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Female Pheasant Incense Burner

This ceramic incense burner in the shape of a female pheasant was crafted in the seventeenth century by ceramic artist Nonomura Ninsei. Like its male counterpart, the female displays Ninsei’s skillful sculpting and masterful use of overglaze enamel techniques. These talents cemented his renown as a master of Kyō ware, a style of painted pottery that arose in Kyoto and catered to the samurai elite.

Ninsei’s elegant ceramics were highly sought after for use in chanoyu, or tea ceremony. In fact, many surviving examples from Kyō ware’s early days—including the pheasant incense burners—are tea utensils. Typically, the host of a tea gathering places seasonal decorations in the tea room’s tokonoma (alcove). Pheasants are traditionally associated with spring, so the burner may have been used at spring gatherings to scent the room and set a seasonal tone.

Female pheasants are less colorful than their male counterparts. Males have evolved flashy colors to attract mates, but evolution favors females whose patterning blends into the ground and helps them avoid predators. For the most part, Ninsei faithfully recreated the female pheasant’s sober palette by using silver paints that oxidized in the kiln to achieve gradations of black and brown. On the head, however, Ninsei took some artistic license by adding a touch of color: a red-and-gold wattle and the tiniest slip of blue around the eyelid. He also gave the female feathered ear tufts that project like horns from the back of her head. Both the wattle and the ear tufts are found only on male pheasants, and various theories exist to explain their presence. One is that Ninsei used a male pheasant as a model, and while he knew to change the overall coloration, he did not realize female heads were different. Another conjecture is that the “female” pheasant is actually a second male—a “nighttime” version that shows the male in shadow.

In the kiln, where clay shrinks and moves, producing complex shapes takes expert skill. The shaping of the pheasant’s body shows a high degree of mastery, with the tail jutting out at a 45-degree angle and the neck turned in a smooth arc toward the back, as if the bird is preening. In East Asian painting, this posture is a common way to represent the female of a pair.

Ninsei’s skill helped make him one of the most in-demand artisans in the country. He was one of the first famed ceramicists to apply a personal potter’s mark—a signature-like stamp to identify his work. This practice signified a shift in thinking that elevated potters from anonymous laborers to known, individual artists. Ninsei’s mark can be found on the base of this piece.

The Female Pheasant Incense Burner was designated an Important Cultural Property in 1960. Along with the Male Pheasant Incense Burner, it is on permanent display.

雌雉香爐

雌雉陶瓷香爐由17世紀的陶藝家野野村仁清製作，和成對的雄雉香爐相同，這件作品也展現了仁清高超的塑形功力，以及精湛運用釉上彩的技法。仁清如此出類拔萃的才華，鞏固了他京燒（一種源於京都，為武士菁英階級打造的彩陶風格）大師的地位。

仁清創作的精美陶製作品深受歡迎，人們會將其作為茶之湯（茶道儀式）用具使用。事實上，許多現存的早期京燒作品均為茶道用具，這兩件雉雞香爐也不例外。一般來說，茶會主辦人會在茶室的「床之間」（凹間）擺放季節性裝飾品。雉雞在傳統中讓人聯想到春季，因此這件香爐在春季的集會中，可能用於營造出季節氛圍。

雌雉香爐的顏色不如雄雉香爐鮮豔。雄雉演化出色彩豔麗的羽毛以吸引配偶，雌雉則發展成融入周圍環境的外觀以躲避捕食者。仁清在雌雉身上多半使用在窯中氧化的銀釉，打造黑色和棕色的漸變效果，忠實重現雌雉相較暗淡的顏色，但他又發揮巧思，在雌雉的頭部增添一些色彩，賦予了雌雉紅色和金色的肉垂，並在眼瞼附近稍微加上一點藍色。此外，仁清還為雌雉加上了像角一樣從後腦向外突出的耳羽。然而，只有雄雉身上才會有肉垂和耳羽。目前有多種解釋為何雌雉香爐上會有這兩個部位的說法，一種說法是，仁清依照雄雉創作雌雉，雖然他知道需要改變整體顏色，卻沒注意到雌雉的頭部構造有所不同。另種說法是，「雌雉」其實是另隻暗夜版本的雄雉。

黏土在窯中燒製時會收縮和變形，因此製作形狀複雜的作品時，十分考驗陶藝家的專業技藝。雌雉身體部分的塑形，展現陶藝家的高超技巧，其尾巴呈45度向外延伸，頸部向後轉，形成平滑的弧度，彷彿這隻雌雉正在梳理羽毛。在東亞繪畫中描繪一雌一雄時，這種姿態常用於雌性的表現手法。

仁清由於擁有精湛的技藝，因此成為日本最受歡迎的工匠之一，他也是最早使用專屬「陶印」的著名陶藝家之一。陶印是一種類似簽名的標記，用於識別作者的身分。蓋上陶印的作法也呈現出思維的轉變，意即陶藝家透過在作品留名，能將自己從無名的勞動者，提升至有辯識度的藝術家個體。在雌雉香爐的底部可以找到仁清之印。

西元1960年，雌雉香爐獲指定為重要文化財，與日本國寶雄雉香爐一同為常設展品。

雌雉香炉

这件雌雉陶瓷香炉由17世纪陶艺家野野村仁清烧制而成。与其成双的作品雄雉香炉一样，雌雉香炉作品也展现了仁清高超的塑形功力，以及对釉上彩技艺的精湛运用。仁清的才华巩固了他作为京烧大师的地位。京烧是一种起源于京都，为武士精英阶层服务的彩陶制品。

仁清创作的精美作品在茶之汤（茶会）场合中深受欢迎。事实上，许多现存的早期京烧作品均为茶具，包括这两件雉鸡香炉。一般来说，茶会组织者会在茶室的“床之间”（凹间）摆放季节性装饰品。雉鸡传统上与春天联系在一起，因此，这件香炉可能用于春季集会，来给房间增添香气，营造季节氛围。

雌雉香炉的色彩不如雄雉香炉那么鲜艳。雄雉进化出了色彩艳丽的羽毛，用于吸引配偶，而雌雉进化出了与大地的颜色相融合的外观，以便躲避捕食者。仁清通过使用在窑炉中氧化的银釉，为作品的大部分区域打造出黑色和棕色的渐变效果，忠实再现了雌雉素雅的色彩。然而，仁清在雌雉的头部进行了一些艺术创作：他赋予了雌雉红色和金色的肉髯，并在其眼睑周围添加了细微的蓝色。他还在雌雉的脑后加上了像角一样向外突出的耳羽。而事实上，只有雄雉身上才存在肉髯和耳羽。目前有多种理论来解释雌雉香炉上为何存在这两个部位。一种说法是，仁清以雄雉为模板进行创作，虽然他意识到了需要改变整体颜色，但是他没有注意到雌雉的头部构造有所不同。另一种猜想是，“雌雉”其实是另一只雄雉――即暗影中的“夜间”雄雉。

黏土在窑炉中烧制时会收缩移动，因此制作形状复杂的作品十分考验陶艺家的专业技艺。雌雉身体部分的塑形展现了陶艺家高超的水准，其尾部呈45度向外延伸，颈部以平滑的弧度向后转，仿佛这只雌雉正在梳理羽毛。在东亚绘画中，这种姿态是雌雄一对动物中雌性的常见表现手法。

仁清凭着精湛的技艺成为了日本最受欢迎的工匠之一，他也是最早使用“陶印”的著名陶艺家之一。陶印是一种类似于签名的标记，用于识别作者的身份。盖上陶印的行为标志着一种思维的转变，陶艺家从佚名劳动者升级为为人所知的个体艺术家。在这件作品的底部可以找到仁清之印。

1960年，雌雉香炉被指定为重要文化财产。这件作品与日本国宝雄雉香炉同为常设展品。