@article{oai:icu.repo.nii.ac.jp:00004047,
 author = {ウィルソン, リチャード and 小笠原, 佐江子},
 issue = {46},
 journal = {人文科学研究 : キリスト教と文化},
 month = {Mar},
 note = {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.},
 pages = {(1)--(115)},
 title = {乾山焼──発想とデザインの資源──},
 year = {2015}
}