著者

ウィルソン リチャード 小笠原 佐江子

出版者

国際基督教大学キリスト教と文化研究所

雑誌

人文科学研究 : キリスト教と文化 : Christianity and culture (ISSN:00733938)

巻号頁・発行日

no.47, pp.1-127, 2016-03

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A revolutionary ceramic product, one that looked more like a painting than a pot, made its debut in Kyoto in the opening years of the eighteenth century. These rectilinear dishes and trays were decorated with monochrome painting, poetic inscriptions, and personal signatures. The designer and frequently the calligrapher for these works, Ogata Kenzan (1663-1743), understood the codes of poetry, painting, and writing that had evolved in China and Japan. His knowledge was mediated by the reproduction of those codes in contemporary painting and especially in illustrated literature. His products were functional ceramics, which means that these images had now migrated from the tokonoma to the tatami, so to speak; at the same time, the decidedly "non-ceramic" shapes and impromptu painting-poetry provided the work with a performative aura that resonated with the consumers, specifically that segment of the population who, from the 1680s, had begun to learn Chinese and use it in their pastimes. This article is the first of two installments that survey this genre of Kenzan ware, hich the authors call the "gasan" style after the Chinese expression for inscribed aintings, or hua zan. Kenzan-ware gasan ceramics from the Narutaki (1699-1712) and Nijo-Shogoin workshops (1712-mid-18th century) are the focus. Judging from the number of surviving works, the style was remarkably popular, and it came to be mass produced at Shogoin, first under Kenzan himself and then under his adopted son and successor Ogata Ihachi (dates unknown). This installment on Kenzan-ware gasan treats landscape, human figures, and animal subjects. The article begins by reviewing the Chinese locus classicus for the combined arts of poetry, painting, and calligraphy, with special attention to the way in which this synthesis articulated the values of the scholar-official class. A discussion of the appropriation of that tradition in Japan follows. In the data section, surviving works and archaeological specimens are studied in terms of their inscriptions, including sources and meanings, and painted decoration, including styles and lineages. Landscape themes are the most numerous, and they divide into panoramic scenes descended from the Xiao and Xiang river tradition (J: Shosho hakkei) and close-up views of "pavilion landscapes" (J: Rokaku sansui). The former type, which occurs most frequently in Kenzan's first decade of production, features full-length poems and rather detailed painting in the Kano style. The latter type, which is common to Kenzan's later production and also the work of his adopted son Ogata Ihachi, typically features single-line excerpts and highly abbreviated, often amateurish painting. Figural themes constitute the second category. Here too the subject matter is orthodox, drawing from the Muromachi-based line of Chinese "saints and sages" that had become increasingly popularized in the sixteenth and seventeenth centuries. The poetic excerpts for this category are typically couplets, and the painting is either by or in the style of Ogata Korin (1658-1716). This approach is also limited to Kenzan's first decade of production. The last category, animals, makes use of creatures associated with Buddhist or literati values; the wares are inscribed with couplets or one-line excerpts, and most of the painting is quite abbreviated. Wares decorated with animals appear at the end of Kenzan's first decade of production, specifically in association with Korin, but they also appear in later work as well. For all three categories, the poetic inscriptions are taken from the Yuan-dynasty anthology Shixue dacheng (J: Shigaku taisei) and its Ming successor Yuanji huofa (J: Enki kappo). Both of these collections enjoyed considerable popularity in Kenzan's day. In selecting the poems for his pottery Kenzan exhibited a preference for those that had been originally composed as ti hua shi (J: daiga shi), that is, poems that were written upon the viewing of a painting. Those "versed" in the code of gasan could appreciate an experiential quality in such work. Yet, conversely, both the painting and poetry clearly access a well-developed archive of popular reproduction. Additionally, the lofty images of solitary and religious pursuits were now being employed in the decidedly communal and secular spaces of wining and dining. The appeal of Kenzan ware gasan must derive from these incongruities. In any case, with such a literary load Kenzan clearly diverted ceramic appreciation away from the materiality of the object to its "conception" (yi) embodying poetic traditions, thoughts of the maker, and the moment of execution. Assuming that Kenzan ware reached a broad public—which is increasingly validated by urban archaeology—and chose poetic excerpts and themes that would be recognized by that public, the ceramic works also document cultural literacy in the mid-Edo period. They show how an ever-growing consuming class could read and savor selections of poetry from the Tang, Song, Yuan and Ming dynasties together with painting. Basho and Chikamatsu wove the same verses into their haikai and joruri. A plethora of how-to books like Shirin ryozai (Handy materials for the world of poetry; 1684) ensured popular access to these quotations. Until quite recently (see vol. 35 of this journal), the poetry-painting synthesis in Kenzan ware was bypassed by researchers. The authors hope that this article will serve as a reference for understanding Kenzan's distinctive appropriation of the gasan lineage and its reception in the mid-Edo period.

著者

ウィルソン リチャード L. 小笠原 佐江子

出版者

国際基督教大学キリスト教と文化研究所

雑誌

人文科学研究(キリスト教と文化) = Humanities: Christianity and Culture (ISSN:00733938)

巻号頁・発行日

no.49, pp.(1)-(129), 2017-12-15

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Iconography of Kenzan Ware: Japanese Poetic Themes: Waka, Monogatari, and Noh Abetted by peace and prosperity, and by the strategic utility of cultivated pastimes in an era of regime change, Japanese literary themes enjoyed an unprecedented florescence in the seventeenth century. As scions of a wealthy merchant house serving the highest echelon of the imperial court, the Ogata brothers Korin (1658-1716) and Kenzan (1663-1743) were steeped in classical verse (waka), narrative (monogatari), and drama (noh) traditions. With the decline of their family business at the end of the century both brothers were compelled to convert this “habitus” into production of painting, lacquer and ceramic design. Their contributions form the core of what came to be known as the Rinpa school. The early-modern treatment of the indigenous literary tradition is marked by new modes of packaging and dissemination. While prose and poetry themes are hardly new to the crafts, Kenzan’s synthesis of theme, calligraphy, painting and ceramic form is entirely without precedent. In order to take full measure of this approach, the authors surveyed all known works inscribed with Japanese poetry and noh-drama lyrics attributable to Kenzan and his workshop, totaling 20 sets (as presently constituted) and individual objects, for a total of 223 pieces. All inscriptions were transliterated and traced to their classical sources. Below we summarize the findings for waka and noh, with special attention to selection, pictorialization, and text-picture-object relationship. Monogatari and poet- portrait (kasen) themes are relatively few in number and thus excluded from this summary. For ceramics inscribed with waka, Kenzan showed a preference for poetry by and related to Fujiwara Teika (1162-1241) and for poetry by Sanjonishi Sanetaka (1455-1537). The Teika-legacy material includes “Teika’s Ten Styles of Poetry” (Teika jittei, 1207-1213), Manuscript of Remnants (Shui guso, 1216), Single Poems by One Hundred Poets (Hyakunin isshu, 1235), and “New Six Poetry Immortals” (Shin rokkasen, 1505). The Sanetaka verses are all extracted from Jewels of Snow (Setsugyokushu, n.d.). The interest in Teika reflects his centrality in the medieval literary tradition and posthumous links to noh, tea ceremony, and calligraphy. Kenzan was in agreement with his contemporaries in frequently using “Birds and Flowers of the Twelve Months” (Junikagetsu waka, 1214), originally included in Shui guso. As for Sanetaka, there is a tenuous connection to the Mikohidari line of poets descended from Teika, and Sanetaka is renowned in the tea ceremony for instructing Takeno Joo (1502-55) in Teika’s poetics; additionally Kenzan probably favored Sanetaka for the topics of his poems, especially “poems on things” (daiei) that were readily adaptable to pictures. Pictorialization of waka (uta-e) accelerated in the mid-seventeenth century after a long hiatus. Decoration on Kenzan’s Teika twelve-month dishes relate closely to painted versions, especially those in an album in the Idemitsu Museum bearing the signature of Kano Tanyu (1602-74). Other poetic vignettes have a basis in the kai-e (literally “poem-meaning picture”), abbreviated scenes that first appear around 1660, inserted above portraits of classical poets (kasen-e) also associated with Tanyu. The kai-e becomes a fixture in illustrated manuals from the 1670s, exemplified by Hishikawa Moronobu’s Single Poems by One Hundred Poets, with Commentary (Hyakunin isshu zosansho, 1678). The simplification and modularizing tendency in the kai-e commended it to ceramic décor. Befitting a man of letters, Kenzan adroitly manipulated the relationship between the text, picture, and vessel. The permutations include 1) dishes with picture on the front and poetry on the back, 2) dishes with picture and poetry on the front, 3) paired dishes with pictures and the first and second halves of a poem on the respective halves, 4) the same as previous but without pictures, and 4), dishes with (complete) poems only. The strategy reflects the social aspect of the waka tradition, rooted in uta-awase but with playful innovations like cards (karuta) reaching maturity in the seventeenth century. Kenzan and his brothers participated in non-guild noh drama (tesarugaku) from an early age, and recent scholarship has underlined the influence of noh on Korin’s art. Kenzan’s experience is revealed in sets of dishes decorated with noh-drama themes. The front of each dish is painted with an evocative scene or object related to a specific play and the back features an excerpt from that play’s script. An originary model for the pictures can be found in hand-painted covers of deluxe noh libretti (utaibon) from the early seventeenth century, but Kenzan’s schematization parallels the aforementioned kai-e. The calligraphic excerpts on the back of the dishes are key passages from the respective plays: these excerpts, called ko-utai, were expected recitation material for celebratory and social events, and ko-utai compendia were best-sellers in Kenzan’s day. The authors have tried to demonstrate that Kenzan wares with Japanese literary themes are closely related and indebted to early modern appropriations of classical Japanese literature and trends in its pictorialization. However the versatile design strategies—particularly the sensitive deployment of writing, centered around calligraphic inscriptions from Kenzan’s own hand—must be seen to reflect the sensibilities and skills of Kenzan himself. This helps to explain why Edo-period Kenzan imitators rarely attempted to work in this mode.