{"created":"2023-05-15T09:32:32.829835+00:00","id":4360,"links":{},"metadata":{"_buckets":{"deposit":"29ccf070-8587-4278-b3db-420658a6ebda"},"_deposit":{"created_by":14,"id":"4360","owners":[14],"pid":{"revision_id":0,"type":"depid","value":"4360"},"status":"published"},"_oai":{"id":"oai:icu.repo.nii.ac.jp:00004360","sets":["12:3:4:451"]},"author_link":["5722","5719"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2016-12-15","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"48","bibliographicPageEnd":"(133)","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":"Iconography of Kenzan Ware: Chinese Poetic Themes (2): Flowering Plants and Trees\n\n　This article is the second of two installments covering the iconography of \nKenzan-ware dishes decorated with monochrome painting and Chinese poetic (kanshi) \ninscriptions, or the so-called “gasan” style. The most celebrated of these specimens are \nthe square dishes with poetry inscribed by Ogata Kenzan (1663-1743) and painting by \nKenzan’s older brother Ogata Korin (1658-1716). These were made in limited numbers \nin the late Hoei (1704-1711) and Shotoku (1711-1716) eras, but were mass-produced \nfrom the Kyoho era (1716-1736) though the middle of the eighteenth century. \nCollectively these works are recognized as the premier example of Kenzan’s expression \nof the literati ethos.\n　The poetic and pictorial traditions of flowering plants and trees are centered around \nthe mobilization of select species, using their fragrance, form, and seasonality as \nauspicious and moral symbols. Such deployments are in evidence as early as the \nWarring States era but gained critical mass among the scholar-official elite of the \nNorthern Song dynasty. Plant allusions were not only aesthetically appealing; they \nbecame a political necessity in an age where direct moral criticism was difficult. \nWorship of literati heroes and their plant avatars became an iconographic system in the\nYuan dynasty, as this group struggled to affirm its identity in the midst of Mongol \ndomination. This sensibility was transmitted to medieval Japan and came to flourish in \nthe Five Mountain or Gozan monastic culture. With the popularization of sinophilia in \nthe 17th century, Chinese-derived floral codes became a staple of literary and artistic\nrepresentation in Japan. Thus in a 1690 description of Kenzan’s retreat, where author \nGettan Docho likens the young Kenzan to the celebrated recluse Tao Yuanming, there is \nalso an obligatory reference to (Tao’s bio-alias) “chrysanthemums blooming on the \nfence” in the garden (Gazanko, 1690). In the form of poetry excerpts, these tropes were\nincreasingly available in Japanese editions of Chinese anthologies; the most popular of \nthese, the Wanli-era Yuanji huofa (J: Enki kappo), is the source for most of the \ninscriptions in Kenzan ware.\n　The painted decoration on these dishes also evokes a multi-layered tradition, which \nin a general sense we might call “ink flowers.” Documents reveal how Northern Song \nliterati dabbling in monochrome bamboo and plum came to be highly regarded as an\nexpression of personal character and refinement. In the Southern Song and Yuan \ndynasties, ink flowers became firmly established as a mark of literati identity. At the \nsame time, Chan-Zen painters were fond of creating ink impressions of plants and\nvegetables. Surviving paintings in the style of the Chan monk Muqi, or by the Yuan \nliteratus Zhao Zhong, use the handscroll format to show a succession of ink flora \nagainst a blank background—called kakizatsukan or handscroll of miscellaneous \nflowers.\n　From the Kamakura period ink flowers came to be painted in Japan, notably by Zen \nmonk painters Tesshu Tokusai and Gyokuen Bonpo. From the late 14th century, these \nsubjects came to exhibit brushwork and compositional traits distinct from their Chinese\nmodels. Furthermore they were now painted as small hanging scrolls in order to fit the \nnewly evolved Japanese tokonmoma. Imported Chinese handscrolls were cut into \nsections for the same reason. In this compact format, ink flowers subsequently became a \npopular subject for tea ceremony display (chagake).\n　From the mid-17th century, connoisseurship of Song-Yuan and Muromachi \npaintings became a central and self-legitimizing activity of the Kano family of painters. \nTheir appraisals of are preserved in the form of annotated sketches or shukuzu. These\nsketches, which included floral subjects, subsequently served as school models under \nthe name of funpon. In addition to serving as components for larger pictures, such \nmodels were readily transferable to small-format surfaces such as fans (senmen) and \nalbum pages (gajo). The range of possibilities and modularizing tendency can be seen in\nKano Tsunenobu’s (1636-1713) Kara-e tekagami and Kara gakan, albums of his copies \nof Chinese paintings.\n　From the late 17th century, as painting became a popular pastime, \nwoodblock-printed painting manuals (gafu) began to circulate, initially in the form of \nChinese editions or their Japanese reprints. From the 1720s Kano-school funpon were \nalso collected into painting manuals, notably Ehon shaho bukuro (1720) and Gasen \n(1721).\n　Kenzan conceived his early efforts in this mode as a ceramic version of the \nliterati-inspired “three perfections”, that is, poetry, painting and calligraphy. Since these \nwere produced in sets of assorted themes, his patrons surely associated them with the\npainting album; the thematic preferences, simple compositions, and “boneless” strokes\ncould equally evoke the chagake or gafu. In short, there was no deficit of allusions, both \nclassical and contemporary.\n　We should not neglect the fact these dishes were intended for practical use. The \nearly collaborations of Korin and Kenzan were made in the comparatively large form of\nsuzuributa, a square or rectangular tray used for serving snacks or sweets in intimate\ngatherings. However from the second decade of the 18th century, smaller round, square \nor rectangular dishes were produced in much greater numbers, presumably filling the \nrole of mukozuke, a dish placed on the far side of the tray used for individual servings, \nor as side dishes to supplement a main serving. A few large sets remain, positioning \nthem as stock items in the higher end of the food and entertainment industry. Even these,\nhowever, maintain an improvisational look central to the “literati” ethos. The users \npresumably enjoyed identifying the texts and images and trading their knowledge with\ncompanions.\n\n","subitem_description_language":"en","subitem_description_type":"Abstract"}]},"item_10002_description_6":{"attribute_name":"内容記述","attribute_value_mlt":[{"subitem_description":"画像多数、縦書き","subitem_description_type":"Other"}]},"item_10002_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.34577/00004228","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 L.","creatorNameLang":"ja"}],"nameIdentifiers":[{"nameIdentifier":"5722","nameIdentifierScheme":"WEKO"}]},{"creatorNames":[{"creatorName":"小笠原, 佐江子","creatorNameLang":"ja"}],"nameIdentifiers":[{"nameIdentifier":"5719","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":"2017-05-08"}],"displaytype":"detail","filename":"11ウィルソン・小笠原.pdf","filesize":[{"value":"19.0 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"乾山焼　画讃様式の研究（二）──草花・竹木・その他──","url":"https://icu.repo.nii.ac.jp/record/4360/files/11ウィルソン・小笠原.pdf"},"version_id":"1f2066cc-b50f-4b95-af95-9980040b69d0"}]},"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（二）──草花・竹木・その他──","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"乾山焼　画讃様式の研究（二）──草花・竹木・その他──","subitem_title_language":"ja"},{"subitem_title":"Iconography of Kenzan Ware: Chinese Poetic Themes (2): Flowering Plants and Trees","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"14","path":["451"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2017-05-08"},"publish_date":"2017-05-08","publish_status":"0","recid":"4360","relation_version_is_last":true,"title":["乾山焼　画讃様式の研究（二）──草花・竹木・その他──"],"weko_creator_id":"14","weko_shared_id":-1},"updated":"2023-10-02T04:22:37.562010+00:00"}