著者

末吉 佐久子

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.13, pp.119-136, 2020-03-31

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During the history of ceramics in Japan, the group of tea potteries that developed from the Azuchi-Momoyama period to the early Edo period was called Momoyama tea potteries. These primarily consisted of Shino ware, Seto ware, Oribe ware, Bizen ware, Iga ware, Shigaraki ware, Karatsu ware, and Raku ware. One of the characteristics of the Momoyama tea potteries was "imperfection." Momoyama tea potteries have been studied in various ways, including from the perspectives of the history of ceramics and the history of the tea ceremony. However, there have not been many studies that have focused on the form of imperfection to consider its aesthetic elements. This paper will examine why imperfection, which is considered a negative element in design terms, can be an aesthetic. In particular, this paper will focus on two Momoyama tea potteries characterized by imperfection that have been handed down through generations : the Gray Shino Tea Bowl called "Mine no Momiji" (or "Maple on the Peak"), Mino ware (16th–17th c.), the Gotoh Museum; and the Freshwater Jar called "Yaburebukuro" ("Torn pouch"), Iga ware, natural ash-glazed stoneware (17th c.), the Gotoh Museum. The design elements of line, surface, volume, texture, dynamics, and balance will be analyzed to highlight the aesthetic character of imperfection.