The meaning of the word is “to serve sake. In Japan, it is also called “kawarake,” as it was once mostly made of earthenware. In addition to earthenware, there are metalware, lacquerware, pottery, porcelain, beads, horns, and shells in a variety of forms. The following is a brief description of the items related to ceramics.
The following is a list of the characters related to ceramics and porcelain. The following are the ones I found by inspecting calligraphy.
The first mention of sake cups is found in the Kojiki (Records of Ancient Matters), in which Suseribi no Mikoto sings a song about sake. In the “Man’yoshu” (Anthology of Myriad Leaves), we find “Haruyanagi kazura ni folded sakazuki ume no hana someone floats on the Sakaduki,” “Kasuga naru sanmiyabi toyo no akari oosaki daijoe kasa no yama ni Tsuki no fune no sake cup ni drink shadows ni mienzutsu” and “Sake cup ni ume no hana floated omidotchi drinkotsu no hogo ni scattered nuki mo yoshitomo” (Plum flowers in a sake cup are floating, and after drinking it, it is good that they are scattered). This shows the antiquity of the word sakazuki. In ancient times, natural objects such as fruits, shellfish, bamboo, and horns were probably used as sake cups. In the Kojiki (Records of Ancient Matters), there is an article about Emperor Ojin who had the kashiwa (oak) of the kaganagahi omisake taken and given to his son Ojakunomikoto on the day of Toyoake (the day of abundance). According to this example, cups made of oak leaves were used for the Toyoake no Setsukai in later times. In addition, there is an earthenware vessel similar to the present earthenware for drinking wine used in the tameshi-kai, and a stone cup of the same shape has been found in a burial mound. The cups used for the emperor’s offering at the tameshi-e ceremony were smaller in diameter and slightly deeper, and were about the size of today’s rice bowls for children. The sake cups used in the imperial court ceremonies today seem to be almost the same size. This type of earthenware is called “kawarake,” and is also known as “takasai,” which means a cup with a stand. There are various theories as to when the earthenware became wooden sake cups, but it is not yet clear when the change occurred. There are records of the existence of lacquer sake cups as early as the Heian period (794-1185). There is a lacquered sake cup that was used by Taira Shigehira and Senjuzen at Kyoonji Temple in Kamakura as a temple treasure, as well as a vermilion-lacquered sake cup attributed to Hojo Yasutoki at Tsugao-Kozanji Temple in Kyoto. There is also a vermilion-lacquered cup called “Shichiken cup” owned by Ashikaga Yoshimasa at Kinkakuji Temple. Some believe that the wooden lacquered sake cup at Kinkakuji is not from that period, but a later pseudonym. Until the middle of the Edo period, lacquered sake cups and choshi (sake bottle) were mainly used, and paintings from that period show that they were used for general drinking. The size of the sake cups is quite large. Ceramic sake cups and tokuri (sake cup and sake bottle) have been in vogue since the mid-Edo period. In the “Kanten-mimonminki,” it is said, “When I was a child, I used only iron sake bottle choshi and lacquered sake cups, but at some point the sake bottle choshi became a dyed porcelain sake bottle, and the sake cup changed to a sake cup. The “Morisada-kasonoso” (守貞溺溺) states, “In recent years, lacquered sake cups have rarely been used, and porcelain is now used exclusively for sake cups. In the same book, it also says, “The recent boar cups are as thin as paper, about 2″ in diameter and 8” deep, and are made exclusively in Owari, and in the past, both pottery and porcelain were painted with patterns and other colors and then fired with a technique called shirotama-ko. It is called tahaku, which means “white porcelain” in Japanese, and is made by adding white gem powder to the white porcelain and re-baking it in a furnace. These are larger than modern boar cups. In an article by Katsugawa Shunsen in “Zensho Ukiyoe Ruikou” (The Anthology of Ukiyoe), he writes, “Later, pottery was used for firing and no engravings were made, but sake cups and painted sake cups were in vogue at the beginning of the 20th century. In the “Miyakawasha Manuscripts,” it is written, “It was in the 7th year of Bunsei (1818), and as the years passed, I began the business of making pictures on seto and firing them, and at that time, it became very popular to make sake cups and sake cups with spring paintings and so on. The following is a description of a Mito native who lives near Yushima Tenjin and has begun to carve chinshin engravings on Seto ware. In other words, from the Kyowa period (1801-4) to the Bunsei period (1818-30), painted inoguchi were extremely fashionable, and most of them are thought to have been shunga, or spring paintings, and some of them still exist today. These items should not be lost as materials for the study of customs and manners. It is also evident that the only imported items at that time were in underglaze blue. The practice of applying ceramic painting in Edo (present-day Tokyo) continued to flourish until later times, and is referred to as Tokyo-etsuke and Edo ezuke (Edo painting). The term “inoguchi-e-shi” was also used to refer to those who painted large vessels such as vases and tea bowls. Since then, sake cups have generally been made of porcelain, and the volume of sake cups after the Meiji period was almost the same regardless of shape. The diameter is usually a little less than three centimeters, but in some regions there are larger ones. Sake cups changed from earthenware to lacquered sake cups, large sake cups, and small sake cups, while tokuri also changed from sake cups to bottles, choshi, chochin, choji, and heated sake cups. Needless to say, these changes were closely related to the social culture of the time, but they were also closely related to the state of sake, the strength of the sake spirit, and the drinking customs of the time. When sake was low in alcohol content, a large sake cup was considered acceptable. Hence, when muddy sake was in vogue, large sake cups were the norm. In the early days of the sake brewing era, large sake cups were still preferred because of the high sugar content and low alcohol content, but as brewing methods advanced and the alcohol content increased, sake cups gradually became smaller and smaller. As brewing methods progressed, sake cups became smaller and smaller. In Kagoshima and Okinawa, for example, shochu cups were about 1.5 cm in diameter.
Sake cups and cups with lids were contributed from Kawachi (Osaka Prefecture), Bizen (Okayama Prefecture), Owari (Aichi Prefecture), and Nagato (Yamaguchi Prefecture) in the Jougan and Engi eras. They include earthenware, Sue-mono, and japanned ware. Those from both Nagato and Owari are japanned ware. The word “瓷器” is pronounced “shino-tsuwa-mono” (瓷器), and although its actual form is not yet known in detail, it is understood to be a type of solid pottery with a glaze. The others are all unglazed, and are later classified as earthenware. Earthenware was later overwhelmed by ceramics and porcelain, but only sake cups remained somewhat potent, so much so that the word “karawarake” simply refers to earthenware sake cups.
Until recently, earthenware sake cups were made in four places: Iwakura-mura, Atago-gun, Yamashiro-kuni (Iwakura-Kino-cho, Sakyo-ku, Kyoto); Fukakusa-mura, Ki-gun, Kii (Fukakusa, Fushimi-ku, Kyoto); Meisei-Mura, Taki-gun, Ise-kuni (Meiwa-cho, Taki-gun, Mie); and Edo Asakusa Imado, Musashi (Taito-ku, Tokyo). Of these, Kino is the one with the most primitive atmosphere, and is commonly referred to as Hataeda-yaki because it was formerly located in the neighboring Hataeda area, but was moved to this location. This area was under the jurisdiction of the Imperial Household until the Meiji Restoration, and pottery masters were allowed to use the title of “Daifu” (a title bestowed by the government). The products were made in an unglazed kiln without an inner kiln, using neither a potter’s wheel nor a mold, and the kiln was a koban-shaped barrel kiln. The smallest cup is called “navel,” and there are small, large, and three to eleven sizes, with the tenth size also referred to as “nose block. The smallest navel is 5 cm in diameter, and the largest, 11 degrees, is about 27 cm in diameter. According to a local legend, the potter moved from Yamato at the time of the Enryaku capital relocation. Shinzo Osuga’s research on various types of earthenware is reported in the “Journal of the Ceramic Industry Association of Japan,” No. 362. Earthenware is generally undecorated, but occasionally there are examples of thinly heaped or line-drawn engravings of shrine crests, etc. When it comes to ceramics, the shape, decoration, and style are all different. Ceramic vessels vary in shape and decoration, and the same techniques found on other common vessels are applied to sake cups as well. In short, the principles of craftsmanship have progressed from the fine to the fine, and from the side to the hard, and porcelain is currently in its heyday, but the rise of glassware with the arrival of Western liquors cannot be underestimated. Now . China] Ancient Chinese drinking vessels include bronze vessels used in religious ceremonies at temples and shrines. In the households of kings and princes, a large ding was cast as a sign of succession to sovereignty. Dukes were also given to subjects. The granting of knighthoods to vassals in later times may have originated from the initial granting of knighthoods for ceremonial vessels. In Japan, the head of a noble family was given a silver sake cup at the time of succession to the family headship. The dzong was also a ritual vessel used to hold and offer sake, and in later times was called a ceramic vessel and a wooden one a barrel. In ancient times, it was a common custom among peasants, especially in the remote Qin region, to tap cans and sing folk songs. It is similar to the way farmers in Japan tap barrels and sing yagi-bushi. It is well known in history that during the Warring States period, when the Qin and Zhao kings met at the Strider Pond, the Zhao sage Rush Sang-nyu made the Qin king tap a can to humiliate the Zhao king. In the Mingdang rank of the “Records of Rituals,” it is written, “The barons were made by the Xiahou clan, the Shang by the Shang clan, and the Zhou by the Zhou clan. These are bronze vessels, but earthenware is also sometimes found. However, the permeability of unglazed earthenware at that time, as well as a kind of earthy odor, made it unsuitable as drinking vessels, and most of them were used in ritual mourning and burial ceremonies. The same type of ware is shown as a pottery baron in Yi Ji’s “Overhead Burial” in the “Anyang Excavation Report,” and it is very useful to note that this is an early form of the bronze baron and illustrates the performance of the baron form. On the other hand, there are those who consider it a simplified copy of the bronze baron. In the Han dynasty, ear cups became popular. The form of cups had already existed before this, and although some were sometimes made of tiles, they were not utilitarian vessels, and most of them seem to have been Ming vessels. The main character for “cup” is “格,” and as the character indicates, cups were made of wood, but since the shape is oval, it is unlikely that they originated from earthenware that usually used a potter’s wheel. Most of the Han dynasty cups were also lacquer cups. In the Tang dynasty, with the development of true glazed ceramics, cups became mainly ceramic cups, and various types of cups appeared. Since then, with the development of ceramics, the techniques were perfected to the utmost. In the chapter on cups in Yunryusai’s Essays on the Fine Arts, the following is written.
The mouths of many Sung-style cups are large, which is why large cups are called “die” and handbai (手盃), as they are large and easy to handle.
The largest ones are called “haifang” and the largest ones are called “dou” (small), and the ones with large mouths and tall bodies are called “unpasteurized gem” (璞). The most beautiful of all Ding ware is always sculptured, and it is always relatively thin and hard in comparison. This large press-shaped cup from the Ding ware of the Song dynasty has an open flap in a plaster mold, and its capacity is extremely large. The pattern is almost yellowish, and the production style is not far removed from that of Ru ware cups, with a deep pattern and rich glaze. Although some later examples have been made in the same style, they have never been equaled. The cups made in the same kiln are small and thin, and are called “lotus cups.” The purple ones are not easy to see at a glance, and those with tear marks are almost as good as the ones made in Yuanming. This large octagonal cup from the Sung dynasty is engraved with a floral motif on a flat surface, the body is clear and hard, the glaze is extremely white, and there is a spiral design on the bottom, making it a rare treasure. The white altar of the Xuande dynasty has a single altar character at the heart of the vessel, and was used for Buddhist rituals at the time. It is of fine quality, rich in material, beautiful in form, and is worthy of being called a rare item. The handle on the foot is called a cup, which is an accent to make a cup that looks like a Mongolian cup. The above is the general outline of the cup style, but it has been used in new ways throughout history, with different styles and styles of each. The type with a large mouth and a small body is called a large-bodied type, and the type with a large mouth and a small body is called a horse bell type, and the type with a large mouth and a small bottom is called an open grass cap type. If the difference between the mouth and bottom diameters is not so great, and the body is straight and tall, it is called a flute cup. If it is similar to a foil cup, it is called a stool cup. A cup with a very small body is called a “lotus cup. If the mouth and the body are close together and the body is small, it is called a sturdy cup. The name “lotus” and “chestnut” are derived from the fact that they are all filled with fruit, not from the similarity of their shapes. A cup with a deep cavity at the bottom, which is round and gradually sharp, is called a chicken’s heart. If the cup is small in shape and resembles a semicircle, it is called a “bull’s-eye” cup. The Kangxi ware has a dense yellow concave-diao dark floral pattern, and the dragon-shaped ears were made in the Kangxi kiln, but the smaller ears are prized in the common two-eared cup. A small gold shiny cup from the Ch’ien-lung dynasty, with two ears painted with gold flowers on the top, giving it an extremely light waxing effect. The egg power cup of Hao 19, with its thin embryo and egg membrane, was famous during the Ming dynasty. This is a type of shadow blue made during the Yongzheng period of the Kangxi Yongzheng dynasty, and although it was made, the cloud dragons are detailed and the inscription resembles a fly’s head, making it unique among human beings. There are nine of them in the Kangxi kiln, and they are made by Ya Ya, whose body is so tall that it can be used as a pair of ears. The cup is made of lotus leaves interlocked with each other, and has a separate lotus stem with a hole in the stem for sucking. The drinking vessel also has a hole in the lotus stem, all in the three colors of the Kangxi era. All of them are competing with each other for the new style. The cups have a doll resembling an old man who has a hole in the top of the cup, and when the wine is poured into the cup, the doll floats. The cups are made of ten pieces of various sizes, and have been used equally throughout the ages. The small cups of the Xuande Dynasty have bells, horse bells, chicken hearts, and red jewels, and there are also small cups with red glazed backs. Among the many Ming curiosities, among the most eminent are a Yongle presser cup, with a flower at the bottom and a lettering within the flower, the fineness of which is like a grain of rice, and a Jiajing red fish cup, with a fish shape fired from a bone and convex reliefs of treasured light. The Kangxi ware includes a cupboard with a weaving and cultivation design, a sake cup with eight herbs in the middle of the cup, and a sake cup with flowers in the twelfth lunar month. The Kangxi cups are not uniformly made, some are less than two inches high and less than three inches in diameter, some are less than an inch high and more than an inch in diameter, and some are as deep as a funnel. The Kangxi cups with mouths less than 2 cm in diameter and over 4 cm in height were made in the Ming Dynasty. After the Ch’ien-lung period, the taller cups had a hard iron mouth and were not as narrow as the previous generation’s. All other cups made in the Ch’ing dynasty had the same diameter. The above is an abbreviated version of the Yunryusai Seongsitsu. It is also advisable to refer to Yuan Hongdao’s “Bukjeong”, Dugua’s “Liquor Album”, Youyang Wang Ya’s “Liquor Album”, Zheng’s “Jihyeok”, You Tong’s “Cradle Two Agreements”, Chen Jiryu’s “Liquor Details”, Emperor Fu Siao’s “Drunken Township Sun and Moon”, and Lang Tinggeok’s “Shengyu Hen”, among others.
The following is from the “Joseon Ceramic Name Review”: “Ritual cups were made in a variety of forms.
The height of the cups is generally high. In some cases, the cups are so high that they are unstable and are considered to be held by the legs, and are commonly referred to as “horse-jockey cups. There are also porcelain cups and cups of honor. Usually, a cup is called “Chan” or “Chube” or “Suruchan”, and the character for “sake cup” is also used. A sake cup usually has a sake cup with a sake cup stem. In Korean custom, one cup of sake is used for drinking at a dinner party, and the cups are passed around and drunk one after another.
Chanjeonji is also called “alms-dish”. The “Sanrin Keizai” (Mountain and Forest Economy) says, “A sake cup should be made of porcelain, and a thin wooden cup should be made of pure white jade.
The shape of the sake cup has undergone the most rapid change in China. The quality of the materials used to make them is extremely varied, and they come in all shapes and sizes. Compared to this, our country’s sake cups are extremely childish. Here are just a few names for some of the shapes of Japanese ceramic sake cups, most of which have taken the name of wooden sake cups. Suzume-nari” is a baron-shaped sake cup found in “Senrin” and “Tamewakiso,” etc. It is also called a sparrow’s sake cup or a shaku’s sake cup. Kawarakenari” is a cup shaped like an earthenware cup. However, there is no ring between the navel and the small top of the earthenware sake cup. The “Mukashi” type has a thick rim and a high base, and is of large proportions. The “Rikyu” type is said to have been favored by Rikyu, but this is doubtful. It has a double rim. Atsumori” is a small type with a deep bottom. It is a word for “Honkuma-ya.
Honkumagai” is also called Kumagai for short, and is larger than “Atsumori. The word “Kumaya” is found in “Saikaku Okisamu”, “Koshoku Ichidai Otoko”, “Honcho Bunka”, and others. The “Urayu Shoran” says, “Kumagae is a type of braided hat, and is seen as a cup of that shape. The “gozen-gata” is a cup with the upper part spread out and the lower part squeezed into the shape of a drum. It is found in the “Tamewaki-so” and other works.
Musashino” is a large sake cup. In the “Setsuyoshu Taizenshuu,” it is written, “Musashino means ‘the field will never be seen to its fullest. The Unshiki Zuishu also says, “In the dialect of the Settsu region, when a banquet is about to begin and the sake cups are about to be delivered, the guests ask the master to deliver them in the Musashi cups. The inside of the cup is painted with a gold glaze, and it is said that this Musashino cup is to be delivered as a Junbai, which was later abbreviated to Musashi. The ancient style of the bowl does not have a base, but it has a base. The ancient style had no pedestal, but the later ones had a pedestal. The bowls are shallow, flat, and large, and are painted with a glaze. Oribe” is a small Musashino type with a pedestal. The “Keiho Juhouki” says, “If the Oribe-dono Monozuki-nozukuri is the name of a sake cup nowadays, it will soon be called Oribe. The “Wakan sansai zue” says, “Furuta Oribe Shigenobu Zen chado jisho jisho jisaku kono kata” (“Furuta Oribe Shigenobu Zen Chado Jisho Jisaku Kono kata”). The “Tachibana-an Manpu” says, “There is a thing called Oribe shape in a sake cup, and it is a small sake cup, so there are some wild people in the remote areas who know the sake cup as Oribe. The Hineno clan is said to have been a man of military prowess and a master of weapons. The “Ko-ori” (old textile) theory is taken up in the “Ko-ori” (old textile) book, which describes a man who knew that all sake cups were made by Oribe. According to “Hinagata tamei dozo” and “Ojika oobi,” it is also called goshogata or doe-gata. Kasumi-gata” has a flat bottom and a body that bends inward.
Kaga-gata” is so named because it looks like an upside-down Kaga hat. The Enshu shape is said to have been made according to the taste of Kobori Enshu, but this is doubtful. Tamago-shaped” looks like an eggshell cut in half horizontally. Dodogata” has a raised bottom, like the bottom of a go chest. The “Ohara-gata” is described in “Hinagata tamei dozo” as “a thing that looks like the vermilion of an Ohara bowl,” and in “Ruiju meimono ko” it is described as “an Ohara sake cup, made when the Kyoto shogun was in power, a 2″4” flat cup with black wood maki-e, so it is said to have been used as such during the Kyoho era (the Edo era). Kitamura Sue says that once upon a time, women selling Kuroki in Obara sang a song in which they said, “Kuroki mese mese sasa mese usumokumokokishime mese mese,” which led to the drinking of a cup of sake. In the “Koryu-ko Zuishu”, it is said that “Obara women were seen walking with their hats on from the east mountain by Yoshimasa, and that is why Obara sake cups were first made”. The “Anzai Sosho” says, “In foreign countries, a small cup under the cup is called a hira. The “Anzai Sosho” says, “Obara sake cups are said to have been made in Genroku by a man named Obara Gonbei. Hachiko” is also called tedori.
The “Cho-kata/Kabai” cup is said to be quite large. It is funnel-shaped. The character “可” means to be above the text and not below it, hence the name “sake cup” (yunbai). In the “Kowai-shu,” there is a phrase “Wagashiri mo kaibai yokiku no koro” (“When the sake cups are full, you cannot put them down”).
The Kodo Shu contains a phrase, “Wagashiri mo karo sake cup yokiku no koro,” which means that there were feasts in various places and the bottom could not sit still. Bajo cups and hoshu cups are also from this lineage. There is also a sake cup with the outer surface made to look like a tengu (a dog) and with a high nose. This is a type of sake cup. The “Bajo cup” is a cup with a remarkably high base. This type of cup can already be found in the Tang Dynasty, but it is thought to have been influenced by the West. The “edge-bent” cup has a rim that bends outward. A cup in the shape of a cup is called a “high cup”. The serving area is shallower and flatter than that of a cup. A “kumi-bai” is a cup made of two or three cups of the same shape stacked on top of each other. There are two or three types. These days, they are often used for celebratory occasions. In ancient times, there were seven pairs of lacquer sake cups in the Higashiyama period (1568-1600), which were made by Yoshimasa Yoshimasa to resemble the seven wise men of the bamboo grove.
The smallest of the seven is marked with the character for “wisdom,” the second largest for “benevolence,” and the largest for “valor. He is said to have always served sake from this cup. The “shukuibai” is a cup that is a combination of a gourd and a sake cup. When the sake is drunk from the sake cup, the gourd automatically releases the sake and replenishes it. The outer surface of the “Fuku wa uchi” is made to look like an ogre. There are many other shapes and various names for this type of sake cup.
Wherever there is a pottery kiln, there are always sake cups. Almost all potters made sake cups. However, there is no need to describe them here, since each person has his or her own taste. I will only mention that porcelain and porcelain-glazed ceramic sake cups are currently the most popular type of sake cups. Ichinokura, Toki-gun, Mino Province (Ichinokura-cho, Tajimi City, Gifu Prefecture) is famous as a place specializing in sake cups. Ichinokura has specialized in the manufacture of sake cups for generations, and their products have been sold throughout the country. The law of drinking was extremely well developed in China. In addition to the books mentioned at the end of the Chinese article, it is recommended to refer to the “Character Drinking,” “Drunken Township Laws,” “Small Liquor Laws,” “An Ya Tang Laws,” “Rules for the Emperor of China,” “Rules for the Emperor of China,” “Rules for the Emperor of China,” and “Rules for the Emperor of China. Other documents on the usage of sake cups in Japan include “Sogo Taizoshi,” “Imagawa Taizoshi,” “Ienaka Chikumaki,” “Buke Meimeisho,” and other works by the Ise family, such as “Sadajo Zakki,” “Ise Sadamei Jikki,” and “Ise Hyogo-tou Sadamune Jikki.
