南島の中世須恵器 : 中世初期環東アジア海域の陶芸交流（Ⅳ. 陶技の外発と受容）

鹿児島県徳之島カムィ窯の中世須恵器は，中国陶磁，九州西部産の石鍋とともに，南西諸島における貝塚時代からグスク時代への転換を具象するモノ資料として注目されてきた。小稿は，1984年度の調査資料について，型式分類とおおづかみな編年区分を提示し，ヤマト列島の東播（とうばん），常滑（とこなめ），珠洲（すず）の諸窯と並ぶ広域窯でありながら，中・小形壺を主産品とする器種組成の特質と，従来からいわれてきた，高麗陶器を主，中国陶磁を従とする技術・意匠を具体的に検討する。その上で，11世紀後半～12世紀前半の環東アジア世界における“人・モノ・技”の交流の実態とシステムの解明に向けた予察を試みる。カムィ焼は，甕・壺・鉢・埦の４器種よりなり17種31類に分類したが，多様な壺類は高麗の陶技を基調とし，波状文の加飾も高麗系で，窯構造は九州南部と共通するなど，朝鮮半島（高麗），南九州（日本），奄美諸島（琉球）を包括する広大な南の境界域で誕生した海洋性の濃厚な中世陶器である。しかも，琉球王朝の成立に先行する中世初期，琉球海900km圏に大流通したことは，南西諸島がヤマト列島の中世食器様式を生みだした物流のネットワークに連動しつつ，アジアの海洋国家の枠組みに組みこまれたことを物語っている。高麗から陶工を招寄したと考えられるカムイ窯の経営形態は，状況的に対宋・高麗貿易とかかわる港湾を掌握した薩摩南部の有力武士の主導下に，奄美諸島の按司（あじ）層と連係しつつ推進された，中世前期の“倭寇的世界”の所産と推定する。中世初期の日麗間の文物・技術の交流については，日宋関係が成熟するまでの限定的な動向とされてきたが，カムィ焼のほかに高麗系屋瓦や刻画文陶器にみられる陶芸史にとどまらず，鏡・梵鐘など金工分野での近年の研究成果によって，予想を上回る広がりと深みをもつと評価してよいであろう。The medieval Sue ware produced at the Kamui Pottery of Tokunoshima, Kagoshima Prefecture, like Chinese ceramics and stone cooking vessels produced in the western part of Kyushu, has attracted attention as the material to represent the conversion from the shell-mound period to the gusuku period, which took place in the Nansei Shoto Islands.This paper will present the classification of types and rough divisions of chronological sequence concerning the research materials of the year 1984, and specifically discuss one of the characteristics of the composition of pottery types that they mainly produced medium and small sized jars in spite of the fact that they spread as extensively as those of Toban, Tokoname and Suzu of the Yamato Archipelago, and the issue of the technology and design, as have been traditionally said, that followed Koryo ceramics as the primary model and Chinese ceramics as the secondary. Then, it will try to make a study for clarifying the actual situation of exchanges of “people, goods, and skills and techniques” in the Pacific-Rim East Asia in the period from the second half of the eleventh century to the first half of the twelfth century.Kamui ware was composed of four types, namely, pots, jars, bowls and cups, and classified into seventeen kinds and thirty one groups. A variety of jars mainly followed the art of Koryo ceramics, with the wave-like decoration in the Koryo style, while the kiln structure was similar to that of the southern part of Kyushu. They are the medieval ceramics of heavy oceanic nature, born in a vast expanse of the southern sea boarder covering the Korean Peninsula (Koryo), the southern part of Kyushu (Japan), and the Amami Islands (Ryukyu). Further, the fact that they were distributed in volume all over the sphere of 900 kilometers in the Ryukyu Sea in early Medieval Period before the establishment of the Ryukyu dynasty clearly indicates that the Nansei Shoto Islands were integrated into the framework of Oceanic States of Asia as they were interlocked with the distribution network, which was to bring forth the medieval style of tableware of the Yamato Archipelago. The author\u27s assumption is that the control system of Kamui ware resulted from the realm of wako (Japanese pirates) of early Medieval Period, which was propagated in connection with the class of Aji in the Amami Islands under the leadership of powerful samurais in the southern part of Satsuma, who took control of the harbors involved in the trades with Sung and Koryo. For exchanges of goods and techniques between Japan and Koryo in early Medieval Period, it used to be assumed that they had been practiced only for a limited period of time until the relationship between Japan and Sung matured. However, it would be possible to say that the interchange was much wider and deeper than had formerly been assumed, according to the results in recent studies in Kamui ware, in the history of ceramics reflected in the Koryo-type roof tiles and the ceramics with the design of incised pictures, and in the field of metal work, such as mirrors and bonsho (Buddhist temple bells)