@article{oai:tobunken.repo.nii.ac.jp:00006632,
 author = {中川, 千咲 and Nakagawa, Sensaku},
 issue = {275},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Nov},
 note = {There are many unsolved questions about Early Kutani ware, though it occupies a representative position in the history of Japanese pottery. Now that the excavation of a supposed kiln site of Early Kutani has been carried out, the study of the stylistic and technical development of the actual production is becoming more and more important. The author here takes up two Early Kutani bowls, both with so-called Shonzui type patterns, a rare kind of pattern for Early Kutani, and discusses such problems as the connection of these patterns to those of Shonzui type blue-and-white, the stylistic interrelationship between the two bowls, and their positions in the historical change of the designs in Early Kutani.
     One of the bowls has a landscape with human figures inside and the other bowl, which is shallower, has landscape without human figures inside. Both are further ornamented with the so-called Shonzui type pattern. But, according to the author, the relationship to the design of Shonzui type blue-and-white is not so close as has been claimed. For the only common points are the forms of some pattern units and the design method of filling circles with geometric patterns. Rather, we should recognize that most of the pattern units are variations of the patterns seen on late Ming and early Ch'ing Chinese multiglazed porcelain of the category which Japanese people call Ko-akae (leterally, Old Akae) and patterns quite different from either Shonzui type blue-and-white or Ko-akae.
     The circular designs of the two bowls have many common elements. In particular, the circles filled with blue-and-white patterns are almost the same in arrangement and in the form of their patterns. Not only that, the landscape designs are treated quite similarly in both. Though the structure of the body and glazes are slightly different, the two bowls presumably date from almost the same stage.
     However, when we investigate the ornamentation more minutely, we notice that the shallower bowl has more complex and extraordinary pattern units. This fact must suggest that this example is a little later than the other.
     The comparison of these bowls with the designs of Early Kutani dishes implies that the bowl having the design of landscape with figures belongs to the stage when complex geometric patterns around the main design became popular and the other example belongs to a later stage when the geometric patterns became even more complicated as the main design decreased in size. As for the latter, the type of the glaze inscription at the bottom leads us to the same conclusion. Then, according to the author's interpretation, the similarity of the two pieces indicates that both should be placed in a transitional period between the two stages.
     The author hopes that this supposition concerning the date of these pieces and the analysis of their styles would be a stepping stone for the survey of Early Kutani ware in general.},
 pages = {1--14},
 title = {丸文のある古九谷の二作品},
 year = {1971}
}