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箱
Box -
共箱
with box signed by the artist -
サイズ
Size - 25.0/H18.8cm
『造らんとする壷の外線を心におきつつ轆轤すれば、軟らかき陶土の無数の異なりたる外線は内に外に動きて止まず。われはこれを「線の戦い」と名づけたり』富本先生の言葉からは形に対する厳しい追求が感じられる。瑪瑙質の白磁の肌は柔らかで美しく、壷の中からは高雅な香りが立ち昇っているかのようだ。この頃の作品は特に重厚感を感じるが実際も驚くほど重い作品が多い。倉敷にある大原美術館所蔵の白磁蓋付壷、国立工芸館所蔵や菊池智美術館所蔵の白磁蓋付八角壷などの名作も昭和7~8年の作品であり、正に白磁の黄金期の作品と言える。
“If you throw on the potter’s wheel while keeping in mind the outer lines of the vessel you are making, every outer lines of the soft potter’s clay will move inward and outward countless and never stop. I call this the “survivor of lines.” The skin of white porcelain of agate is warm and beautiful, and from the inside of the jar you feel like noble fragrance seems rising. Tomimoto’s works around this time are particularly massive, and in fact, many of them are surprisingly heavy. The masterpieces such as the white porcelain jar with lid of the Ohara Museum of Art in Kurashiki, and the octagonal white porcelain jar with lid of the National Museum of Arts and Crafts, and of the Musee Tomo are also works from 1932-1933, and can truly be proved that the time was truly a golden age.
