도예가 하마다 쇼지(浜田庄司)의 후기 활동과 조선 도자의 조형적 영향 -1934~1978-

Abstract

This research is aimed at shedding light on his activities and works in Mashiko, targeting Shoji Hamada, a potter of Japan's Mingei Movement, one of the representative craft movements of the 20th century. Hamada's activities as a potter began in England in 1920. In particular, his experience in the craft village of Ditchling, England, made him aware of the locality in craft and the value of life and practical craft, which led to the settlement of Mashiko. After returning home, he participated in the civil arts movement advocated by Yanagi Muneyoshi and served as a leading potter of the Mingei movement. Contrary to the usual trend of modern art based on individuality, he consciously embraced the power of tradition, such as an annihilation of self or unconscious, inherent in Mingei, paying attention to the aesthetic value of simple and everyday artifacts. Since his 40s, he has lived in a pottery village called Masiko and has been recognized as a potter who best practiced the Mingei movement by matching the local materials, culture and his daily life. He also played a bridging role in the development of contemporary art in the East and the West by performing international ceramic arts activities along with Yanagi Muneyoshi and Bernard Reach. His later works come in various forms and styles, but the source that represents the production of the works is Korean ceramics from the Joseon Dynasty. Such effects range from British times to later works. He described his ceramic work as "learned from Okinawa," but in fact, it can be said that there were more receptions from pottery from the Joseon Dynasty. In his works, there is a good correlation between Buncheong-Sagi and white porcelain and Onggi during the Joseon Dynasty, and such specific effects of Hamada's works can be classified into two categories. First, specific influences on form are shown in imposing texture and thickness, vivid and generous impression stability, angular shape, flat bottle, and bend of Joseon Teabowl. Second, in terms of manufacturing technique, the decoration of white engobe, faceting, iron glaze, and surface decoration by fingers are prominent.