瀬戸染付

2003年3月15日13：00～14：50（20分延長）瀬戸市文化センターで愛知県立芸術大学教授
で瀬戸染付研修所講師である加藤伸也氏を講師として｢染付 - Blue and White -　
”景徳鎮・有田そして瀬戸”｣と題する瀬戸染付研修所主催による公開講座が開かれました。
定員80名ほぼ満員の大盛況でした。
講師の瀬戸染付にかける熱意はすばらしく分析方法は、｢陶磁の研究家・評論家｣、
｢陶磁史研究者｣といった観点のみで瀬戸染付の位置づけをするのではなく、｢窯業化学者｣、
｢地質学者｣、｢原材料を提供する陶磁器関係者｣、｢染付・陶芸の”ものづくり”の関係者｣と
いったこれまで余り顧みられなかった観点も追加し、より正確に、広く、深く、かつわかりやすく
歴史的・技術的に瀬戸染付の位置付けを把握しようとする方法です。
An extension lecture entitled 《Sometuke - Blue and White - "Keitokuchin, Arita and
Seto"》 was given by a lecturer, Mr. Shinya Kato, Professor Aichi Prefectural University
of Fine Arts and Music, and a lecturer of The Training Institute of Seto Sometsuke under
the sponsorship of The Training Institute of Seto Sometuke at the Seto City Culture
Center for 13:00 to 14:50 (20 minutes extended) on March 15, 2003.
The room with a seating capacity of 80 was almost fully occupied.
The lecturer showed great zeal for Seto Sometsuke.
Seto Sometuke should not be positioned only from viewpoints by scholars or critics of
ceramics or scholars of ceramic history. Seto Sometuke should be positioned also from
viewpoints which have been neglected until now. The viewpoints include a "pottery-
industry chemist", a "geologist", "the pottery persons concerned who offer raw material",
and "the pottery persons involved in 'production of Sometuke or ceramic art' ".
From the above method, an outline or a position for Seto Sometuke can be grasped more
correctly, widely and deeply in terms of history and technique.

以下は本公開講座、寺田康雄氏の｢瀬戸のやきもの｣連載シリーズの第10回｢瀬戸染付｣、
瀬戸市マルチメディア伝承工芸館のパンフレットその他の資料並びにHP作成者の推定により
記しました。
The following are based on this extension lecture, the10th serialization, "Seto Sometuke"
among serial publication titled "An earthen-ware of Seto" written by Mr. Yasuo Terada ,
a pamphlet of Seto Municipal Center of Multimedia and Traditional Ceramics and a
presumption by this web page writer

瀬戸染付の特徴
１　没骨[もっこつ]技法と呼ばれる主に付立筆[つけたてふで]を用いて一気に描く方法で、
　　瀬戸を訪れた南画系の絵師によってもたらされた。
　　＊　これに対し、有田染付は骨画[こつがき]（細い線で輪郭線を描く）の後に濃み[だみ]
　　　　　（輪郭線の中に筆で色を付ける）を施す方法である。
２　卓越したスケッチ力に基づいた自然描写をモチーフとしている。
３　平面にスケッチしたものを立体的なイメージへと描き直し、次に一気に白地の素地に
　　付立筆で描くので力強いタッチとなる。このタッチが本当の良さを醸し出す。
　　＊　有田染付の濃み技法を使うと端正な感じとなるが、力強さに欠ける。
　　　　（有田の関係者へ：反論がありましたら、HP作成者へ連絡お願いします。）　
Feature of Seto Sometuke
1 A method called "Mokkotu Technique". A picture is drawn at a stretch or stroke
　with use of a brush called "Tsuketate Fude".
　This method was brought about by a painter of the Southern school of Chinese
　painting who visited Seto.
　 * On the other hand, in a method of Arita Sometuke, "Dami" (a color is attached
　　with a brush into an outline) is carried out on "Kotugaki" (an outline drawn
　　 by a thin line)
2 The depiction of nature based on the distinguished sketching capability is used
　 as the motif.
3 After redrawing to a three-dimensional image from what was sketched at the plane,
　 the image is drawn on white body at a stretch with "Tsuketate Fude". So, the image
　 on white body becomes powerful. This powerfulness brings about genuine good quality.
　　* When using Dami technique of "Arita Sometuke", the image on white body will be
　　 decent, but will be lacking in powerfulness.
　　　[Please give this web page writer anything on the above.]
染付に対する一般的観念
（公開講座に対するHP作成者の理解が間違っていたら、ご指摘下さい。）
｢染付｣＝｢濃み｣という観念が強く、骨董屋は｢染付｣＝｢伊万里｣と理解しているようだ。
｢濃み｣が定着してきたのは１５２２年（明中期）以後で、｢有田｣（即ち｢伊万里｣）は中国
の景徳鎮の模倣（即ち、絵付台帳による｢ぼかし｣や｢すみはじき｣技法を使っている）。
Ordinary understanding on "Sometuke"
(This is an understanding by this web page writer, and if not correct, please inform
the writer.)
General or ordinal understanding on "Sometuke" is that it is related with "Dami"
(in fact, "Dami" is related only with "Arita
Sometuke").　Antique dealers may understand that "Sometuke"
is "Imari-Ware".　But, this understanding is wrong.
"Dami" technique was established after about 1522. At that time, "Arita-Ware"
(or "Imari-Ware") imitate or copy a technique originated by an historically old
ceramic town in China, "Keitokuchin". The original technique includes "Bokashi"
(or shadings or gradations) with use of a painting script or "Sumihajiki" .

瀬戸染付の理解・普及
染付が最も瀬戸焼きの特徴を示すものであり、繊細で力強い｢瀬戸染付｣を陶磁器ファン
の為にももっとPRしていく必要がある。
瀬戸染付は｢手作り品｣と｢量産品｣とを分けて販売する必要がある。
＊伊万里（有田染付）では分けて商社などの業者へ引き渡している。
Popularization of "Seto Sometuke"
The feature of the "Setomono" (or Seto-Ware) will be best shown with "Seto Sometuke".
"Seto Sometuke" with delicacy and powerful taste should be publicized more for ceramic
fan or enthusiast.
In the meantime, Seto-Ware with "Seto Sometuke" may have to be marketed, dividing
into each "Handmade Seto-Ware with "Seto Sometuke" and "Mass-produced Seto-Ware
with "Seto Sometuke".
* Imari-Ware (or Arita-Ware) with Sometuke is delivered to dealers by dividing as above
　shown.

瀬戸染付前後の歴史　
元以前の宋時代（宋時代960年～1279年）；宋時代のいつ頃、景徳鎮が青白磁生産を開始
　　　　　　　したかは不明。（＊中国のカオリンという土地で採掘され、長石が風化した土で
　　　　　　　磁器に適しており、青白磁の生産に使用された。但し、現在は廃坑となっている。）
1330年～1350年（元時代1279年～1368年）景徳鎮で磁器生産
1330年～15世紀前半《元時代～明時代（1368年～1644年）の前半》景徳鎮からアラブや
　　　　　　トルコへ磁器輸出　《イスラムの宗教儀式に利用》　
15世紀中頃～景徳鎮からヨーロッパへ磁器輸出　
1548年　朝鮮半島で磁器生産
1600年　中国で染付開始
1600年　九州有田で磁器生産
1615年　有田で染付開始
1665年　瀬戸の工人が染付の原料である呉須を使って陶器に染付をする（名古屋城御庭焼
　　　　　[おにわやき]　又は、御深井焼[おふけやき]とも言う）
1710年　ドイツのマイセンで磁器生産開始
1807年　瀬戸で磁器生産開始
　　　　　*瀬戸の加藤民吉が1804年熱田奉行の津金文左衛門、瀬戸の庄屋、尾張藩庁
　　　　　　の要請で、瀬戸窯業の窮地を救うべく、九州肥前（佐賀県）と長崎へ技術習得の
　　　　　　修行に行く。3年後磁器染付の製造・焼成技術のみならず上絵付の技法まで
　　　　　　習得して瀬戸へ帰ってきた。
1868年　瀬戸で染付開始。
History before and after "Seto Sometuke"
960 - 1279 (the So era in China)
Keitokuchin in China began to produce "Blue and white" ceramics , but the exact
time is unknown. A china clay mined at a place in China called Kaolin is like
weathered-feldspar and suits for production of "Blue and white" ceramics. But, this
exploiting mine is abandoned now.
1330 - 1350 (the Gen era in China → 1279 - 1368)
Keitokuchin in China began to produce a porcelain.
1330 - the first half of the 15th century (the Gen era of China
through the Min era of China (from 1368 through 1644) )
Keitokuchin exported its porcelain to an Arab and Turkey where it is used for
an Islamic religious rite.
After the middle of the 15th century
Keitokuchin exported its porcelain to Europe.
1548
Porcelain was produced in the Korean Peninsula.
1600
"Blue and white" porcelain began to be produced in China.
1600
Porcelain began to be produced in Arita, Japan.
1615
"Blue and white" porcelain began to be produced in Arita, Japan.
1665
The worker of Seto began to produce "Blue and white" pottery with use of ｚａｆｆｅｒ.
This pottery is called "Oniwayaki" or "Ofukeyaki" (produced inside the Nagoya
Castle, Japan).
1710
Porcelain began to be produced in Meissen, Germany.
1807
Porcelain began to be produced in Seto, Japan.
To save the plight of Seto ceramic business at the request of Atsuta magistrate,
a village headman in Seto and a government of Owari domain (Aichi Pref. at present),
Tamikichi Kato of Seto went to Kyushu in 1804 to acquire a technique relating to
the manufacture of porcelain. Three years after acquiring a skill for an overglaze-
painting as well as a technique for producing and firing of porcelain, he returned to Seto.
1868
"Blue and white" porcelain began to be produced in Seto, Japan.

（以下は寺田康雄氏の｢瀬戸のやきもの｣連載シリーズの第10回｢瀬戸染付｣による）

地元の原材料で染付に挑む
瀬戸窯業を再び蘇らせた民吉の習得した技法の一部：
１　素地原料の確保と研究
　　九州の各窯場で使用された素地原料は泉山の陶石を単味[たんみ]で
　　用いたのに対し、瀬戸では、どろ（蛙目粘土[がいろめねんど]もしくは
　　木節粘土[きぶしねんど]を水に溶かし水簸[すいひ]<水ゴシ>して泥漿にし
　　、それを沈殿させたもの）、千倉[ちくら]（花崗岩が風化して磁土化したもの。
　　半分解のものも含む）、石（砂姿[さば]ともいう。花崗岩が砕けて長石が
　　分離したもの。上質なものは薬石[くすりいし]と呼び、釉調合によく使われる）
　　等々を配合して、可塑性に富んだ磁土を作り出していた。
　　川本治兵衛の手控えによると、１８０３年には既に、｢どろ1石、千倉６斗、石８斗｣
　　とあるから、実は民吉は、九州へ出発する前から既にこのことを知っていたと
　　思われる。　
２　釉に使う柞灰[いすばい]
　　民吉が技法を持ちかえる以前の瀬戸は古くから伝わる釉調合で土灰[どばい]
　　と呼ばれる雑木灰を使用していた。その為、呉須（マンガン、鉄など不純物を
　　含む酸化コバルト）がにじんで絵に鮮明さを欠いていた。柞灰を使うことにより
　　この欠点が解消された。だが、瀬戸地方にはこの木が自生していなかったので
　　九州から苗木を取り寄せて植林まで試みるが、気候があわず失敗する。
　　仕方なく、高価な柞灰を九州から購入せざるを得なかった。

呉須も染付には欠くことの出来ない原料である。　瀬戸では１６６５年中国（明）からの
帰化人である陳元贇指導のもとに採掘され、名古屋城御庭焼に使用されたが、
１６６６年以後は藩命により、採掘禁止になっていた。次第に意気高まってきた染付
を焼く業者達は代官に採掘許可を願い出て、これが許される。しかし、増え続ける
”新生窯”の需要を満たすことが出来ず、九州・長崎から”唐ゴス”を買い入れて地元
の”瀬戸ゴス”と混ぜて使用した。
The following are based on the10th serialization, "Seto Sometuke" among serial
publication titled "An earthenware of Seto" written by Mr. Yasuo Terada:

Challenge with "Seto Sometuke" with local raw material
A part of technique which Tamikichi mastered to revive Seto ceramic industry again:
1 Securing and research of china clay materials of body
　 Each pottery at Kyushu, Japan used one kind of china clay exploited at a place,
　 Izumiyama (Kyushu) as the body material.
　 While, in Seto, Doro(Note 1), Chikura (what granite was weathered and kaolinized),
　 and Stone (granite broke and feldspar separated into the stone→Note 2 ), were blended,
　 and the kaolin which was rich in plasticity was made.
　 This was used as the body material.
　 Note 1 Doro
　 This is a kind of mud and produced by dissolving Gairome-clay or Kibushi-clay in water,
　 filtering, making fine and precipitating.
　 Note 2 Stone
　 This is also calld "Saba", and the higher quality stone is called "Kusuri-ishi" which is used
　 for preparing a glazing agent. A note of Mr. Jihei Kawamoto in 1803 showed that "One Koku
　 (180 litre/Koku) of Doro", "Six Toh (18 litre/Toh) of Chikura" and "8 Toh of Stone".
　 So, it seemed that Mr. Tamikichi Kato had already known how to produce the body material
　 before leaving for Kyushu.

2 "Isubai" (Ash made of a tree called "Isu") to prepare a glazing agent
　 Seto used "Dobai" (or ash made of miscellaneous small trees) for preparation of glazing agent
　 for a long time before Mr. Tamikichi Kato brought back a glazing technique from Kyushu.
　 Zaffer (oxidization cobalt containing impurities, such as manganese and iron) spread on the
　 surface of the body, and a picture was not clear. By using this "Isubai", this defect was solved.
　 But, the tree, "Isu" did not grow wild or naturally in Seto. So, Seto got the young plant from
　 Kyushu to try to plant it on the mountainside. This trial failed because weather did not agree
　 with the plant. Then, Seto had to purchase "Isubai" from Kyushu.

Zaffer is indispensable material for "Seto Sometuke". Zaffer was mined in Seto under supervision
by Mr. Chin Gen Pin (a naturalized Japanese from China) in 1665. But, the mining was prohibited
by a kind of law of the domain of Owari (Aichi Prefecture at present). The persons concerned in
relation to "Seto Sometuke" had became in high spirits gradually, and asked a local magistrate
(or the president of local court) for permission of mining. The mining was permitted. However, the
amount of zaffer mined in Seto was not enough to meet the increasing demand from "Shinsei-Gama"
(or a kiln specializing for production of porcelain).
Therefore, producers of ceramics with "Seto Sometuke" bought "Tou-Gosu" (or zaffer mined in China)
from Kyushu, and blended it with "Seto-Gosu" (or zaffer minded in Seto).