有田・九谷・瀬戸・京都といった窯業地のいずれにかかわらず、陶磁器はその時代や社会を反映しています。 そこで、私の明治コレクションの紹介をさせていただくにつき、明治陶磁の人物文様と社会との関係を考えてみました。 江戸時代の古伊万里の人物文様は中国人が多く描かれています。例えば七賢人・蘇東坡・寒山拾得・鶴乗仙人・琴高仙人・唐子などです。これは日本文化が中国に由来するので自然な成行きです。 この傾向は明治にも継続していきます。ここでご紹介する明治初期の香蘭社の竹林七賢図大皿や盈進社の唐子文水注は、その一例です。因みに、江戸時代の磁器生産は肥前がガリ バー的な存在でしたが、明治は全国の地方窯競立の時代となります。その中でも兵庫県出石の盈進社は友田安清を指導者に招き、高級磁器製作にこだわりました。
Regardless of whether we are discussing pottery regions like Arita, Kutani, Seto, or Kyoto, ceramics reflect the times and society in which they were created. With this in mind, as I introduce my Meiji-era collection, I have considered the relationship between the human motifs in Meiji ceramics and the society of the period.
In Edo-period Ko-Imari ware, human motifs often depicted Chinese figures, such as the Seven Sages of the Bamboo Grove, Su Dongpo, Hanshan and Shide, the Immortal Riding a Crane, Qin Gao, and Chinese children (Tangzi). This is a natural progression, as Japanese culture has its origins in Chinese culture. This trend continued into the Meiji era, as illustrated by early Meiji pieces like the large plate from Koransha featuring the “Seven Sages of the Bamboo Grove” and the water jug from Eishinsha adorned with “Tangzi” motifs.
Incidentally, during the Edo period, porcelain production was dominated by the Hizen region, which had a near-monopoly. However, the Meiji period saw a competitive era of regional kilns emerging across Japan. Among these, Eishinsha stood out, inviting Tomoda Yasukiyo as a leader and focusing on producing high-quality porcelain.
