Earticle

초록

한국어

In 1948, when aesthetic nihilism was prevalent after the defeat in the WWII, young ceramic artists in Kyoto who had received training at the College of Fine Arts formed a group called Shodeisha (走泥社) for avant-garde ceramic art activities aimed at expression rather than usage was formed. Skeptical about the functions and traditional techniques that were considered to be the unique characteristics of ceramics at the time and under the influence of European abstract sculpture and painting in a transitional situation, they gradually moved away from the pursuit of practicality and experimented the possibility of ceramic art as an object ceramic sculpture. In the hierarchy of Western art, crafts, there was no place for crafts whose purpose and value of existence were to be used. Under the influence of Brancusi, Henry Moore, Miro, and Klee, who were representative artists of abstract sculpture and modernist painting that appeared in the early 20th century, and beyond the phase of imitation, being inspired by Isamu Noguchi from the mid-1950s onwards, they began to reveal their identity by incorporating their unique values into material properties and production process. The purpose of this study was to summarize and review the meaning of the works and characteristics of Kawakami Rikizo (川上力三), a modern Japanese ceramic artist who has been a member of Shodeisha since 1964 and is a representative pro-Korean ceramicist who has continued to actively engage in work exchange activities based on Kyoto and modern ceramics exchange activities between Korea and Japan led by him. The US-biased phenomenon in university education since the 1970s has also been the same in the field of modern ceramics, which had been established in the curriculum since the 1980s under the influence of American abstract expressionist ceramics. Because the history of ceramics was short in the United States, it was easy to make new attempts to view function and tradition as both a limit and a means of individual expression. The denial of tradition and usage led to, unlike the situation in the United States, confusion in Korea and Japan. Since a solo exhibition at Myeongdong Gallery in Korea in 1974, Kawakami Rikizo's avant-garde ceramic sculptures were introduced alternately to Korea and Japan, paving the way for exchanges between Korea and Japan in modern ceramics. His creative activities, which have lasted for more than 60 years, are the result of his flexible and unique perspective considering the physical properties of clay as an objectified object and his flexible attitude to actively embrace crossing boundaries. The facts that he, who is active mainly in Kyoto, is in contact with long-standing conventions and traditions centered on function, objectifying the properties and abstract concepts of clay and substantiating them into results with independent entities, that he has continuously deepened his will to become self-reliant as a formative figure in ceramic art, and that he pursues objects as a new perspective on function explain his work and creative process.

저자

• 이춘복

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  한국도자학연구 [The Jouranl of the Korean Society of Ceramic Art]

• 간기

  연3회

• pISSN

  1738-8473

• 수록기간

  2005~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 631 DDC 738