地域観光資源の 多言語解説文データベース

Beginning in the latter half of the nineteenth century, Japan underwent a period of rapid industrialization. In the twentieth century, this wave of technological advancement reached Ichinokura in the form of mass production.

The use of plaster molds for both pressing and slip-casting were introduced, as were coal- and oil-fired kilns. These advancements allowed potters to mass-produce vessels using molds and fire them more quickly. Copper-plate transfer and stamping techniques became common methods of adding decoration, and new glazes were developed as well. Previously, pigments were largely derived from just three minerals: copper, iron, and cobalt. Through international trade, other colors entered the local repertoire. For example, a chromium-oxide glaze from Germany was used to make the jade-green cups on the back wall.

The display on the back wall contains locally produced sakazuki from the twentieth century. While mass production brought more uniformity to individual pieces, it also made porcelain accessible to more people and expanded the range of possible shapes and designs across the industry, as evidenced by the wide variety of cups on display.

The case to the right displays sakazuki from Kyoto, Arita, Kutani, and Seto—all major ceramic-producing areas. They are decorated with motifs and colors characteristic of their respective regions, demonstrating the broad range of artistic expression that is possible with just a simple cup.

「盃」的工業化發展

19世紀下半葉，日本進入了工業化的高速發展時期。這股科技進步的浪潮在進入20世紀後，將工業量產的模式帶到了市之倉。

石膏壓模和鑄模被引進，燃煤和燃油窯爐也投入使用。技術與設備的進步讓陶瓷器具的模具化大批量生產和快速燒製成為可能。銅板轉印與「型押」（壓花）技術成為了添加圖紋裝飾的常見方法。與此同時，陶工們也開發出了新的釉料。從前的顏料主要來自銅、鐵、鈷三種礦物，隨著國際貿易的發展，更多顏料被列入當地的生產材料名單。比如，後面牆上的翡翠色杯子就用到了來自德國的氧化鉻釉料。

後牆上的展品均為20世紀當地製作的「盃」（同「杯」；sakazuki）。大規模量產帶來了產品的同質化，卻也讓瓷器變得更加親民，能為更多人接受，同時也推動了整個行業在器型和設計多樣化方面的發展。這些變化從展示室陳列的豐富多彩的展品中可見一斑。

右側展櫃內的展品來自京都、有田、九谷、瀨戶等日本各大主要陶瓷器產地。盃上的裝飾圖案、紋樣與色彩各異，體現了不同產區獨有的風格特徵，也詮釋了儘管只是一個簡單的小杯子，也擁有藝術表達的無限可能。

“盃”的工业化进程

19世纪下半叶，日本进入了工业化的高速发展时期。这股科技进步的浪潮在进入20世纪后，将工业量产的模式带到了市之仓。

石膏压模和铸模被引入，燃煤和燃油窑炉也投入了应用。技术与设备的进步令陶瓷器具的模具化大批量生产和快速烧制成为可能。铜板转印与“型押”（压花）技术成为了添加图纹装饰的常见方法。与此同时，陶工们也开发出了新的釉料。从前的颜料主要来自铜、铁、钴三种矿物，随着国际贸易的发展，更多颜料登堂入室，被列入本地的生产材料名单。比如，后面墙上的翡翠色杯子就用到了来自德国的氧化铬釉料。

后墙上的展品均为20世纪本地出品的“盃”（同“杯”；sakazuki）。大规模量产带来了产品的同质化，却也让瓷器变得更加亲民，能为更多人接受，同时也推动了整个行业在器型和设计多样化方面的进程。如上变化从这里陈列的丰富多彩的展品中可见一斑。

右侧展柜内的展品来自京都、有田、九谷、濑户等日本各大主要陶瓷器产地。盃上的装饰图案、纹样与色彩各异，体现了不同产区独有的风格特征，也诠释了哪怕只是一个简单的小杯子，也拥有艺术表达的无限可能。