Ninami Dohachi

Japanese: 仁阿弥道八 - にんあみ・どうはち

Year of death: 1855 (2nd year of the Ansei period)
Year of birth: Tenmei 3 (1783)
A potter representing Kyoto pottery in the late Edo period. His correct name is Takahashi Dohachi II. The Takahashi family is said to have originated from the Kameyama domain of Ise (Mie Prefecture), and the first Dohachi (Shofutei Kuchuu Shuhei) moved to Kyoto and opened a kiln in Awataguchi. Dohachi II was the second son of the first, and was given the name Mitsutoki. In addition to inheriting his father's pen name Shofutei, he also took the name Kachutei, which became the pen name of the Takahashi family thereafter. He was later granted the pen name "Ami" by the head priest of Daigoji Sanboin Temple, and the character "Jin" by Prince Ninnaji, and so he began to use the pen name Nin'ami more often. Nin'ami studied porcelain under Okuda Eisen, who lived near Kenninji Temple, and expanded his field of work by inheriting the tradition of pottery from Raku ware and Nonomura Ninsei. He learned much from Kenzan-yaki by Ogata Kenzan (Shenzhen), a representative Kyoto ware of the first half of the 18th century, and devoted himself to making Kyoto-style pottery. Among his works, Unkinde, a style of pottery in which spring cherry blossoms and autumn leaves are painted on a white base, became his specialty, even though it was Kenzan-yaki. He was also skilled in sculpture, and demonstrated his skill in figurines of the Seven Lucky Gods, including Jurojin, Hotei, and Fukurokuju. He did not rush into making Chinese-style tea utensils, but instead maintained the traditions of orthodox Japanese style. In Bunka 8 (1811), he moved his kiln from Awataguchi to Kiyomizuzaka, and in Tempo 13 (1842), he retired and established the Momoyama kiln in Fushimi Momoyama, where he stamped the Dohachiin (Dohachi-in) sign made of a conch shell. During this time, he was very active, producing Ishiyama Oniwa ware for Prince Sonken of Ishiyama-dera Temple in Omi (Shiga Prefecture) in 1824, Tsuyuyama ware for the monk Honnyo of Nishi Hongan-ji Temple in 1830, helping with Oniwa ware at Kairakuen in Kishu in 1831, and starting Ippodo ware in Saga, Kyoto for Suminokura Gennei in the Tenpo era, and in 1830 he was invited by the lord of Takamatsu Domain in Sanuki (Kagawa Prefecture) to start a kiln for the Sanuki kiln. <References>Masahiko Kawahara, "Kyo-yaki" ("Ceramics Series", Volume 26)

(Yoshiaki Yabe)

Source: Asahi Japanese Historical Biography: Asahi Shimbun Publications Inc. About Asahi Japanese Historical Biography

Japanese:

没年：安政2(1855)
生年：天明3(1783)
江戸末期の京都の陶芸を代表する陶工。正しくは2代高橋道八。高橋家は伊勢(三重県)亀山藩士の出身と伝え,初代道八(松風亭空中周平)のとき京都に出て粟田口に開窯した。2代道八は初代の次男で,名を光時といい,父の雅号松風亭を受け継いだほか,華中亭と号し,以後この号が高橋家の雅号として定着した。のち醍醐寺三宝院門跡から「阿弥」の号,仁和寺宮から「仁」の字を賜ったので仁阿弥を号として多く使うようになった。仁阿弥は,建仁寺近傍の奥田穎川の門を叩き磁器の研究を進める一方,楽焼や野々村仁清以来の陶器の伝統をも受け継いで作域を拡大した。18世紀前半の京焼を代表する尾形乾山(深省)の乾山焼から多くのことを学び,京風の陶器作りに力を注いだ。そのなかでも,白化粧地に上絵付で春の桜・秋の紅葉をひとつの器に描く雲錦手は乾山焼によりながらも彼の得意の作となった。彫塑像も巧みで,寿老人,布袋,福禄寿など七福神の置物にも妙技を発揮した。中国趣味の煎茶道具作りには走らず,正統派の和様の伝統を守った。文化8(1811)年粟田口から清水坂へ窯を移し,天保13(1842)年にはみずから隠居して伏見桃山に桃山窯を興し,法螺貝の道八印を捺した。その間文政7(1824)年には近江(滋賀県)石山寺の尊賢法親王のために石山御庭焼,西本願寺本如上人のために露山焼を造り,10年には紀州偕楽園御庭焼を助け,天保年代に入ると角倉玄寧のために京都嵯峨で一方堂焼を始め,3年には讃岐(香川県)高松藩主に招かれて讃窯御用窯を始めるなど盛んに活動した。<参考文献>河原正彦「京焼」(『陶磁大系』26巻)

(矢部良明)

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