Ueda Sōko Ryū Melbourne
Japanese Tea Ceremony
of the Samurai Class
上 田 宗 箇 流 メ ル ボ ル ン
武 家 茶 道
Poetic Names for Chashaku (Mei) 茶杓の銘
Equipage of the Ueda Sōko Tradition 上田宗箇流の道具
1. Calligraphy gatha of the Buddhist name ‘Chikuin’「竹隠」
by Shunoku Sōen, 4th year of Keichō Era (around year 1600)
H: 31.1cm W: 39.2cm
In the 4th year of the Keichō Era (around year 1600) Ueda Sōko’s Zen master Shunoku Sōen composed this irreplaceable calligraphy work to bestow the Buddhist name ‘Chikuin’ 「竹隠」to Sōko, thereby acknowledging Sōko’s devotion to to Zen Buddhism. Revered Priest Shunoku (1529 -1611) was originally from Yamashiro Province. He received the teachings of Shōrei Sōkin and in the 2nd year of the Eiroko Era (1569) Shunoku Sōen became the 111th Head Priest of Daitokuji. Shunoku resided at Daisen-in and Jyukō-in sub-temples in the compound of Daitokuji before founding the sub-temple Sangen-in. Many Tea masters and Daimyō received their zen training under Shunoku Sōen and he was the officiating priest for the renovation of the Sanmon gate from funds donated by Sen Rikyū. In addition to ‘Chikuin’ 「竹隠」to Ueda Sōko, Shunoku Sōen bestowed Buddhist names to other Tea masters including ‘Kinbo’ 「金甫」to Furuta Oribe and ‘Taiyū’「有」to Kobori Enshū.
'I welcome no layman to my abode'
By Ueda Sōko
Composed in the Momoyama or Edo Period (late 16th ~ early 17th century)
(H: 91.5cm W: 26.5cm)
Sōko’s signature is in the characters 「宗古」(usually 宗箇). At first glance, this is a very bold message to commit to a scroll. The implication of the characters is ‘Upon mastering oneself through arduous refinement, discipline and cultivating morality, those without such education, taste for the arts and good judgement naturally lose association with me and never show at my door’.
From this work we see Ueda Sōko’s resolute will for the person of refinement the scroll points to to become the exemplar for his family and followers in the Way of Tea.
The brushstrokes are enriched in a bold spirit seen in many of the fine works by Zen masters. Ueda Sōko mastered living as a samurai in the turbulent Warring States Period (Sengoku). Throughout his life he pursued quietude for his mind and an unshakable spirit through the practice of Zen. This work emits a powerful aura of one who has transcended worldly desires, and is living an enlightened existence.
3. Single-section cut bamboo flower vase by Ueda Sōko
Composed in the Momoyama Period, early 17th century
(Top diameter: 14.3cm H: 29.0cm)
There are six single-section cut, and three double-section cut bamboo flower vases made by Ueda Sōko remaining in existence. There are no records of Furuta Oribe making bamboo flower vases, however Ueda Sōko certainly devoted time to the art. Sōko’s bamboo flower vases are characterised by strong, almost fierce blade marks cut down the face of the vase in single thrusts. On this flower vase there are additional cuts made to the left and right bottom of the vase. These subtle additions add dynamic energy to the powerful presence of the piece.
7. Niwayaki Akaraku Chawan ‘Satemo’ by Ueda Sōko
Sōko was known for his skill in making chawans (tea bowl) and this piece is the leading example of his skilled hand. The 12th Grandmaster Jyōō wrote this account of how the chawan got its name: “When our forefather Sōko presented this piece made by his own hand to his son Shigemasa, the only utterance to escape his lips was ‘Satemo . . . . . satemo . . .’ (My! . . . My! . . . (An articulation of a phrase like ‘what a fine piece!’ is implied after the Japanese exclamatory ‘satemo’)). Over time this utterance was the very name to become of this piece.”
The highlight of this bold piece are the powerful marks intentionally made with the sculpting tool. The chawan was fired at the Kawara estate of the Ueda family in Hiroshima.
8. Oribe kutsu gata chawan
Oribe’s vision had a great impact on Momoyama period pottery. He oversaw the creation of a distinctive style of chawan (tea bowl). The distinctive shape you see in this photo is called ‘kutsugata’ kutsu = shoe, kta = shape. The chawan has the Ueda family crest, kuginuki mon, on it and has been a treasured chawan for hundreds of years in the Ueda family.
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