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Forming the Japanese modern craft movement : perspectives from the Leach archives
https://doi.org/10.34577/00000101
https://doi.org/10.34577/0000010171ec2480-ad16-45aa-9175-4b0f637f3b0b
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
Forming the Japanese modern craft movement : perspectives from the Leach archives (307.5 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2013-10-30 | |||||
| タイトル | ||||||
| タイトル | Forming the Japanese modern craft movement : perspectives from the Leach archives | |||||
| 言語 | en | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.34577/00000101 | |||||
| ID登録タイプ | JaLC | |||||
| アクセス権 | ||||||
| アクセス権 | open access | |||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||
| 著者 |
Wilson, Richard L.
× Wilson, Richard L. |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Modern craft began to develop in Japan in the second decade of the twentieth century, based chiefly in Tokyo. Artists and designers without formal workshop training began to experiment in craft production. Although this episode is often recounted as an inevitable stage of modernism, primary sources reveal how the new crafts depended on particular institutional and human networks, access to certain types of technology, and new markets. The diaries and correspondence of British ceramicist Bernard Leach (1887-1979), now available online through the Crafts Study Centre in Farnham, UK, permit a careful reconsideration of these conditions. With the exception of a short period of residence in China, Leach resided in Tokyo between 1909 and 1920. His papers demonstrate interdependencies with the faculty of the Tokyo School of Fine Arts and the Shirakaba literary group. Leach's introduction to ceramics, with its technical and design challenges, emerges in these pages. Leach and fellow crafts pioneer Tomimoto Kenkichi (1886-1963) exploited neighborhood opportunities for making low-fired painted ceramics, the ideal technology for infusing "art" into ceramics. We see how the new "artist-craftsman" depended on the development of the urban art gallery and the department store. The materials also expose sources for the conceptual profile of the modern studio potter, including solo production, rural lifestyle, and an eclectic, "ethnographic" design concept. Artistic modernism in general depended on encounters with cultural others, and through Leach, we understand how modern handmade ceramics reciprocally connected to notions of "Japan" and additionally, "Japan's others." | |||||
| 言語 | en | |||||
| 書誌情報 |
ja : 人文科学研究 : キリスト教と文化 号 40, p. 141-162, 発行日 2009-03-31 |
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| 出版者 | ||||||
| 出版者 | 国際基督教大学 | |||||
| 言語 | ja | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 00733938 | |||||
