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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 master ceramicist Nonomura Ninsei. Like its male counterpart, the female displays Ninsei’s skillful shaping and masterful use of overglaze enamel techniques. This piece was designated an Important Cultural Property in 1960.

Ninsei used silver paints that oxidized in the kiln to create the figure’s iridescent brown and gray plumage, achieving gradations that mimic a female pheasant’s real-life coloring. On the head, 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. Both are applied with an overglaze enamel technique called iro-e.

The shaping of the pheasant’s body also shows a high degree of skill. The long, straight tail rises at a 45-degree angle, and the neck turns in a smooth arc toward the back, as if the bird is preening. In the kiln, where clay shrinks and warps, producing such exacting shapes takes considerable talent and experience.

Ninsei’s elegant ceramics were highly sought after by the nobility and samurai elite for use in chanoyu, or tea ceremony. In fact, many surviving examples—including the　pheasant incense burners—are tea utensils.

雌雉香爐

雌雉陶瓷香爐由17世紀的陶藝大師野野村仁清製作，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。西元1960年，雌雉陶瓷香爐獲指定為重要文化財。

仁清使用在窯中氧化的銀釉，打造雌雉的棕色和黑色羽毛，呈現漸變的效果，與現實中雌雉的顏色維妙維肖。仁清還發揮巧思，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。這兩處均運用了釉上彩（在日語中稱為「色繪」）技法。

雉雞身體部分的塑形也展現了陶藝家高超的技巧，雉雞長而直的尾巴以45度向斜上方延伸，頸部向後轉，形成平滑的弧度，彷彿這隻雌雉正在梳理羽毛。黏土在窯中燒製時會收縮和變形，因此要打造形狀精確的作品，相當考驗陶藝家的天賦和經驗。

仁清創作的精美陶藝作品深受貴族和武士菁英階級喜愛，他們會將其作為茶之湯（茶道儀式）用具使用。事實上，許多現存的仁清作品均為茶道用具，這兩件雉雞香爐也不例外。

雌雉香炉

这件雌雉陶瓷香炉由17世纪陶艺大师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造型功力，以及对釉上彩技艺的精湛运用。这件作品于1960年被指定为重要文化财产。

仁清使用在窑炉中氧化的银釉来打造雌雉棕色和灰色的羽毛，从而模仿现实生活中雌雉羽毛的渐变效果。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。这两笔创意均采用了釉上彩“色絵”技艺。

雉鸡身体部分的塑形也展现了陶艺家高超的技巧，其长而直的尾部以45度向斜上方延伸，颈部以平滑的弧度向后转，仿佛这只雌雉正在梳理羽毛。黏土在窑炉中烧制时会收缩变形，因此，打造形状精确的作品相当考验陶艺家的天赋和经验。

仁清创作的精美作品深受贵族和武士精英欢迎，他们在茶会中使用这些陶瓷器具。事实上，许多现存的作品均为茶具，包括这两件雉鸡香炉。