@article{oai:tobunken.repo.nii.ac.jp:00003157,
 author = {森下, 愛子 and MORISHITA, Aiko},
 issue = {5},
 journal = {無形文化遺産研究報告, Research and Reports on Intangible Cultural Heritage},
 month = {Mar},
 note = {After the Meiji era, various attempts have been made in fields of craftwork to determine what is “traditional” and how “tradition” can be incorporated into a new age. In the field of ceramic art, however, since stones and clay for making ceramics could not be obtained in Kyoto from the Edo period, they were procured from other areas and adjusted for use as raw material. For this reason, the background of Kyoto ware is different from that of traditional craftwork of other areas, and ceramic artists continued to grope for the answer to the question, “What should be considered ‘traditional’?” As a result, now “Kyoto ware” and “Kiyomizu ware” are designated traditional craftworks by the Minister of Economy, Trade and Industry.
     In the time of change from the end of the Edo period to the Meiji period, attempts were made to manufacture ceramics for export as well as to produce factory-made items, but the ceramic artists of Kyoto ware who are actively engaged in their work today have inherited the tradition that was formed toward the end of the Edo period. Particularly the design and shape of Kyoto ware exhibit characteristics that are unique to the culture of Kyoto. The root of such characteristics lies in the design and shape of Ninsei ware and Kenzan ware in the Edo period.
     Ninsei, famous as a master of overglaze enamels, was given permission to use a part of the name of Ninnaji temple, “nin.” By placing the stamp “Ninsei” on Omuro ware, he established the Ninsei ware brand as the official brand of Ninnaji. Kenzan modified underglaze iron in which designs were rendered on a white ground with iron paint and created an innovative technique. Kenzan ware was also characterized by stylized designs of seasonal plants rendered on dishes coated in white slip. Although it is a comparatively new type of Kyoto ware, having its origin in the Edo period, the influence it had on other areas is great.
     This year’s paper presents a summary of the past two years’ study on Kyoto ware and considers the transmission of traditional design on today’s Kyoto ware, based on such factors as investigation of ceramic artists who are actively engaged in their work now.},
 pages = {17--27},
 title = {近・現代の京焼における伝統的意匠の継承―伝統の継承に関する一考察―},
 year = {2011}
}