JP3080479U - Porcelain tableware - Google Patents

Abstract

(57) [Summary] [PROBLEMS] To provide ceramic tableware, such as a bowl, to which food such as rice is unlikely to adhere. SOLUTION: A large number of projections 1f are provided inside a bowl 1.

Description

[Detailed description of the invention]

[0001]

[Technical field to which the invention belongs]

 The present invention relates to a bowl, which is a ceramic tableware used at a dining table.

[0002]

[Prior art]

 The tableware used when eating food is called tableware. Considering tableware as a tool for eating, chopsticks, spoons, knives and forks are also included in tableware, but in general tableware refers to dishes, bowls, bowls, bowls, etc. on which food is placed and served. In the prehistoric era, when humans came together to form a herd, the custom of eating together was born. This cannibalism was not necessary until hunting and other human beings acted alone, but when multiple humans began to eat together, food containers were needed. Large leaves were used to apply this agent, such as lotus leaves, oak leaves, and pho leaves. Large leaves and red leaves were used for cannibalism, and small leaves were used for individual consumption. These leaf vessels were like modern disposables. Even now, in Southeast Asia and parts of Oceania, leaves are used as dishes and used for cooking. As meals become more enriched and the types of dishes increase, permanent dishes are created, which is considered the prototype of renewed, contemporary personal tableware.

[0003] Tableware can be classified according to the shape and use of a round plate, a square plate, a bowl, a bowl, a bowl, a bowl, a glass, and the like, but here, the tableware is classified based on its material. In Japan, which is rich in trees, trees have been used as timber for building houses since ancient times, and tableware was also made of wood. It has evolved from a small board to a table, and even now, Japanese cedar and cypress have straight-grained tatami mats used for tea kaiseki. However, it cannot be used repeatedly as it is on a plate and is unsanitary for soups and stewed dishes. Therefore, the technique of lacquering began to sprout, and lacquer was applied to the bowls and bowls made by the kijishi, and durable lacquerware was used as tableware. This lacquerware eventually became very expensive, with lacquer work and foil painting, and was used only by the noble and samurai privileged classes. Even in the Edo period, lacquerware was used only by Australian merchants and Australian farmers. New year's heavy boxes and other items were so popular that they could be accepted as heirlooms for generations. It was used as a daily dish for monks, such as plain lacquerware such as Negoro Nuri, and Zen Buddhists. For the common people, eating with lacquerware was special.

[0004] Earthenware has been used since the Jomon era, and in the Nara era a variety of dishes, such as bowls and bowls of Sashiki and Sue, were used. At that time, a glazed technique area was already connected, and there were some pottery called Nara Sansai, which was used by a very small class such as the Imperial Family. In the Kamakura era, the pottery area of Song was introduced, and full-scale pottery production began. The first place was Seto in Aichi Prefecture, and since this area was covered by pottery clay, many kilns were broken and mass production of pottery was carried out. If lacquerware is a representative of tableware in a noble society, pottery can be said to be a tableware representing a samurai society.

[0005] Ceramic technology quickly spread throughout the country, and kilns such as Tokoname ware, Shigaraki ware, Bizen ware, and Mino ware were formed. During the Edo period, a white porcelain mine was discovered in Arita, Saga Prefecture, and porcelain production began in earnest. Arita ware was shipped to various parts of Japan by boat from the port of Imari. Furthermore, it was rolled out to Europe and became famous as Imari ware. By the time the popular culture of Edo blossomed, ceramic tableware spread to the townspeople, and “Setomono” was commonly used as everyday tableware. The custom is that luxury dining tables such as hospitality use red porcelain porcelain and lacquer lacquer ware, and everyday dining tables use ceramic ware. This tradition continues to this day.

[0006] Porcelain is an earthenware that is semi-permanently hardened by firing in a kiln or the like. It is also called "pottery" or "ceramics". The types and properties of pottery vary in various ways depending on the ingredients and blending method of the starting material, the temperature and method of firing, and the glaze (also called glaze) for finishing and decoration.

[0007] It is a porous porcelain that contains a lot of air in the substrate, and is usually baked at a low fire of about 700 to 800 ° C. High water absorption, brittle against impact. The base color is red, brown, light yellow, black, etc. and is generally not glazed. Pottery is fired at a relatively high temperature of about 900-1200 ° C. and glazed. Compared to earthenware, it has higher water resistance and is durable. The glaze is artificially applied and in the kiln It is hard and can be baked at a high temperature of about 1200 to 1280 ° C. The substrate is white, gray, pale yellow, red, etc. and may be glazed. Porcelain is made of kaolin, feldspar, and silica stone, which are called white clay, and is fired at a high fire temperature of about 1280-1400 ° C. The base is white and slightly translucent. It is very hard and has a metallic sound when struck. It was in China that the first porcelain ware was founded. In Europe, attempts to imitate Chinese porcelain were repeated, but porcelain was made in earnest in the early 18th century. Modern European porcelain, which began in the German Meissen kiln and spread quickly, is harder than Chinese porcelain. In the mid-18th century, bone china was developed in Britain. This is a new type of porcelain that has been baked into calcined beef bone, calcium phosphate, mixed with the base soil to increase stability, whiteness and translucency during firing.

[0008] In order to prepare the soil to be a base, first, it is necessary to remove any unusual impurities such as pebbles contained in the soil. Furthermore, add water and stir while stirring to remove finer impurities and purify. Elutriation is the process of adding water to form fine-grained soil. Elutriation may be performed several times as needed. In some cases, the soil thus refined is used as it is, and in other cases, several types of soil are combined. They may also mix sand, fine-grained stones, crushed shells, or soil made by crushing once-baked clay. By shaking the soil well, air is blown out of the soil, preventing bursting during firing. There are many traditional methods for forming ceramics. Hand screws that are made directly from a lump of soil without using tools, rolled up the soil that has been stretched into a string, or made into a string by wrapping it in a loop, a board that is used to mix the soil that has been stretched into a plate, and a turntable or potter's wheel There is a way to use. In addition, there is a method in which the soil is put on the inside or outside of a stone, basket, soil or plaster mold, or a method in which the liquid soil is pushed into the mold. In practice, these methods often work together. The potter's wheel was invented around 4000 BC, and potters could freely mold pottery. In addition to the hand-turned wheels that are turned by hand, there are the wheels that can be turned with a stick and the kick wheels that can be turned with the feet of a flywheel attached to the bottom of the wheel. In addition to the potters themselves, some are turned by assistants. In the twentieth century, electric wheels powered by motors were developed, and the rotation speed could be adjusted freely.

Porcelain must be air dried before firing to prevent cracking or cracking during firing. If the substrate is sufficiently dry and has excellent breathability and flexibility, it can be fired at a low fire degree of about 650 to 750 ° C. This is called unglazed. Simple earthenware is still made this way. The kiln was first used around 6,000 BC. There are various types of kilns, from simple hole kilns in which the flame rises vertically through holes in the floor, to large-scale climbing kilns using mountain slopes, and tunnel kilns for mass production. Fuel has been fuel for a long time, but coal has come to be used, and heavy oil, gas and electricity are also used. Firing methods are roughly divided into oxidizing flame firing and reducing flame firing. By using a strong flame oxidizing flame that gives enough air to the flame and a reducing flame that reduces oxygen by partially blocking the ventilation holes of the kiln, the finish of the same porcelain also differs. For example, iron-rich soils have a characteristic red color in oxidizing flames, while gray or black in reducing flames. In the reducing flame firing, oxygen atoms in the soil are exposed to the flame, so red iron oxide changes to black iron oxide.

[0010] Ceramics can be decorated before and after firing. When the substrate is semi-dry and leather-like, patterns can be applied using techniques such as sticking, stamping, sculpture, engraving and openwork. The walls of the vessel can be made smooth and thin by scraping or polishing. Polishing is also performed after firing. In some cases, creamy soil is used to filter out rough particles called slip (also called mud). Slips may be colored. The slip may be placed on completely dry and hardened porcelain, brushed, or washed off with tools such as spouted containers or droppers. The technique of scraping a slip with a pointed tool and showing the pattern on the base to express the pattern is known as sgraffiti (also called scraping).

[0011] Glaze is a kind of glass, and is made by adding a mineralizer such as silica sand that composes glass to a humectant such as lead, ash, soda, and tin. Also called glaze. When baked, the glaze dissolves and vitrifies, and ceramics lose water absorption, smoothen the surface, and are decorated. Glaze can be applied before firing or after firing. There are many types of glazes, which can enhance the color of the substrate or make the substrate completely obscured. Alkali glazes, commonly used in the Middle East, are glossy and often translucent. This glaze is mainly made of soda such as quartzite, saltpeter and potassium nitrate. Lead glazes are transparent, made of sand fused with sulfides or lead oxides, and there are many traditional types. Lead glaze is used extensively in ancient Rome, China, and medieval Europe, and is still used throughout the world. Tin glazes are opaque and white in color and were developed by potters from the Islamic world of the Middle Ages, and have been used in Raster Aya pottery in Spain, Mallorica pottery in Italy, and European faience and Delft pottery. To add color to the glaze, add metal oxide as a color former. When copper is fired in an oxidizing flame, the lead glaze changes to green, the ash glaze blue, the alkali glaze to Turkish blue, and red in the reducing flame. Iron becomes yellow, brown, golden, etc. in oxidizing flame, and becomes blue or gray-green celadon glaze in reducing flame. Others include yellow with antimony, blue with cobalt, and purple with manganese. Depending on the composition of the base earth and glaze, their combination, and the operation of the kiln, the finish of the pottery varies widely.

[0012] There are two types of paintings to be applied to ceramics: underglaze underglaze under a transparent glaze such as dyed porcelain, and overpainting over a glaze such as colored porcelain. In some cases. Under the glaze, firing at a somewhat higher temperature is required to fix the color of the metal oxides such as cobalt, copper, and manganese under the glaze to the glaze and the substrate. Once overglazed with refined enamel pigments on the glaze once fired, it must be baked at a low temperature in an overglaze kiln to blend the enamel and glaze. Commercially mass-produced ceramics often use printing techniques, such as copperplate transfer. Copperplate transfer is a method in which an oxide is applied to a pattern printed on paper, and then transferred to a ceramic while being squeezed. In the 18th century, stamps were hand-cut copper plates, but lithographs and photographic plates are now used.

[0013] In East Asia, China, Korea, and Japan have historically been the center of ceramic production. The oldest pottery in Japan is Jomon pottery made during the Jomon period. Jomon pottery is called from a place where a rope is attached to the surface of the vessel, or a rope that has been further twisted or twisted and the pattern is applied. In addition, chopped twigs, claws, and shells were also used. In addition, pottery with protruding decorations reminiscent of flames on the lip and decorations such as snakes and dolls have been developed. Some special vessels and magical clay figurines are carefully polished or painted with urushi or red iron oxide. It is generally fired at a low heat and varies in color from reddish-brown to dark. Container shapes are overwhelmingly deep bowls, but with the passage of time, there are more types such as shallow bowls, spout pots, and hanging pots. In the Jomon period, distinctive pottery styles were born one after another in various parts of the country, and are divided into six stages from the early stage to the late stage based on the pottery edition. During the Yayoi period, Yayoi pottery was created to show a striking contrast to Jomon pottery. The Yayoi pottery uses potter's wheel, and the shape is simple and balanced. There is little decoration on the smooth surface except for engraving and simple sticking patterns. It was fired in a low-flame oxidizing flame, and the surface of the vessel was yellow or light brown, sometimes with reddish color. Yayoi pottery was created by the people of the immigrant descent from the Korean Peninsula to Kyushu and their techniques, and gradually spread to eastern Japan. Yayoi pottery is named after Yayoi-cho, Bunkyo-ku, Tokyo, where this type of pottery was first discovered. Two types of pottery developed during the Kofun period. One is a non-glazed, red-grilled pottery called Haji-ki, a type of Yayoi pottery. The pottery still called “Kawadare” is this group. Hajiware is used not only for daily tableware, but also for rituals. Since the latter half of the Kofun period, the haniwa found in the huge tombs of the emperor and the royal family is also a type of hajiki. Originally, the haniwa were called simple earthen walls surrounding the tombs, and were eventually made into various shapes, such as houses, boats, animals, women, hunters, musicians, and warriors. . Japanese haniwas are applied to the magnificence and power of Terracotta Warriors of the Imperial Mausoleum, but they have a simple and humorous taste. Another pottery is returned at high heat Some are covered with melted natural ash glaze. There are many types of products, such as vases, bottles, plates, bowls, and some have statues. The technology of Sue ware was also brought by naturalized people from the Korean Peninsula, and there are many kiln sites nationwide, including Tou-eup in Osaka, where many naturalized people live.

In the Nara period, the influence of the Tang became remarkable, and the first colored lead-glazed pottery developed in Japan. In addition to monochromatic green and yellow-brown glazes, two-colored pottery was created using green and white glazes. The most famous is Nara Sansai, a pottery that imitates Tang Sansai and is glazed in three shades of green, brown and white on a gray-grained base. The glaze is applied in a pouring or motif style, is not as refined as Tang Sansai, and has no lighting fixtures. In Nara Shoso-in Temple, many relics of Nara Sansai are passed down in excellent condition and are known as Shosoin Sansai. In the first half of the Heian period, interest in Sansai pottery quickly declined, and almost no pottery was produced. On the other hand, under the influence of the newly introduced Chinese porcelain of the Eshuzhou kiln, green glazed pottery that imitated this has become popular. However, in the late Heian period, when the dispatch of ambassadors to Kanto stopped, the production of green glazed pottery also declined. On the other hand, ash-glazed pottery made from the flow of sue pottery was created mainly in Sanage kilns in Aichi Prefecture, and ceramic areas began to develop in various places. In the Kamakura era, when contact with the Song of China was resumed, kilns based on the Sanage kiln spread throughout the Chubu and Tokai regions, and ceramics such as Tokoname, Atsumi, and Seto developed. In Seto, it imitated the celadon that was popular in Song, and produced various kinds of high-quality pottery such as Kiseto, as well as specialty products such as Buddha vases and koma dogs. Tokoname mainly produces jars, jars and mortars that are used on a daily basis. At the end of the Kamakura period, distinctive ceramic areas were developed in Hokuriku, such as Echizen, Kaga, Suzu, and in Western Japan, such as Tamba, Bizen, Shigaraki, and Iga. The ceramic industry continues to this day. The types of bowls were limited, mainly vases and jars.

Although the Ashikaga generals of the Muromachi period did not necessarily encourage ceramic art, the tea ceremony developed from the cafe began in this era, and the production of so-called tea pottery, a beautiful pottery that can be used at tea ceremonies, has been promoted. Inspired new ceramic areas and created new demand. In addition to conventional pots, jars, and mortars, various containers such as tea ceremony, water finger, tea bowl, flower arrangement, incense, and orientation have come to be produced. One of the most popular and popular tea bowls is Tenmoku made in Chinese kilns. Tenmoku is an expensive teacup with black-purple brown glaze and oil-like spots and designs such as dragons. Seto imitated this and produced large quantities of black-brown Tenmoku teacups. The Momoyama era was the time when tea ware was most developed in the history of Japanese ceramics. As the tea ceremony spread to the samurai class and the merchant class, ceramic areas in each region began to produce products with more individuality. In addition to the pottery area from the previous generation, Mino adjacent to Seto, Hagi and Karatsu in western Japan have produced delicious tea utensils. One of the most famous is Raku-yaki, which is still made by a clan of musicians. Most of Raku-yaki are tea bowls, and the shape made by hand is based on the asymmetrical and imbalanced aesthetics. The glaze is brushed onto several thin layers and fired at low heat. When the glaze is melted, the bowl is pulled out of the kiln with scissors and quenched, and the rapid temperature change causes cracks in the glaze. Rakuyaki is regarded as a unique Japanese dish with its simple shape and soft, dull glaze, and has been praised by potters around the world. Another thing in the world of tea ceremony was Oribe porcelain created by Furuta Oribe. Oribe porcelain is a very novel porcelain that combines a bold design, such as a dyed weave pattern made of brown iron oxide, with an irregular flow of translucent green glaze. Hagi and Karatsu, influenced by Lee Chosun, are also tea lovers. Picture Karatsu is painted with simple brushes and flowers It has a brick-like red color, but the color changes irregularly due to changes in the oxidizing and reducing flames during firing.

At the beginning of the Edo period, porcelain was also produced in Japan. Kaolin was discovered near Arita in northern Kyushu, where porcelain is still produced, and the entire area of Arita quickly developed into a major porcelain production area. This was influenced by the skills of Korean potters. Arita ware was also called Imari ware because its products were exported from Imari Port. Imari ware was sent to Europe in large quantities in place of Chinese porcelain during the first turbulence during the early days of Ming Dynasty in China, and its bright colors and colorful designs gained popularity. Sophisticated red porcelain developed using refined red color developed by Kaidaemon Saida, in particular, was the envy of European aristocrats. In addition, the Nabeshima Domain, which owned Imari, broke down a clan kiln for special use, and made elaborate and elegant Nabeshima porcelain without regard to profitability. Many of Nabeshima-yaki are large and small dishes, many of which are boldly designed with a silky design on a pure white surface. The designs are first painted on thin paper, dyed and painted with gorgeous enamel coloring. Due to its low production, Iro-nabe Island is one of the most prized pottery. At the same time, eastern Japan had a heavy and powerful color porcelain called old Kutani. Kutani ware was supposed to have been burned in Ishikawa Prefecture in Hokuriku, but fragments of the same design as Kotani were excavated in Arita and are said to have been produced in Arita. Kyoto was also a pottery area that flourished during the Edo period. In Kyoto, unique potters such as Nonomura Hitoki, Ogata Kenzan, Okuda Eikawa, Nami Dohachi, and Aoki Kime were produced in addition to Rakuyaki from the previous generation. They are pioneers of potters in a modern sense, each with their own workshop and signed works. During the Edo period, various ceramics areas developed throughout the country, and their products were distributed along with the development of domestic traffic, and active production was carried out while affecting each. The largest production areas were Seto and Karatsu, where the words “setomono” and “karatsumono” were synonymous with pottery. After the Meiji period, Japan's fine ceramics introduced at the World Exposition in Europe received praise, but in Japan, on the other hand, modern machinery technology in the European ceramic industry was adopted and mass production was started. With the foundation established, a large-scale pottery factory was built mainly in the traditional ceramics area. On the other hand, against the trend of mass production, the works of so-called folk art potters, such as Kanjiro Kawai and Shoji Hamada, who pursue the beauty of handicrafts, have also been highly evaluated. Shoji Hamada is attracting attention not only for his work but also as a powerful entity that has revitalized folk art. In addition, Namiyama Itaya, Toyozo Arakawa, Karakuro Kato, and others, used the original ceramics of the Momoyama era, and made a large number of pottery dishes with their own style. After World War II, Kazuo Yagi's avant-garde pottery activities were developed, opening up a new face as an object in the pottery world. Currently, in Japan, in addition to companies that produce large quantities of everything from luxury goods to daily necessities in traditional ceramics manufacturing areas, potters who produce unique works from their workshops, and numerous amateurs produce a wide variety of works. ing. In this way, in the long history of Japan, ceramics have developed as a unique “yakimono” under the influence of Korea and China. At present, it has established itself as an excellent ornament not only as a vessel but also from an artistic point of view.

[0017] As described above, ceramic tableware made with a long history and outstanding technology is indispensable as a tableware used for everyday eating habits by Japanese people who are rice staples. It became. Especially in recent years, Western dishes from Europe and the United States have been transmitted, and metal tableware used in conjunction with knife and fork has been used in Japan. Ceramic dishes are indispensable for delicate Japanese food. Being present.

[0018]

[Problems to be solved by the invention]

 In the above-mentioned conventional ceramic tableware, in particular, bowls which are served with rice, the bowl is placed in a kiln with a glaze applied to the inside of the bowl when the bowl is fired due to the method of manufacturing the ceramic. This is because it is extremely important for hygiene that the dishes such as teacups are used repeatedly every day, and that they are as clean as possible and easy to clean. For this reason, glaze is also applied to the inside of the bowl to form a glowing surface. However, if the inside of this bowl is baked with a glaze to make it a brilliant surface, when rice is placed on the bowl, rice grains will adhere to the inside, making it very difficult for infants, children or the elderly and sick. There was a problem that the tableware was hard to eat. In addition, in places where meals are prepared in large quantities, such as in restaurants and cafeterias of facilities, there is another problem in that rice grains adhere to the bowls collected from the dining table, and cleaning takes a lot of time.

Therefore, the present invention has devised a ceramic tableware in which rice grains are not adhered to the inside even if rice is put on without changing the conventional manufacturing method, while retaining the characteristics of ceramic ware. Things.

[0020]

[Means for Solving the Problems]

 In view of the above problem, the invention according to claim 1 is a ceramic tableware in which a large number of protrusions are provided inside a ceramic tableware used for a dining table. Thereby, the above-mentioned problem can be suitably achieved.

[0022]

[Embodiment of the invention]

 Hereinafter, a tea bowl of an embodiment to which the ceramic tableware of the present invention is applied will be described with reference to the drawings. 1A is a front view of the bowl of this embodiment, FIG. 1B is a sectional view thereof, FIG. 2A is a plan view thereof, and FIG. 2B is a bottom view thereof. As shown in FIG. 1 (a), the bowl 1 of the present embodiment is provided on a semicircular bowl body 1b provided with a filling port 1a for placing rice on the upper surface and on the legs of the bowl 1 in appearance. The bowl 1 of the present embodiment is a well-known rice bowl composed of a hill 1c. As shown in the cross-sectional view of FIG. A large number of projections 1f are provided over a bottom surface 1e which is the upper surface of the hill 1c.

As shown in FIG. 2A, the bowl 1 has an opening serving as a filling port 1a on the upper surface, and a bowl body on the lower surface as shown in FIG. 2B. An elevation 1c is provided at the center of the section 1b. Among them, as shown in FIG. 2 (a), a large number of projections 1f are provided from the side surface 1g to the entire bottom surface 1e of the inside 1d of the bowl near the mouth 1a.

As described above, the bowl 1 of the present embodiment is provided with a large number of protrusions 1f inside the bowl on which rice is placed. Thus, when the rice is eaten with the bowl 1 at the table, the rice grains can be eaten very easily without the rice grains being attached to the inside of the bowl 1. This makes it very easy for infants and children, the elderly and the sick to eat rice by using the bowl 1 of this embodiment. In addition, the bowl 1 according to the present embodiment makes it very easy to wash the used bowl 1 in a restaurant or a cafeteria, etc., because the rice that has gathered does not adhere to the inside, and the dishwashing work in the kitchen is simplified. became.

The present invention is not limited to the above-described embodiments or embodiments, but may be modified without departing from the technical idea of the present invention. , Equivalents and the like are also included in the technical scope of the present invention.

[0026]

【The invention's effect】

 According to the invention of claim 1, food such as rice does not adhere to the inside of the ceramic tableware, and when eating food at the table, the ceramic tableware becomes extremely easy to eat.

[Brief description of the drawings]

FIG. 1 is a front view (a) and a cross-sectional view (b) of a teacup according to an embodiment of the present invention.

FIG. 2 is a plan view (a) and a bottom view (b) of the same bowl.

[Description of Signs] 1 bowl 1a filling mouth 1b bowl body 1c hill 1d inside of bowl 1e bottom 1f protrusion 1g side

Claims (1)

[Utility model registration claims] 1. A ceramic tableware provided with a large number of projections inside a ceramic tableware used on a table.