was further promoted and was allowed to use the family name of Hashiba. After Hideyoshi passed away, he served both Ieyasu and his son, Hidetada, and became Lord of Tsuyama Castle in Mimasaka (Okayama Prefecture). This letter concerns the details of a chaire tea caddy, which Tadamasa had shown Oribe, and notes that the lid and silk-and-brocade pouch (for storing the chaire) are just fine, but the purse-chain should be replaced. The lacquered chaire seems to be damaged, which Oribe suggests should be mended by master tea-ware craftsman Fujishige Togen. He also suggests that the addressee consult with Waku Zean (Wakuze Hanzaemon; ?-1638) for the use of a lacquered tray to carry the chaire. Zean was the son of Waku Soze (1535-1615), one of Hideyoshi’s secretaries, who served Hideyoshi, his heir, Hideyori, and General Date Masamune. In the world of calligraphy, he is known to have followed the Sanmyaku-In School, founded by Konoe Nobutada. This letter is an important document that helps one to understand how tea utensils were regarded in those days. As with the previous letter, this one was also written by Furuta Oribe’s secretary. Only the signature, “Shigeteru,” was actually written by Oribe.

古田織部,Furuta Oribe

江戸初期の大名、戸田氏鉄（とだうじかね、1576-1655）にあてた古田織部の書状。明後16日の昼に山口駿河守（直友か）などを茶に招く予定があり、遠路炎天ではあるが、久しくお目にかかっていないのでお会いしたい、という内容の手紙。署名部分（「重然（花押）」）のみが自筆で、本文は右筆によるものか。戸田氏鉄は、通称左門。膳所藩主、尼崎藩主をへて寛永12年（1635）大垣藩10万石に移封され、島原の乱鎮圧にも出陣した。

千利休

Sen-no-Rikyu (1522-91) lived during the Muromachi and Momoyama periods and cast the most profound influence on the art of ceremonial tea-making, culminating it into sado, or the Way of Tea. He first studied under Kitamuki Dohchin (1504-62) and later under Takeno Jo-ou (1502-55). His first name was Yoshiro, but it was later changed to Soeki. Rikyu is a pen name. Rikyu served Oda Nobunaga (1534-82), one of the most powerful warlords at the time, as tea master, but after his master’s death, went on to serve his de facto successor, General Toyotomi Hideyoshi (1536-98). Winning deep trust and confidence from this powerful lord, Rikyu advanced in rank and even amassed political influence. Due to reasons not exactly known, he fell out of favor with Hideyoshi and was ordered to commit the ritual suicide of seppuku (belly slashing) in 1591. Rikyu was 71.This letter is addressed to Furuta Oribe (1543-1615). At the time of the Honnoji Revolt (of 1582 in which Nobunaga was assassinated), Oribe was a cavalier fighting on Hideyoshi’s side. Exhibiting prominence in the Battle of Komaki, he was promoted to an official rank and the name of Oribe was bestowed upon him. Strictly speaking, it was after this time that Furuta was called by the name Oribe. It occurred when he was 43 and Rikyu, 64. The letter reports that Rikyu has handed a tea urn to Oribe’s courier. He then says that since Oribe is getting a new tea urn, he may not regret giving away one of the larger urns in his collection. From the tone of this letter, it is not clear if Rikyu is joking or is indeed asking for a gift of a tea urn. Tea utensils were of great concern to tea practitioners.

千利休筆,By Sen no Rikyū (1522–91),善田喜一郎氏寄贈,Gift of Mr. Zenda Ki'ichirō,東京国立博物館,Tokyo National Museum

千利休が、焼茶碗一個を娘婿の紹二に持たせて古田織部に贈る際に添えた手紙。｢焼茶碗｣は今焼茶碗で、利休は長次郎に楽茶碗を焼かせていた。利休の署名があることから、天正13年（1585）利休居士号を許されて以降の書である。

美濃,Mino ware, Red Oribe style,東京国立博物館,Tokyo National Museum

<p>As tea gatherings grew in popularity in the 1500s, tea masters sought new styles of pottery for serving tea. This tea bowl was made in the Red Oribe style, named after the samurai lord and tea master Furuta Oribe (1544–1615). It was intentionally distorted into a form called [kutsugata] (“shoe-shaped”).<br /></p>

美濃,Mino ware, Black Oribe style,松永安左エ門氏寄贈,Gift of Mr. Matsunaga Yasuzaemon,東京国立博物館,Tokyo National Museum

<p>About 400 years ago, artisans developed a new style of pottery called Oribe ware, named after the samurai lord and tea master Furuta Oribe (1544–1615). This pottery broke new ground with its unusual shapes and semi-abstract decorations. The tea bowl here features an asymmetric form called ［kutsugata］ (“shoe-shaped”) and decoration in iron pigment.</p>

京都国立博物館 Kyoto National Museum

Tea Bowl in "Aka-oribe" Style,木村定三コレクション / Kimura Teizo Collection

Tea Bowl in "Kuro-oribe" Style, named "Sumidagawa",木村定三コレクション / Kimura Teizo Collection

新兵衛,Tea Bowl in "Kuro-oribe" Style, named "Samidare",木村定三コレクション / Kimura Teizo Collection

京都国立博物館 Kyoto National Museum,Kyoto National Museum

<p>Though this work is called a &lt;i&gt;tenmoku&lt;/i&gt; tea bowl, its shape no longer conforms to that of the &lt;i&gt;tenmoku&lt;/i&gt; (Ch., Tianmu) style made in China. The green glaze used for this bowl bears no relation to that of the &lt;i&gt;tenmoku&lt;/i&gt; tea bowls with green glaze produced by the Jian kiln, but is related, rather, to the Oribe ware of the Momoyama period (1573-1615), during which copper green glaze was popularly applied.</p>

美濃,Mino ware, Oribe style,松永安左エ門氏寄贈,Gift of Mr. Matsunaga Yasuzaemon,東京国立博物館,Tokyo National Museum

<p>This style of pottery, called Narumi Oribe, is created through a complex process requiring various materials: white and red clays, green glaze, iron pigment, and watery white clay used to paint the surface.<br /></p>

京都国立博物館 Kyoto National Museum,Kyoto National Museum

<p>Among Shino ware with underglaze iron decoration, the body of work fired in multichambered climbing kilns is known as Shino Oribe. Compared with ceramics fired in the old style great kilns (&lt;i&gt;&amp;ocirc;gama&lt;/i&gt;), Shino Oribe is characterized by the following features: the glaze melts thoroughly, showing no ash gray color, and the underglaze iron decoration is blackish.</p>

京都国立博物館 Kyoto National Museum,Kyoto National Museum

湖東焼,横河民輔氏寄贈,東京国立博物館

京都国立博物館 Kyoto National Museum,Kyoto National Museum

美濃,Mino ware, Oribe type,東京国立博物館,Tokyo National Museum

<p>織部の中で銅緑釉だけを掛けたものを総織部という。総織部では下絵付けができないため、装飾は貼付文や印花、刻花で行なう。この硯では瓜と蔓の意匠を貼付けで行なっている。面白いのは瓜の部分が水滴の役割を果たすことで、傾けると水が硯の海の部分に流れ出す仕組みである。<br /></p>

美濃,Mino ware, Oribe style,東京国立博物館,Tokyo National Museum

<p>Ceramics made in the Narumi Oribe style feature abstract patterns on red and green backgrounds. These patterns can be interpreted in different ways. The picture on this bowl could represent a row of plants, but rotating the bowl 180 degrees makes the plants look like persimmons hung out to dry.<br /></p>

美濃,Mino ware, Oribe style,東京国立博物館,Tokyo National Museum

<p>Around the year 1600, the Mino kilns in central Japan developed a style of pottery called Oribe ware, named after the samurai lord and tea master Furuta Oribe (1544–1615). Oribe ware broke new ground with its unusual shapes and eye-catching decorations. This example, used to serve food during tea gatherings, imitates the shape of a folding fan.</p>

京都国立博物館 Kyoto National Museum,Kyoto National Museum

<p>Oribe ware and Shino ware are representative porcelains of the Momoyama Period. While excellent pieces of Shino ware were produced during the Tensho and the Bunroku Eras (late 16th Century), Oribe ware was produced mainly in the Keicho and Genna Eras (early 17th Century). <br />This fan-shaped container is a typical example of Oribe ware. A bamboo scraper was used to carve the fan-paper and fan-sticks design into the surface of the lid. A dynamic bamboo-like handle is attached to the center of the fan-sticks. Carved fan-stick designs also decorate the body of this container. Three sides of the lid and two sides of the body are coated with green glaze, characteristic of Oribe ware. On the white part of the surface, patterns of paving stones, stripes, nets, plum-arabesque patterns, and beads are depicted in sabi-e style (rust-colored lacquer painting). The underside is unglazed in one section and has three attarched feet.<br />This piece was actually used at the table in the Momoyama Period and clearly reflects the tastes of day.</p>

美濃,Mino ware, Oribe style,東京国立博物館,Tokyo National Museum

<p>Fan-shaped dishes are typical of Oribe ware. These particular ones feature a combination of green and white glazes.<br /></p>

美濃,Mino ware, Oribe style,東京国立博物館,Tokyo National Museum

<p>Tea ceremonies are occasions where people gather to drink powered green tea. At formal tea ceremonies, food is also placed before the tea drinker on vessels like these mukozuke dishes.<br /><br />These are examples of Oribe ware, a type of pottery made in the Mino region of present-day Gifu prefecture. Red and white clay was used to form a cylinder on a potter's wheel, with a fan-shaped mold then inserted into the cylinder and the vessel's shape formed around the mold. A copper-green glaze was then applied to the white ground and a milky white feldspathic glaze to the red ground to create a shifting color palette.<br /><br />The red ground is also decorated with vertical stripes resembling fan ribs. These adorn the straight sides that extend down from the center “pivot” of the fan-shaped mouth. The vessels also have curved sides that represent the tips of the fans. These feature a design of fishing nets hung up to dry. The nets are drawn with broad lines and colored white.<br /><br />These vessels can be appreciated from a variety of angles, with the colored patterns on the sides forming a striking contrast to the fan shapes seen from above.</p><br /><p>These food cups were used to serve seasonal delicacies at tea gatherings. They represent a unique style of Japanese pottery called Oribe ware, named after the samurai tea master Furuta Oribe (1544–1615). They are designed to resemble paper fans when seen from above and are painted with semi-abstract images of fishing nets hung out to dry.<br /></p>

美濃,Mino ware, Oribe style,蓑進氏寄贈,Gift of Mr. Mino Susumu,東京国立博物館,Tokyo National Museum

<p>This is a large Oribe ware bowl with a handle attached. It was probably made to serve food for sharing. It was mainly used during tea ceremonies.<br /><br />A glance at the object from above reveals a very strange shape. It almost looks like an inverted version of Mickey Mouse's face, but this traditional design actually represents an inlet and a beach.<br /><br />The handled section acts as a border, with one side made of white clay and the other red clay. A green glaze is applied to the white ground, while white clay is used to draw feathers and other geometric shapes on the red ground.<br /><br />Oribe ware ceramics were produced in the Mino district in present-day Gifu Prefecture from the late Azuchi-Momoyama Period to the Edo Period. As this bowl aptly demonstrates, these ceramics are characterized by thick, green glaze and freely-expressed shapes and patterns.<br /><br />Oribe ware takes its name from Furuta Oribe, a renowned tea master and a pupil of Sen no Rikyu, the man said to have perfected the tea ceremony. This bowl, produced many years after Oribe's death, was probably designed to match the great master's individualistic tastes.<br /><br />What kind of food would you serve in it?</p><br /><p>Oribe pottery is named after the samurai lord and tea master Furuta Oribe (1544–1615). It broke new ground with its unusual shapes and semi-abstract decorations. This example takes the form of a [suhama] (stylized sandbank), a motif associated with good fortune. The host of a tea gathering would have used it to serve food to the guests.<br /></p>

美濃,広田松繁氏寄贈,東京国立博物館

美濃,Mino ware, Oribe style,東京国立博物館,Tokyo National Museum

<p>Incense is burned at temples and shrines as an offering to the gods. The inscription on the side of this incense burner indicates that it was gifted to the Atsuta Shrine in Nagoya in 1612. It is decorated with a Chinese lion, a mythical creature believed to repel evil. Incense smoke would have wafted from its eyes and nostrils.<br /></p>

清水六兵衛（三代）,Kiyomizu Rokubei III,京都国立博物館 Kyoto National Museum,Kyoto National Museum

清水六兵衛（三代）,Kiyomizu Rokubei III,京都国立博物館 Kyoto National Museum,Kyoto National Museum