@article{oai:icu.repo.nii.ac.jp:00005088,
 author = {ウィルソン, リチャード and 小笠原, 佐江子},
 issue = {52},
 journal = {人文科学研究 : キリスト教と文化},
 month = {Dec},
 note = {Ogata Kenzan (1663-1743) was born and raised in Kyoto and built his illustrious career as a ceramic designer in that city. However in his final years he chose to move to Edo, where he worked until his death. Although there is a paucity of evidence for this period, this article considers Kenzan’s motivations, his interactions with elite patrons and local ceramics workshops in Edo, and finally how that legacy resonated for later professionals and amateurs who variously evoked his name and techniques.
A consensus in Kenzan studies is that in these Edo years (ca.1731-1743) he was supported by Prince Kôkan (1697-1738), the third son of Emperor Higashiyama and the nephew of Kenzan’s longtime Kyoto patron Nijô Tsunahira (1670-1732). This is corroborated in a 1737-dated letter by Kenzan relating that he had arranged an audience with the prince for some acquaintances (coll. Osaka Municipal Museum), and a 1738-dated lamentation written by Kenzan upon the death of the prince (coll. Yamato Bunkakan). 
Posthumously, the 1820 pamphlet Sumidagawa hanayashiki (ex-Keio Library coll.) and the 
1854 painting history Koga bikô related that Kenzan lived in Iriya, located in the lowland just east of Ueno terrace, where Kôkan presided as abbot of the Tendai-sect center Kan’eiji. 
The circumstances of Kenzan’s death were also credibly described in a period diary of a Kan’eiji official named Honma, but only known from an 1895 article in the newspaper Yamato shinbun. To build upon these few references, the authors investigated the ritual and informal activities of Kôkan by consulting documents such as the Tokugawa jikki (Chronicles of the Tokugawa), diaries preserved in the Tendai-sect archive Eizan Bunko in Ôtsu, and anecdotal evidence from temples, shrines, and secular sources, particularly a collection of anecdotes entitled Getsudô kenmonshû (Moon hall eyewitness records). While none of these materials directly mention Kenzan, the authors tried to demonstrate that 1) there was precedent among the Kan’eiji abbots for introducing aspects of Kyoto culture into Edo, and 2) Kôkan had proclivities in poetry, painting and calligraphy that would have made Kenzan a welcome companion. 
After comprehensively surveying the documentary evidence for early ceramics activities in Edo, the article’s focus moves to Iriya. Until now the only documentary evidence for ceramics production there was the Shinpen Musashi fudoki kô (New edition gazetteer for Musashi; 1810-1828), which briefly describes vernacular and official pottery activities in the village. However we were able to find a reference to pottery making in “Sakamoto,” which overlaps geographically with Iriya, in the 1735 sequel volume of the city guide Edo sunago (Gold dust of Edo). Presumably Iriya, together with the better known Imado kilns just to its east, began to develop in response to popular demand at the turn of the 18th century. An Iriya potter named Kyûsaku is named in Tôki densho (Ceramics manual), a ca. 1737 notebook attributed to Sano (Tochigi) hobbyist Ôkawa Kendô, surveyed by the authors in vol. 51 of this journal. Although not directly related to Kenzan, we were able to produce further evidence as to when Iriya gained status an an official pottery producer: the government-appointed earthenware maker (on-doki-shi) Matsui Shinzaemon, 
previously recorded as based in Ueno Chôjamachi, Asakusa, is listed as headquartered in Iriya as an official potter in the 1774 samurai directory Daimyo bukan.
In the previous issue of this journal the authors considered how the Kenzan technical legacy was passed down among designated successors: the so-called Kenzan line of potters. However there is also one other Kenzan legacy, and that is how his techniques were used or otherwise regarded by potters outside the Kenzan succession. Evidence for this can be found in the dozens of pottery manuals written by professional and amateur potters, which cluster in the second half of the Edo period. The authors surveyed about thirty of these manuals to determine how Kenzan was characterized. A bridge between Kenzan himself and this coterie is found in Uchigama hisho (Secrets for glazed earthenware), a group of Kenzan recipes copied out in Edo in 1766. In the dedicatory page at the end, an otherwise unnamed (second-generation) Kenzan relates that when he was given this information he was told by (the first) Kenzan that the techniques did not constitute a title transmission and that they could be shared freely. By the 1790s the thirdgeneration Edo Banko-ware potter Asajisei San’a was allowing copies to be made of another “secret” Kenzan manual that originated in Kyoto, called Tôki mippôsho (Ceramic secrets, ca. 1750).  In the second decade of the nineteenth century, professional potters back in Kyoto like Aoki Mokubei (1767-1833) were listing “Kenzan” recipes, but these references are eclipsed by those of amateurs in the decades that followed. Most of those are recipe lists whose titles included the term “rakuyaki,” which by this time connoted lowtemperature lead-glazed ceramics made for pleasure rather than the tea ceremony wares made professionally by the Raku family in Kyoto. The surge of interest is evidenced in a forlorn potter portrayed in the 1825 Imayô shokunin zukushi utaawase (Modern-style poetry contest using the theme of craftsmen) who grumbles, “What a nuisance...the recent fad for amateur raku-yaki has taken away all my business!” The manuals of these enthusiasts often cite Kenzan’s invention of a white pigment. This was a mixture of glass frit, white clay from Kyushu, and lead carbonate. When used as a wash (engobe), it turned any clay, regardless of its color, into a canvas that could be painted upon. The first-generation Kenzan had recognized the importance of this pigment, calling it “the most important secret of the Kenzan kiln.” Even in the opening of the 20th century, when these premodern pastimes were recast for newly risen white-collar workers under the rubric of shumi or hobby, pottery-as-shumi publications like “Tôkô hitsunô” (Potters’ secrets; Zatsugei sôsho 1, 
1915) began its inventory of “raku” glazes by citing Kenzan’s white.
An appedix at the end of the article lists the core components of the first Kenzan’s manual, Tôkô hitsuyô (Potter’s essentials; 1737), and transcribes the document into modern Japanese.},
 pages = {1--89},
 title = {乾山 江戸篇 : その遺産},
 year = {2020}
}