地域観光資源の 多言語解説文データベース

Three Key Styles: Earthy Yellow Kizeto Ware (Late 16th Century)

Kizeto (Seto yellow) ware refers to ceramics with a particular type of yellow ash glaze. First produced around the same time as Seto-guro (Seto black) ware, Kizeto ware was more commonly used for tableware and decorative containers, such as incense holders and vases, rather than tea ceremony implements. The large bowl on display below is a typical example of Kizeto ware.

To achieve this yellowish color, potters unevenly applied both brown iron and green chalcanthite glazes over a yellow underglaze. During firing, the oxygen in the air caused these minerals to combine with silica and other elements in the naturally occurring ash glaze to produce a pale yellow. Kizeto ware with a particularly strong yellow color and a rough texture from devitrification (crystallization of the glaze) was called “iris technique” (ayame-de) or “fried-tofu-skin technique” (aburaage-de).

Sansai, or “three-color,” ceramics imported from the south of China during the Ming dynasty (1368–1644) likely had a strong influence on the development of Kizeto ware in Mino. Sansai pieces from that time are distinguished by a deep-green base glaze decorated with carvings glazed in yellow, purple, and other colors. Particular elements originating in sansai, such as high decorative rims and engraved ornamentation using natural motifs, are also typical of later Kizeto ware, while the green glaze used in sansai became a common element in Oribe ware, another variety of Mino pottery.

三大流派：土黃的黃瀨戶（16世紀晚期）

黃瀨戶是帶有特殊黃色灰釉面的陶器。它們出現的時間與瀨戶黑大體相同，更多見於餐具及香爐、花瓶等裝飾器具。下面這個大碗就是典型的黃瀨戶陶器。

為了燒製成這樣的淡黃釉面，陶工將褐色鐵粉和綠色膽礬粉不均勻地塗抹在黃色底釉上。燒製時，在氧化作用下，礦物質與天然草木灰中的二氧化矽等元素產生反應，生成淡黃色。最終的釉面結晶失透，黃色飽滿，質地粗獷，黃瀨戶也被稱為「菖蒲手」或「油揚手」。

自中國明代（1368-1644）廣東、福建地區傳入的「華南三彩」，造型蒼勁有力、裝飾活潑大方，以深綠釉底搭配黃、紫等彩釉雕花為特色。這種陶器不但在美濃黃瀨戶的發展歷程中佔據著重要地位，對日本陶瓷器審美觀的形成也影響深遠。較晚期的黃瀨戶具備了諸多源自華南三彩的獨特元素，如高邊飾、自然元素的雕花紋樣等，而綠釉則成為了美濃燒的另一流派「織部」的基本元素。

三大流派：土黄的黄濑户（16世纪晚期）

黄濑户是带有特殊黄色灰釉面的陶器。它们出现的时间与濑户黑大体相同，更多见于餐具及香炉、花瓶等装饰器具。下面这个大碗就是典型的黄濑户陶器。

为了烧制成这样的淡黄釉面，陶工将褐色铁粉和绿色胆矾粉不均匀地涂抹在黄色底釉上。烧制时，在氧化作用下，矿物质与天然草木灰中的二氧化硅等元素发生反应，生成淡黄色。最终的釉面结晶失透，黄色饱满，质地粗犷，黄濑户也被称为“菖蒲手”或“油扬手”。

自中国明代(1368-1644)广东、福建地区传入的“华南三彩”造型苍劲有力、装饰活泼大方，以深绿釉底搭配黄、紫等彩釉雕花为特色。这种陶器不但在美浓黄濑户的发展历程中占据着重要地位，对日本陶瓷器审美观的形成也影响深远。较晚期的黄濑户具备了诸多源自华南三彩的独特元素，如高边饰、自然元素的雕花纹样等，而绿釉则成为了美浓烧的另一流派“织部”的基本元素。