A Pair Of Square Ceramic Dishes By Ogata Kenzan And Kōrin In The 1710s

These exquisite square ceramic dishes, crafted by Ogata Kenzan (尾形乾山) and painted by his older brother Ogata Kōrin (尾形光琳), exemplify the harmonious collaboration between two of Japan’s most celebrated Edo-period artisans. Created between 1709 and 1716, after Kōrin returned from Edo to Kyoto, these dishes beautifully blend ceramic craftsmanship with painterly elegance.

The pair of dishes, moulded into perfect squares, showcases precise craftsmanship. Each dish features a raised square rim (切立縁), with the bottom edge meticulously chamfered. The surface is coated with a white slip, over which the rust-coloured painting (銹絵) is applied. The transparent glaze covering the surface enhances the vibrant ink-like lines, giving the dishes a subdued yet dignified sheen.

One dish features the image of Hanshan (寒山), a legendary Chinese poet and Zen eccentric, holding a scroll with an enigmatic smile. The poem beside him reads:

'I live in the mountains where no one knows me.

Amid the white clouds, I dwell in tranquillity.'

The calligraphy bears the signature 'Kenzan Sei-sho' (乾山省所), accompanied by the 'Shōko' (尚古) seal and the 'Tōin' (陶隠) mark, affirming the piece’s dedication to traditional aesthetics and quiet contemplation.

The other dish depicts Shide (拾得), Hanshan’s companion, holding a broom—a symbol of purity and spiritual cleanliness. The inscription reflects the timeless Zen philosophy:

'From the beginning, Hanshan and Shide are not ordinary beings.

They care not for familial bonds or worldly ties.

Hanshan is my brother; our hearts are alike.

Who can conform to worldly desires?

If you ask of our ages,

How many times has the Yellow River run clear?'

The poetic brushwork, inscribed with 'Kenzan Sei-sho', evokes a sense of detachment from material concerns, celebrating the simplicity of Zen life.

While these dishes are passed down as a pair, it is uncertain whether they were originally conceived as a set. Nevertheless, they reflect the artistic synergy between Kenzan’s ceramic mastery and Kōrin’s painterly flair. As Kōrin returned to Kyoto from Edo in 1709, the combination of his expressive Rinpa style and Kenzan’s refined pottery technique marked a new chapter in Japanese art.

The depiction of Hanshan and Shide, two wandering monks symbolising spiritual freedom and unconventional wisdom, resonates with the Mingei movement’s later ideals, valuing the beauty of everyday objects and the spontaneous brushwork reflecting the Zen spirit. These dishes, seemingly simple yet rich in cultural depth, offer a glimpse into the intellectual and aesthetic world of Edo Kyoto, where two brothers, each a master in his field, crafted pieces that transcend time.

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