著者

裵 洙淨

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.5, pp.21-42, 2015-11-01

---

東アジアの言語と表象Hamada Shoji (1894−1978) was a representative potter in Japan. He is usually regarded as a member of the mingei society together with Yanagi Muneyoshi(1889−1961), who was also the founder of the mingei (folk crafts) movement. Because of this, Hamada is often called a mingei artist. However Hamada preferred to be called a 'potter' rather than an artist. In other words, Hamada thought of himself as an individual potter influenced by the philosophy of the mingei movement. The aim of this study is to reveal the aesthetic sense of Korean ceramics through the point of view of mingei (folk crafts) and also by looking at a number of works by Hamada Shoji. Hamada often said "I found my way in Kyoto, started in Britain, learned in Okinawa, and grew up in Mashiko." However he also studied many of the forms and techniques of Korean ceramics, especially Punchong ware with its iron-painted on brushed white slip (hakeme), and the faceted jar (mentori). Furthermore, Hamada thought that Korean ceramics were composed of crafts, potters, and lives. As a result of his study of Korean ceramics, Hamada found an aesthetic of freedom and developed his own sense of modern beauty. In conclusion, Korean ceramics contain the ultimate aesthetic, with which Hamada, Yanagi and the mingei society shared.