伊賀焼の歴史
伊賀焼は中世に農民が農業用の種壷や生活雑器を焼いていたことが始まりとされますが茶の湯が盛んとなった17世紀初めの桃山時代には、古伊賀と呼ばれる水指や花入が多くの茶人に愛され一躍伊賀の名が全国に知れ渡ります。
Iga ware is said to have been originated in the Middle Ages, when farmers fired seed pots for agriculture and other daily utensils.
In early 17th century, when the tea ceremony flourished, water jugs and vases called "The Old-Iga" were loved by many tea masters, and Iga became well known throughout the country.
しかし、江戸時代に入ると茶陶は次第に姿を消し、現在の伊賀焼の基礎となる、碗や皿、鍋、などの日常雑器が盛んに焼かれるようになります。
However, in the Edo period (1603-1867), tea utensils gradually disappeared, and the pottery that forms the basis of today's Iga ware, such as bowls, plates, pots, and other daily utensils, began popular .
古伊賀の美を追い求める陶芸家。
古伊賀に劣らぬ新しい美を目指す陶芸家。
現在の伊賀では、最良の姿、景色を求めて、おのおのが作陶に励んでいます。
While some potters pursue the beauty of old-Iga and the others are aiming to develop a new style of beauty as well as old-Iga.
Both of them are working hard to seek the best form and the texture, which is current style of Iga ware.
伊賀の土の魅力
荒々しい伊賀の土からは、他にはない力強さと、素朴な表情、あたたかみが生まれます。
また、作家の川端康成が「わびさび」を代表する焼き物として古伊賀を絶賛したように、
伊賀の土は日本人の美意識を表現するに適した土でもあります。
The rough Iga clay, is the unique and powerful material.
Iga clay has strength, simplicity, and warmth that cannot be found in any other clay.
As Kawabata Yasunari, a famous Japanese writer,
praised the old-Iga to represent "Wabi-sabi,"(humble simplicity and beauty),
the clay of Iga is suitable for expressing the Japanese aesthetic qualities.
私たちは荒く味わいのある伊賀の土に惹かれ、伊賀の地に窯を築きました。
原土に純度の高い精製を施さず、あえて小石や鉄分といった不純物を残すことで、
素朴な表情やあたたかみを器に体現しています。
We were attracted to the rough and rich clay of Iga and established the kiln in Iga.
By leaving impurities such as pebbles and iron behind without high purity purification,
our ceramics are rugged yet refined,
and it has the simplicity and warmth that reminds you of the countryside of Japan.
春萌窯のものづくり
雲一つない夜空に浮かぶ月よりも雲や霞に隠れるおぼろ月に趣を感じる日本人の美意識。
私たちのものづくりもそんな「不完全の美」に基づいています。
不揃いだったり、歪んでいたり、ざらざらしていたり
土が持つ力強さと作家の感性、手作業の躍動感から生まれる独自の美が、
私たちの追求する美です。
The Japanese sense of beauty is more attractive in a dim moon hidden by clouds and haze than in a moon floating on a cloudless night sky.
Our craftsmanship is also based on the beauty of imperfection.
Uneven, distorted, or rough...
The unique beauty born from the strength of clay, the artist's sensibility, and the dynamism of manual labor,
This is the beauty we seek.
ざらざらと荒く、それでいて触れていたくなる陶器の手触り。
作家の心情が現れるかのような美しいろくろの指跡。
しっとりと滑らかな光沢と荒い土の調和。
そして、唯一無二の美しいブルー。
そのすべてが深い味わいであり、春萌窯の器の魅力です。
The texture of the pottery is rough and coarse, yet it makes you want to touch it.
There are beautiful finger marks on the potter's wheel, which seem to show the artist's feelings.
A harmony of the moist and smooth luster and the rough clay.
All of them have a deep flavor, which is the charm of Syunbougama pottery. our pottery.
そして、唯一無二の美しいブルー。
私の好きな沖縄の海
私の故郷の空
かつて見た荒波の日本海
家族で訪れた穏やかな湖…。
概念としての海や空の青ではなく私の海、私の空、私の湖の青。
そんな人々の記憶や心の奥にある青を呼び起こす青が小辻真一が生み出す青です。
And the one and only beautiful blue.
My favorite ocean in Okinawa
The Sky of my Hometown
The rough sea of Japan I once saw
A tranquil lake I visited with my family...
Not the blue of the sea or sky as a concept.
The blue of my sea, my sky, my lake.
The blue evokes the blue in the depths of human hearts and memories
This is the charm of Shinichi Kotsuji's blue color.
さらに、現代の生活にも合う春萌窯のモダンな器は、海外の方々にも人気で、前菜、メインディッシュ、デザートと、様々なシーンやスタイルでお使いいただけます。
また、テーブルに置いて頂くだけでも空間が華やぎます。
Furthermore , the modern aspects of well-designed potteries are suitable for today's life, and have been accepted worldwide .
They can be used in a variety of meal settings and the styles.
By merely placing them on the table, the table setting will be gorgeous.
ハレの食卓、季節の食卓、日々の食卓・・・。
さあ、手作りの自慢料理を春萌窯の器に盛り付けてみて下さい。
あたたかみのある土の風合いが、いっそう料理を引き立てます。
For special occasions, and also for a daily life, please try to serve your dishes on our handmade potteries.
Our pottery with the warm soil surely enhances the dishes.
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