茶の湯 in サンフランシスコ ・ Japanese Tea Ceremony を San Franciscoで

表千家四方社中の茶の湯ブログ Japanese Tea Ceremony Blog for Shikata Shachu – Omotesenke

織部焼と勅使河原氏・Oribe Ware and Mr. Teshigawara

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映画監督の勅使河原宏氏の本「古田織部」には色々芸術家らしい観察が記されています。

Mr. Hiroshi Teshigawara, a movie director, has made insightful observations as an artist in his book “Oribe Furuta“.

ぐにゃっとゆがんだ織部の沓茶碗を見たとき「まるでアバンギャルド(前衛芸術)じゃないか」と思われたそうです。ゆがんだ形も、単なるスタイルではなく、集中した気持ちから生まれた一瞬のゆがみで、その緊張感のあるフォルムが底知れぬ重量感と力強さを生み出しています。

When he saw an Oribe bowl that was warped (called “kutsujawan“), he thought it was like a piece of “avantgarde” art.  The warping is not just for stylistic effects, but is born from an instant of concentration.  That form maintains a sense of tension, and commands limitless respect in its dynamism.

利休の茶碗がやわらかく端正な形におさまっているのに対して、織部の茶碗は強烈なデフォルマシオンも含めて、つねに激しい自己主張をしています。

Rikyu’s bowls tend to have soft lines and neat-looking.  Oribe’s bowls, on the other hand, always expresses themselves forcefully – like severe deformation, for example.

加藤唐九朗さんがピカソを訪ねたとき、手土産として自作の織部を持参したら、ピカソが大変喜んで自分の作品と交換されたそうです。唐九朗さんは美濃、唐津、萩、伊賀、信楽などの「織部的な陶器」だけが織部ではなく、桃山時代の陶器の革命そのものが織部で、その織部革命が当時の陶器の世界に全面的に波及したとお考えとのことです。

Mr. Teshigawara recounts that Mr. To’ukuro’u Kato’u once visited Picasso and brought an Oribe bowl he had made as a souvenir.  Picasso greatly appreciated it, and gave him a painting of his in return.  To’ukuro’u thought that “Oribe” was not limited to “Oribe-esque” pottery like Mino, Karatsu, Hagi or Shigaraki.  Rather, he thought that “Oribe” was any and all revolutionary pottery of the Momoyama Period, and that the “Oribe Revolution” spread to the pottery world of the time throughout Japan.

【参考・Reference】

「古田織部」勅使河原宏著 1992年NHK出版

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