20190430
来週9日（木）夜は、古典学者・河島思朗さんの講座「ギリシア・ローマ神話」です。今回のテーマは「神話を伝えるモノ」。描線が美しい壺絵その他、古代ギリシアの工芸の質のたかさの背景を学びたいと思います。今回から会場が自由学園明日館（目白）にかわります。写真は編集中の『工芸青花』12号から、古代ギリシアの青銅の瓶。https://shop.kogei-seika.jp/products/detail.php?product_id=275
20190428
Kogei Seika vol.11https://www.kogei-seika.jp/book/kogei-seika011.html
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■Published in 2019 by Shinchosha, Tokyo
■A4 in size, linen cloth coverd book with endpaper made of Japanese paper (kozo)
■192 Colour Plates, Frontispiece with a stencil dyed art work by Michiaki Mochizuki
■Each chapter is accompanied by an English summary
■Limited edition of 1200
■12,000 yen (excluding tax)
■To purchase please click
https://shop.kogei-seika.jp/products/detail.php?product_id=273
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扉の絵1
The Frontispiece 1
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Michiaki Mochizuki ‘An Uneasy Monster’ 2018, Katazome (Japanese stencil print)
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Glue for stencil dyeing is made from rice bran and powdered glutinous rice kneaded well together. The proportion of the two critically affects the expression of the ‘picture’. With more glutinous rice, the glue is softer, giving the picture a more placid feel with rounded outlines. On the contrary, more rice bran results in less adhesive glue, sharpening the edges of the picture with a stark impression.
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So, if I had used glue with more rice bran, this peculiar animal in the current issue of Kogei-Seika would not have been of such an idyllic sort, but a monster so majestic to be subjugated by a legendary hero. (Michiaki Mochizuki / Artist)
20190425
「USED」展、今日からはじまりました（神楽坂一水寮。4月25−28日＋5月2−5日＋5月30−31日・6月1−2日。13-19時）。「中古」展です。そこに意義をみいだそうと思いました。展示替あります。https://www.kogei-seika.jp/gallery/20190401.html
20190422
今年も松本の「六九クラフトストリート」に参加します（5月24−26日）。（毎年おなじことをいっていますが）この季節の松本はほんとうに心地よいので、ぜひ。http://69-matsumoto.jp/
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24日夜には出展者によるトークもあります。
1）小林和人＋山本忠臣＋竹俣勇壱＋菅野康晴＋三谷龍二
2）井出幸亮＋猿山修＋森岡督行＋皆川明
詳細、お申込みは以下より。
https://www.mina-perhonen.jp/metsa/EV/0369/index.html
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今年のテーマは「すぐそばの工芸・考」。三谷さんの本『すぐそばの工芸』からで、つまりは「生活工芸・考」ですね。六九も7年目、せっかくなので、トークでは「すぐそば」の意味を、いくつかの角度から議論できたらと思っています。
20190421
帰国後ずっとあわただしく、ようやく荷ほどき。北京の市場で買ったドライフルーツ。取材した人はみな言葉と論理をもっていて（多言、饒舌ということではなく）、訊けばどこまでもこたえてくれる気がしました。（菅野）
20190420
Kogei Seika vol.11https://www.kogei-seika.jp/book/kogei-seika011.html
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7｜名物とはなにか
What is Renowned Objects (Meibutsu) in tea utensils?
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‘Meibutsu (renowned objects)’ are the tea utensils with history. The ones older than Rikyu are called ‘O meibutsu (great renowned objects)’ and the ones in the taste of Enshu Kobori are called ‘Chuko Meibutsu’. Great tea master and a grand collector, Fumai Matsudaira (1751─1818) coined the categories. There are catalogues of Meibutsu, such as Traditional Renowned Objects Collection by Fumai, and Renowned Objects Catalogue in Taisho Period to define. Also, objects are said to be ‘renowned’ when registered in the inventories of the great feudal lords such as Maeda family in Kaga or Date family in Sendai, who enjoyed the tea ceremony as tradition. However, according to Soshin Kimura, ‘Meibutsu is still increasing’.
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For the article, I photographed the tea container made of the ancient Seto ceramic with little handle, said to be owned by Maeda family in Kaga. It is the authentic Meibutsu which is registered in the inventory of Maeda family, and in the catalogues, Traditional Renowned Objects Collection by Fumai, and Renowned Objects Catalogue in Taisho Period. Appropriate to the status of Meibutsu, the tea container came with everything to show its history and value, i.e. the outer box, the inner box, the wooden container to house the Meibutsu, the cloth to wrap everything, the square tray to put the container, the catalogues which register this Meibutsu (and a large wrapping cloth and an old woven cord), hence, many pages are devoted.
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This is typical of the article on Meibutsu and tea utensils. It is meaningful in a way but at the same time, I feel difficulty in making articles on tea utensils. I do not quite see the significance. I always say that ‘Kogei Seika is the book to convey the feeling and thought of the contemporary to the posterity’. I do understand that the tea ceremony is a great culture but it has already accomplished to perfection in the past, and I feel that there is nothing to add. Meibutsu is evaluated already and unless you want to dispute over the evaluation, which is certainly not my intention, revising the evaluation of the past is pointless.
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To such opinion of mine, Soshin Kimura writes refutations in the article. (S)
─
─
■Published in 2019 by Shinchosha, Tokyo
■A4 in size, linen cloth coverd book with endpaper made of Japanese paper (kozo)
■192 Colour Plates, Frontispiece with a stencil dyed art work by Michiaki Mochizuki
■Each chapter is accompanied by an English summary
■Limited edition of 1200
■12,000 yen (excluding tax)
─
■To purchase please click
https://shop.kogei-seika.jp/products/detail.php?product_id=273
■We accept the payment by PayPal. Worldwide shipment is available. Shipping cost and handling fee vary depending on the size and destination of the ítem. Please feel free to contact info@kogei-seika.jp
20190419
2005年12月のパリ、ノートルダム（『芸術新潮』2006年3月号特集）。またゆけますように。
20190418
Kogei Seika vol.11https://www.kogei-seika.jp/book/kogei-seika011.html
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6｜ロベール・クートラスをめぐる断章群5
Fragments on Robert Coutelas 5
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This is the fifth part of a biography of a French artist Robert Coutelas (1930─85) by a writer, Toshiyuki Horie. In his first instalment, the writer depicts his encounter with works of Coutelas for the first time in a gallery in Ginza, how he came to write this biography, and his visit to a cemetery in Paris. In the second, he recounts the artist’s birth and childhood, especially his time and experience in Germany during the War. The third looks at his days in Auvergne: his gloomy adolescence with his stepfather, and his initiation to woodcarving while working at a spinning mill. The fourth deals with the artist’s living on his own in Clermont-Ferrand, his encounter with Romanesque art, training in masonry, and his restoration work of the Bourges Cathedral. And this instalment shifts its focus to the artist’s days in Rouen, Normandy. (S)
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─
■Published in 2019 by Shinchosha, Tokyo
■A4 in size, linen cloth coverd book with endpaper made of Japanese paper (kozo)
■192 Colour Plates, Frontispiece with a stencil dyed art work by Michiaki Mochizuki
■Each chapter is accompanied by an English summary
■Limited edition of 1200
■12,000 yen (excluding tax)
─
■To purchase please click
https://shop.kogei-seika.jp/products/detail.php?product_id=273
■We accept the payment by PayPal. Worldwide shipment is available. Shipping cost and handling fee vary depending on the size and destination of the ítem. Please feel free to contact info@kogei-seika.jp
20190417
今夜は内田輝さんの演奏会「クラヴィコードの夜」でした（於自由学園明日館）。クラヴィコードの小さな音に耳をすます（耳をひらく）ことが、心をひらくこと（先入観なしに音をうけいれること。たとえ選挙カーの連呼であっても）でもあることを、後半になるほど実感する夜でした。写真はリハ中の内田さん。音に傷つき、その後、あらためて音にすくわれた人でした。……
あらたな催事のお知らせです。
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■展覧会｜USED
□4月25−28日＋5月2−5日＋5月30日−6月2日＠工芸青花(神楽坂)
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■講座｜河島思朗｜ギリシア・ローマ神話40｜神話を伝えるモノ
□5月9日(木)18時半＠自由学園明日館(目白)
https://shop.kogei-seika.jp/products/detail.php?product_id=275
＊今回から場所が明日館にかわります。40というきりのよい回でもあるので、壺絵や壁画など、神話が描かれた古代の「物」についてお話いただきます
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■講座｜工芸と私31｜清水喜守｜古美術28と骨董の未来
□5月18日(土)15時＠工芸青花(神楽坂)
https://shop.kogei-seika.jp/products/detail.php?product_id=276
＊インスタグラムのていねいな解説、案内が人気の清水さん。1983年生れの新世代ですが、本格も古道具も学術も知る、その相対的視点に期待しています
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■講座｜金沢百枝｜キリスト教美術をたのしむ46｜ロマネスクの宇宙5｜天使と悪魔
□5月22日(水)18時半＠自由学園明日館ホール(目白)
https://shop.kogei-seika.jp/products/detail.php?product_id=277
＊ロマネスクシリーズ、今後は以下のように主題別、場所性についての講座がつづきます。「天使と悪魔｜聖母子｜楽園と地獄｜怪物｜笑い｜修道院｜都市と村の暮し」。金沢さんの講座は図版のひとつひとつが吟味されているのがたのしいですね
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■青花の会 ｜骨董祭2019
□6月7−9日＠神楽坂6会場
https://www.kogei-seika.jp/seikafes/2019.html
＊今年も骨董祭をおこないます。会員のみなさんは御招待、7日（金）夕方からの内覧会（販売します）も会員（＋御同伴者）限定です
20190416
北京取材、とてもみのりある9日間でした。時間をさいて語りあってくださった方々に感謝します。安藤雅信さん、莨室／Lost & Found のみなさん、ありがとうございました。『工芸青花』13号（今冬刊）で特集します。（菅野）
20190412
北京特集、今日はギャラリーと骨董店の取材でした。坂田さんの本とここで、このような書棚で出会えてうれしかった（『工芸青花』も御自宅にありました。もちろんとてもうれしい）。夜風が心地よい季節になりました。（菅野）
20190411
Kogei Seika vol.11https://www.kogei-seika.jp/book/kogei-seika011.html
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5｜骨董と私
On My Antique Collection
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The appreciation and the evaluation of antique crafts differ greatly, depending on who evaluates. In modern Japan, there are categories such as ‘art history’, ‘history or archaeology’ ‘antique’, ‘tea ceremony’, ‘mingei (Japanese folk craft)’ ‘curios’ and ‘bric-a-brac (furudogu)’, though some of them are difficult to separate. For instance, even if art historians evaluate an object as a national treasure, for a curio, it often happens, the object can be a mediocre work. I think that it is good to have such variations in judgment. At the moment, I am particularly interested in the difference between ‘bric-a-brac’ and ‘curios/antique’. The latter has already become a known term, whereas the formation of the concept of the former is still in the process of formation. It is inevitable that in this process, the concept is affected by the mentality of the epoch and the contemporary society, so it would never be boring as we all live in this same epoch.
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‘When dealing with an unknown object, art historians gather dated examples with similarities, categorize them to make a timeline, and define their styles. Dealers also have to study the styles, but their task starts from thereon. Unlike the art historians whose task is complete once the categorization and the definition of the styles are made public, for the dealers that is where the business begins. Even if an object is typical of a style, not every one of them can be salable. I think the dealer himself and the aesthetics of the shop make an object salable. (…) I keep distance from the shops with aesthetics out of my taste. The customers have their ideals, each in their own way.’ (Osamu Sugimura)
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The article introduces the collector, Osamu Sugimura in Nara, and his collection, and it is with his essay on antiques. A subtle difference (of enthusiasm towards objects) between ‘art history’ and ‘antique/curios’ is clarified in the essay. The difference is often explained by the matter of ownership but is it truely so? (S)
……
■Published in 2019 by Shinchosha, Tokyo
■A4 in size, linen cloth coverd book with endpaper made of Japanese paper (kozo)
■192 Colour Plates, Frontispiece with a stencil dyed art work by Michiaki Mochizuki
■Each chapter is accompanied by an English summary
■Limited edition of 1200
■12,000 yen (excluding tax)
……
■To purchase please click
https://shop.kogei-seika.jp/products/detail.php?product_id=273
■We accept the payment by PayPal. Worldwide shipment is available. Shipping cost and handling fee vary depending on the size and destination of the ítem. Please feel free to contact info@kogei-seika.jp
20190410
月曜から陶芸家の安藤雅信さんと北京取材。今日は郊外の栗林へ。失物招领 Lost & Found のみなさんのおかげで充実した日々、13日（土）にはトークもあります。（菅野）……
東京でも来週17日（水）、内田輝さんの演奏会「クラヴィコードの夜」をおこないます（自由学園明日館ホール）。耳をすます／ひらく体験をぜひ。
https://shop.kogei-seika.jp/products/detail.php?product_id=274
20190407
Kogei Seika vol.11https://www.kogei-seika.jp/book/kogei-seika011.html
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4｜川瀬敏郎 籠にいける
Ikebana by Toshiro Kawase: Flowers in Baskets
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In calligraphy, there is an expression 真行草 “shin-gyou-sou”, which means three styles: ‘shin’ 真 being square and formal, ‘gyou’ 行 being semi-formal, and ‘sou’ 草 being cursive and informal. The previous issue featured antique baskets (Karamono-kago), which represented flower baskets of that ‘shin’ type. The present issue, on the other hand, features those of ‘sou’ type, which include fish creels and wicker baskets for agriculture. From the outset, we had planned two issues to be devoted to baskets. I have known the Japanese flower arrangement artist Toshiro Kawase over two decades, interviewing him three hundred times (a natural consequence of being an editor of a monthly magazine to its long-standing regular contributor), so I thought I understood how important baskets were to Kawase, taking them as the symbol of ‘flower containers’ just as cherry blossoms symbolise flowers as a whole. The historical significance of Kawase’s flower arrangment lies in his unique practice based on his realisation that the ‘sou’ style of ‘Nageire’ incorporates the shin’ style of ‘Tatehana’. To Kawase there is no more appropriate containers than baskets as something that is ‘sou’ but can be transformed to ‘shin’. (This ‘shin’ differs from the ‘shin’ of antique baskets, something that is already there; it is something that manifests itself at some point, something that generates itself).
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For this issue, a dozen baskets were photographed in September 2018, selected from the personal collection of Kawase, who have dealt with near a thousand of them. Those chosen baskets were wonderful both in their forms and in taste, but at their photoshoot, Kawase was indifferent to those aspects, and even explicitly said that the photos need not show their shapes. The same went for flowers this time. He was trying to arrange flowers, not as something that is there, but that manifest themselves even when they are (made) not seen. (S)
……
■Published in 2019 by Shinchosha, Tokyo
■A4 in size, linen cloth coverd book with endpaper made of Japanese paper (kozo)
■192 Colour Plates, Frontispiece with a stencil dyed art work by Michiaki Mochizuki
■Each chapter is accompanied by an English summary
■Limited edition of 1200
■12,000 yen (excluding tax)
……
■To purchase please click
https://shop.kogei-seika.jp/products/detail.php?product_id=273
■We accept the payment by PayPal. Worldwide shipment is available. Shipping cost and handling fee vary depending on the size and destination of the ítem. Please feel free to contact info@kogei-seika.jp
20190406
Kogei Seika vol.11https://www.kogei-seika.jp/book/kogei-seika011.html
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3｜大谷哲也 「生活工芸」以後の器
Tetsuya Otani: Tableware in the Post-New Standard Crafts
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The previous issue featured an article on white porcelain by Taizo Kuroda, to which the present article is a sequel. Tetsuya Otani, born in Kobe in 1971, studied industrial design at an art university, and began pottery at the Ceramic Research Institute at Shigaraki, where he worked as a lecturer. Leaving the Institute, he stayed in Shigaraki, setting up a studio with his wife, Momoko, herself a potter, and living with their daughters and a big dog. They do not have assistants.
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The characteristics of Otani are white porcelain produced through the wheel-throwing process, with regular shapes (each shape has its own numbering, thus replaceable), seemingly erasing traces of the ‘hand’ of the potter as if industrial products. If in the future a history of Japanese handcrafted tableware discusses the last thirty years (the 1990s to the 2010s) in terms of form criticism, it will pick up ‘the loss of country-specific features in form’ and ‘the prevalence of white (plain) vessels’ as worthy of special attention. A pioneer in these trends was Taizo Kuroda, who were followed by the artists of ‘New standard crafts’ (such as Akito Akagi, Masanobu Ando, Koichi Uchida, Kazumi Tsuji, and Ryuji Mitani), whose period is passing, and nostalgic styles returning with unremarkable result.
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Otani’s tableware is in line with the ‘Kuroda-New-Standard-Crafts’ genealogy, but a major difference can be seen in ‘traces of the hand’. Crockery made by both Kuroda and new-standard-craft artists leave as a mark of handiwork ‘fluctuations’, which provides a difference and unique value to mass-produced products, however subtle their fluctuations are. Otani is more stoic towards this kind of ‘fluctuations’. While Kuroda-NSC artists represent, if in a modest way, the handicraft-handicraft, Otani represents the handicraft in the guise of industrial products.
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There are only a few tableware potters who live the ‘post-new-standard-crafts period’ without falling into nostalgia for the past. I asked one of those few, Takashi Tomii (woodworker, born in 1976), to consider in this article what Otani has been trying to achieve. (S)
……
■Published in 2019 by Shinchosha, Tokyo
■A4 in size, linen cloth coverd book with endpaper made of Japanese paper (kozo)
■192 Colour Plates, Frontispiece with a stencil dyed art work by Michiaki Mochizuki
■Each chapter is accompanied by an English summary
■Limited edition of 1200
■12,000 yen (excluding tax)
……
■To purchase please click
https://shop.kogei-seika.jp/products/detail.php?product_id=273
■We accept the payment by PayPal. Worldwide shipment is available. Shipping cost and handling fee vary depending on the size and destination of the ítem. Please feel free to contact info@kogei-seika.jp
20190404
「さる山スタイル」展、今日から再開しました（神楽坂一水寮。4月7日まで。13−19時）。竹俣勇壱、辻野剛、西村圭功、濱中史朗、タイムアンドスタイル、東屋等々、共作者が多彩ななか、つらぬかれる猿山的思考がみえてきます。「さる山」DMほか「御自由におもちください」コーナーも。https://www.kogei-seika.jp/gallery/20190301.html
20190403
Kogei Seika vol.11https://www.kogei-seika.jp/book/kogei-seika011.html
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2｜欧州タイル紀行
A Journey to the European Medieval Tiles
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Last winter, Momo Kanazawa, an art historian specialized in the Romanesque Art, showed me an exhibition catalogue of medieval pavement tiles excavated from the Popes’ Palace in Avignon, France; the most magnificent castle from the fourteenth century. On the white ground of the tiles, lines are drawn in dark brown and coloured by green glaze. The decorations are zoomorphic as well as geometric and the lines are so unconstrained that they made me so cheerful. They resemble the archaic maiolica in technique. They reminded me of the Romanesque art, the enfant terrible in the history of Western Art in the way that it is out of proportion and symmetry which the Western art values. The tiles adorn the rooms with fresco in International Gothic style. Why did they decide to pave these rustic tiles, while the frescos are courtly and sophisticated?
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This article is based on the travel made in March 2018, with Momo. The article refers to the recent findings that the early tiles from Popes’ Palace were made in Uzege. With the hope of finding the origins, of the tiles of Avignon, we visited Orvieto and Viterbo, where there were also palaces of Pope, and produced maiolica. (S)
……
■Published in 2019 by Shinchosha, Tokyo
■A4 in size, linen cloth coverd book with endpaper made of Japanese paper (kozo)
■192 Colour Plates, Frontispiece with a stencil dyed art work by Michiaki Mochizuki
■Each chapter is accompanied by an English summary
■Limited edition of 1200
■12,000 yen (excluding tax)
……
■To purchase please click
https://shop.kogei-seika.jp/products/detail.php?product_id=273
■We accept the payment by PayPal. Worldwide shipment is available. Shipping cost and handling fee vary depending on the size and destination of the ítem. Please feel free to contact info@kogei-seika.jp
20190402
Kogei Seika vol.11https://www.kogei-seika.jp/book/kogei-seika011.html
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1｜山茶碗
Yama-chawan
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What are the Mountain tea bowls (yama-chawan ware)? According to one dictionary, ‘they are simple tableware for everyday use, produced in medieval kilns in Tokai region (Pacific Ocean side of the centre of Honshu island) during Heian period (last half of the eleventh century). Unglazed bowls are pit fired in stacked piles and are roughly 15 cm in diameter and 5 to 6 cm in height. They seemed to be made by groups of professional potters, not by part-time farming households. The name ‘Mountain’ derives from the fact that the sherds are found in kilns in mountainous areas. They are sometimes called Gyokiyaki, or Toshiroyaki’. Major sites of the old kilns, such as Sanage, Tokoname, and Atsumi, are marked on the map in page 48.
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‘The ancient production centres for ash glazed pottery, such as Sanage kilns at the south-western foot of the Sanage mountain (the site is made up of five hundreds kiln remains, scattered in the hilly area to the east of Nagoya), abandoned the technique of glazing in the last half of the eleventh century, after the decrease in demand of grand noble families due to the introduction of Chinese pottery and also after the increase in demand of tableware in rural areas of Chubu and Kanto regions (the central and eastern part of Honshu island), and they transformed themselves to the kilns producing unglazed ware like yama-chawan ware. (…) The pottery production in Chita peninsula also the case and it is assumed that the advance of the potters of Sanage to the south formed the kilns of Tokoname’ (Ichiro Akabane ‘The Circulation of Medieval Pottery; in search of Tokoname ware’ in Reading the Medieval Landscape 3, People living in the Boundary and Rural Society, edited by Yoshihiko Amino and Susumu Ishii).
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I interviewed six people who admire yama-chawan, and photographs were taken in two museums which own them. There are 24 yama-chawan in this article. All with photographs of side views, inner views, and the views of the foot, numbered in serial. Perhaps because they were originally everyday tableware, not many antiquairians appreciate highly of yama-chawan except the particular few like the six whom I interviewed. For me, yama-chawan is one of the favourite ceramics. (S)
……
■Published in 2019 by Shinchosha, Tokyo
■A4 in size, linen cloth coverd book with endpaper made of Japanese paper (kozo)
■192 Colour Plates, Frontispiece with a stencil dyed art work by Michiaki Mochizuki
■Each chapter is accompanied by an English summary
■Limited edition of 1200
■12,000 yen (excluding tax)
……
■To purchase please click
https://shop.kogei-seika.jp/products/detail.php?product_id=273
■We accept the payment by PayPal. Worldwide shipment is available. Shipping cost and handling fee vary depending on the size and destination of the ítem. Please feel free to contact info@kogei-seika.jp
20190401
Kogei Seika vol.11https://www.kogei-seika.jp/book/kogei-seika011.html
……
■Published in 2019 by Shinchosha, Tokyo
■A4 in size, linen cloth coverd book with endpaper made of Japanese paper (kozo)
■192 Colour Plates, Frontispiece with a stencil dyed art work by Michiaki Mochizuki
■Each chapter is accompanied by an English summary
■Limited edition of 1200
■12,000 yen (excluding tax)
……
■To purchase please click
https://shop.kogei-seika.jp/products/detail.php?product_id=273
■We accept the payment by PayPal. Worldwide shipment is available. Shipping cost and handling fee vary depending on the size and destination of the ítem. Please feel free to contact info@kogei-seika.jp
