168:"They had as their unwritten laws that they would not submit work to official exhibitions, to avoid being judged on others criteria, and not to copy antique wares of the past. That was the basic credo, quite bold and naive. A major hurdle in the beginning, believe it or not, was whether or not the mouth of a work should be closed or not-if left open it gives the feeling of a common vessel, and thus to close it was the only way to have it taken seriously as ceramic sculptural art".
148:"The postwar art world needed the expediency of creating associations in order to escape from personal confusion, but today, finally, that provisional role appears to have ended. The birds of dawn taking flight out of the forest of falsehood now discover their reflections only in the spring of truth. We are united not to provide a ‘warm bed of dreams’, but to come to terms with our existence in broad daylight".
133:. In the 1940s, ceramic production in Kyoto and beyond was still very much controlled by small-sized, family style workshops that often have an inherited artistic name. Generations of skilled craftsmen continue to pass on their skills to produce decorated vessels that manifest classical forms of Japan, China, and Korea.
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triggered punning and rhyming reverberations between what was painted and what was potted. Yagi puts, “All material and technical aspects are directly embodied by
Picasso himself, resulting in a willful form corresponding to the movement of the artist’s spirit.” In a 1949 tribute to Picasso’s use of pottery —
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Their work was characterized by biomorphic and slab-built geometric forms. An emphasis on the sculptural as opposed to the functional meant that typically their pieces didn't have holes, or 'mouths', that might allow the work in question to be seen as a vase or pot. In the late 1940s and early 1950s,
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Two years after the formation of
Sodeisha, Yagi and his cohorts made two resolutions. The first is to cease working after models from pottery history and, second, to discontinue submitting their works to the salon system. With this severance from the canons and institutions of the pottery world, they
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Sodeisha artists sought to engage with difficult questions around the artistic and aesthetic issues around ceramic production and potters’ professional identity. They attempted to examine the larger environment of arts and crafts in order to establish new forms, products, and procedures that could
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An exhibition of
Picasso’s ceramics was mounted in 1951, but already in the late 1940s Yagi was deeply moved by what he saw in the photographs of ceramic work by Picasso, who appropriated the vessel surface as both ground and medium for representation. He created images on his ceramics which
193:. The work of these European modernists had been well known among Japanese artists before the war. After the war, new Japanese publications started to reacquaint artists with their work and the first post-war exhibitions of their works in Japan began to appear in the early 1950s.
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ended, young potters like them began to question about their professional and creative careers. The sprouting of various artistic organizations around that time inspired Yagi to seek a collective force to power new developments in ceramic design and production.
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The following year the group inaugurated independent annual group exhibitions which did not need to take heed of the salon’s hierarchical separation of sculpture and pottery. Though Yagi still lived and worked with his father in the
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or folk-craft movement that was the dominant ceramic style and philosophy in mid-20th century Japan, and also in reaction to the aesthetic of rusticity associated with the tea ceremony inspired Shino and Bizen ceramics of the
129:, where Sodeisha was founded, had a prominent ceramics industry since the late sixteenth century. Many workshops have emerged across the city, in particular on the hills east of the city, in neighborhoods such as Awata and
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in close contact with a whole community of traditional vessel potters, Yagi began bending and warping his wheel thrown forms and glazing them with designs that resembled paintings by
201:— Yagi carved the image of a face using a Picasso style of draftsmanship on to the surface of one of his vessels and infected the pottery wall with a dent under the face.
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Yagi, Yamada, and Osamu all grew up in this part of Kyoto and were sons of potters who were working in this milieu. When
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Winther-Tamaki, Bert (1999). "Yagi Kazuo: The
Admission of the Nonfunctional Object into the Japanese Pottery World".
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the works of Klee, Miro and
Picasso were an influence on members of the group, as were the ceramics produced by
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238:(1953- ) and Takiguchi Kazuo (1953- ), both prize-winning ceramists and former students of Yagi.
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Cort, Louise
Allison (2004). "Crawling Through Mud: Avant-Garde Ceramics in Postwar Japan".
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In 1948, the
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Yagi Kazuo:The admission of the
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allow potters in the new era to refrain from the existing, systematic rules.
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in 1952. There were ideological and aesthetic similarities to the
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397:. Journal of Design History, Vol 12 No.2 (1999) pp. 123–141.
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and Suzuki Osamu. Sodeisha was formed in opposition to the
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164:wrote of the Sodeisha philosophy that:
351:"Suzuki Osamu article from Japan Times"
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55:Yagi Kazuo, Yamada Hikaru, Suzuki Osamu
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276:"MAMリサーチ007 走泥社―現代陶芸のはじまりに"
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355:www.e-yakimono.net
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36:Years active
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242:References
236:Akiyama Yo
95:Kazuo Yagi
68:Influenced
60:Influences
230:Influence
408:Shikokai
402:See also
263:(1): 28.
216:Rosanjin
179:Gojozaka
131:Gojozaka
108:Momoyama
81:Sōdeisha
44:Location
31:Sōdeisha
18:Sodeisha
183:Picasso
39:1948-98
103:Mingei
205:Style
127:Kyoto
47:Japan
191:Miro
189:and
187:Klee
138:WWII
114:and
306:doi
88:走泥社
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