Hello to everyone reading this blog.
My name is Yokoyama, the owner of Koto Potter.
The potter Ogata Kenzan discovered the foundations of modern pottery.
Kenzan was born in Kyoto and died in Edo, but traces of his life can still be seen in many places today.
This time, we would like to reminisce about Kenzan's life while following in his footsteps in Kyoto.
1. The setting of my childhood: Former site of Kariganeya
Ogata Kenzan was born in 1663 (Kanbun 3).
He was born as the third son of Kariganeya, a kimono merchant located in Kamigyo Ward, Kyoto.
Karigane-ya was a prestigious merchant family that supplied kimonos to the Imperial family and the Shogunate, and was a well-educated and cultured family.
Together with his father, Soken, and his older brother, Korin, he spent his days exposed to the arts, including Noh theater, painting, and waka poetry.
However, following the death of Tofukumon'in in 1678 (Enpo 6), Karigane-ya lost its customers and its business began to decline.
His father, Munenobu, tried his hand at lending money to daimyo but failed to recover the money, and the family business fell into decline.
Nevertheless, after his death, Soken left behind a large legacy, while his brother Korin led a free-spirited life, which fostered his art and laid the foundation for the later success of Ogata Korin.
In contrast to his brother, Kenzan was an introspective man, and is said to have lived an intellectual and quiet life, studying calligraphy and Zen teachings.
The exact location of Karigane-ya, believed to be Ogata Kenzan's birthplace, is unknown, but the area around Nakadachiuri Ogawa in Kamigyo Ward, Kyoto at the time, is thought to be the likely location.
2. Learn Zen and pottery at Shusei-do Hall south of Ninna-ji Temple
In 1689 (Genroku 2), Kenzan established the Shusei-do Hall to the south of Ninna-ji Temple and began studying Zen teachings.
In this tranquil environment, he learned the basic techniques of pottery while also becoming familiar with poetry and calligraphy.
During this period, Kenzan studied directly under Ninsei of Omuro ware .
*Ninsei of Omuro ware...Researchers are divided as to whether it was the first Ninsei (Nonomura Ninsei) or the second Ninsei who taught pottery to Kenzan.
From Ninsei, he learned gorgeous color painting techniques and the basics of making tea utensils.
Kenzan's handwritten text, Toko Hitsuyo (1637), contains a detailed description of the techniques he learned from Ninsei, and reflects the cutting edge of pottery at the time, including glaze mixing, firing techniques, and even kiln management methods.
Ninsei's teachings were incorporated into many of the tea ceremony utensils that Kenzan later made, such as matcha bowls, incense containers, and water jars.
The spiritual tranquility of Ninna-ji and Ninsei's advanced techniques established Kenzan's foundation as a potter.
Although there is no longer any remains of Shuseido, where Kenzan studied Zen and calligraphy, you can still sense the history of where he nurtured his spirituality and began his path towards pottery.
3. The origin of creativity: the remains of the Narutaki kiln
In 1694 (Genroku 7), Kenzan left Ninna-ji Temple and built a kiln in Izumiya-cho, Narutaki.
This place, with its quiet environment surrounded by nature, was where Kenzan began his ceramic career in earnest.
Here he produced matcha bowls, incense containers, water jars and other items, creating a new aesthetic for tea ceremony utensils.
During his time at Narutaki, he also developed a strong collaboration with his brother, Korin.
While Korin perfected the Rinpa aesthetic in painting and lacquerware, Kenzan incorporated it into pottery, laying the foundations of Rinpa pottery.
The works produced during this period are characterized by vibrant colors and original designs.
The stone monument marking the "Ogata Kenzan Kiln Site" in Narutaki tells us that this place was the starting point of Kenzan's creative endeavors.
The surrounding nature evokes the tranquility of the time when he was immersed in his work.
After Kenzan left the area, Hozo Zenji Temple was built.
The majestic appearance of the piece, standing in a tranquil natural environment, evokes the image of Kenzan making pottery.
4. Mature period in Kyoto: Nijo period
In 1712 (Shotoku 2), Kenzan closed his kiln in Narutaki and moved to Nijo Chojiyacho in Nakagyo Ward, Kyoto City.
During this period, Kenzan produced a wide variety of works using rented kilns at Sanjo Awataguchi and Gojozaka.
In addition to tea ceremony utensils, the company also produced a large number of items for everyday use and highly decorative ceramics, further increasing its reputation.
There was also active interaction with Kyoto's cultural figures and tea masters, and it was during this period that works that combined gorgeous design incorporating Rinpa aesthetics with practicality were created.
5. Challenges in New Lands: The Edo Period and Later Years
In 1731 (the 16th year of the Kyoho era), Kenzan accompanied Prince Kokan of Ninna-ji Temple to Edo.
Here he spread the techniques and aesthetics he had developed in Kyoto and deepened his connections with Edo intellectuals and tea masters.
His Edo period works incorporate cultural elements of Edo that were different from those of Kyoto, giving a sense of the breadth of his creative activities.
There are no records indicating in which area of Edo Ogata Kenzan made pottery during this period, so we have not been able to trace his footsteps.
6. Senmyoin Temple, Kyoto, the family temple of Ogata Kenzan
In 1743 (Kanpo 3), Ogata Kenzan passed away in Edo at the age of 81.
Senmyoin Temple in Kyoto is the family temple of the Ogata clan, where the graves of Kenzan and his brother Korin stand quietly.
Kenzan's death poem: " The joyful times have passed, and all that remains is a dream at dawn."
There were good and bad things, but now that they're over, it was just a dream.
Ogata Kenzan continued to express his sensibilities not only through pottery but also through calligraphy and painting, and his life must have been one of true passion.
Other articles by Ogata Kenzan
About Ogata Kenzan, the master of Kyo-yaki and Kiyomizu-yaki
Ogata Kenzan is an important historical potter who is indispensable when talking about Kyo-yaki and Kiyomizu-yaki. Although he was a potter from the Edo period, many of his works remain to this day, and his designs are still used today as "Kenzan copies."
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Ask the experts! Who was Ogata Kenzan?
I went to interview him at the MIHO MUSEUM, which owns and exhibits many of Kenzan's works. I hope that this interview will provide a deeper insight into Kenzan's true character and his appeal.
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