{"created":"2023-05-15T09:32:43.251966+00:00","id":4603,"links":{},"metadata":{"_buckets":{"deposit":"ad9eab9f-23cf-4808-8053-62b3795b436c"},"_deposit":{"created_by":14,"id":"4603","owners":[14],"pid":{"revision_id":0,"type":"depid","value":"4603"},"status":"published"},"_oai":{"id":"oai:icu.repo.nii.ac.jp:00004603","sets":["12:3:4:480"]},"author_link":["6871","6872"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2018-12-15","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"50","bibliographicPageEnd":"(137)","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":"Calligraphy and Painting in the Art of Ogata Kenzan, and Related Documents\n\n　As the Japanese term shoga suggests, calligraphy a nd painting were seen as\nallied arts until Meiji-era internationalization forced their separation. It is not\nuncommon to see inscriptions, chiefly poetic ones, on all kinds of premodern\npainting. In the first half of the Edo period inscriptions on paintings were\ncarefully planned, and in any single painting the two arts were compartmentalized\nin the sense that the writers and painters were usually different, the writing and\npainting were carried out in separate stages, and the writing and painting\noccupied discrete spaces on the picture surface. In the mid-18th century,\nhowever, under the influence of Chinese literati aesthetics, this distance was\nbreached by Nanga and other painters, bringing a great deal of spontaneity into\nthe pictorial arts. The art of Ogata Kenzan (1663-1743) occupies an interstitial\nplace in this trend. In order to fully characterize Kenzan’s shoga and its multifold\nbackground, this article will survey writings, inscribed paintings, seals and\nciphers, and related documents (specifically the Konishi archive of Ogata family\ndocuments).\n　Calligraphy: Ogata Kenzan developed his calligraphic skills as a pastime, but\nthey became integral to his success as a ceramic designer. Eschewing the manner\nof Hon’ami Koetsu (1558-1637), which was followed by his father and brothers,\nKenzan pursued the Song style of Zhang Jizhi (1186-1286) and the indigenous\nstyle of Fujiwara Teika (1162-1241). Both of these modes were popular in the tea\nceremony from the 16th century. However by the end of his first decade as a\npottery designer, Kenzan demonstrated less interest in imitating classical\ncalligraphy style and more concern about maintaining a lucid script appropriate\nto writing on ceramic surfaces. As attested to in a draft manuscript in the Konishi\narchive, Kenzan also planned inscriptions for his brother Korin’s (1658-1716)\npainting, but such works, if they indeed were made, do not survive. Then, at the\nend of his life, Kenzan’s writing and painting became intermingled and\nconsiderably less fettered, anticipating the literati mode—where the work is\nexperienced as an act rather than as a thing.\n　Painting: Despite the attestations of later Edo-period painting treatises, there\nis no convincing evidence that Kenzan ever studied painting under a teacher.\nTrained painters or artisan-decorators carried out most of the painting on his\nKyoto ceramics. However, Kenzan encounted new expectations and opportunities\nupon his move to Edo in about 1731. There he was hailed as a “second-generation\nKorin”, encouraging him to essay a colorful Korinesque style of flowers-andgrasses\nsubjects, notably his Hollyhocks (1742; coll. Cernuschi Museum). This new\nsense of entitlement is also manifested in efforts to transmit the Korin style to a\nfollower, Tatebayashi Kagei (act. mid-18th c.). At the same time Kenzan seems to\nhave been warmly received in Edo haikai salons, which inspired a more\nimpromptu “painting on the spot” or sekiga, chiefly in monochrome. An example\nis Willow in Spring of 1739 (coll. Yamato Bunkakan). Further research is necessary","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_language":"ja","subitem_description_type":"Other"}]},"item_10002_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.34577/00004445","subitem_identifier_reg_type":"JaLC"}]},"item_10002_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"00733944","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 L.","creatorNameLang":"ja"}],"nameIdentifiers":[{"nameIdentifier":"6871","nameIdentifierScheme":"WEKO"}]},{"creatorNames":[{"creatorName":"小笠原,  佐江子","creatorNameLang":"ja"}],"nameIdentifiers":[{"nameIdentifier":"6872","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":"2019-03-20"}],"displaytype":"detail","filename":"11リチャードウィルソン.pdf","filesize":[{"value":"30.6 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"尾形乾山　 書・画作品と関係文書","url":"https://icu.repo.nii.ac.jp/record/4603/files/11リチャードウィルソン.pdf"},"version_id":"33cfc6f9-49ce-4d6b-bb54-0ae2a46b6a64"}]},"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":"尾形乾山　 書・画作品と関係文書","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"尾形乾山　 書・画作品と関係文書","subitem_title_language":"ja"},{"subitem_title":"Calligraphy and Painting in the Art of Ogata Kenzan, and Related Documents","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"14","path":["480"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2019-03-20"},"publish_date":"2019-03-20","publish_status":"0","recid":"4603","relation_version_is_last":true,"title":["尾形乾山　 書・画作品と関係文書"],"weko_creator_id":"14","weko_shared_id":-1},"updated":"2023-10-02T02:44:49.822538+00:00"}