{"created":"2023-05-15T09:32:21.577528+00:00","id":4047,"links":{},"metadata":{"_buckets":{"deposit":"b43693dc-6c0a-4731-bdd1-8563d07f8acc"},"_deposit":{"created_by":14,"id":"4047","owners":[14],"pid":{"revision_id":0,"type":"depid","value":"4047"},"status":"published"},"_oai":{"id":"oai:icu.repo.nii.ac.jp:00004047","sets":["12:3:4:422"]},"author_link":["3996","3997"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2015-03-31","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"46","bibliographicPageEnd":"(115)","bibliographicPageStart":"(1)","bibliographic_titles":[{"bibliographic_title":"人文科学研究 : キリスト教と文化","bibliographic_titleLang":"ja"}]}]},"item_10002_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"Kenzan Ware:\nConceptual Basis and Design Sources\n\n　Ogata Kenzan (1663-1743) was no ordinary potter. The scion of a highly\ncultured Kyoto family, he spent his early adulthood pursuing Zen and\nstudying Chinese poetry and calligraphy. When he finally took up\nceramics at age thirty-seven, it wasn’t to display manual skill, but rather to\ntranslate the world known to him into ceramic design. This “world” can\nbe divided into one, the resources that supported Kenzan’s education and\nprofession, and two, the resources that supported Kenzan designs. The\npurpose of this article is to survey both areas and link them to specific\nconcepts and works asociated with Kenzan.\n　Kenzan grew up in a period where private teachers and study in\nprivate academies were well within the reach of wealthy urban\ncommoners. Although no direct references remain as to how Kenzan was\neducated, inferences can be made based on evidence surrounding his great\nuncle Honami Koetsu (1558-1637), his father Ogata Soken (1621-1687), and\nConfucian scholar Ito Jinsai (1627-1705), related to the Ogata through\nmarriage. We conclude that Kenzan was trained by his father and select\nprivate teachers. Education included reading as well as receiving lessons:\nKenzan inherited the family library, and the authors speculate about its\ncontents. Subsequently, when Kenzan took up ceramics he accessed a\ncompletely different set of personnel. The occupational dictionary Jinrin\nkinmozui (1690) permits a reconstruction of crafts producers and merchants\nworking in specialties that supported Kenzan ware directly or indirectly.\n　Printed and illustrated books inform almost all of Kenzan’s work. As the\nauthors introduced in 2004, the inscriptions on Kenzan’s Chinese-style\nceramics derived from the Ming anthology Yuanji huofa (J: Enki kappo), and\nthose on Japanese-style ceramics were largely based on Sanjonishi\nSanetaka’s waka anthology Setsugyokushu. This article reveals many more.\nSources for Kenzan-ware painted designs can be located in esho, ehon, gafu\nand hinagata which were burgeoning in Kenzan’s day. In addition to their\nvalue as source materials, these books also help to reconstruct the\nexpectations of Kenzan’s patrons. It is no exaggeration to say that Kenzan\nware was purchased, used, and enjoyed by a new generation of bibliophiles.\n　Considering that he was raised in a family that purveyed luxurious textiles\nto the court, it comes as no surprise that textile art should serve as a\nsource for Kenzan’s designs. However to date researchers have only been\nable to vaguely—and anachronistically—link the mid-seventeenth century\nkosode designs in the family archives to Kenzan’s style. This article places\nmore emphasis on kosode designs published in Kenzan’s lifetime. The authors\nhave found that Kenzan appropriated hinagata patterns from the period\nbetween the 1680s and mid-1710s. These appear in his ceramics from\nthe Shotoku-era (1711-1715), when he began to cater to the mass market.\nAt the same time the name of Kenzan’s older brother Korin (1657-1716)\nwas popularly linked to textile design, and from the Kyoho era (1716-1736)\nthe so-called “Korin kosode” designs form a common horizon with designs\non Kenzan ware.\n　The tea ceremony integrates material environment, ritual performance,\nand cultural memory. Kenzan can only be linked to formal tea study\n(Omotesenke) posthumously, but his works leave no doubt that he was\nthoroughly familiar with vessels for drinking tea and meal service.\n　Kenzan was cognizant of the current developments in fine dining. The\nkaiseki tradition of the tea ceremony formed a foundation, but new\nelements in Kenzan’s day include enhanced food classification systems,\ncodes of etiquette, and enhanced food visuality. Against this background,\nKenzan was not content to create generic pots. Inscriptions on matching\nboxes that accompany certain Kenzan ware refer to specific vessel types or\nuses. The authors have matched these functions with their appearance in\ncontemporary cuisine manuals (ryori-bon).\n　Together with ceramics, lacquerware is central to the tea ceremony, its\nfood service, and more abbreviated customs of eating and drinking.\nAdditionally, as a long-treasured implement for writers, lacquerware is\nassociated with poetry and calligraphy. In appropriating a wide variety of\nlacquerware shapes in his ceramics, Kenzan added a layer of value.\nEspecially the use of lacquer-inspired rectilinear forms, which are\ncongenial with writing and painting, must be recognized as a major\ncontribution of Kenzan-ware design. The flat square dish (suzuributa) and\nsmaller square dish with rounded corners and shaved surfaces (kannamezara)\nwere favorite shapes for Kenzan, and they emerge as key vessels in\nserving hors d’oeuvres (kuchi-tori) that augment set menus in kaiseki or\nstand alone in more informal entertainments.\n　Finally, Kenzan’s designs are rooted in earlier traditions of decorated\nceramics. He borrowed elements from Chinese Cizhou stoneware and\nJingdezhen and Zhangzhou porcelain, Vietnamese porcelain, Thai\nstoneware, Dutch earthenware, and Korean stoneware. Domestically,\nsources can be found in Mino stoneware, Karatsu stoneware, Hizen\nporcelain, and Omuro (Ninsei) ware. Many of these products are described\nin the contemporary connoisseurship manual Wakan sho dogu kenchi-sho\n(1694), and thus link Kenzan design to a booming ceramics market.\n　In surveying these resources and their applications, two things stand\nout. One is the sheer breadth of sources utilized, evoking Kenzan’s\npersonal resourcefulness and encyclopedic knowledge of cultural\ntraditions, behaviors, and material traces. The encyclopedic aspect\nconnects to a second element: Kenzan ware succeeded because it resonated\nwith upwardly mobile audiences, proud of their newfound access to many\nforms of knowledge. Performing thusly, Kenzan ware can be situated well\nbeyond the conventional boundaries of premodern Japanese ceramics.","subitem_description_language":"en","subitem_description_type":"Abstract"}]},"item_10002_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.34577/00003946","subitem_identifier_reg_type":"JaLC"}]},"item_10002_publisher_8":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"国際基督教大学","subitem_publisher_language":"ja"}]},"item_10002_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"00733938","subitem_source_identifier_type":"ISSN"}]},"item_access_right":{"attribute_name":"アクセス権","attribute_value_mlt":[{"subitem_access_right":"open access","subitem_access_right_uri":"http://purl.org/coar/access_right/c_abf2"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"ウィルソン, リチャード","creatorNameLang":"ja"}],"nameIdentifiers":[{"nameIdentifier":"3996","nameIdentifierScheme":"WEKO"}]},{"creatorNames":[{"creatorName":"小笠原, 佐江子","creatorNameLang":"ja"}],"nameIdentifiers":[{"nameIdentifier":"3997","nameIdentifierScheme":"WEKO"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2015-09-01"}],"displaytype":"detail","filename":"16-ウィルソン・小笠原.pdf","filesize":[{"value":"7.8 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"乾山焼──発想とデザインの資源──","url":"https://icu.repo.nii.ac.jp/record/4047/files/16-ウィルソン・小笠原.pdf"},"version_id":"9aed9e2e-dbb0-416d-b059-4d37563061e6"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"乾山焼──発想とデザインの資源──","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"乾山焼──発想とデザインの資源──","subitem_title_language":"ja"},{"subitem_title":"Kenzan Ware:Conceptual Basis and Design Sources","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"14","path":["422"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2015-09-01"},"publish_date":"2015-09-01","publish_status":"0","recid":"4047","relation_version_is_last":true,"title":["乾山焼──発想とデザインの資源──"],"weko_creator_id":"14","weko_shared_id":-1},"updated":"2023-10-02T04:57:17.285165+00:00"}