Banko ware - Banko yaki

A representative pottery kiln in Mie Prefecture. It was opened in the mid-Edo period by Nunami Rozan (1719-1777), a wealthy merchant from Kuwana. Rozan was an expert in the tea ceremony, and started out making Raku ware before moving on to high-fired glazed pottery. He opened his kiln in Obuke, Asahi-cho, Mie Prefecture, where he had a villa, during the Genbun era (1736-1741). The name comes from the fact that he stamped his works with the character "banko," which means "eternal and unchanging." Rozan Kiln is commonly known as "Kobanko ware," and was known for its overglazed pottery and copper-colored green-glazed pottery (Banko celadon). Its designs were particularly innovative, incorporating Dutch designs and favoring the use of chintz patterns. Although it was largely a hobby, it was highly productive and sold in large quantities, and during the Horeki era (1751-1764) it expanded into Edo, where a branch kiln was established in Mukojima and called "Edo Banko." However, the kiln was closed shortly after Noriyama's death.

Later, Yoshisuke, who had split off from the Kobanko kiln, established Ando ware in Tsu, and in 1831 (Tenpo 2), Mori Yusetsu of Kuwana re-established a kiln in Komukai, which became known as "Yusei Banko," but it was also called "Re-established Banko" as opposed to Kobanko, and many of the wares were tea utensils and sake utensils. In 1853 (Kaei 6), Kurata Kyuhachi established "Re-established Ando" (also known as Akogi ware) in the same place, and in 1856 (Ansei 3), Takekawa Chikusai, who was related to Noriyama, opened the "Izawa Banko" kiln in Izawa, Matsusaka, and among the many Banko kilns, Izawa is the one that best preserves the style of Kobanko. In the early Meiji period, Yusetsu Banko was introduced and "Yokkaichi Banko" was opened, where many wares for sencha tea were fired.

[Yoshiaki Yabe]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

三重県の代表的な陶窯。桑名の豪商沼浪弄山(ぬなみろうざん)（1719―77）が江戸中期に開窯した。弄山は茶道をよくし、楽焼(らくやき)から入って高火度釉陶(ゆうとう)に至るが、元文(げんぶん)年間（1736～41）別邸のあった三重県朝日町小向(おぶけ)に開窯。万古不易の意から、作品に「万古」の押印をつけたのでこの名称がある。弄山窯は一般に「古(こ)万古焼」と称し、色絵陶器、銅呈色の緑釉陶（万古青磁）に特色を発揮した。とくに意匠が斬新(ざんしん)で、オランダ意匠を取り入れ、更紗(さらさ)文様も好んで用いている。趣味性の強いものであったが、殖産性も高く、大量に販売され、宝暦(ほうれき)年間（1751～64）には江戸にも進出して向島(むこうじま)に支窯を設け、「江戸万古」と称した。しかし、弄山没後まもなく廃窯となった。

　その後、古万古窯から分かれた良助(よしすけ)が津に安東(あんとう)焼をおこし、1831年（天保2）には桑名の森有節(ゆうせつ)が小向に窯を再興し、世に「有節万古」の名で知られるが、古万古に対して再興万古ともいい、煎茶器(せんちゃき)や酒器が多い。また1853年（嘉永6）には同地で倉田久八(きゅうはち)が「再興安東」（別称阿漕(あこぎ)焼）をおこし、56年（安政3）には弄山の縁続きになる竹川竹斎が松坂の射和(いざわ)で「射和万古」を開窯したが、数多い万古系窯のなかでは射和がもっとも古万古の遺風を伝える。明治初期には有節万古を導入して「四日市万古」が開かれ、煎茶道具が多く焼かれている。

［矢部良明］

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