WEKO3
アイテム
濱田庄司と朝鮮陶磁 ―個人作家としての美意識―
http://hdl.handle.net/10112/10015
http://hdl.handle.net/10112/10015726d9ed2-dd2c-4b17-83b8-3625463e17ee
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KU-1100-20151101-02.pdf (1.1 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-04-25 | |||||
| タイトル | ||||||
| タイトル | 濱田庄司と朝鮮陶磁 ―個人作家としての美意識― | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 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 | |||||
| その他のタイトル | ||||||
| その他のタイトル | Hamada Shoji and Korean Ceramics; The Aesthetic Sense as an Individual Potter | |||||
| 著者 |
裵, 洙淨
× 裵, 洙淨 |
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| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 30582 | |||||
| 姓名 | Bae, Sujung | |||||
| 概要 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | Hamada Shoji （1894−1978） was a representative potter in Japan. He is usually regarded as a member of the mingei society together with Yanagi Muneyoshi（1889−1961）, who was also the founder of the mingei （folk crafts） movement. Because of this, Hamada is often called a mingei artist. However Hamada preferred to be called a ‘potter’ rather than an artist. In other words, Hamada thought of himself as an individual potter influenced by the philosophy of the mingei movement. The aim of this study is to reveal the aesthetic sense of Korean ceramics through the point of view of mingei （folk crafts） and also by looking at a number of works by Hamada Shoji. Hamada often said “I found my way in Kyoto, started in Britain, learned in Okinawa, and grew up in Mashiko.” However he also studied many of the forms and techniques of Korean ceramics, especially Punchong ware with its iron-painted on brushed white slip （hakeme）, and the faceted jar （mentori）. Furthermore, Hamada thought that Korean ceramics were composed of crafts, potters, and lives. As a result of his study of Korean ceramics, Hamada found an aesthetic of freedom and developed his own sense of modern beauty. In conclusion, Korean ceramics contain the ultimate aesthetic, with which Hamada, Yanagi and the mingei society shared. | |||||
| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 東アジアの言語と表象 | |||||
| 書誌情報 |
文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 巻 5, p. 21-42, 発行日 2015-11-01 |
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| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 21874395 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AA12712795 | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
| 出版者 | ||||||
| 出版者 | 関西大学大学院東アジア文化研究科 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 朝鮮陶磁 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 粉青磁 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 民藝 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 濱田庄司 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 柳宗悦 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 関西大学（Kansai University） | |||||
