{"created":"2023-05-15T09:32:30.372339+00:00","id":4296,"links":{},"metadata":{"_buckets":{"deposit":"00550e83-221e-46b2-bb0f-ecc70491e3e4"},"_deposit":{"created_by":14,"id":"4296","owners":[14],"pid":{"revision_id":0,"type":"depid","value":"4296"},"status":"published"},"_oai":{"id":"oai:icu.repo.nii.ac.jp:00004296","sets":["12:3:4:443"]},"author_link":["5593","5594"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2016-03-31","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"47","bibliographicPageEnd":"(127)","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":"　A revolutionary ceramic product, one that looked more like a painting than a \npot, made its debut in Kyoto in the opening years of the eighteenth century. \nThese rectilinear dishes and trays were decorated with monochrome painting, \npoetic inscriptions, and personal signatures. The designer and frequently the \ncalligrapher for these works, Ogata Kenzan (1663-1743), understood the codes of \npoetry, painting, and writing that had evolved in China and Japan. His \nknowledge was mediated by the reproduction of those codes in contemporary \npainting and especially in illustrated literature. His products were functional \nceramics, which means that these images had now migrated from the tokonoma \nto the tatami, so to speak; at the same time, the decidedly “non-ceramic” shapes \nand impromptu painting-poetry provided the work with a performative aura \nthat resonated with the consumers, specifically that segment of the population \nwho, from the 1680s, had begun to learn Chinese and use it in their pastimes.\n　This article is the first of two installments that survey this genre of Kenzan \nware, hich the authors call the “gasan” style after the Chinese expression for \ninscribed aintings, or hua zan. Kenzan-ware gasan ceramics from the Narutaki \n(1699-1712) and Nijo-Shogoin workshops (1712-mid-18th century) are the focus. \nJudging from the number of surviving works, the style was remarkably popular, \nand it came to be mass produced at Shogoin, first under Kenzan himself and \nthen under his adopted son and successor Ogata Ihachi (dates unknown).\n　This installment on Kenzan-ware gasan treats landscape, human figures, and \nanimal subjects. The article begins by reviewing the Chinese locus classicus for \nthe combined arts of poetry, painting, and calligraphy, with special attention to \nthe way in which this synthesis articulated the values of the scholar-official class. \nA discussion of the appropriation of that tradition in Japan follows.\n　In the data section, surviving works and archaeological specimens are \nstudied in terms of their inscriptions, including sources and meanings, and \npainted decoration, including styles and lineages. Landscape themes are the \nmost numerous, and they divide into panoramic scenes descended from the Xiao \nand Xiang river tradition (J: Shosho hakkei) and close-up views of “pavilion \nlandscapes” (J: Rokaku sansui). The former type, which occurs most frequently in \nKenzan’s first decade of production, features full-length poems and rather \ndetailed painting in the Kano style. The latter type, which is common to Kenzan’s \nlater production and also the work of his adopted son Ogata Ihachi, typically \nfeatures single-line excerpts and highly abbreviated, often amateurish painting.\n　Figural themes constitute the second category. Here too the subject matter is \northodox, drawing from the Muromachi-based line of Chinese “saints and sages” \nthat had become increasingly popularized in the sixteenth and seventeenth \ncenturies. The poetic excerpts for this category are typically couplets, and the \npainting is either by or in the style of Ogata Korin (1658-1716). This approach is \nalso limited to Kenzan’s first decade of production.\n　The last category, animals, makes use of creatures associated with Buddhist \nor literati values; the wares are inscribed with couplets or one-line excerpts, and \nmost of the painting is quite abbreviated. Wares decorated with animals appear \nat the end of Kenzan’s first decade of production, specifically in association with \nKorin, but they also appear in later work as well.\n　For all three categories, the poetic inscriptions are taken from the Yuan-\ndynasty anthology Shixue dacheng (J: Shigaku taisei) and its Ming successor Yuanji \nhuofa (J: Enki kappo). Both of these collections enjoyed considerable popularity in \nKenzan’s day.\n　In selecting the poems for his pottery Kenzan exhibited a preference for those \nthat had been originally composed as ti hua shi (J: daiga shi), that is, poems that \nwere written upon the viewing of a painting. Those “versed” in the code of gasan \ncould appreciate an experiential quality in such work. Yet, conversely, both the \npainting and poetry clearly access a well-developed archive of popular \nreproduction. Additionally, the lofty images of solitary and religious pursuits \nwere now being employed in the decidedly communal and secular spaces of \nwining and dining. The appeal of Kenzan ware gasan must derive from these \nincongruities. In any case, with such a literary load Kenzan clearly diverted \nceramic appreciation away from the materiality of the object to its “conception” \n(yi) embodying poetic traditions, thoughts of the maker, and the moment of \nexecution.\n　Assuming that Kenzan ware reached a broad public—which is increasingly \nvalidated by urban archaeology—and chose poetic excerpts and themes that \nwould be recognized by that public, the ceramic works also document cultural \nliteracy in the mid-Edo period. They show how an ever-growing consuming \nclass could read and savor selections of poetry from the Tang, Song, Yuan and \nMing dynasties together with painting. Basho and Chikamatsu wove the same \nverses into their haikai and joruri. A plethora of how-to books like Shirin ryozai \n(Handy materials for the world of poetry; 1684) ensured popular access to these \nquotations.\n　Until quite recently (see vol. 35 of this journal), the poetry-painting synthesis \nin Kenzan ware was bypassed by researchers. The authors hope that this article \nwill serve as a reference for understanding Kenzan’s distinctive appropriation of \nthe gasan lineage and its reception in the mid-Edo period.","subitem_description_language":"en","subitem_description_type":"Abstract"}]},"item_10002_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.34577/00004169","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_uri":"open access"}]},"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":"5593","nameIdentifierScheme":"WEKO"}]},{"creatorNames":[{"creatorName":"小笠原, 佐江子","creatorNameLang":"ja"}],"nameIdentifiers":[{"nameIdentifier":"5594","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":"2016-10-20"}],"displaytype":"detail","filename":"08ウィルソン・小笠原.pdf","filesize":[{"value":"20.3 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"乾山焼　画讃様式の研究（一）──山水・人物・禽獣──","url":"https://icu.repo.nii.ac.jp/record/4296/files/08ウィルソン・小笠原.pdf"},"version_id":"4ecfc26c-8bdb-4c93-be25-994af2581869"}]},"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　画讃様式の研究（一）──山水・人物・禽獣──","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"乾山焼　画讃様式の研究（一）──山水・人物・禽獣──","subitem_title_language":"ja"},{"subitem_title":"Iconography of Kenzan Ware: Chinese Poetic Themes (1): Landscapes, Human Figures, and Animals","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"14","path":["443"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2016-10-20"},"publish_date":"2016-10-20","publish_status":"0","recid":"4296","relation_version_is_last":true,"title":["乾山焼　画讃様式の研究（一）──山水・人物・禽獣──"],"weko_creator_id":"14","weko_shared_id":-1},"updated":"2023-10-02T04:21:07.311096+00:00"}