An example of the delicious diagrams to which the Namporoku treats us .

The Namboroku and the Theory of Yin-Yang and the Five Elements
by Tanibata Teruo

Compiled by Tachibana Jitsuzan, a retainer in service of the Kuroda Clan of Fukuoka Domain. Completed in the third year of Genroku (1690). It is a work which passes down the spirituality of Rikyu’s chanoyu. It consists of seven books. The first, “Memoranda”, recalls the tea talk, words, and deeds of Rikyu. The second, “Parties”, records about 100 tea parties Rikyu was a part of. The third, “Shelfs”, describes the method of displaying utensils and using shelfs such as the fukuro-dana and the rikyu-tansu. The fourth, “Writing Parlor”, diagrams the method of displaying things in a writing parlor. The fifth, “Daisu”, collects methods for displaying on the daisu. The sixth, “Crossed Out”, explains the secrets of kanewari. The seventh, “Posthumous”, supplements the main work. It was written by Nanpou Soukei, Rikyu’s leading student at Shuuun-an, a sub-temple of Nanshuu-ji in Sakai and completed when Rikyuu added his seal of approval.
That the theory of yin-yang/five elements, as well as zen spirituality, penetrated Rikyu’s chanoyu is written in the preamble. The connection of yin-yang/five elements and tea is considered in the distinction between yin and yang. (For example, it talks about)the quality of the fire during a chaji, about how shoza is yin and goza is yang, and about how the utensils are arranged in the tea room in a pattern of “one even, two odd” “two odd, one even”.
Furthermore, it considers the singular “kanewari”. The daisu or the tea room are divided into yin and yang. In a kyoma-sized room, the utensils are conveniently divided into five, and 5 yang and 6 yin thus 11 kane lines are assumed. It considers how it affects the number of tea utensils placed on lines and the movement of the utensils during the temae.
For long a secret tome, passed down to only certain few chajin, and exhibited rarely, it was first openly published in the Meiji period. The complete opening of the content has many points where people disagree in their arguments, but as little as this may be, to say the Nampouroku passes down one face of Rikyu’s chanoyu is no mistake.

Random fact: It seems the name of the Namboroku, or in English “The Southern Record”, comes the first line of the Chajing: 茶者,南方之嘉木也” or “Tea is an esteemed plant from the South (nambou).” I hadn’t realized that.

『南方録』と陰陽五行
谷端昭夫
福岡黒田藩の家臣・立花実山の編著。元禄三年(一六九〇)ころ成立。利休の茶の湯の精神を伝えるとされる書。全七巻からなり、第一巻きは利休の茶話や言動をしるした「覚書」、第二巻きはおよそ百会に及ぶ利休の茶会を収録した「会」、三巻は袋棚や利休桐箪笥などの飾や点茶法について述べる「棚」、第四巻は書院飾の図説としての「書院」、第五巻は台子飾の切紙をまとめた「台子」、第六巻は曲尺割りの秘事を述べた「墨引」、第七巻は全体を補足する「滅後」からなっている。利休の高弟で堺南宗寺の塔頭集雲庵の南坊宗啓が筆録し、これに利休が証文を加えた形で成立している。
陰陽・五行思想、禅の精神などが利休の茶の湯に貫通していることを前提に著述されるが、陰陽・五行と茶の湯の関係については、茶事を火相の関係から初座を「陰」、後座を「陽」としたり、茶室における道具の配置を「一調二半」「二半一調」など陰陽に分割して考えている。
さらに特異なのは「曲尺割り」であろう。台子や茶室の畳を分割して陰陽に分ける考え方で、京間とその道具を便宜上五分割して、五陽六陰・十一の曲尺を想定し、その線上に茶道具類を置き、点前中の茶道具の移動もこれに拠って考えている。この曲尺にあわない道具や所作を不可とするなど、独自の視点をもっている。
ながく秘伝書とされ、ごく一部の茶人の間に伝えられ、公開されることは稀であったが明治にいたって初めて公刊されることになった。その内容から、成立に開しては議論の分かれるところであるが、少なくとも利休の茶の湯のもつ一面を伝えていることは間違いなかろう。

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