館内 第一室

初代長左衛門と仙叟
茶道のみならず加賀の美術工芸に大きな影響を与えた裏千家の始祖・四世仙叟宗室居士と初代長左衛門の作品を展示した第一室です。茶人と陶工との関わりといえば、まず利休と長次郎があげられます。それまでの均整のとれた唐物とは、異なり手で捏ねて形づくり、焼成時に自然に発色した素朴な茶碗の色はまさに侘びの心に通じるものでした。加賀藩主五代前田綱紀候の招聘で京都から金沢へ招かれた仙叟と長左衛門もまた、茶人と陶工といった関係を越え、ともに加賀の茶道を作りあげていったといえます。楽家より贈られた飴釉、大樋焼の名のいわれでもある金沢市東郊・大樋町の士そして2人の交流が約335年にわたる大樋焼の基礎を築いてきました。加賀の地には加賀の茶道を、そして加賀にふさわしい茶陶をと生み出した意匠の一つが渦文です。仙叟の屋敷近くに流れていた川に泳ぐ川蝉を水指の摘みに、胴には川の流れをあらわす水波紋を刻んだ「飴釉蝦摘手付水指」は仙叟好みの意匠と、初代の優れた造形力が合わさった作品。その姿は利休にはじまる茶道の心を伝え、侘びの極意を知ることができます。師弟関係を越え、芸術家同士の人間的なつながりを通じて、互いに高めあった2人の交流が、加賀金沢に侘びの心を伝え、茶道の道を開きました。

HALL1 The First Ohi Chozaemon and Senso

The works of the 4th of Senso, the founder of Urasenke style which influenced not only the tea ceremony but also the whole art of the Kaga district, and of the 1st Chozaemon are exhibited in Hall 1.What is concerning craft men and tea ceremony masters, first of all, it essential to mention Rikyu and Chojiro. Till their time, the image of what is good Chinese vessel (Karamono) was that it is shaped by hand and the simple color of the glaze, which was naturally acquired by temperature processing, thus giving it more attractiveness. Senso and Chozaemon invited from Kyoto to Kanazawa by Maeda Tsunanori, the 5th lord of the Kaga clan, overcame just the tea ceremony master and craftsman relation, and together created tea ceremony of Kaga. Ohi Amber, presented by clan Raku, soil of the Ohi street (this street islocated in the east part of Kanazawa and from it Ohi ware takes its name) and collaborative work of 2 person created the basics Ohi ware lasting for approximately 335 years.One of the big achievements was whirlpool design, which gave birth to the tradition of drinking tea of the Kaga district, using tea bouls appropriate to Kaga. One of the masterpieces in this style, which combined excellent skills and was favored by Senso, is “Water container, with handle Ohi amber glaze”, made by Ohi Chozaemon . River shrimp swimming in the river flowing near Senso’s villa is an object for the nose part of this container, and water waves, which show the river flowing, are inscribed on the body. The form transmits the sole of the tea ceremony beginning since Rikyuu, and through it can be achieved the sense of calmness. The cooperation of those two masters, through there overcoming of just master-apprentice relations, and there personal connection as art men, helped both of them to achieve a higher level of art and opened the way to linkage of the tea ceremony with pottery art, transmitting the sole and calmness of Kanazawa (Kaga).

館内 第二室

大樋焼歴代の流れ
二代から現代・十代まで、代々受け継がれてきた大樋焼の歴史を一堂に展示しました。一般に飴釉といっても代々微妙に色が異なります。五代長左衛門は数々の作品のスケッチや釉の調合例を書き印しています。しかし、それはその時代だけのものであり、先代とまったく同じものをただ繋ぐだけでは、代を継いだことにはなりません。その代なりのオリジナリティを加えてきたからこそ、大樋焼は約335年もの長い歳月を重ねることができたといえます。次代に良質な適した土を残す。これは現在も続けられていることです。掘り出したばかりの土では粘りに欠けるので、一旦水に溶かして、丁寧に石を取り除き、他の粘土と混合させた良質の粘土をそのまま自然の中に置き、次の次の代が使えるようにしておきます。歴史を継ぐとは、手を取って技を教えることではなく、作品で美を伝えることであり、生き方を伝えることです。たとえば五代黒茶碗・銘「百万石」は、四代が新たに始めた黒釉の技法をさらに工夫し、五代ならではの作風を築いています。見て美しく、飲みやすく、手触りがいいこと。茶碗に求められる要素をすべて踏まえたうえで、時に豪快、時に繊細に、多種多様な技法を自在にいかしてきた大樋焼の歴史が、ここにあります。

HALL2 From the Generation to the Next

The history of Ohi Ware , which continues from the 2nd till the present 10th generation, is exhibited in the hall 2. Generally, the amber glaze is used to define Ohiyaki, but its color is subtly different from generation to generation. The preparation of amber glaze is particular to each generation. Certainly, the main reason of that is the changing of generations, but also, it is said, that the proportion of components for preparation was lost. Just copying works of the first generation does not mean that generation will succeede. It can be said that the originality of each generation is the very thing, which made it possible for Ohi Ware to pass through its approximately 335 years history.The amber glaze is not left to the next generation, but the clay remains. Because the clay, which was just dug out, lacks viscosity, in order to improve it and in order for the future generation to use it, the clay is courteously cleared out of stones and then is returned to nature. To continue the history is not teaching of technique by holding ones hand, it means the teaching beauty by showing works of art. This can be demonstrated with the “Hyakumangoku” of the 5th generation’s black tea bowl. In this case the technique of black glaze, which was invented in the 4th generation, was developed farther and, a new style of 5th generation was founded. It is beautiful, pleasant to touch and drink from it. Ohi Ware combined all necessary elements for tea bowl, and above that all is dynamic and delicate to time, possesses various techniques, what is the very history of Ohiyaki.This exhibition hall introduces not only ceramics, but also the art in a wider meaning. Next to this Hall is a lecture hall, used for education and lecture meetings and can be used for exhibiting works of art with the 3rd hall.

館内 第三室

大樋家ゆかりの人々
陶芸のみにこだわらず、広い意味での美術を紹介する展示室です。隣接する講義室は、企画展にあわせた講演会はもちろんのこと、第三室とあわせての作品展示も可能なスペースです。常設展示としては、十代を中心とした大樋焼歴史ゆかりの人々の作品を展示する予定です。九代までの歴史は、あくまでも茶陶中心でしたが、十代は造形作家としての活動を新たに加えてきました。その活動ともに交流を得た人々も、裏千家十五世鵬雲斎御家元などの茶人にとどまらず、華道草月流勅使河原宏御家元、東大寺元官長清水公照老師、中川一政画伯、加山又造画伯、版画家棟方志功など多方面に渡ります。それらの人々が、工房を訪ねて大樋の窯で試みられた作品をはじめ、絵画、書など大樋焼歴代ゆかりの作品と、十代大樋長左衛門の作品を中心に展示します。飴釉を使った、茶陶だけが大樋焼なのではなく、代々の創造する世界がすなわち大樋焼なのです。現在、日本芸術院会員となり、1984年に日本芸術院賞を受賞した十代の「峙つ」はこれまで茶陶にしか用いられていなかった花三島の技法を操作に応用。伝統を基本にしながら、現代美術として大樋焼をとらえた新しい息吹を伝える現代の大樋焼。その後を今後もさまざまな方面からの企画展を通じて紹介していきます。

HALL3 The people related with Ohi

The bulk of Ohi Ware produced till the 9th generation is ceramics used primarily for the tea ceremony, but the 10th generation did not stop on that and started to combine traditional proceses with modern forms, philosophies and contemporary mediums. There are many art masters who was also doing this. For example, Hounsai Oiemoto, tea master of the 15th Urasenke, the master of ikebana Teshigawara Hiroshi, the former chief of temple Todaiji Nakagawa Shimizu Koshiyo and the artist Nakagawa Kazumasa - all embraced the combination of old and new.The works of the 10th Chozaemon and works of various people related to the history of Ohi Ware, represented through pictures, calligraphy, works made in various craftshops and so on are the works displayed in this hall.Ohi Ware is not just ceramics for the tea ceremony, made using the amber glaze, it is the world created by each generation. For example, the vessel “Rising”, that was made by the 10th Chozaemon in the Ohi Mishima Style, received the Japan Art Academy Award. This work is unique in that is truly embraced the traditional tea ceremony style yet pushed the boundaries into producing truly modern art and this was something that had never been done before. In the future we are going to continue to introduce Ohi Ware which combine the tradition of the past generations with the philosophies and ideas of today.