WEKO3
アイテム
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He was responsible for a new type of pottery decorated with over-glaze enamelled ornaments in graceful Japanese designs and has left a number of master works in this field.\n Ornaments on his pottery works are beautiful ones executed in enamels of rich bright colours and often also in gold and silver. It is believed, however, that they, besides those painted for himself, include some which were done by other men. This is important in clarifying the character of Ninsei\u0027s ceramic art, but as a matter of fact the subject has not been studied thoroughly. The present writer attempts a research from this viewpoint on a few of Ninsei\u0027s works. Because this problem concerning over-glaze ornament seems to have some connection with that of Ninsei\u0027s invention of enamelling technique, the writer gives here a brief introductory notes on the latter-mentioned subject.\n It has heretofore been said that Ninsei\u0027s tech- nique of enamel decoration on pottery was learned from that of porcelain established by Kakiemon, a potter at Arita in Kyushu who made the first enamelled porcelain in Japan. Recently, however, another theory has begun to attract note, as follows. Comparison between the works of the two potters about ten years after Kakiemon\u0027s creation of enamelled porcelain, discloses that those by Ninsei are farmore advanced in technique. On the other hand, it is known that prior to Ninsei\u0027s activity a type of colour glazing resembling the Chinese kōchi (“Cochin China,” Southern Chinese ware with green, yellow and purple glazes produced during the Late Ming to Ch‘ing periods) had been in use at the Awataguchi area in Kyoto. Ninsei had a close connection with Awataguchi and he was eager in studying glazes. It is there- fore highly probable that, perhaps excepting red glaze which involves other considerations, he mastered the colour-glazing technique which had been in use at Awataguchi and applied it on his pottery pieces.\n His mastery in the skill of potter\u0027s wheel work, his erudition in glazes of Japanese and Korean ceramics, and his establishment of enamel- decorating method, evidence that he devoted much\ntime and zeal to technical study and training. We are therefore led to imagine that in executing those ornaments which required high skill and ability as a painter, he must have availed himself of cooperation of expert painters.\n Let us see, for example, the jars by Ninsei with designs of poppies, of blossoming cherry trees at Mt. Yoshino, and of wistarias respectively. The poppy design has a very similar example among paintings by Sōsetsu, the artistic heir to the great painter Sōtatsu of the early seventeenth century. The ornaments on the other two jars also show close similarity to cherry and wistaria designs in the scrolls of calligraphic writing by Kōetsu inscribed over decorative under-painting by Sōtatsu. Considerably many other works of Ninsei reveal resemblance in some way or other, in regard to their motifs or styles of representation, to paintings by artists of the Sōtatsu school.\n Ninsei had his ceramic factory in front of the Ninna-ji Temple at Omuro in Kyoto. The Imperial Abbot of the Ninna-ji (for abbots of that temple used to be tonsured Imperial princes) and patricians centering around him favoured Ninsei\u0027s ceramic works and gave him frequent orders for objects for use in tea-ceremony. These aristocrats were relatives of the Retired Emperor Gomizunoo. Gomizunoo, too, loved Ninsei\u0027s works, and it is also known from literary sources that he had interest in the painters Sōtatsu and Sōsetsu. It is quite possible, therefore, that Sōsetsu and other artists of his group (though Sōtatsu himself cannot be associated directly with Ninsei due to chronological reason), like tea-masters of the time often did for other potters, supplied under-designs for Ninsei\u0027s pottery pieces at the instructions of or through good offices of Gomizunoo and court nobles.\n Interrelations among the paintings by Sōtatsu, Sōsetsu and other artists around them are quite intricate, and discrimination of their paintings is still now one of difficult subjects in the history of Japanese art. The situation being such, it is impossible to tell which one or ones of the Sōtatsu school artists painted designs for Ninsei. The ornament on the poppy design jar is very much like a painting by Sōsetsu ; it is imaginable that this particular piece was painted by Sōsetsu himself. However, most of Ninsei\u0027s designs are not attributable to any particular artist but resemble paintings by what are regarded collectively as Sōtatsu school painters. Taken altogether, it appears reasonable to think that artists centering around Sōsetsu offered their cooperation to Ninsei.\n It was frequent during the early part of the Early Modern Age (16th to 19th centuries) that synthetic works of decorative handicrafts were produced under the guidance of tea masters and other men of taste. In the case of Ninsei, too, we are inclined to think that synthetic works of pottery by Ninsei and painting by Sōtatsu school artists, under the patronage of the nobility and guided by its traditional aesthetic sense, gave birth to the splendid flowers of enamelled pottery.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "中川, 千咲"}], "nameIdentifiers": [{"nameIdentifier": "27700", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Nakagawa, Sensaku", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27701", "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": "2017-10-05"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "216_1_Nakagawa_Redacted.pdf", "filesize": [{"value": "19.4 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 19400000.0, "url": {"label": "216_1_Nakagawa_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6868/files/216_1_Nakagawa_Redacted.pdf"}, "version_id": "1e816a38-f005-4e9d-9e9f-b3233183e53b"}]}, "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": "journal article", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "仁清意匠の一考察", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "仁清意匠の一考察"}, {"subitem_title": "On Ninsei’s Ceramic Designs", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1173"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6868", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6868", "relation": {}, "relation_version_is_last": true, "title": ["仁清意匠の一考察"], "weko_shared_id": 3}
仁清意匠の一考察
https://tobunken.repo.nii.ac.jp/records/6868
https://tobunken.repo.nii.ac.jp/records/6868745573d9-8354-4164-876c-d81ec2f0a7bb
名前 / ファイル | ライセンス | アクション |
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216_1_Nakagawa_Redacted.pdf (19.4 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 仁清意匠の一考察 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | On Ninsei’s Ceramic Designs | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
著者 |
中川, 千咲
× 中川, 千咲× Nakagawa, Sensaku |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Ninsei, a potter active in Kyoto in about the middle of the seventeenth century, has high fame in the history of Japanese ceramics. He was responsible for a new type of pottery decorated with over-glaze enamelled ornaments in graceful Japanese designs and has left a number of master works in this field. Ornaments on his pottery works are beautiful ones executed in enamels of rich bright colours and often also in gold and silver. It is believed, however, that they, besides those painted for himself, include some which were done by other men. This is important in clarifying the character of Ninsei's ceramic art, but as a matter of fact the subject has not been studied thoroughly. The present writer attempts a research from this viewpoint on a few of Ninsei's works. Because this problem concerning over-glaze ornament seems to have some connection with that of Ninsei's invention of enamelling technique, the writer gives here a brief introductory notes on the latter-mentioned subject. It has heretofore been said that Ninsei's tech- nique of enamel decoration on pottery was learned from that of porcelain established by Kakiemon, a potter at Arita in Kyushu who made the first enamelled porcelain in Japan. Recently, however, another theory has begun to attract note, as follows. Comparison between the works of the two potters about ten years after Kakiemon's creation of enamelled porcelain, discloses that those by Ninsei are farmore advanced in technique. On the other hand, it is known that prior to Ninsei's activity a type of colour glazing resembling the Chinese kōchi (“Cochin China,” Southern Chinese ware with green, yellow and purple glazes produced during the Late Ming to Ch‘ing periods) had been in use at the Awataguchi area in Kyoto. Ninsei had a close connection with Awataguchi and he was eager in studying glazes. It is there- fore highly probable that, perhaps excepting red glaze which involves other considerations, he mastered the colour-glazing technique which had been in use at Awataguchi and applied it on his pottery pieces. His mastery in the skill of potter's wheel work, his erudition in glazes of Japanese and Korean ceramics, and his establishment of enamel- decorating method, evidence that he devoted much time and zeal to technical study and training. We are therefore led to imagine that in executing those ornaments which required high skill and ability as a painter, he must have availed himself of cooperation of expert painters. Let us see, for example, the jars by Ninsei with designs of poppies, of blossoming cherry trees at Mt. Yoshino, and of wistarias respectively. The poppy design has a very similar example among paintings by Sōsetsu, the artistic heir to the great painter Sōtatsu of the early seventeenth century. The ornaments on the other two jars also show close similarity to cherry and wistaria designs in the scrolls of calligraphic writing by Kōetsu inscribed over decorative under-painting by Sōtatsu. Considerably many other works of Ninsei reveal resemblance in some way or other, in regard to their motifs or styles of representation, to paintings by artists of the Sōtatsu school. Ninsei had his ceramic factory in front of the Ninna-ji Temple at Omuro in Kyoto. The Imperial Abbot of the Ninna-ji (for abbots of that temple used to be tonsured Imperial princes) and patricians centering around him favoured Ninsei's ceramic works and gave him frequent orders for objects for use in tea-ceremony. These aristocrats were relatives of the Retired Emperor Gomizunoo. Gomizunoo, too, loved Ninsei's works, and it is also known from literary sources that he had interest in the painters Sōtatsu and Sōsetsu. It is quite possible, therefore, that Sōsetsu and other artists of his group (though Sōtatsu himself cannot be associated directly with Ninsei due to chronological reason), like tea-masters of the time often did for other potters, supplied under-designs for Ninsei's pottery pieces at the instructions of or through good offices of Gomizunoo and court nobles. Interrelations among the paintings by Sōtatsu, Sōsetsu and other artists around them are quite intricate, and discrimination of their paintings is still now one of difficult subjects in the history of Japanese art. The situation being such, it is impossible to tell which one or ones of the Sōtatsu school artists painted designs for Ninsei. The ornament on the poppy design jar is very much like a painting by Sōsetsu ; it is imaginable that this particular piece was painted by Sōsetsu himself. However, most of Ninsei's designs are not attributable to any particular artist but resemble paintings by what are regarded collectively as Sōtatsu school painters. Taken altogether, it appears reasonable to think that artists centering around Sōsetsu offered their cooperation to Ninsei. It was frequent during the early part of the Early Modern Age (16th to 19th centuries) that synthetic works of decorative handicrafts were produced under the guidance of tea masters and other men of taste. In the case of Ninsei, too, we are inclined to think that synthetic works of pottery by Ninsei and painting by Sōtatsu school artists, under the patronage of the nobility and guided by its traditional aesthetic sense, gave birth to the splendid flowers of enamelled pottery. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 216, p. 1-10, 発行日 1962-01-24 |