この中で、最近面白いなぁと思うのが、花器です。花器といえば、古伊賀のスタイルしか興味がありませんでした。というのも、造形を学んだ僕にとっては、桃山時代に作成された、これらの花器群は他の花器を寄せ付けない、造形美溢れる魅力があるのです。だから、僕なりに形と釉薬のバランスなどを考えて、セッセと古伊賀花器モドキを作り続けていたのです。（これは、作陶生活が続く限りやめられないのかもしれない。）
For the past few years, I've had a special interest in vases. Not that I'm new to vases. I've actually made lots of them, but when I did make them, I almost exclusively made them in old Iga style - at least the shape of it. Old Iga or Ko-Iga ware were made in Momoyama period (late 1500s). Their vases are highly sculptural. For a man who studied sculpture, Ko-Iga vases shined like no other. Hence, I have had made this style of vases paying attention to the balance of the shapes and the glazes. (I suspect this indulgence of mine will not stop as long as I make pottery.)
For the past few years, I've had a special interest in vases. Not that I'm new to vases. I've actually made lots of them, but when I did make them, I almost exclusively made them in old Iga style - at least the shape of it. Old Iga or Ko-Iga ware were made in Momoyama period (late 1500s). Their vases are highly sculptural. For a man who studied sculpture, Ko-Iga vases shined like no other. Hence, I have had made this style of vases paying attention to the balance of the shapes and the glazes. (I suspect this indulgence of mine will not stop as long as I make pottery.)
反面、僕は新たな刺激が欲しく、ここ数年間「どのようにこの美しい古伊賀花器の呪縛から自分を解放することができるのか？」などとも、一人でぶつぶつ言ってもいました。
Recently, I wanted something fresh. It is true that for a few years I would mumble to myself, "How can I liberate myself from this spell of beautiful Ko-Iga vases?"
Recently, I wanted something fresh. It is true that for a few years I would mumble to myself, "How can I liberate myself from this spell of beautiful Ko-Iga vases?"
僕は草花が好きです。野草が好きです。花屋さんに行って、整然と並ぶ草花たちも好きです。一番好きな草花の姿は、自然のままです。何でも自然のままが良いのです。地から生える草花。木から伸びる枝に咲いては散る花。季節ごとに表情を変える植物は、生きる教訓を見る側に訴えます。
I like leaves and flowers. I like wild foliage. I also like flowers and plants that are neatly organized in flower shops. But I like plants in their natural setting the best. To me, anything really looks the best in its natural state. Those plants that grow out of soil, the flowers that bloom on the branches off a trunk, or the foliage that changes its expression by season, all give some sort of life lessons to the viewer.
でも人間とは面白い、自然を放っておけない。いろいろな見方(意地悪な見方も含めて)が有りますが、要するに自然が大好きなのだと思います。そしてその美しさや、自然の象徴する何かにあやかりたくて、草花を自然から切り離し、自分の手に負える範囲でもう一度、今度は自分のフィルターを通して、自然を表現したいのではないでしょうか？少なくても、僕はそうなのです。
The interesting thing about us humans is that we can not leave nature alone. There may be many ways to explain why we can't leave nature alone (including not so nice intentions,) I personally think it is simply because we love nature. In the process of or in attempt to emanate beauty or something that nature symbolizes, we take the plant out of its natural environment, and recreate and express nature through our own filters in more manageable setting. At least, that is my case.
きっと、先に花器を作ってきた人たちは同じようなことを考えていたにちがいない。
I am certain that people who made flower vessels before me thought, had concerns, and dealt with similar issues as I do.
The interesting thing about us humans is that we can not leave nature alone. There may be many ways to explain why we can't leave nature alone (including not so nice intentions,) I personally think it is simply because we love nature. In the process of or in attempt to emanate beauty or something that nature symbolizes, we take the plant out of its natural environment, and recreate and express nature through our own filters in more manageable setting. At least, that is my case.
この数年に間、ただ考えていたわけではありません。幾度ともなく、試行錯誤しながら、土と語らってきました。僕の中では、あるコンセプトがありました。「自然からほど遠くない草花のあり方。」要するに、「切られたそのままの状態を僕の作った器でどう受けとめるか？」それが、課題なのです。
Last few years, I repeated the process of trial and error. I tried to understand the language of clay. I had a concept which is,"Presenting foliage not too far from its natural environment." The challenge was how the vessels I made accept fresh cut plants or vise versa.
Last few years, I repeated the process of trial and error. I tried to understand the language of clay. I had a concept which is,"Presenting foliage not too far from its natural environment." The challenge was how the vessels I made accept fresh cut plants or vise versa.
若かった頃、父と母がよく庭いじりをしながら、切った花をバケツに入れたのを思い出します。そういえば、イギリスに住んでいた時も、そん光景を頻繁に見たことがあります。バケツに入れられた花たちは、とても生き生きとしていたことを思い出します。どの花もバケツに入れられた時は意図的に立たせられたりはしていません。ただ切られた時のままバケツの口に寄りかかっているのです。でもそれがかえって新鮮に見えました。この「無造作さ」、それが僕のコンセプトの根底にあります。でも、先にも述べたように、やはり人間は、表現するものですから、僕の作る花入は、立てても横たえても良いようにデザインしているつもりです。
I remember my dad and mom putting flowers in a bucket as they worked in their yard in Japan when I was young. In England, I saw many gardeners doing so as well. I recall the flowers leaning at the mouth of the bucket looking extra fresh. Presenting the flowers well was probably the last thing they had in their mind. Such "un-intention" is at the root of my practice. However, I could not help designing my vessels so plants can stand or lay in them.
きっと、先に花器を作ってきた人たちは同じようなことを考えていたにちがいない。
I am certain that people who made flower vessels before me thought, had concerns, and dealt with similar issues as I do.
