@article{oai:glim-re.repo.nii.ac.jp:00005469,
 author = {新井, ゆい and Arai, Yui},
 issue = {30},
 journal = {学習院大学人文科学論集, Gakushuin University studies in humanities},
 month = {Oct},
 note = {application/pdf, Kenzan Iboku is a woodblock-printed book compiled by painter Sakai Hoitsu and published in 1823. This book is significant as it commemorates and honors the work of Ogata Kenzan for appreciation in the contemporary times. Traditionally, this book has been discussed in the context of Kenzan’s acceptance by Kenzan researchers and in the context of Hoitsu’s recognition by Hoitsu researchers. The publication process of this book conforms to an afterword and has been recognized to be an extension of Korin Hyakuzu; however, the role of Kenzan Iboku and other production intentions have not been sufficiently explored by scholars.
This paper examines Hoitsu’s interest in Kenzan up until the publication of this book. In particular, it points out that this curiosity gradually grew from a young age to his later years.
First, I examine a document belonging to Sakais and discuss the conditions under which they sold Kenzan’s work. The Sakai family owned the work of “Kenzan Iboku” but not of Kenzan. Moreover, the Sakai family was hardly interested in Inuiyama works. However, Soga, his brother, drew Inuiyama’s work depicting the tea ceremony. It appears that Soga was more interested in Kenzan’s pottery than Hoitsu’s.
Next, I analyze illustrations of pottery appearing in Kenzan Iboku and compare them with the Kenzan’s existing pottery. The depiction of Kenzan’s pottery is inaccurate in this book as Hoitsu’s knowledge of Kenzan’s work was limited by his access to accurate information. In contrast, Hoitsu illustrated Korin’s pottery work perfectly. Conversely, it is evident from this book that Hoitsu was more curious about Korin than Kenzan.
The final chapter focuses on the mutual cooperation between Hoitsu and Sahara Kiku in the publishing and management of Mukojima Hyakkaen. Since 1804, Hoitsu created artworks for Kenzan’s book and wrote Chinese poetry.
In his youth, Hoitsu learned about Kenzan while studying about Korin and was inspired by Kiku and his interest in Kenzan. He erected a tombstone for Kenzan and called himself “Kenzan IV” and published Kenzan Iboku, which is regarded as a valuable piece of evidence revealing the transition of Hoitsu’s interest in Kenzan if compared with his activities from the early days to his later years.},
 pages = {71--100},
 title = {酒井抱一編『乾山遺墨』をめぐって : 抱一から見た光琳と乾山の作品},
 year = {2021},
 yomi = {アライ, ユイ}
}