WEKO3
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Hazan ITAYA (1872–1963) is the most prominent figure in early twentieth century Japanese ceramic art. He produced many excellent works with his unique technique of using matte glaze and his charming engrayed patterns. He studied design pattern very eagerly and as one of the evidences he left many sketchbooks and design notebooks to us. From such materials we know that the patterns for the two works contriduted to the Tokyo Taishō Hakurankai were innovated after south Asian cotten prints. In those days new designs were expected to be produced by design specialists. But Hazan created fresh designs and combined them with his unique pottery technique by himself. 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明治末大正初頭の陶芸
https://tobunken.repo.nii.ac.jp/records/6594
https://tobunken.repo.nii.ac.jp/records/65944dd6c6cb-715b-44d4-bdc2-04fc192da7ad
名前 / ファイル | ライセンス | アクション |
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261_1_Nakagawa_Redacted.pdf (18.8 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 明治末大正初頭の陶芸 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Japanese Ceramic Art at the Beginning of 1900’s | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 宮川香山・板谷波山 | |||||
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 | journal article | |||||
著者 |
中川, 千咲
× 中川, 千咲× Nakagawa, Sensaku |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Japanese modern ceramic industry saw a remarkable development from around 1905 in the field of production of ceramic ware for daily use in which modern machines were being employed. But, from artistic point of view, it was a period of stagnation. The artistic attitude of ceramic artists then was quite conservative and lack of enthusiasm for opening a new phase of design. Further, handicraft was not included in the government exhibition of arts which was first held in 1907. In 1912 the government exhibition exclusively for handicraft was held to encourage the industry. The emphasis was put on design pattern and many handicraft artists joined it. Among them ceramic works for daily use showed considerable number of new designs, but those as artistic objects were mostly mediocre except some fresh-designed works of specialists of design patterns. It was not before 1914 when a sort of industrial fair named Tokyo Taishō Hakurankai was held that epoch-making works appeared. The representative works were two colour-glazed flower vases with design of flowers and birds by Hazan ITAYA. Hazan ITAYA (1872–1963) is the most prominent figure in early twentieth century Japanese ceramic art. He produced many excellent works with his unique technique of using matte glaze and his charming engrayed patterns. He studied design pattern very eagerly and as one of the evidences he left many sketchbooks and design notebooks to us. From such materials we know that the patterns for the two works contriduted to the Tokyo Taishō Hakurankai were innovated after south Asian cotten prints. In those days new designs were expected to be produced by design specialists. But Hazan created fresh designs and combined them with his unique pottery technique by himself. This fact also had a great significance. Here, at this stage, the problems which had been held by ceramic artists since around 1905 was given a sort of solution and the art of modern ceramics in Japan took its first important step forward. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 261, p. 1-13, 発行日 1969-12-15 |