The social unrest preceding the rise of Nobunaga caused a number of potters to leave the Seto area, site of the fake Sung production, and resettle in the province of Mino, where three basic styles of tea bowl eventually came to prominence. First there was the Chinese-style tea vessel, which had been the mainstay of the older Seto kilns. Yellow glazes, once the monopoly of Seto, were also used at Mino, but different clays, combined with advancing technical competence and a new willingness to experiment, produced a new "Seto" ware that was a rich yellow and considerably more Japanese than Chinese. Second there was a new, thoroughly Zen-style bowl developed by the Mino potters. It was broader-based than the Chinese style, with virtually straight sides, and it was covered with a thick, creamy off-white glaze. Warm and endearing in appearance, with a flowing sensuous texture inviting to the touch, it became known as Shino. Some say Shino bowls were named after a celebrated master of the tea ceremony, while others maintain the term was taken from the Japanese word for white, _shiro_. Whatever the case, this was the first glazed ware of truly native origins; and it marked the beginning of a new Japanese attitude toward pottery. No longer inhibited by reverence for Chinese prototypes, the makers of Shino let their spontaneity run wild. The new white glaze was deliberately applied in a haphazard manner, often covering only part of the bowl or being allowed to drip and run. Sometimes part of the glaze was wiped off after it had been applied, leaving thin spots where the brown under-clay could show through after the firing. Or bubbles, bums, and soot were allowed to remain in the glaze as it was fired. Sometimes the white glaze was bathed in a darker coating in which incisions were made to allow the white to show through. At other times, sketchy designs, seemingly thrown down with a half-dry brush, were scribbled on the white bowls so that they appeared to be covered with Zen graffiti. Throughout all these innovations, the potters seemed to want to produce works as rough, coarse, and unsophisticated as possible. Before long they had a gray glaze as well, and finally they produced a shiny black glaze whose precise formulation remains one of the unsolved mysteries of Momoyama art.