16世紀末、日本の豊臣秀吉による朝鮮侵略戰爭によって、被虜人として日本に渡ることを余儀なくされた人?の中に、有田燒の創始者の一人となる百婆仙がいた。本稿は、彼女に關する唯一の史料である、曾孫が建てた法塔の碑文を手がかりに、その容貌とライフヒストリ一を可能な限り明らかにし、朝鮮と日本の女性史の中に位置付けるものである。朝鮮で夫を壻に迎えて暮らしていた彼女は、壬辰倭亂に際し、夫婦で肥前武雄の領主後藤氏の被虜人として日本に連行された。しばらく寺の門前に住んで動いた後、夫婦で陶器生産を始めた。夫の死後は一人で陶工集團を率い、有田で白磁土が發見されると陶工集團を率いて移住し、有田燒の祖の一人となった。その容貌は、耳にピアスの穴が開き、秀でた眉をそのままにした、日本社會においては異國的な姿であった。戰爭が有田燒を運んできたわけではなく、被虜人·難民という困難な狀況下で懸命に生きた彼女たちが、有田燒を創始したのである。

When Toyotomi Hideyoshi(豊臣秀吉) invaded Korea, many Korean people were taken back to Japan. Among them, there was a woman who became one of the originators of Arita ware(有田燒). Her real name is unknown but she came to be referred to as BAEK Pa-sun(百婆仙). BAEK was an important figure in Japanese cultural history, but she was overlooked by historians for a long time while the male ceramist LEE Sam-pyeong(李參平), whose Japanese name was Kanegae Sanbe(金ヶ江三兵衛), became famous. In recent years, due to the influence of the Japanese novel and the Korean TV drama, some Japanese people are beginning to praise BAEK. This paper examines BAEK in the context of woman’s history from a gender studies perspective. BAEK Pa-sun(her real name is unknown, 1560∼1656) was taken to Japan with her husband Hukaumi Shintaro(深海新太郎), whose Korean name is unknown, by the feudal lord of Hizen(肥前, 佐賀Saga Prefecture), Goto Ienobu(後藤家信), and they lived near the Kohukuji temple(廣福寺) in Takeo(武雄). It appears that they worked as servants at the temple. After several years they made a kiln and began to make pottery. Following the death of her husband, BAEK moved to Arita(有田) to get kaolin clay with her family and craftspersons, and she lived there and baked porcelain until she died at the age of 96. BAEK’s life was recorded on her Japanese-style tombstone build by her great grandson. In the inscription, we can know her features. She had beautiful features, with pierced ears and thick eyebrows, and was known for her loud laughter. Pierced ears and natural eyebrows were rare, even exotic in 17^th century Japan. In ancient times, baking earthen vessels was the role of women in Japan. Even in the medieval period there were women potters. But in the early modern era baking porcelain with a kiln became male work, nevertheless the craftswomen of Arita have worked in porcelain production, prepared firewood, colours, poured glaze, and painted pictures. The custom that a widow heads her family after her husband’s death was common in medieval Japan. But in the 17^th century, the time of BAEK Pa-sun, the early modern age was beginning and a widow’s authority was weakening. A woman as the leader of the whole family, such as BAEK Pa-sun, was rarely seen after this time.