- 東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)
- vol.12, pp.145-156, 2019-03-31
In the early modern period, the situation concerning traditional culture in Japan transformed rapidly in the face of the new Meiji era. The tea ceremony, which had barely survived through strong ties with the old powers, temporarily declined and had to wait for the appearance of people called men of refined tastes in order to be revitalized as it is today. In addition to collecting antiques that had been left untouched in the homes of former daimyo families, people called men of refined tastes collected these art items when they were put on sale. When Arakawa Toyozo discovered Shino-yaki pottery pieces at Mino-Okaya in 1930, the excavation of the pottery pieces that had not been focused upon until then facilitated a new interest in Momoyama pottery. But because the interest of the public focused only on antiques, those that were made at that time never sold. Therefore, Arakawa, Kato Tokuro, and others who were the descendants of potters, engaged in the making of pottery in Mino and Seto, and worked vigorously to restore traditional Momoyama pottery in the Showa era. On the other hand, the person who challenged traditional Momoyama pottery for different reasons is Kawakita Handeishi. Handeishi was born in a wealthy house of Mie Prefecture and was involved in various projects, he studied under Hisada Soya who mastered of the tea ceremony of Omote-senke and mastered it. Despite being successful as a businessman and being on a wealthy person, he did not show much interest in collecting antiques. Also, based on the excavated pottery pieces and art objects that had been passed down, Arakawa and others spent their lives creating their own individual style of tea bowls rather than engaging in making copies, to produce tea bowls from which they themselves wanted to drink. This paper examines how Handeishi came to be involved in the making of pottery, his philosophy of pottery creation, and the qualities seen in his works in order to position Handeishi in the history of pottery-making and to identify the role he played as the progenitor of future pottery creations.