Road entry - Dounyu

A potter in the early Edo period, he was the third generation of Kyoto Raku ware. His name was Kichibei, later Kichizaemon, and after he shaved his head he was called Do-nyū. He was popularly known as "Nonkō (Nonkau)". After the death of the first generation, Chōjirō, the second generation was succeeded by Kichizaemon Jōkei (died 1635), the son of Sōkei of the Tanaka family, and the third generation was succeeded by Jōkei's eldest son, Kichibei Do-nyū. The name "Nonkō" is said to have come from the fact that Sen no Sōtan rested at Noko teahouse in Suzuka on his way to Ise Shrine, and made a vase out of nearby bamboo and gave it to Do-nyū, calling it "Nonkau", and Do-nyū enjoyed arranging flowers there afterwards.

While the style of the first Chojiro and the second Jōkei was based on traditional styles and created a standard shape for half-cylindrical tea bowls, thoroughly pursuing beauty without individuality, Doinyu made a complete turn and openly sought unique and sophisticated works, pioneering new ground with his skilled techniques and creating tea bowls with intricate designs, and is said to be one of the most skilled in the Raku family. The background to this is likely to be the trend of the time that respected "beautiful rusticity" and his inclination toward unique beauty that he gained from his interactions with the world-famous elegant man Honami Kōetsu. The overall style of his work is thin, with a loosely stretched body and a subtle undulating curve that forms the overall tone, while sharp spatula cuts are made here and there to create a sense of tension. The glaze of both the black and red Raku has a strong luster, and the white and vermilion glazes appear to create a landscape. Doinyu's creative spirit, which seeks bright and lustrous beauty, is not as immersed in individuality as Koetsu's, but it can be said that it reflects the open-minded tea style of the early Edo period. The foot of the bowl is sometimes exposed to the earth, giving it a light and airy atmosphere, and is stamped with the "Raku" mark. Representative works include black Raku tea bowls with the names "Inazuma," "Masu," and "Kikyou," and red Raku tea bowls with the names "Nue," "Awayuki," and "Tomoe."

[Yoshiaki Yabe]

"Complete Collection of Japanese Ceramics 21: Rakudai-senpai" edited by Seizo Hayashiya (1976, Chuokoron-sha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

江戸初期の陶工で、京都楽焼(らくやき)の第3代。吉兵衛(きちべえ)、のち吉左衛門(きちざえもん)、剃髪(ていはつ)後は道入と称す。俗称「のんこう（のんかう）」。初代長次郎の没後、2代目は田中家の宗慶(そうけい)の子、吉左衛門常慶(じょうけい)（1635没）が継ぎ、3代目は常慶の長男の吉兵衛道入が継いだ。「のんこう」の名は、千宗旦(せんのそうたん)が伊勢(いせ)参宮の途次鈴鹿(すずか)の能古(のんこ)茶屋に休み、そのとき付近の竹で花器をつくって「ノンカウ」と銘して道入に贈ったところ、道入がその後いつも花をいけて楽しんだことに由来するといわれる。

　初代長次郎と2代常慶の作風が古格を重んじて半筒形茶碗(ちゃわん)に定形をつくりあげ、徹底して没個性の美を追求したのに対し、道入は一転して個性味豊かな作為をあからさまに求め、その達者な技巧で作為巧妙な茶碗をつくり新境地を開拓、楽家歴代中、屈指の名手といわれる。この背景には「綺麗(きれい)さび」を尊んだ時代の風潮と、天下の風流人本阿弥(ほんあみ)光悦との交流から得た個性美への傾斜があった可能性が濃い。その作行きは総体に薄造りで、胴はゆったりと張り、微妙に起伏する曲線が全体の基調となりながら、ところどころに鋭く篦(へら)を入れて緊張感を醸し出している。黒楽・赤楽とも釉(うわぐすり)は強い光沢をもち、白釉(はくゆう)と朱釉が表れて景色をつくる。明るいつややかな美を求める道入の造形精神は、光悦ほど個性に浸りきってはいないが、江戸初期の開放的な茶風をよく反映したものといえよう。高台(こうだい)はときに土見せで軽やかな趣(おもむき)に満ちており、「楽」の印が押される。代表作に、黒楽茶碗では銘「稲妻」「枡(ます)」「桔梗(ききょう)」、赤楽茶碗では「鵺(ぬえ)」「淡雪(あわゆき)」「巴(ともえ)」などがある。

［矢部良明］

『林屋晴三編『日本陶磁全集 21　楽代々』（1976・中央公論社）』

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