Hajiki - Repelling

Japanese: 土師器 - はじき

Unglazed pottery, a descendant of Yayoi pottery, was used from the Kofun period through to the Heian period.

[Takuya Iwasaki]

name

The word Hajiki appears in the Engishiki, and is pronounced as "haji" in the Wamyōshō, so it is certain that the name was used in the Heian period. The reason for extending the name to similar pottery from the Kofun period is purely for convenience. However, the Nihon Shoki, in the entry for the 17th year of the reign of Emperor Yūryaku, states that the "Nie no Hajibe" (offering Hajibe) was established as a subordinate group to make vessels for the imperial court, so the name may actually be older than expected. However, the name Hajiki was not established as an archaeological term for very long, and the term "Hanibe pottery" was used, and it was sometimes referred to together with Yayoi pottery as "Hanibe pottery."

[Takuya Iwasaki]

Production

Haji ware was usually shaped by the clay string winding method, with the hand-kneading method being used only occasionally for ritual pottery. From the latter half of the 8th century onwards, wheel-throwing was introduced, but this was limited to small pottery such as bowls and basins. A variety of techniques were used for shaping, including hammering, brushing, polishing, stroking, scraping and pressing, but the types and combinations of these varied considerably depending on the era and region. The pottery was fired using an oxidizing flame, giving it a reddish colour, but the firing temperature was only around 800°C, the same as for Yayoi pottery, so it is unlikely that a kiln of this magnitude was used. However, if we consider the fact that the black spots on the surface of the pottery tended to decrease rapidly from the 7th century onwards, we must acknowledge that efforts were made to make the fire more uniform. At the same time in northeastern Japan, there was also a rapid spread of a trend to finish the inside of pottery in a jet black color.

[Takuya Iwasaki]

Upper and lower limits

Since Haji ware originated from Yayoi pottery, it is impossible to distinguish it from Yayoi pottery in terms of pottery type. Therefore, the only way to distinguish it is whether it was produced in the Kofun period or not. However, when separated in this way, it seems to have occurred at the same time as the addition of small refined pottery of uniform shape as ritual vessels. If this is true, it would be separated from Yayoi pottery due to the stylistic difference of the presence or absence of small pottery for ritual use. On the other hand, the lower limit is marked by the stage at which Haji ware other than clay pots and certain types of bowls were ousted from the role of everyday utensils by the development of medieval pottery. It goes without saying that the pottery known as "horoku" and "kawarake" is the successor to Haji ware.

[Takuya Iwasaki]

Creator

From its name, it is easy to assume that Haji ware was produced intensively by the Hajibe, led by the Haji clan. Certainly, the Nie Hajibe in the Nihon Shoki, Tamate Haji and Tsukitsukuri Haji in the Engishiki, etc., were groups that contributed Haji ware. Also, according to the "Joseisho no Ge" in the 2nd year of Tenpyo Shoho (750) in the Shosoin documents, it seems that the government sometimes employed female craftsmen who specialized in making pottery. However, considering the regional differences in Haji ware, especially in the eastern part of the country, where even individual differences between pottery pieces are significant, further investigation is needed into the production of Haji ware as a daily utensil.

[Takuya Iwasaki]

Various models

Haji ware was used for a long period of time, from the 3rd and 4th centuries to the 11th century. It was also distributed over a wide area, from southern Hokkaido to Kyushu. Therefore, there were not only differences in time, but also differences between regions. However, even if we exclude uniform pottery such as small refined pottery, there are many cases where morphological characteristics are common throughout the country, ignoring minor differences. For this reason, the idea that the five-stage chronology of the southern Kanto region, Goryo style period → Izumi style period → Onitaka style period → Mama style period → Kokubu style period, should be applied to the entire country as a standard scale, has long been dominant. However, for example, in western Japan in the 3rd and 4th centuries, round-bottomed jar-shaped pottery, in which the inside of the pottery wall was thinned by scraping it with a spatula, was popular, while in eastern Japan, pedestal pottery was the norm, with the outside being scraped to make it thin. It must be remembered that there were significant regional differences in the methods of making and using Haji ware. Recognizing the above facts, we will now take a look at the evolution of Haji ware through the five-stage chronology of the Southern Kanto region, which was once considered a national chronology scale.

[Takuya Iwasaki]

Goryo style pottery

Around the second half of the 3rd century, wide-area exchange of pottery became active. While Shonai-style pottery from the Kinai region spread mainly throughout western Japan, pottery from the western Tokai region influenced as far as the southern Tohoku region. In the midst of this movement, Yayoi pottery in each region began to change rapidly. Goryo-style pottery was also established in this way. Goryo-style pottery, which was mainly used in the 3rd and 4th centuries, mainly consists of decorative storage and offering jars with stepped rims, thin boiling jars with brush marks, small-capacity steamers, well-made high bowls and bowls for offering food, and small vessel stands and bowls for rituals and offerings. In the latter half of the period, small round-bottomed crucibles were added to the small refined pottery. Another characteristic of this period is the presence of small amounts of pottery from other regions. This corresponds to the later stage of the Shonai Style period to the older and middle stages of the Furu Style period in the Kinki region.

[Takuya Iwasaki]

Izumi Style Pottery

Of the pottery that flourished in the 5th century, the disappearance of pottery for offerings is particularly noteworthy. That is, jars rapidly decreased in number and became cruder, small refined pottery groups almost disappeared, and the only remaining small round-bottomed crucible became roughly made. Takabuki vessels, characterized by shallow bowls with ridges and thin columnar legs, became prominent, and the number of personal serving vessels such as bowls and bowls increased. Pots, characterized by their sharply narrowed necks and spherical bodies, were no longer thin, and the brush marks on the surface of the vessels tended to be erased with a spatula. Corresponding to a new stage in the Furu style period in the Kinki region, Sue ware was about to begin to appear.

[Takuya Iwasaki]

Onitaka style pottery

This group of pottery began to be used in the latter half of the 5th century, and is characterized by the inclusion of stepped bowls and crucibles imitating sueki. This was a phenomenon commonly seen in the eastern part of Japan and Kyushu, excluding the Kinki region, which had a ceramic industry. With the adoption of hearths in homes, pottery jars for boiling water became longer, and similarly, improved heat made it possible to use large steamers. Individual vessels such as bowls and plates continued to increase, but small round-bottomed crucibles and high bowls rapidly decreased, and vessel types became scarce. Storage vessels and the like began to cede their place to sueki.

[Takuya Iwasaki]

Mama style pottery

This group of pottery was used for about a century from the latter half of the 7th century, and is characterized by shallow, plate-shaped bowls. Sue ware became more widespread, and the variety of Haji ware decreased further. At the same time, some of the bowls began to be shaped on a rotating table. The outside of the long-bodied boiling jars was boldly carved with sharp tools to create thin walls. It seems that around this time Haji ware from the Tohoku region was brought to Hokkaido, eventually giving rise to the Satsumon pottery of the region.

[Takuya Iwasaki]

Kokubu-style pottery

Its greatest feature is that bowls began to be shaped on a potter's wheel. Early bowls are carefully made, with any thread-cutting marks on the bottom removed and the insides polished, but perhaps due to immaturity, the bottom diameter is large. Later, they changed to bowls with gradually smaller bottoms, but the workmanship became rougher. As Sue ware became more widespread, Haji ware came to be limited to boiling vessels and dishes. However, in the Kinki region, which was close to the capital, there was a wide variety of boiling vessels such as clay pots and kettles even after the 8th century. In the eastern part of the country, only thin jars and, more recently, hagama (feathered kettles) were used. This is Haji ware in its final stage, up until the 11th century.

[Takuya Iwasaki]

"Compilation of Haji-style Pottery I-IV" edited by Sosuke Sugihara and Hatsushige Otsuka, 4 volumes (1972-74, Tokyodo Publishing)

[References] | Satsumon pottery culture | Shonai pottery | Furu pottery

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

古墳時代から平安時代にかけて使われた、弥生(やよい)土器の系統を引く素焼(すやき)土器。

［岩崎卓也］

名称

土師器という語は『延喜式(えんぎしき)』にみられ、『和名抄(わみょうしょう)』で「波爾」すなわち「はじ」と訓じているから、平安時代にこの名が使われていたことは確かである。この名称を古墳時代の同系土器にまで及ぼそうというのは、まったく便宜的な理由によるものである。しかし、『日本書紀』雄略(ゆうりゃく)天皇17年条に、朝廷の料器をつくる部民として「贄土師部(にえのはじべ)」を設けたという記述があるから、その名のおこりは案外古いかもしれない。もっとも、考古学用語として土師器の名が定着したのはさほど古いことではなく、「埴部(はにべ)土器」が使用されたり、弥生土器ともども「埴瓮(はにべ)土器」の名で総称されたりしたこともあった。

［岩崎卓也］

製作

土師器は、粘土紐(ねんどひも)巻き上げ法によって成形するのが通常で、わずかに祭祀(さいし)用土器に手づくね法がとられた。8世紀後半以降、轆轤(ろくろ)成形が取り入れられるが、それは坏(つき)、鉢といった小形土器に限られていた。整形には叩(たた)き、刷毛目(はけめ)、磨き、なで、削り、押さえなど、多様な手法が用いられたが、それらの種類や組合せは、時代や地域によって相当な差異があった。焼成は酸化炎によったから赤みがかった色調となったが、その焼成温度は弥生土器同様800℃前後にすぎなかったから、それほどの窯(かま)が使用されたとは考えられない。しかし、7世紀以降、器表面の黒斑(こくはん)が急減する傾向がある点を重視するなら、火の回りを均一化するようなくふうが払われるに至ったことを認める必要はある。また、同じころ東北日本では、坏の内面を漆黒色に仕上げる風が急速に広がるなどの変化もあった。

［岩崎卓也］

上限と下限

土師器の始まりは、それが弥生土器の系統を引くものであるから、土器型式のうえから弥生土器との間に一線を画することは不可能である。したがって、それが古墳時代の所産であるか否かによって区別するほかはないのである。しかし、こうして分離してみると、斉一な形をとる祭器としての小形精製土器が新たに加わるのと時を同じくするようである。これが事実なら、小形祭祀用土器群の有無という様式上の差異によって、弥生土器から分離されることになろう。一方その下限は、中世的窯業の展開によって、土鍋(どなべ)ならびにある種の坏以外の土師器が、日常雑器の座を追われる段階をもって画している。「ほうろく」や「かわらけ」とよばれる土器が土師器の後身であることはいうまでもない。

［岩崎卓也］

製作者

土師器はその名称からして、土師氏が率いる土師部によって集中的に製作されたと思われがちである。確かに『日本書紀』の贄土師部や『延喜式』の玉手(たまて)土師、坏作(つきつくり)土師などは、土師器の貢納集団であったろう。また『正倉院文書』のうちの天平勝宝(てんぴょうしょうほう)2年（750）の「浄清所解(じょうせいじょのげ)」によれば、役所が女性の土器作り専門工人を雇ったこともあったようである。しかし、土師器にみる地域差、とりわけ東国などでは、土器の間の個体差さえ著しいことを想起するなら、生活用具としての土師器の製作については、さらに検討を要すると思われる。

［岩崎卓也］

諸型式

土師器は、3、4世紀から11世紀に至る長期にわたって使用された。また、その分布も北海道南部から九州一円という広域である。したがって、時期差ばかりではなく、地域間における差異も少なからず存在した。だが小形精製土器のような斉一性を有する土器を除外したとしても、なお小異を無視するなら、全国的に共通する形態上の特色を示す場合が少なくない。そのため、南関東地方における五領(ごりょう)式期→和泉(いずみ)式期→鬼高(おにたか)式期→真間(まま)式期→国分(こくぶ)式期という五段階編年を、そのまま標準尺度として全国に及ぼそうという考えが永く支配的であった。だが、たとえば3、4世紀の西日本では、内面を篦(へら)で削ることによって器壁を薄くした、丸底を基調とする甕形(かめがた)土器が盛行したのに、東日本のそれは台付きが主流で、外面を削って薄作りとしていた。このように土師器の製作法、使用法には、無視できない地域差が存在したことも銘記しなければならない。前述の事実を認めたうえで、以下にかつて全国的編年の尺度とも考えられた南関東地方の五段階編年を通じて土師器の推移を通観しよう。

［岩崎卓也］

五領式土器

3世紀の後半ころ、土器の広域な交流が活発化する。畿内(きない)地方の庄内(しょうない)式土器が主として西日本一円に広がりをもったのに対し、東海地方西部系の土器が東北地方南部にまで影響を及ぼした。このような動きのなかで、各地方の弥生土器が急激に変容を始めるのである。五領式土器もこのようにして成立した。3、4世紀を中心に使用された五領式土器は、有段口縁を特色とする装飾的な貯蔵・供献用の壺(つぼ)、刷毛目調整痕(こん)をとどめる薄作りの煮沸用甕、少量の甑(こしき)、供膳(きょうぜん)用としてのできのよい高坏や埦(わん)、それに祭祀・供献用の小形器台、鉢などの小形精製土器を主要器種とする。その後半期には、小形精製土器に小形丸底坩(かん)が加わる。他地域の土器を少量ずつ共伴するのも、この時期の特色といえよう。近畿地方の庄内式期新段階から布留(ふる)式期古・中段階に対応する。

［岩崎卓也］

和泉式土器

5世紀代に盛行した土器群で、供献用土器の消滅がとくに注目される。すなわち、壺は急減するとともに粗雑化し、小形精製土器群もほとんど姿を消し、ただ一つ残る小形丸底坩も粗いつくりとなる。浅い坏部に稜(りょう)をもち、細い柱状脚を特色とする高坏が目だつとともに、埦、坏など個人用の盛器が数を増す。「く」字形に鋭くくびれる頸部(けいぶ)と球形胴に特色をもつ甕は、もはや薄作りではなく、器表面の刷毛目が篦によって消し取られる傾向がある。近畿地方の布留式期新段階に対応し、そろそろ須恵(すえ)器が共伴し始める。

［岩崎卓也］

鬼高式土器

5世紀後半期に使用が始まる土器群で、須恵器を模倣した有段の坏や坩などを伴うことに特色がある。これは、窯業地帯をもつ近畿地方などを除く東国や九州などで普遍的にみられた現象である。住居へのかまどの採用に伴い、煮沸用の甕が長胴化し、同様に火力の向上によって大形甑の使用が可能となった。坏、皿などの銘々器はますます増加したが、小形丸底坩や高坏などは急減し、器種は乏しくなる。貯蔵器などはそろそろ須恵器にその座を譲り始める。

［岩崎卓也］

真間式土器

7世紀後半期からおよそ1世紀の間使用された土器群で、浅い盤状の坏に特色がある。須恵器が一段と普及し、土師器の種類はさらに減る。それとともに坏の一部は回転台によって整形されるようにもなる。煮沸用の長胴甕の外表は、鋭利な工具で大胆に削って薄い器壁をつくっている。このころから東北地方の土師器が北海道にもたらされ、やがて同地方の擦文(さつもん)土器を成立させたようである。

［岩崎卓也］

国分式土器

坏類が轆轤によって成形されるようになる点を最大の特色とする。初期の坏は、底部の糸切り痕を消し去り、内面も磨くなど、つくりはていねいだが、未熟さによるのか底径は大きい。のちにだんだん小さな底をもつものに変わるが、つくりは雑になる。須恵器の普及とともに、土師器は煮沸器と皿類にほぼ限られるようになる。しかし、都を控えた近畿地方では、8世紀以降も土鍋、釜(かま)など煮沸器は多種多様である。東国などでは薄手の甕と、遅くなって羽釜(はがま)が用いられる程度であった。11世紀に至る最終段階の土師器である。

［岩崎卓也］

『杉原荘介・大塚初重編『土師式土器集成Ⅰ～Ⅳ』全4巻（1972～74・東京堂出版）』

[参照項目] | 擦文土器文化 | 庄内式土器 | 布留式土器

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