@article{oai:rekihaku.repo.nii.ac.jp:00001039,
 author = {高橋, 照彦 and Takahashi, Teruhiko},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Mar},
 note = {application/pdf, 本稿は，日本古代の鉛釉陶器を題材に，造形の背後に潜む諸側面について歴史的な位置づけを行った。まず，意匠については，奈良三彩が三彩釉という表層のみの中国化であるのに対して，平安緑釉陶では形態や文様も含めて全面的に中国指向に傾斜したということができる。また，日本における焼物生産史全体でみると，模倣対象としての朝鮮半島指向から中国指向への大きな比重の移動は，この奈良三彩や平安緑釉陶が生産された８世紀から９世紀に求められるとした。
次に，用途・機能については，奈良三彩が祭祀具あるいは仏具など宗教祭器としての性格を持つのに対して，平安緑釉陶は宗教的機能が続くものの，基本的に実用食器としての用途が中軸となる点に大きな変質を認めることができる。その変容の契機は，弘仁期における宮廷儀礼の整備の中で，鉛釉陶器が国家的饗宴を彩る舞台装置として組み込まれたことが考えられる。
生産体制については，奈良三彩が中央官営工房生産とみられるのに対して，平安緑釉陶では各地の在地生産を基盤にしつつ，中央からの品質規定のもと国衙が生産に関与する体制であったと判断できる。それは，中央から地方への技術委譲であり，窯業生産技術において奈良時代まで続いてきた畿内優越状況が終焉を迎え，畿外卓越化へと向かう転換点になったものといえる。
最後に，技術導入過程については，白鳳期の緑釉技術が朝鮮半島系であり，特にその故地として百済が最も妥当と推測した。そして，百済滅亡前後の混乱の中で日本への亡命者が伝えた可能性を挙げた。続く奈良三彩は，前代からの鉛ガラス・鉛釉の技術を持っていた工人（玉生）が遣唐使として派遣されて，唐三彩の部分的技術を移入したものと想定した。奈良三彩は，日本在来の素地成形技術の上に，朝鮮半島系の施釉基礎技術と中国系の三彩技術が重なって成立したものといえる。, This paper attempts a historical evaluation of various aspects underlying the forms and figures of lead-glazed ceramics in ancient Japan.
First, in terms of design, while Nara-sansai―the three-colored ware produced in the Nara period―followed the Chinese style only on the surface by using three-color glazes, it is possible to say that the green-glazed ceramics of the Heian period were entirely immitative of the Chinese style, both in form and pattern. In addition, studying at the whole history of earthen-ware and ceramic production, we can also assume that a large shift took place in the preference from the Korean Peninsula to China as the model to follow, during the period from the eighth century to the ninth century, when Nara three-colored and Heian green-glazed ceramics were produced.
Next, in terms of purposes and functions, it is possible to identify a great change in quality in that Nara-sansai wares were used as religious implements for rituals and Buddhist alters, while Heian green-glazed ceramics were basically used for practical purposes. The change resulted from the historical context in which lead-glazed ceramics were integrated into ornamental set- ting of national banquets as court rituals were systematized in the Konin era (810-824).
In regard to the production system, Nara-sansai seems to have been produced in factories under the control of the central government. On the other hand, it is possible to tell that, for the production system of Heian green-glazed ceramics, provincial government offices were involved in the production on a local basis. This indicates that a technical transfer took place from the center to the provinces. In other words, in terms of skill and technique in ceramics production, it was the turning point at which the superiority of Kinai (The central regions of the Kinki district), had lasted until the Nara period was over, and the Kigai (regions of Japan outside the Kinai district) started to excel.
Finally, as to technological prototypes, it is supposed that Paekche is the most pertinent place to be ascribed to because the technique of green glaze of the Hakuho period was introduced from the Korean Peninsula. The author has pointed out the possibility that the technique was brought into Japan by refugees, who took shelter from the chaotic stage of East Asia during and after the fall of Paekche. For the subsequent Nara-sansai, it is assumed that bead-makers with skills and techniques of lead glass and glaze in the Hakuho Period, were dispatched from Japan as Japanese envoys to China in the Tang dynasty and partially introduced the techniques of Tang three-colored ware to Japan. Therefore, it is possible to say that Nara-sansai was established when the basic glazing techniques from the Korean Peninsula and the techniques of three-colored ware from China were combined with the indigenous texture-molding technique of Japan., 一部非公開情報あり},
 pages = {371--407},
 title = {日本古代における三彩・緑釉陶の歴史的特質（Ⅳ. 陶技の外発と受容）},
 volume = {94},
 year = {2002},
 yomi = {タカハシ, テルヒコ}
}