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What is tea? The sound of wind in the pines, painted in ink chanoyu to wa ikanaru koto o iu yaran sumie ni kakishi matsukaze no koe 茶の湯とはいかなることをいふやらむ 墨繪にかきし松風の聲 joshinsai 如心斎

Japanese Scroll of Joshinsai - What is tea? The sound of wind in the pines, painted in ink (chanoyu to wa ikanaru koto o iu yaran sumie ni kakishi matsukaze no koe) — Calligraphy by Eri Takase
茶の湯とはいかなることをいふやらむ墨繪にかきし松風の聲 Original Scroll by Master Calligrapher Eri Takase

Abstract

茶の湯とはいかなることをいふやらむ / 墨繪にかきし松風の聲, which asks what tea is and answers the sound of the pine wind painted in ink, is a poem of thirty-one syllables on the way of tea, a 道歌, printed in this form in 1905 in an appendix headed 茶話抄附錄 (如心齋傳法) [1]. In the oldest written record of it found for this history, it is the answer of the tea master Joshinsai 如心斎 (1705–1751), seventh head of the Omotesenke house, to a question about what tea means, as his pupil Kawakami Fuhaku 川上不白 recorded it in a note he signed with the name he held from 1740 to 1773 [2][3][4]; Fuhaku's own notes, as the books that quote them give them, say Joshinsai wrote it out for a man who asked him for something on tea, and in 1784 Fuhaku wrote it out himself as a poem of Joshinsai's [5][6]. Its last line is older than its first: a poem printed under the name of the Zen master Ikkyū 一休 by 1632 asks the same question of the heart and answers with the same line, and the scholar Furuta Shōkin 古田紹欽 named that poem as the one the tea poem remakes [7][8]. Since 1973 the poem has also been given, in Japanese and then in English, to the tea master Sen Sōtan 千宗旦; in everything read for this history that attribution goes back to one essay, which in the passage read names no source [9][10].

A reading

I read the poem as Joshinsai's answer, kept by his pupil, and I read its last line two ways at once. The attribution rests on Kawakami Fuhaku 川上不白, Joshinsai's pupil, who set the poem down twice in his own notes and, in old age, wrote it out on a sheet under Joshinsai's name; an attribution to the third head of the Sen house, Sen Sōtan 千宗旦, appears only from 1973, and every witness to it read for this history goes back to one essay [5][6][9]. The poem is a remaking: an older poem printed under Ikkyū's name asks what the heart is and answers with the same last line, and Joshinsai's version puts tea where the heart was [7][8]. That line, read in the older poem, says that what is asked about cannot be shown or said, as no painter can paint the sound of the wind in the pines; a book of 1880 explains it so [11]. In tea the same words do something more, because 松風, the pine wind, is also what tea calls the sound of water coming to the boil in the kettle [12]. So the answer that refuses to say what tea is also names the sound the guest sits listening for. I sign both readings together: the line is a refusal to define, and in the tea room the refusal becomes something heard. The other attributions, to Sōtan and to a pupil of Tachibana Jitsuzan also named Joshin, are taken up in the record below.

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Overview

The text. The words are sold as the 1905 print gives them, 茶の湯とはいかなるヿをいふやらむ / 墨繪にかきし松風の聲, its こと written as one ligature, with the ruby 茶 ちや, 湯 ゆ, 墨繪 すみえ, 松風 まつかぜ and 聲 こえ [1]. The poem's witnesses differ in three places, and each hand keeps its own form. Read at the page, the last word is 聲 in 1905 and 音 on the sheet the Zen painter Sengai 仙厓 wrote out, and the first line's verb is いふやらむ in 1905 and いふへけん, read いふべけん, on Sengai's sheet [1][13]. The witnesses read only in the National Diet Library's full-text index split the same way, as the index gives their text: 聲 in a print of 1896, 声 on Fuhaku's sheet of 1784, こゑ in the prints of 1933 and 1961, and 音 in Fuhaku's notes, on a tea caddy inscribed by Joshinsai's son Sottakusai 啐啄斎, and in the form given to Sōtan, which Hirota's romaji also ends oto [14][6][2][15][5][16][9][10]. In the same index the 1896 print has いふならん, and the caddy and the Sōtan form recast the whole first line, as if you ask what kind of thing tea is and if someone asks what tea is [14][16][9].

The sense. The poem asks what tea is and answers with something that cannot exist: a sound inside a painting. A book of 1980 that reproduces Fuhaku's brushwork calls it a 茶の湯道歌, a poem that teaches tea, in a window of the full-text index [6]. No dictionary read for this history enters the poem as a headword; デジタル版 日本人名大辞典+Plus quotes it among the sayings of Joshinsai, as 茶の湯とはいか成物をいふやらん墨絵に書し松風のこゑ, with its source, 「茶話抄」 [4]. Its readers give it two senses, and they are not exclusive. The first is the older poem's: what is asked about is beyond words; the tea teacher Hamamoto Sōshun 浜本宗俊 called the poem a Zen answer, in an essay read in the full-text index [9]. The second is the tea room's: in the same passage she noted that tea likens the boiling sound of the kettle to the pine wind, and a writer of 1971 asked where else in the world a people would hear the wind in the pine trees in a kettle on the boil [9][17].

The words. 茶の湯, ちゃのゆ, chanoyu, is in デジタル大辞泉 inviting guests and whisking powdered tea for them to enjoy, and the manners and the gathering of it [18]. いかなる is of what kind. やらむ, in the 1905 spelling, or やらん, is in the same dictionary a word from the medieval period on, a contraction of にやあらむ, I wonder whether it is; with いふ, to call, the first line is what is it that we call tea, I wonder [19]. 墨繪, すみえ, sumie, is a painting in ink; for this sense 精選版 日本国語大辞典's earliest example is the 明月記 of 1233 [20]. かきし is painted, the past form that modifies the noun after it. 松風, まつかぜ, matsukaze, is the wind blowing in the pines and its sound; デジタル大辞泉 gives as a second sense 茶の湯で、釜の湯の煮え立つ音, in tea, the sound of the water boiling in the kettle [12]. 聲, voice, sound, is こえ in the 1905 ruby; the hands that write 音 have oto [1]. Sengai's いふべけん has べけむ in place of やらむ, which デジタル大辞泉 glosses it must be, it can be, it would be well to: what should one call it? [21]. The romaji here, chanoyu to wa ikanaru koto o iu yaran / sumie ni kakishi matsukaze no koe, reads the 1905 ruby in modern pronunciation.

The text in English. The only English of the tea poem known to this study gives it to Sōtan. Dennis Hirota's Wind in the Pines (1995) renders it If asked / the nature of chanoyu, / say it's the sound / of windblown pines / in a painting, Herbert Plutschow gives the same form in his own English in 2001, and Audrey Yoshiko Seo, writing with Stephen Addiss, quotes Hirota's words in 2010 [10][22][23]. The older poem on the heart reached English earlier: the first English of it known to this study is of 1917 [24].

The historical record

The appendix of 1905, and the book behind it

1905, 茶話抄附錄, in the tea master Tanaka Senshō 田中仙樵's Chazen ichimi 茶禅一味. The appendix is headed 一 茶話抄附錄 (如心齋傳法), an appendix to the Chawashō, as handed down by Joshinsai, and opens 此一卷一覽の處凡茶道の奧儀一二句にて盡せり予聞傳習ひ得たる事猶又書添申可く候, having read this book through, I find the depths of the way of tea said in one or two lines; I add what I heard and learned; a page later the writer adds one or two lines of the secret I gained, 予が得たる所の秘事一兩句書添申候, and then gives the poem with its question [1]:

或る人茶道の奧儀を問ふ答へて / 茶の湯とはいかなるヿをいふやらむ / 墨繪にかきし松風の聲

Someone asked the depths of the way of tea. The answer: what is it, the thing we call tea? The sound of the pine wind painted in ink. The print does not name, on this page, who asked or who answered.

The 茶話抄, a book of Joshinsai's tea talk. The Chawashō 茶話抄 survives in manuscript; the 国書データベース names Yokoi Dansho 横井談所 as its writer and Kawakami Fusen 川上不羨, Fuhaku, among those who added to it, and lists copies in the 蓬左文庫, one of them dated 享和元年 (1801), and in the 神宮文庫, none of them imaged [25]. A tea encyclopedia of 1933, 『茶道大鑑』, read in the National Diet Library's full-text index, prints the appendix with its frame. Someone, the writer says, showed him a book of tea talk said to have been heard from Joshinsai; once someone asked the master what tea means, and the master answered with the poem, ending こゑ; and the note closes with its signature, as a pupil to whom Joshinsai handed down his teaching, with the name 宗雪, and the words the above is the note added at the end of one volume of tea talk [2]. 宗雪 is the tea name Fuhaku took from Joshinsai, and a collection of 1937, also read in the index, dates it from 元文五年 (1740) to 安永二年 (1773), when he passed it to his heir [26][3]. The book's first full printing, in 1961, read in the same index, gives the passage the same way, the pupil asking what the master meant by tea and the master answering with the poem, and its footnotes show that another manuscript carries the poem in a supplement [15]. So in the Chawashō the poem is the master's answer to a pupil's question, set down by Fuhaku under the name 宗雪, between 1740 and 1773.

Fuhaku's own notes

After 1751, the Fuhaku hikki 不白筆記. Fuhaku wrote his notes for Joshinsai's son Sottakusai after Joshinsai's death and signed them 宗雪 [3]. The 国書データベース records one manuscript of them; they are read here in four books that quote them, all in the full-text index. In one item of the notes, the poem is a gift: Fuyuki Kiheiji 冬木喜平次 asked Joshinsai for something on tea, and Joshinsai wrote the poem out and gave it to him, the poem ending 音 [5][27][6]. A study of 1979 identifies Kiheiji as the fifth head of the Fuyuki house, a pupil of Joshinsai, and cites letters of his to Joshinsai of 寛延三年 (1750) [27]. At the close of the notes, after Fuhaku says he has burned what he wrote earlier and that this writing is for when the rest has been exhausted and of no use before, the poem comes back with no name, followed by a Zen line, the iron boat floats on the water [3]. Tanaka Senshō, commenting on that close in the late 1930s in a serial collected in 1978, wrote that once the line is taken to heart the sound of the pine wind is first heard, rustling, and that tea at that moment is real tea [28]. The attribution to Joshinsai rests on Fuhaku's record of the occasion, made by a pupil while the people in it were alive or newly dead.

Written out on sheets

1784, Fuhaku's sheet of the 茶道訓. In old age, signing 孤峰, the name he took after passing on 宗雪 in 1773, Fuhaku wrote out a short text on the way of tea that opens by saying the way of tea lies in the heart, not in technique, then gives the poem as Joshinsai's poem, bids the reader study it, and closes on a saying it gives as Joshinsai's own, what is not tea is tea. One sheet is dated the first day of spring in 天明四年 (1784). The collection of his brushwork that reproduces it is read in the full-text index [6].

Undated, Sengai's sheet. The Zen priest and painter Sengai 仙厓 (d. 1837) wrote out the same text and signed it 厓代筆, written by Gai on another's behalf [29][30]. The collection of his brushwork of 1920 prints the part with the poem in type as 如心齋歌に「茶の湯とはいかなる事をいふへけん墨繪に畫し松風の音」此歌に參へし。茶てないか茶也、と如心齋常に被申し也, and the plate shows the sheet [13][30]. The sheet names Joshinsai, as Fuhaku's does.

1896, a lecture. In a magazine of January 1896, a tea master who signs 望月庵 lectured on the same text as a writing of Joshinsai's, and in the course of the talk gave the poem as Joshinsai's; it is read in the full-text index [14].

Undated, a tea caddy. A book of 1980 on the craftsmen of the Sen houses describes a tea caddy inscribed in red in Sottakusai's own hand with the poem under a different first line, if you ask what kind of thing tea is; it is read in the full-text index [16].

The poem on the heart

1632 and earlier, 『水鏡』. A kana book printed under the name of Ikkyū Sōjun 一休宗純, Mizukagami 水鏡, carries this poem, here in the dated print of 寛永9年 (1632) [7]; an undated print the National Diet Library catalogues as of the 慶長 or 元和 era (1596–1624) writes 物 and 松風 in kanji, …いかなる物をいふやらん / …かきし松風のをと [31]:

こゝろとはいかなるものをいふやらん / すみゑにかきしまつ風のをと

What is it, the thing we call the heart? The sound of the pine wind painted in ink. This library's history of the word 松風 reads the poem at those prints and follows its last line under other questions: in a book of 1880 that explains it as the sound no painter can paint, 不可言說, beyond words; in poems of the sword; and in a death verse given to the priest Kōchi 弘智, written down by 1712 [11].

1967, Furuta's 本歌. The scholar of Zen Furuta Shōkin 古田紹欽, in an essay of 1967 reprinted in his collected works, called the tea poem one handed down as Joshinsai's, and wrote that it in fact has a 本歌, a poem handed down as Ikkyū's that asks what the heart is and ends with the same line; it is read in the full-text index [8]. A 本歌 is the older poem a new one takes its words from. The tea poem keeps the heart poem's second line whole and its first line's frame, いかなる…をいふやらん, and puts 茶の湯 where 心 stood.

The pine wind in the kettle

1584 by its own date, the 露地 rule. 松風 as the sound of the kettle is older than the dictionaries' examples. A set of seven articles for the tea gathering, to be posted at the gate, dated 天正十二年 (1584) and signed 南坊, which Komai Norimura 駒井乗邨 (1766–1846) copied into his manuscript miscellany 『鶯宿雑記』, tells the guests when to come back in: 一沸湯松風に及ひ鐘声いたらは客再ひ来れ, when the boiling water reaches the pine wind and the bell sounds, let the guests come in again [32]. In a preface of 1838 the writer Santō Kyōzan 山東京山 pictures himself 錆釜の松風に静坐して, sitting quietly by the pine wind of a rusty kettle, with the ruby まつかぜ on 松風 [33].

The kettle heard in the poem. In 1971 a writer in the tea magazine 『淡交』 called the pine wind the emblem of the spirit of tea since old times, as in Joshinsai's poem, which the writer quoted in Sengai's wording [17]. Hamamoto in 1973 set the kettle beside the poem, and a collection of essays of 1999, citing Furuta, spoke of the state of mind in tea in which the water in the kettle is heard as a sound like the pine wind; both are read in the full-text index [9][34].

The attribution

Joshinsai. The witnesses older than 1900 that name a maker name Joshinsai: Fuhaku's notes, the note he signed 宗雪 at the end of the Chawashō, his sheet of 1784, Sengai's sheet and the lecture of 1896 [5][2][6][13][14]. They are not independent of each other: each goes back to Joshinsai's school, and most to Fuhaku. That is what an attribution from a teacher's own pupil looks like, and no witness read for this history gives the poem to anyone else before the twentieth century.

Sōtan, from 1973. In March 1973, in an essay on the ten ox-herding pictures in 『淡交』, Hamamoto Sōshun 浜本宗俊 (1901–1986), a teacher of the Urasenke house [35], gave a form of the poem that opens if someone asks what tea is as a poem of 元伯, that is, of Sen Sōtan 千宗旦 (1578–1658), Rikyū's grandson; the essay is read in the full-text index [9][36]. A collection of 1997 that reprints the essay gives its first printing as 『淡交』 1973 and its standard text as her book of 1981 [37]. Hirota translated the essay in 1995, citing that book, and gave the poem to Sōtan in his own introduction; Plutschow gives it to Sōtan naming no source, and Seo in Hirota's words [10][22][23]. Every attribution to Sōtan read for this history goes back to that essay, and the essay, in the passage read, names no source; in the instruments run for this history, no witness before 1973 gives the poem to Sōtan.

大賀如心, a reading of Sengai's sheet. Two books of 1970 and 1978, the second 『博多と茶湯』, Hakata and Tea, take the Joshin named on his sheet for a pupil of the tea master Tachibana Jitsuzan 立花実山, and the first names him 大賀如心, not the head of the Omotesenke house; both are read in the full-text index [38][39]. Fuhaku's own sheets, which carry the same text, name Joshinsai, and Fuhaku was the Omotesenke Joshinsai's pupil, so the reading does not hold [6].

What is not a source

The Zen line on the iron boat that follows the poem at the close of Fuhaku's notes is set beside it, not under it [3]. The 露地 rule and Kyōzan's preface show that tea heard the kettle as the pine wind; they do not carry the poem [32][33]. The short text on the heart and technique is the frame in which Fuhaku and Sengai wrote the poem out, not its source [6][13].

The poem in English

1917, the heart poem. James S. De Benneville's The Yotsuya Kwaidan gives the older poem in a tale of the swordsman Yagyū Jūbei: The heart, how judge it? An ink sketch of the breeze amid the pines [24].

1995, Hirota. Dennis Hirota, Wind in the Pines: Classic Writings of the Way of Tea as a Buddhist Path, introduction, pp. 25–26, gives the Sōtan form with its romaji, chanoyu to wa / ikanaru koto to / hito toeba / sumie ni kakishi / matsu kaze no oto, and renders it If asked / the nature of chanoyu, / say it's the sound / of windblown pines / in a painting; on p. 317, in his translation of Hamamoto's essay, the same words follow A poem by the tea master Sen Sōtan (1578-1658) reads [10]. The ascription is Hamamoto's, carried into English; the eighteenth-century witnesses give the poem to Joshinsai.

2001, Plutschow. Herbert Plutschow, The Grand Tea Master: A Biography of Hounsai Soshitsu Sen XV, p. 28, writing of the sound of the kettle as resembling the wind blowing through the pine trees, introduces the poem with In the following poem, Sotan expressed the effect tea can have on the senses and renders it When someone asks you: / What is the nature of tea? / Say it's the sound / Of the wind blowing through the pines / In a painting; he names no source, and his first line follows the Sōtan form's if someone asks [22].

2010, Seo. Audrey Yoshiko Seo and Stephen Addiss, The Sound of One Hand, p. 246, writing of a tea bowl inscribed by the Zen master Takujū, explain that in the making of tea the sound of the boiling water in the kettle resembles that of the wind through the pines, and then Sen Sōtan composed the following poem, with Hirota's words [23].

Today. JMdict, the dictionary of the Electronic Dictionary Research and Development Group, does not carry the poem; it gives 松風 with the kettle among its senses, as the dictionaries above do. The English title of this history, What is tea? The sound of wind in the pines, painted in ink, follows the 1905 form; closer to its words the first line asks what kind of thing is it, I wonder, that we call tea?, and the title shortens the question. A rendering must keep the question and the impossible answer: a sound, in a painting.

Notes

In the 1905 print, the こと of いかなることを is a single ligature; it is given here as two kana [1].

In the 1961 printing of the Chawashō, as the full-text index's window gives it, the passage runs from 茶の湯とはの歌 through the name 利休 into the poem; the window does not show whether the name ascribes the poem or opens a note, no other witness read gives the poem to Rikyū, and nothing in this history rests on it [15].

On the plate of Sengai's sheet the kana read へ in いふへけん is not certain; the typeset of 1920 reads へ, and it is read so here [30][13].

The dictionaries give Sōtan's death as 1658 or 1659: he died in the twelfth month of 万治元年, which ran into 1659 [36].

The witnesses of 1896, 1933, 1937 and 1961, Fuhaku's notes and sheets, the caddy, and the books of 1967 to 1999 are read in the National Diet Library's full-text index, whose windows give the words but not the page, so they are given here in English; the 1905 print, the 1632 print, Sengai's sheet, the 鶯宿雑記 and Kyōzan's preface are read at the page and quoted as they print; single words the index gives (a last word, いふならん) are named as the index's text.

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Japanese Scrolls by Master Calligrapher Eri Takase

Japanese Scroll of Joshinsai - What is tea? The sound of wind in the pines, painted in ink (chanoyu to wa ikanaru koto o iu yaran sumie ni kakishi matsukaze no koe) in a block font by Master Japanese Calligrapher Eri Takase
茶の湯とはいかなることをいふやらむ墨繪にかきし松風の聲VB5JBlock
Japanese Scroll of Joshinsai - What is tea? The sound of wind in the pines, painted in ink (chanoyu to wa ikanaru koto o iu yaran sumie ni kakishi matsukaze no koe) in a cursive font by Master Japanese Calligrapher Eri Takase
茶の湯とはいかなることをいふやらむ墨繪にかきし松風の聲VC5JCursive
Japanese Scroll of Joshinsai - What is tea? The sound of wind in the pines, painted in ink (chanoyu to wa ikanaru koto o iu yaran sumie ni kakishi matsukaze no koe) in Master Japanese Calligrapher Eri Takase's own style (Eri's Choice)
茶の湯とはいかなることをいふやらむ墨繪にかきし松風の聲VD5JEri's Choice
Japanese Scroll of Joshinsai - What is tea? The sound of wind in the pines, painted in ink (chanoyu to wa ikanaru koto o iu yaran sumie ni kakishi matsukaze no koe) in a semi-cursive font by Master Japanese Calligrapher Eri Takase
茶の湯とはいかなることをいふやらむ墨繪にかきし松風の聲VS5JSemi-Cursive

Sources not seen

『不白筆記』, the one manuscript the 国書データベース records, in the 木村 collection of the 糸魚川市歴史民俗資料館 (https://kokusho.nijl.ac.jp/work/4377774): it would show both passages of Fuhaku's notes at the page, and whether the gift to Fuyuki Kiheiji ends 音 as the books that quote it say.

『茶話抄』, the manuscript copies in the 蓬左文庫 (call number 048-0379-002, and a copy of 享和元年, 1801, in the 尾崎 collection) and in the 神宮文庫, none imaged: they would show the note signed Sōsetsu at the page in an Edo copy, and its last word.

The pages of 『茶道大鑑』 (1933), 『茶道全集』 (1937), 『茶道古典全集』 10 (1961), 『孤峰不白遺墨集』 (1980) and 『淡交』 of March 1973, which can be read only in Japan: they would show each passage at the page, and the 1961 head-note in full.

A reader with access to any of these is invited to write to Takase Studios at Tim@Takase.com.

References

  1. 田中仙樵, 『茶禅一味』 (禅学叢書 第6編), 光融館, 1905 (明38.3), 一 茶話抄附錄 (如心齋傳法), pp. 277–278, scans 148 and 149, at the National Diet Library. https://dl.ndl.go.jp/pid/823364/1/149
  2. 橋本博 編, 『茶道大鑑』 上巻, 大洽社, 1933; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/1190559
  3. 井口海仙 等編, 『茶道全集』 卷の十一, 創元社, 1937, 不白筆記; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/1869416
  4. 「千宗左(7代)」, デジタル版 日本人名大辞典+Plus, at kotobank. https://kotobank.jp/word/%E5%8D%83%E5%AE%97%E5%B7%A6-550467
  5. 寺本界雄 編著, 『川上不白: 茶中茶外』, 1975; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/14490557
  6. 川上不白 筆, 江戸千家茶の湯研究室 編, 『孤峰不白遺墨集』, 講談社, 1980; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/12709991
  7. 『水鑑』 (一休水鏡), 寛永9 (1632), 中野市右衛門刊行, canvases 5 and 6 (the poem) and 21 (the colophon), National Institute of Japanese Literature, at the 国書データベース (biblio 200043820). https://kokusho.nijl.ac.jp/biblio/200043820/6
  8. 古田紹欽, 『古田紹欽著作集』 第7巻 (禅と日本文化), 講談社, 1980 (the essay first printed in 『淡交』, December 1967, whose passage the index also shows: https://dl.ndl.go.jp/pid/7890913); read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/12268048
  9. 浜本宗俊, 「十牛図私解」, 『淡交』 27 (3) (no. 314), 淡交社, March 1973; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/7890976
  10. Dennis Hirota, compiler and editor, Wind in the Pines: Classic Writings of the Way of Tea as a Buddhist Path, Asian Humanities Press, Fremont, California, 1995, pp. 25–26 and 317, and note 239.
  11. 典 Ten, 「松風 · matsukaze · Wind in the pines」, Takase Studios Library, philology, 2026, § The pine wind painted in ink. https://takase.com/library/philology/matsukaze
  12. 「松風」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/%E6%9D%BE%E9%A2%A8-136494
  13. 富田渓仙 編, 『仙厓禅師遺墨集』, the volume the catalogue names 下巻, 小川多一郎, 1920, scan 37 (the page headed 上卷解說), at the National Diet Library. https://dl.ndl.go.jp/pid/967493/1/37
  14. 望月庵 述, 「茶道の話」, 『名家談叢』 第五號, 談叢社, January 1896; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/1583653
  15. 千宗室 等編, 『茶道古典全集』 第10巻, 淡交新社, 1961, 茶話抄; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/2466386
  16. 青山清 編集, 『千家十職』, 毎日新聞社, 1980; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/14286513
  17. 『淡交』 25 (9) (no. 296), 淡交社, September 1971; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/7890958
  18. 「茶の湯」, デジタル大辞泉, at kotobank. https://kotobank.jp/word/%E8%8C%B6%E3%81%AE%E6%B9%AF-96782
  19. 「やらん」, デジタル大辞泉, at kotobank. https://kotobank.jp/word/%E3%82%84%E3%82%89%E3%82%93-649822
  20. 「墨絵」, 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/%E5%A2%A8%E7%B5%B5-84937
  21. 「べけむ」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/%E3%81%B9%E3%81%91%E3%82%80-624744
  22. Herbert Plutschow, The Grand Tea Master: A Biography of Hounsai Soshitsu Sen XV, Weatherhill, Trumbull, Connecticut, 2001, first edition, p. 28.
  23. Audrey Yoshiko Seo and Stephen Addiss, The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin, Shambhala, Boston, 2010, first edition, p. 246.
  24. James S. De Benneville, The Yotsuya Kwaidan, or O'Iwa Inari, 1917, p. 284 and note 12, at the Internet Archive. https://archive.org/details/yotsuyakwaidanor00deberich/page/284
  25. 「茶話抄」, work 3399608, at the 国書データベース. https://kokusho.nijl.ac.jp/work/3399608
  26. 「川上不白」, 精選版 日本国語大辞典 and 改訂新版 世界大百科事典, at kotobank. https://kotobank.jp/word/%E5%B7%9D%E4%B8%8A%E4%B8%8D%E7%99%BD-15904
  27. 浅田晃彦, 『不白の跡を探ねて』, 1979; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/12439390
  28. 田中仙樵, 『三徳庵田中仙樵全集』 第6巻 (茶道人物考), 田中仙翁 編, 茶道之研究社, 1978; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/12439211
  29. 「仙厓義梵」, デジタル版 日本人名大辞典+Plus, at kotobank. https://kotobank.jp/word/%E4%BB%99%E5%8E%93%E7%BE%A9%E6%A2%B5-18224
  30. 富田渓仙 編, 『仙厓禅師遺墨集』, the volume the catalogue names 上巻, 小川多一郎, 1920, scan 16, at the National Diet Library. https://dl.ndl.go.jp/pid/13697976/1/16
  31. 宗純, 『水鏡』, 慶長・元和年間 by the catalogue's bracketed date, National Diet Library WA7-206, scan 7. https://dl.ndl.go.jp/pid/2532194/1/7
  32. 駒井乗邨 (1766–1846), 『鶯宿雑記』, 巻113–114, manuscript, undated, scan 9, at the National Diet Library. https://dl.ndl.go.jp/pid/10301270/1/9
  33. 山東京山 作, 歌川国芳 画, 『つれつれ艸不見世友』 (つれつれ艸三編), 錦耕堂, 天保9 (1838), scan 4, at the National Diet Library. https://dl.ndl.go.jp/pid/9893196/1/4
  34. 田村充正, 馬場重行, 原善 編, 『川端文学の世界』 3, 勉誠出版, 1999; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/14126612
  35. 「浜本宗俊」, 20世紀日本人名事典 and デジタル版 日本人名大辞典+Plus, at kotobank. https://kotobank.jp/word/%E6%B5%9C%E6%9C%AC%E5%AE%97%E4%BF%8A-1102008
  36. 「千宗旦」, デジタル大辞泉, 精選版 日本国語大辞典, 改訂新版 世界大百科事典 and デジタル版 日本人名大辞典+Plus, at kotobank. https://kotobank.jp/word/%E5%8D%83%E5%AE%97%E6%97%A6-18236
  37. 熊倉功夫 編集・解説, 『禅と能楽・茶』 (叢書禅と日本文化 第3巻), ぺりかん社, 1997, the essay's source note; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/14045717
  38. 竜淵環洲 述, 『禅茶録』 其の2, 茶道南方流南方会, 1970; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/2526371
  39. 筑紫豊, 『博多と茶湯』, 文献出版, 1978; read in the National Diet Library's full-text index, not at the page. https://dl.ndl.go.jp/pid/12439376

Authors

Tim Jackowski (Systems Architect, Takase Studios, LLC) · 典 Ten (Anthropic Claude Opus 5.5, Takase Studios, LLC)

AI written · Ten wrote the history. Tim Jackowski commissioned it and answers for it.

Checked · the writer (Claude), 2026-11-04, citations: every address in the history run through the citation checker; 21 resolved and one differed (Hirota's poem runs over pp. 25–26, corrected at the page); the addresses the checker could not open (the library's full-text index, the dictionaries, three page scans, the 1632 print) were opened in the reading sittings; not a fresh-context check · two fresh-context readers (Claude), 2026-11-04, every claim in the page's summary block and abstract traced to its source and page image: round 1 PASS from both, no wrong fact; their wordings applied (the oldest record scoped to this study, the Sōtan essay's silence scoped to the passage read, the 1961 window running from 利休 into the poem, the 1584 articles not under Rikyū's name, the undated 水鏡's spelling, the Jitsuzan reading)

Research depth: step 4 of our 10-step ladder, sources traced · November 2026

Cite as: Tim Jackowski and Ten, "Philology of 茶の湯とはいかなることをいふやらむ墨繪にかきし松風の聲 (chanoyu to wa ikanaru koto o iu yaran sumie ni kakishi matsukaze no koe)," Takase Studios, 2026, https://takase.com/library/philology/joshinsai-chanoyu-to-wa-ikanaru-koto-o.