An enamelled stoneware deep bowl with openwork, signed on the base Kenzan (Ogata Kenzan, 1663-1743), Kenzan ware, Kyoto, Edo period, early 18th century | 尾形乾山 色絵菊文透彫反鉢　江戸時代中期　18世紀初頭中期　「乾山」(銹絵銘)

Kenzan, The Tokugawa Art Museum, Nagoya, Nezu Museum, Tokyo, 1968, cat. no. 53.

Rimpa meihinten [Rimpa: The Debut of Essential Rimpa Masterpieces in the Okada Museum of Art Collection], Mitsukoshi (Nihonbashi), Tokyo, 2015, cat. no. 39.

Rimpa no seika [The Essence of Rimpa], Okada Museum of Art, Hakone, 2015, cat. no. 32.

Ninsei & Kenzan, Okada Museum of Art, Hakone, 2017, no. 40. 

Kacho fugetsu meiga de miru Nihon no shiki [Flowers, Birds, Wind and Moon: The Four Seasons of Japan Through Famous Paintings], Okada Museum of Art, Hakone, 2022, exh. no. 20 (unillustrated).

Special Exhibition: Ogata Kenzan 360th anniversary, Okada Museum of Art, Hakone, 2022, exh. no. 8 (unillustrated).

Clusters of white, yellow and purples chrysanthemum rendered in polychrome underglaze enamels bloom exuberantly across this deep dish. Shaped on the wheel with out-turned rim and then cut with a knife to form the floral scalloped edge, the scattered openwork skilfully follows the contours of the flowerheads that adorn both the interior and exterior.

One of the most celebrated potters in Japan, Kenzan’s work is admired for its originality and painterly expression. Kenzan opened his Narutaki kiln in 1699 in the northwest mountains of Kyoto. He moved kiln to Nijo Chojiyamachi in 1712, then the most prosperous part of Kyoto. Such bowls with openwork decoration are associated with this point in Kenzan’s artistic output. The free and abstracted decoration of chrysanthemums against a crackled cream ground shows the influence of the Rimpa style that was reinvigorated by his older brother Ogata Korin (1658-1716) [see Lots 1014 and 1050].

For comparison, there is a similarly pierced deep bowl with the autumn foliage of the Tatsuta River motif in Kobayashi Tadashi et. al., Masterpieces of the Okada Museum of Art, vol. 1, Tokyo, 2019, p. 88, no. 68.

展覽

《乾山》，德川美術館及根津美術館，1968年，圖錄編號53

《琳派名品展》，三越（日本橋），東京，2015年，編號39

《琳派の精華》，岡田美術館，箱根，2015年，編號32

《仁清と乾山　京のやきものと絵画》，岡田美術館, 箱根，2017年，展覽編號40

《美のスターたち-光琳・若冲・北斎・汝窯など名品ぞろい-》, 岡田美術館, 箱根, 2018年, 展覽編號355（沒載圖）

《花鳥風月 名画で見る日本の四季》, 岡田美術館, 箱根, 2022年, 展覽編號20 （沒載圖）

《特集展示 生誕360年記念 尾形乾山》， 岡田美術館，箱根，2022年，展覽編號8（沒載圖）

白、黃、紫三色菊叢以釉下彩技法繪製，於此深腹盌壁上繁盛綻放。器身經旋坯成形後，以刀工雕琢出花瓣形盌沿，盌緣處的鏤空雕飾隨內外壁花冠輪廓巧妙延展，形成錯落透雕紋樣。

作為日本最負盛名的陶藝家之一，乾山作品以其獨創性與繪畫性表達廣受推崇。他於1699年在京都西北山區創立鳴滝窰，後於1712年遷窰至當時最繁華的京都二條丁字屋町。此類帶透雕紋飾的深盌，正屬乾山此階段的藝術創作特徵。在冰裂紋乳白釉地上自由抽象的菊紋裝飾，顯現其兄尾形光琳（1658-1716年）所復興的琳派風格影響［見lot 1014與1050］。

可資比對者，見小林忠等人編《岡田美術館名品選》第一卷（東京，2019年）頁88，編號68所載之同類透雕深盌，飾有龍田川秋景紋樣。