唐津盃 Sake cup
辻 清明/ TSUJI SEIMEI
昭和11年、九歳の時に家にあった古瀬戸の壷に惹かれて轆轤を回し始めたのが作陶の始まり。
そんな幼少時代に、心惹かれた純粋な気持ちのままに、それは後に代表作となる信楽焼きや、 無釉の陶、古唐津にまで至る。
今作品は、その「強い古唐津への憧れ」と、無類のお酒好きで知られた先生の「“旨い酒”が呑める酒器」と、 また、「使って行くうちに変化する味わいまでもが計算された酒器」が三位一体となったもの。
何気ない姿そのものですが、日本的美意識が最高美となす侘びの究極の静けさを物語っている。
-----------------------------------------------------------------
The trigger was an old Seto vase for his first time to wheel at his home in 1936 when he was nine years old.
He continued to persuade Shigaraki, unglazed ware and old Karatsu until these become his representative styles, never forgetting the first excitement that he had in his younger age.
The aspiration for old Karatsu, the artistry well aimed for the effect of aging after years, and the practicality that makes sake tasteful—those three are the factors of this masterpiece.
The impression of the sake cup is just natural, but it embodies full of Japanese aesthetics of Wabi—ultimate calmness.
そんな幼少時代に、心惹かれた純粋な気持ちのままに、それは後に代表作となる信楽焼きや、 無釉の陶、古唐津にまで至る。
今作品は、その「強い古唐津への憧れ」と、無類のお酒好きで知られた先生の「“旨い酒”が呑める酒器」と、 また、「使って行くうちに変化する味わいまでもが計算された酒器」が三位一体となったもの。
何気ない姿そのものですが、日本的美意識が最高美となす侘びの究極の静けさを物語っている。
-----------------------------------------------------------------
The trigger was an old Seto vase for his first time to wheel at his home in 1936 when he was nine years old.
He continued to persuade Shigaraki, unglazed ware and old Karatsu until these become his representative styles, never forgetting the first excitement that he had in his younger age.
The aspiration for old Karatsu, the artistry well aimed for the effect of aging after years, and the practicality that makes sake tasteful—those three are the factors of this masterpiece.
The impression of the sake cup is just natural, but it embodies full of Japanese aesthetics of Wabi—ultimate calmness.
お問合せ番号 No.TS-6
共箱（With wood box titled, signed and sealed by artist.)
売約済(SOLD)
6.4×H7.2㎝
共箱（With wood box titled, signed and sealed by artist.)
売約済(SOLD)
6.4×H7.2㎝
