Details
TWO SQUARE EARTHENWARE DISHES WITH PINE-TREE DESIGNS
Kenzan Ware (Edo period, 18th century), first dish signed Kenzan sei sho and sealed Kenzan and Sei sho; second signed, dated and inscribed on the base Fuyo Yoshu Kenzan Toin Shokosai Shinsei zo uji Hoei kanoto-u haru (Made in the spring of 1711 by the hermit potter of Kyoto, Kenzan Shokosai Shinsei) (Ogata Kenzan; 1663-1743)
Each square dish with white-slip ground and painting in underglaze iron oxide; the first painted with a grove of pines beneath a poem, which reads: "To be fond of pines is to have the hardness of an iron mind. Therefore, I tend them in front of my winding fence;" the second painted with a moss-covered pine tree; the paintings on each dish framed by a single line on the inner surface; the exterior of the second dish has simple latticework with oblong floral reserves in underglaze iron and the interior sides have stylized floral sprays in line borders
First 8 1⁄2 x 8 1⁄2 x 1 in. (21.6 x 21.6 x 2.9 cm.); second 8 3⁄4 x 8 3⁄4 x 1 in. (22.2 x 22.2 x 2.9 cm.)
With wood boxes both signed and authenticated by the 15th Grand Tea Master of the Urasenke tea school, Hounsai Genshitsu (b. 1923), and with kao (cursive monogram)
Literature
Tokyo National Museum, Rinpa (Tokyo: Tokyo National Museum, 1972), pl. 296 (second dish).
Andrew Pekarik, Japanese Ceramics from Prehistoric Times to the Present (Southampton, NY: Parrish Art Museum, 1978), nos. 58a-b (both dishes).
Hayashiya Seizo, ed., Ninsei, Kenzan, Kyoyaki, vol. 7 of Nihon no toji (Japanese ceramics) (Tokyo: Chuo Koronsha, 1973), figs. 151-52 (second dish).
Mitsuoka Tadanari and the Zauho Press, Edo Period I: Kyoyaki-Kyoto Ware, vol. 6 of Sekai toji zenshu (Tokyo: Shogakukan, 1975), fig. 29, p. 217 (second dish).
Shirasaki Hideo, ed., Teibon Kenzan shusaku hyakusen (Kenzan: Selection of one hundred masterpieces) (Tokyo: Yomiuri Shinbunsha, 1977), pl. 76 (second dish).
Kawahara Masahiko, ed., Kenzan, Nihon no bijutsu 154 (Tokyo: Shibundo, 1979), no. 55 (second dish).
Masahiko Kawahara, The Ceramic Art of Ogata Kenzan (Tokyo: Kodansha International, 1985), pls. 95-96 (second dish).
Gotoh Museum, Kenzan no toji / Ceramics of Kenzan 1663-1743 (Tokyo: Gotoh Museum, 1987), p. 111 (second dish).
Richard L. Wilson, The Art of Ogata Kenzan: Persona and Production in Japanese Ceramics (New York and Tokyo: Weatherhill, 1991), figs. 51-52 (second dish).
Richard Wilson and Ogasawara Saeko, Ogata Kenzan: Zen sakuhin to sono keifu, daiikkan zurokuhen (Vol.1, Catalogue volume of Ogata Kenzan: His life and complete work) (Tokyo: Yuzankaku, 1992), fig. 22 (first dish) and fig. 20 (second dish).
Richard Wilson and Ogasawara Saeko, Kenzanyaki nyumon (Primer for Kenzan ware) (Tokyo: Yuzankaku, 1999), p. 63 (second dish).
Miho Museum, ed., Kenzan: Yusui to fuga no sekai / A World of Quietly Refined Elegance (Shigaraki: Miho Museum, 2004), pl. 65 (second dish), pl. 78 (first dish).
Exhibited
Tokyo National Museum, "Rinpa," 1972.10 (second dish with moss-covered pine)
Parrish Art Museum, Southampton, New York, "Japanese Ceramics from Prehistoric Times to the Present," 1978.8.6-9.28 (both dishes)
Miho Museum, Shigaraki, "Kenzan: Yusui to fuga no sekai / A World of Quietly Refined Elegance," 2004.9.1-12.15 (both dishes)
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