@article{oai:icu.repo.nii.ac.jp:00004603,
 author = {ウィルソン, リチャード L. and 小笠原,  佐江子},
 issue = {50},
 journal = {人文科学研究 : キリスト教と文化},
 month = {Dec},
 note = {Calligraphy and Painting in the Art of Ogata Kenzan, and Related Documents

　As the Japanese term shoga suggests, calligraphy a nd painting were seen as
allied arts until Meiji-era internationalization forced their separation. It is not
uncommon to see inscriptions, chiefly poetic ones, on all kinds of premodern
painting. In the first half of the Edo period inscriptions on paintings were
carefully planned, and in any single painting the two arts were compartmentalized
in the sense that the writers and painters were usually different, the writing and
painting were carried out in separate stages, and the writing and painting
occupied discrete spaces on the picture surface. In the mid-18th century,
however, under the influence of Chinese literati aesthetics, this distance was
breached by Nanga and other painters, bringing a great deal of spontaneity into
the pictorial arts. The art of Ogata Kenzan (1663-1743) occupies an interstitial
place in this trend. In order to fully characterize Kenzan’s shoga and its multifold
background, this article will survey writings, inscribed paintings, seals and
ciphers, and related documents (specifically the Konishi archive of Ogata family
documents).
　Calligraphy: Ogata Kenzan developed his calligraphic skills as a pastime, but
they became integral to his success as a ceramic designer. Eschewing the manner
of Hon’ami Koetsu (1558-1637), which was followed by his father and brothers,
Kenzan pursued the Song style of Zhang Jizhi (1186-1286) and the indigenous
style of Fujiwara Teika (1162-1241). Both of these modes were popular in the tea
ceremony from the 16th century. However by the end of his first decade as a
pottery designer, Kenzan demonstrated less interest in imitating classical
calligraphy style and more concern about maintaining a lucid script appropriate
to writing on ceramic surfaces. As attested to in a draft manuscript in the Konishi
archive, Kenzan also planned inscriptions for his brother Korin’s (1658-1716)
painting, but such works, if they indeed were made, do not survive. Then, at the
end of his life, Kenzan’s writing and painting became intermingled and
considerably less fettered, anticipating the literati mode—where the work is
experienced as an act rather than as a thing.
　Painting: Despite the attestations of later Edo-period painting treatises, there
is no convincing evidence that Kenzan ever studied painting under a teacher.
Trained painters or artisan-decorators carried out most of the painting on his
Kyoto ceramics. However, Kenzan encounted new expectations and opportunities
upon his move to Edo in about 1731. There he was hailed as a “second-generation
Korin”, encouraging him to essay a colorful Korinesque style of flowers-andgrasses
subjects, notably his Hollyhocks (1742; coll. Cernuschi Museum). This new
sense of entitlement is also manifested in efforts to transmit the Korin style to a
follower, Tatebayashi Kagei (act. mid-18th c.). At the same time Kenzan seems to
have been warmly received in Edo haikai salons, which inspired a more
impromptu “painting on the spot” or sekiga, chiefly in monochrome. An example
is Willow in Spring of 1739 (coll. Yamato Bunkakan). Further research is necessary, 画像多数、縦書き},
 pages = {(1)--(137)},
 title = {尾形乾山　 書・画作品と関係文書},
 year = {2018}
}