{"created":"2023-05-15T09:32:58.403003+00:00","id":4938,"links":{},"metadata":{"_buckets":{"deposit":"281b9be1-651a-43e3-8c13-168a4c245f40"},"_deposit":{"created_by":15,"id":"4938","owners":[15],"pid":{"revision_id":0,"type":"depid","value":"4938"},"status":"published"},"_oai":{"id":"oai:icu.repo.nii.ac.jp:00004938","sets":["12:3:4:518"]},"author_link":["7442","7445","7443","7444"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2019-12-15","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"51","bibliographicPageEnd":"(111)","bibliographicPageStart":"(1)","bibliographic_titles":[{"bibliographic_title":"人文科学研究 （キリスト教と文化）"},{"bibliographic_title":"Humanities: Christianity and Culture ","bibliographic_titleLang":"en"}]}]},"item_10002_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"Kenzan-Ware Pottery Manuals: Transmission and Reception \n\n　This article surveys the technical legacy of the Japanese ceramic designer Ogata Kenzan (1663-1743) through the pottery manuals from his own hand and those written by his successors. Following a brief introduction to modes of technological transmission and the fundamentals of Japanese ceramic technique, each manual is transcribed and its contexts and vocabulary are explicated. The featured texts are:\n1) By Ogata Kenzan: Tôkô hitsuyô (Essentials for the Potter, 1737); coll. Yamato Bunkakan; the first section of this book is a manual that Kenzan received in 1699 from potter Nonomura Ninsei (act. mid-late 17th c.).\n2) By Ogata Kenzan: Tôji seihô (Ceramic Techniques, 1737); coll. Tetchikudô Takizawa Kinenkan.\n3) By Ogata Kenzan but copied into a 1732-dated section of a notebook by Sano (Tochigi-prefecture) ceramic hobbyist Okawa Kendô bearing the title of Tôki densho”; coll. Tetchikudô Takizawa Kinenkan.\n4) Attributed to second-generation Kenzan Ogata Ihachi: Tôki mippôsho (Ceramic secrets, n.d, est. mid-18th c.); coll. National Diet Library; the same contents are found in Hongama uchigama narabini Kenzan yaki hihô (Secret techniques for high- and low temperature [ceramics] and Kenzan ware) in the former Tokyo Bijutsu Kenkyujo collection, Kenzan rakuyaki hisho (Secret Kenzan Raku-ware book) in the National Diet Library, Tokyo, and Kenzan hisho (Secret Kenzan-ware book) in the collection of Tsutsumi-ware potter Hariu Kenba. We know from its 1792 colophon that Tôki mippôsho was handed down in the Banko-ware line of Edo potters.\n5) Attributed to a “second-generation Kenzan” in Edo: Uchigama hisho (Secrets for glazed earthenware), copy dated 1766, discovered by the authors as part of a bound volume entitled Rakuyaki hiden (Raku-ware secrets), coll. Tokyo Metropolitan Library.\n6) By Kenzan-style potter Miura Kenya (1821-1889): Ogata-ryû tôjutsu hihôsho (Ogata style ceramic techniques secret book) in the form of an 1854 copy by the lord of the Hikone-domain, Ii Naosuke (1815-1860); coll. Hikone Castle Museum.\n7) By Kenya’s disciple and self-styled 6th-generation Kenzan, Urano Shigekichi (1851-1923): Rakuyaki denjusho (Raku-ware transmission document, 1919); coll. Art Research Center in Farnham, Surrey; this is a document written by Urano for British potter Bernard Leach (1887-1979).\n　Earlier researchers, namely Wakimoto (1941-2), Suzuki (1942), Mitsuoka (1963), Kawahara (1979) and Tagai (1980) have variously transcribed and interpreted these works.  Additionally the manuals have been a subject of articles by potters Tomimoto (1957) and Uno (1975). Wilson (1992) includes an English translation of Tôkô hitsuyô. None of this earlier research, however, takes up the interrelationships of these books, and with the exception of Uno’s insightful remarks none of them offer more than a summary description of the contents. None of these studies consider the recipients of the work and how that is manifested in the contents. Finally, more can be said about the contents of every manual due to recent scientific, archaeological, and documentary studies. \n　The Kenzan manuals expose the intermingling of the exoteric and esoteric spheres of premodern ceramic knowledge. Beginning with the former, one of the distinguishing features of early modern ceramics in all of East Asia is that it was written about and published in the form of block-printed gazeteers, classified encyclopedias, and guides to connoisseurship. Starting with early Chinese precedents such as the ceramic chapter of Tiangong kaiwu (Exploitation of the works of nature; 1637), we witness a description of production but conspicuously missing is the kind of information that would enable the reader to actually make pots, evoking Clunas’ (1997:78) observation that such books were made for literati and parvenu merchant audiences with the intent of producing a “knowing subject” instead of transmitting practical knowledge itself. The authors have discovered a parallel phenomenon in Japan in a ceramic section in a published “encyclopedia of crafts” ironically entitled Hyakkô hijutsu (Secret techniques for myriad handicrafts; 1724). On the esoteric side one can find written information kept within potter families or communities which functioned as working memoranda and as a tokens of entitlement, however as we can see first in the martial and performing arts and then in painting, the early modern publishing industry was adept at turning trade secrets into commodities. In Japanese ceramics the dissemination of “insider information” is centered around Raku ware, whose simple technology and short production schedule endeared it to amateurs. In 1736, the Raku-ware technical manual Rakuyaki hinô (Collected Raku ceramic secrets) became the first pottery manual to be put into print. While the Kenzan manuals were not published, their coexistence with this nascent genre of ceramic publishing is a key to understanding why they were made and reproduced. \n　Technically speaking, recipes for earthenware glazes and pigments, referred to by Kenzan as uchigama, appear in all manuals (stoneware coverage diminishes after the first Kenzan), and therefore can be used to determine specific lines of transmission (see chart p. 106). The starting point is the recipes Kenzan received from the Oshikôji potter Magobei, and listed in Kenzan’s Tôkô hitsuyô and Tôji seihô; those formulas are basically repeated in the Tôki densho and the newly discovered Uchigama hisho. Based on a simple and venerable formula of lead carbonate (shiroko or tô no tsuchi) and silica (Hinooka stone), Kenzan used these for underglaze painting on flat dishes. Then, in mid-18th-c. Kyoto, Kenzan’s successor Ihachi wrote a very different kind of manual, incorporating his adoptive father’s recipes but adding new ones that include glass frit (biidoro or shiratama), and indeed glassy swatches of saturated colors inform many of his late works. This Ihachi manual was preserved in the Edo Banko line of potters. Finally, while Miura Kenya inherited the Edoline manual passed down though Sakai Hôitsu (1761-1828) and Nishimura Myakuan (1784-1853), his copy was destroyed in the 1923 Kanto earthquake. The recipes passed from Miura Kenya to Ii Naosuke and Urano Shigekichi (surviving in the Leach copy), however, show that Kenya had little use for the older formulas. Now all recipes contained frit, which greatly stabilized the colors and melt, and allowed most of the pigments to be used both under or over the glaze coat. The “Kenzan” technical legacy had become a kind of paintbox for amateurs, awaiting new appropriations by artist-potters of the 20th century.\n\n\n\n","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_full_name_3":{"attribute_name":"著者別名","attribute_value_mlt":[{"nameIdentifiers":[{"nameIdentifier":"7444","nameIdentifierScheme":"WEKO"}],"names":[{"name":"Wilson, Richard L."}]},{"nameIdentifiers":[{"nameIdentifier":"7445","nameIdentifierScheme":"WEKO"}],"names":[{"name":"Ogasawara, Saeko"}]}]},"item_10002_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.34577/00004744","subitem_identifier_reg_type":"JaLC"}]},"item_10002_publisher_8":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"国際基督教大学キリスト教と文化研究所"}]},"item_10002_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"2434-6861","subitem_source_identifier_type":"ISSN"}]},"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"}],"nameIdentifiers":[{"nameIdentifier":"7442","nameIdentifierScheme":"WEKO"}]},{"creatorNames":[{"creatorName":"小笠原, 左江子"}],"nameIdentifiers":[{"nameIdentifier":"7443","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":"2020-09-28"}],"displaytype":"detail","filename":"07リチャードウィルソン.pdf","filesize":[{"value":"25.0 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"乾山焼 　陶法伝書とその伝播","url":"https://icu.repo.nii.ac.jp/record/4938/files/07リチャードウィルソン.pdf"},"version_id":"96107519-98d8-4f70-b813-1cb2a5d15a7b"},{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2020-09-28"}],"displaytype":"detail","filename":"07リチャードウィルソン口絵.pdf","filesize":[{"value":"917.2 kB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"リチャードウィルソン口絵","url":"https://icu.repo.nii.ac.jp/record/4938/files/07リチャードウィルソン口絵.pdf"},"version_id":"a318c3f4-d3c8-4828-a0fb-d34334ead363"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"Early modern Japanese ceramics, Japanese ceramic technology, Ceramic manuals, Kenzan ware, Ogata Kenzan, Rinpa, 近世日本の陶磁, 窯業技術, 陶法伝書, 乾山焼, 尾形乾山, 琳派","subitem_subject_scheme":"Other"},{"subitem_subject":"Early modern Japanese ceramics, Japanese ceramic technology, Ceramic manuals, Kenzan ware, Ogata Kenzan, Rinpa, 近世日本の陶磁, 窯業技術, 陶法伝書, 乾山焼, 尾形乾山, 琳派","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"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 　陶法伝書とその伝播","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"乾山焼 　陶法伝書とその伝播"},{"subitem_title":"Kensan-Ware Pottery Manuals: Transmission and Reception","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"15","path":["518"],"pubdate":{"attribute_name":"公開日","attribute_value":"2020-09-28"},"publish_date":"2020-09-28","publish_status":"0","recid":"4938","relation_version_is_last":true,"title":["乾山焼 　陶法伝書とその伝播"],"weko_creator_id":"15","weko_shared_id":15},"updated":"2023-09-13T06:55:48.841002+00:00"}