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乾山焼──発想とデザインの資源──
https://doi.org/10.34577/00003946
https://doi.org/10.34577/0000394627f2932d-d77a-47ad-883a-fda13d768a9b
| 名前 / ファイル | ライセンス | アクション |
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乾山焼──発想とデザインの資源── (7.8 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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| 公開日 | 2015-09-01 | |||||
| タイトル | ||||||
| タイトル | 乾山焼──発想とデザインの資源── | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | Kenzan Ware:Conceptual Basis and Design Sources | |||||
| 言語 | en | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.34577/00003946 | |||||
| ID登録タイプ | JaLC | |||||
| アクセス権 | ||||||
| アクセス権 | open access | |||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||
| 著者 |
ウィルソン, リチャード
× ウィルソン, リチャード× 小笠原, 佐江子 |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Kenzan Ware: Conceptual Basis and Design Sources Ogata Kenzan (1663-1743) was no ordinary potter. The scion of a highly cultured Kyoto family, he spent his early adulthood pursuing Zen and studying Chinese poetry and calligraphy. When he finally took up ceramics at age thirty-seven, it wasn’t to display manual skill, but rather to translate the world known to him into ceramic design. This “world” can be divided into one, the resources that supported Kenzan’s education and profession, and two, the resources that supported Kenzan designs. The purpose of this article is to survey both areas and link them to specific concepts and works asociated with Kenzan. Kenzan grew up in a period where private teachers and study in private academies were well within the reach of wealthy urban commoners. Although no direct references remain as to how Kenzan was educated, inferences can be made based on evidence surrounding his great uncle Honami Koetsu (1558-1637), his father Ogata Soken (1621-1687), and Confucian scholar Ito Jinsai (1627-1705), related to the Ogata through marriage. We conclude that Kenzan was trained by his father and select private teachers. Education included reading as well as receiving lessons: Kenzan inherited the family library, and the authors speculate about its contents. Subsequently, when Kenzan took up ceramics he accessed a completely different set of personnel. The occupational dictionary Jinrin kinmozui (1690) permits a reconstruction of crafts producers and merchants working in specialties that supported Kenzan ware directly or indirectly. Printed and illustrated books inform almost all of Kenzan’s work. As the authors introduced in 2004, the inscriptions on Kenzan’s Chinese-style ceramics derived from the Ming anthology Yuanji huofa (J: Enki kappo), and those on Japanese-style ceramics were largely based on Sanjonishi Sanetaka’s waka anthology Setsugyokushu. This article reveals many more. Sources for Kenzan-ware painted designs can be located in esho, ehon, gafu and hinagata which were burgeoning in Kenzan’s day. In addition to their value as source materials, these books also help to reconstruct the expectations of Kenzan’s patrons. It is no exaggeration to say that Kenzan ware was purchased, used, and enjoyed by a new generation of bibliophiles. Considering that he was raised in a family that purveyed luxurious textiles to the court, it comes as no surprise that textile art should serve as a source for Kenzan’s designs. However to date researchers have only been able to vaguely—and anachronistically—link the mid-seventeenth century kosode designs in the family archives to Kenzan’s style. This article places more emphasis on kosode designs published in Kenzan’s lifetime. The authors have found that Kenzan appropriated hinagata patterns from the period between the 1680s and mid-1710s. These appear in his ceramics from the Shotoku-era (1711-1715), when he began to cater to the mass market. At the same time the name of Kenzan’s older brother Korin (1657-1716) was popularly linked to textile design, and from the Kyoho era (1716-1736) the so-called “Korin kosode” designs form a common horizon with designs on Kenzan ware. The tea ceremony integrates material environment, ritual performance, and cultural memory. Kenzan can only be linked to formal tea study (Omotesenke) posthumously, but his works leave no doubt that he was thoroughly familiar with vessels for drinking tea and meal service. Kenzan was cognizant of the current developments in fine dining. The kaiseki tradition of the tea ceremony formed a foundation, but new elements in Kenzan’s day include enhanced food classification systems, codes of etiquette, and enhanced food visuality. Against this background, Kenzan was not content to create generic pots. Inscriptions on matching boxes that accompany certain Kenzan ware refer to specific vessel types or uses. The authors have matched these functions with their appearance in contemporary cuisine manuals (ryori-bon). Together with ceramics, lacquerware is central to the tea ceremony, its food service, and more abbreviated customs of eating and drinking. Additionally, as a long-treasured implement for writers, lacquerware is associated with poetry and calligraphy. In appropriating a wide variety of lacquerware shapes in his ceramics, Kenzan added a layer of value. Especially the use of lacquer-inspired rectilinear forms, which are congenial with writing and painting, must be recognized as a major contribution of Kenzan-ware design. The flat square dish (suzuributa) and smaller square dish with rounded corners and shaved surfaces (kannamezara) were favorite shapes for Kenzan, and they emerge as key vessels in serving hors d’oeuvres (kuchi-tori) that augment set menus in kaiseki or stand alone in more informal entertainments. Finally, Kenzan’s designs are rooted in earlier traditions of decorated ceramics. He borrowed elements from Chinese Cizhou stoneware and Jingdezhen and Zhangzhou porcelain, Vietnamese porcelain, Thai stoneware, Dutch earthenware, and Korean stoneware. Domestically, sources can be found in Mino stoneware, Karatsu stoneware, Hizen porcelain, and Omuro (Ninsei) ware. Many of these products are described in the contemporary connoisseurship manual Wakan sho dogu kenchi-sho (1694), and thus link Kenzan design to a booming ceramics market. In surveying these resources and their applications, two things stand out. One is the sheer breadth of sources utilized, evoking Kenzan’s personal resourcefulness and encyclopedic knowledge of cultural traditions, behaviors, and material traces. The encyclopedic aspect connects to a second element: Kenzan ware succeeded because it resonated with upwardly mobile audiences, proud of their newfound access to many forms of knowledge. Performing thusly, Kenzan ware can be situated well beyond the conventional boundaries of premodern Japanese ceramics. |
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| 言語 | en | |||||
| 書誌情報 |
ja : 人文科学研究 : キリスト教と文化 号 46, p. (1)-(115), 発行日 2015-03-31 |
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| 出版者 | ||||||
| 出版者 | 国際基督教大学 | |||||
| 言語 | ja | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 00733938 | |||||
