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Three Key Styles: Thick White Shino Ware (Late 16th Century)

Shino ware emerged slightly later than Seto-guro (Seto black) and Kizeto (Seto yellow) ware. It is distinguished by thick, white glazes that are often textured with tiny holes and reddish accents. The origin of the term shino is uncertain, though it is thought to be a corruption of the Japanese word shiro (white) or a reference to tea master Shino Sōshin (d. 1523), who supposedly favored white tea bowls.

Until the advent of Shino ware, the main component of glazes in Mino had been wood ash, which became opaque when fired. Shino ware instead uses an applied feldspar glaze that turns translucent white. Potters utilized this quality by painting designs with iron oxide pigment onto the formed pieces before glazing them. When fired, the designs would be clearly visible through the glaze, as seen in the examples below. The pigment was made with a local iron- and manganese-rich clay called oni-ita that turns red, black, brown, or even purple when fired. This combination of painted designs under a translucent glaze gave Mino potters many new ways to vary the coloration and design of each piece.

One subset of this style, called nezumi-shino (gray Shino), is produced by reversing the coloration of field and ornamentation. Potters cover a piece with iron powder, then scrape away a design before applying the feldspar glaze. When fired, the feldspar and iron fuse into a dark gray color, while the scraped-away sections come out white.

三大流派：厚而白的志野（16世紀晚期）

志野出現的時間略晚於瀨戶黑和黃瀨戶，其特徵在於厚實的白釉，且釉面透紅，常有數個小孔。「志野」一詞起源不詳，有人認為是日語「白」的誤用，也有人認為與茶道大師志野宗信（?-1523）有關，相傳他偏愛白色茶碗。

在志野出現以前，美濃燒的釉料主要為不透明的木灰釉。而志野陶器使用長石釉，燒製後呈半透明白色。陶工利用這一特性，先在陶胚上用氧化鐵顏料繪製圖案，再上釉燒製，完成後圖案即可透過釉面清晰呈現，如下方展品所示。

顏料是當地一種富含鐵和錳的黏土，被稱為「鬼板」，經燒製後可變為紅、黑、棕褐、紫等色彩。這種釉下彩繪技術為美濃的陶工提供了全新的創作手法，豐富了美濃燒的色彩與設計。

而志野的分支「鼠志野」則是將底色和紋飾圖案的色彩反轉而成。陶工將鐵礦粉比重大的泥漿塗滿陶胚表面，刮去圖案處的泥漿後再上長石釉燒製，長石與鐵元素融合形成深灰色釉面，圖案部分則為白色。

三大流派：厚而白的志野（16世纪晚期）

志野出现的时间略晚于濑户黑和黄濑户，其特征在于厚实的白釉，且釉面透红，常有数个小孔。“志野”一词来历不详，有人认为是日语“白”的讹音，也有人认为与茶道大师志野宗信(?-1523)有关，相传他偏爱白色茶碗。

在志野出现以前，美浓烧的釉料主要为不透明的木灰釉。而志野陶器使用长石釉，烧制后呈半透明白色。陶工利用这一特性，先在陶胚上用氧化铁颜料绘制图案，再上釉烧制，完成后图案即可透过釉面清晰呈现，如下方展品所示。

颜料是本地一种富含铁和锰的黏土，被称为“鬼板”，经烧制后可变为红、黑、棕褐、紫等色彩。这种釉下彩绘技术为美浓的陶工提供了全新思路，丰富了美浓烧的色彩与设计。

而志野的分支“鼠志野”则是将底色和纹饰图案的色彩反转而成。陶工将铁矿粉比重大的泥浆涂满陶胚表面，刮去图案处的泥浆后再上长石釉烧制，长石与铁元素融合形成深灰色釉面，图案部分则为白色。