124:. This work consists of a square piece propped up on a simple plinth of the same material, with a circle cut out of the middle of the square. The form adds further dimensions to the "borrowed landscape" for the viewer, since the bissected and moveable center circular piece creates different perspectives depending on its positioning and the angle at which the viewer peers through the work.
34:(Crawling through Mud Association). During the course of his career, Yamada's oeuvre evolved considerably, beginning with more functional ceramic vessels and moving on to experiment with non-functional or anti-functional works. By the latter half of the 20th century, however, his style had become far more abstract, with a focus on flat ceramic sculptures.
115:. During this time, his artistic style changed as he began experimenting with different materials, including black ceramic and palladium silver. This shift in materials was in part a response to the death that year of Yagi, with whom Yamada had remained close throughout the course of their careers. Black pottery was Yagi's signature technique, created by
164:, in celebration of the 60th anniversary of relations between Japan and Ireland. This exhibition featured contemporary works by both Japanese and Irish artists, positioning Yamada as one of the forerunners of the movement and demonstrating the transnational scope of Yamada's and his contemporaries' impact on the international pottery scene.
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smaller moveable pieces, or, in some cases, small balls of clay, allowed viewers to see through his work and perceive the space beyond through a new lens. They create a juxtaposition between the three-dimensional landscape and this two-dimensional deconstruction of the organic and inorganic materials that comprise landscape scenes.
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functionality. His works, together with those by his peers of Sōdeisha, became known internationally and were shown in such international exhibitions as the 1962 Prague
International Ceramics Exhibition and the 1972 Faenza International Ceramics Exhibition. In 1961, he received the Japan Ceramic Society Award (日本陶磁協会賞受).
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and firing clay continuously at low temperature in a smoky environment. Yamada had refrained from using it while his friend was alive and began using it himself as an act of homage. The sleek, uniform aesthetic afforded by black pottery allowed Yamada to further deconstruct the concept of the ceramic
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Many of his works produced in the latter half of the twentieth century featured flat, rectangular pieces that acted as frames of sorts, featuring round or smaller rectangular perforations that created a viewing experience he referred to as a 'borrowed landscape.' These perforations, often containing
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Yamada received the Kyoto City
Cultural Merit Award in 1995 and was awarded the Kyoto Art and Culture Prize at an exhibition in 2000. He was also named as an Honorary Member of the Japan Craft Design Association (日本クラフトデザイン協会名誉会). Yamada died of pneumonia on November 29, 2001, in Kyoto at age 77.
95:(translated as "The Crawling through Mud Association). Sōdeisha sought to move beyond the formal limitations of functional ceramic vessels, experimenting with creating a symbiotic fusion of materiality and form, as well as abstraction and creative adaptation of "traditional" ceramic forms.
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Yamada's work, too, changed during his affiliation with Sōdeisha. By the 1950s, he shifted away from functional vessels, and instead featured narrow, nonfunctional openings. As the years went on, these openings closed altogether, as he began to favor diverse use of shapes and glazes over
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Sōdeisha has had an enduring legacy both within Japan and on an international scale, with many contemporary ceramicists fusing techniques and forms inspired by the group in their own work, such as hand-building and experimentation with two-dimensionality. In 2017, the
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through Yagi's father Issō, a renowned ceramicist. In 1946, Yamada and the young Yagi founded the Young
Potters' Collective (青年作陶家集団), while still making more functional vessels and continuing to actively enter his work at the national and local salons, namely
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Zi Siang See, et al. "Sodeisha
Sculptural Ceramics: Digitalization and VR Interaction, A Digital Heritage Approach." VRCAI 2019, Brisbane (November 2019).
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Yamada's works are held in museum and gallery collections around the world, including the
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in Tokyo. To avoid the aftermaths of the Great Kanto
Earthquaqke, the family moved to
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respectively. Two years later, in July 1948, Yamada and Yagi, along with ceramicists
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The son of a
Buddhist priest, Yamada was born on December 23, 1923, in
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Tobunken (Tokyo
National Research Institute for Cultural Properties)
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Nihon
Bijutsu Nenkan (Yearbook of Japanese Art, 2002 Edition).
26:, known for co-founding the Young Potter-maker's Collective in
324:"Collection: "Black Pottery Screen," Yamada Hikaru"
374:"Black Pottery Screen," Metropolitan Museum of Art
365:"Black Pottery Screen," Metropolitan Museum of Art
347:"Black Pottery Screen," Metropolitan Museum of Art
389:Joan B Mirviss, Ltd (Gallery of Japanese Art)
211:Joan B Mirviss, Ltd (Gallery of Japanese Art)
186:Joan B Mirviss, Ltd (Gallery of Japanese Art)
62:While in Kyoto, Yamada met fellow ceramicist
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409:"Yamada Hikaru, Nihon Bijutsu Nenkan, 2002
400:"Yamada Hikaru, Nihon Bijutsu Nenkan, 2002
356:"Yamada Hikaru, Nihon Bijutsu Nenkan, 2002
313:"Yamada Hikaru, Nihon Bijutsu Nenkan, 2002
270:"Yamada Hikaru, Nihon Bijutsu Nenkan, 2002
22:(Japanese: 山田光）(1923–2001) was a Japanese
444:Whitty, Audrey. "Shadows of Sodeisha."
431:Whitty, Audrey. "Shadows of Sodeisha."
420:https://doi.org/10.1145/3359997.3365741
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111:In 1979, Yamada became a professor at
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48:Gifu City, a ceramic center in Japan
30:and the avant-garde ceramic group
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122:Circle Screen, Black Clay, Kokuto
160:held a large exhibition, titled
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448:34, no. 1 (Spring 2017): 72-73
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52:Kyoto Institute of Technology
294:Dai Ichi Arts, Ltd (Gallery)
435:34, no. 1 (Spring 2017): 73
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328:Metropolitan Museum of Art
158:National Museum of Ireland
290:"Yamada Hikaru, Overview"
233:"Yamada Hikaru: Obituary"
142:The Newcastle Art Gallery
113:Osaka University of Arts
38:Early life and education
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162:Shadows of Sōdeisha
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459:Categories
168:References
148:, and the
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81:Tetsu Kano
64:Kazuo Yagi
24:ceramicist
333:25 August
299:28 August
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146:Australia
252:cite web
93:Sōdeisha
32:Sōdeisha
44:Asagaya
132:Legacy
83:, and
73:Kyoten
69:Nitten
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