makoto azuma

10

LEAF MAN 2015

LEAF MAN is a human wearing leaves over his/her body. One day, they suddenly appear in Azuma Makoto’s dream, standing still and silent in a white space. Seven years later, at dawn of April 13 in 2015, LEAF MAN appears again, staring at Azuma from a distance. Before Azuma can decide if he should talk to or attack LEAF MAN, he awakes from his dream.1.   Tsuge         (♂)2.   Senninsou  (♀)3.   Asebi        (♂)4.   Tokusa        (♂)5.   Taniwatari    (♀)6.   Bronze leaf  (♀)7.   Kuba       (♂)8.   Hedera berry(♀)9.   Green allow  (♀)10.  Selloum    (♂)
3

This exhibition presents “ICED FLOWERS”, a work to observe the changing life of flowers that are locked in ice.Flowers will show unique expressions that they do not display in everyday life, by placed under such a different environment.Please enjoy how flowers and ice change themselves over time in the ruins far from human’s existence – it is an inorganic space that makes a vivid contrast with flowers.(Azuma Makoto Exhibition) 

4

AMKK is a company Developing the experimental creation by Makoto Azuma , a flower artist, Whose subject is flowers and plants. The activities of AMKK aim to Increase the existential value of plants by finding out The most mysterious figure only owned by flowers and plants and converting it to the artistic expression.

6

My breath is literally taken away when I look at Makoto Azuma’s beautiful flower arrangements. Here are the 2013 flower colours of the month done by him for his flower shop, Jardins des fleurs.

January Flower: new year’s green

February Flower: gradation pink

March Flower: spring white

April Flower: bitter red

May Flower: airy pastel colour

June Flower: mellow purple-blue

10

BLUE FLOWER REBELLION

Exhibition  ”BLUE FLOWER REBELLION”

Date:July 4, 2015
Place:Izumiyama-Jisekiba, Saga,Japan


禁裏御用「幻の名窯」が現代に生み出す究極の青。
それは有田から世界への美しき反乱である。
The ultimate blue, created by a renowned and royally warranted kiln.
Refreshing beauty that signifies the rebellious transformation of Arita porcelain.


日本の伝統的な技法で作られる花器に現代的な感性を付与し、花器の本質的な価値を再発見して世に問う─。フラワーアーティストとして日々花の美しさと命に向き合う東信が中心となって組織された花器研究所。その記念すべき第一弾プロジェクトのパートナーは、有田の地で360年の歴史を誇る名窯、辻家の十五代辻常陸である。
 Combine contemporary aesthetics with traditional techniques with the aim of rediscovering the essence and universality of artisan-made vases…
 With that concept, Makoto Azuma, a flower artist who deals with the beauty and life of flowers on a daily basis, led the founding of Kaki Kenkyusho. For the laboratory’s inaugural project, Azuma has partnered with Tsuji Hitachi, the 15th master of Tsuji House, a renowned porcelain kiln in Arita with a 360 year history. 


 日本の焼き物発祥の地、有田においてもひと際特別な存在として知られる辻家。第百十二代霊元天皇(在位1663年~1687年)の頃より禁裏御用達を仰せつかり、後に「常陸大掾」という官職を拝命した辻家は、天皇家直属の窯元として、皇族のための器のみを生産する「幻の名窯」と謳われてきた。時代の変遷の中、有田の多くの窯元が赤絵や金彩で絢爛な装飾を施すようになっても、また庶民のための生活必需品を大量生産するようになっても、辻家だけは禁裏御用達としての役目を全うするため、伝統的な染付に拘り、独自の技術を開発しながら進化を遂 げてきた。明治期以降も宮内庁御用達として皇室各家に器を納め続けた辻家は、同時に 有田随一の伝統技術を有する者として海外の博覧会へ作品を出品。フィラデルフィア博覧会(1876年)で最高位の入賞を果たすなど、有田磁器の名を世界に轟かせる役割を担うこととなった。
  Tsuji House has been renowned for many years in Arita, the birthplace of Japanese porcelain. During the reign of Japan’s 112th emperor Reigen (1663–1687), the kiln was royally warranted to create porcelain for the royal family under the official name of Tokiwa Daijo. Even though their works remained unknown to the general public, the kiln produced numerous outstanding pieces for the royal family.
 As the decades passed, many kilns in Arita began to create sumptuous designs using red and gold paints, yet Tsuji House remained loyal to traditional colours and focused on developing their own techniques in order to fulfill their responsibilities as the royal kiln. While continuing to produce porcelain for the royal family in the Meiji Era, the kiln also began to exhibit works outside of Japan and received an award at the 1876 Philadelphia Expo. Their success at the expo led to Arita porcelain becoming known and celebrated around the world.

 
 長らく門外不出とされていた辻家の作品が広く一般に公開されたのは戦後になってからのこと。先代辻常喜の奥義とも呼ぶべき技による、精緻かつ桁外れの品格を備えた名品の数々は、驚きと賞賛をもって世に迎えられたのである。辻家の窯で生み出される染付の魅力は、奥行ある青のグラデーションが醸し出す最上級の気品にある。それは高貴であることを数百年にわたって追求してきた窯元だからこそ辿り着いた美の極地。繊細な筆遣いによって浮かび上がる文様は、日本的な情緒・精神性をも余すところなく表現しているかのようだ。
  For centuries, the work of Tsuji House was kept out of the public realm and it wasn’t until after WWII that they were more widely viewed. At that time, works by the highly skilled Tsuji Tsuneyoshi, the kiln’s 14th master, were greeted with awe and amazement due to their extraordinary elegance and precise details.
Rich blue gradations contribute to the beautiful elegance of the blue and white porcelain works produced by Tsuji House, with this impressive beauty resulting from many years working for the royal family. Furthermore, patterns created by fleeting brushstrokes express the spiritual essence of Japanese aesthetics.


 花器研究所もまたその青に魅せられ、辻家へ作品を依頼。十五代の開かれた感性の賛同を得て、本プロジェクトは始動することとなった。辻家が生み出してきた数々の名品の中で、ひと際、花器研究所の目を引いたのが大壺「四君子」。春夏秋冬それぞれを代表する四つの植物─春は蘭、夏は竹、秋は菊、冬は梅─が一つの絵に納められた「四君子」は、東洋伝来の古典的な図柄。四つの植物の特性が徳と学識を備えた君子の特性と似ていることから文人たちに好まれ、様々な美術品のモチーフとして描かれてきた。蘭の清逸、竹の節操、菊の淡泊、梅の高潔。四つの特性は現代において口にされることこそ少ない言葉だが、未だ日本人が理想とする善き人間の在り様と重なっている。また花器研究所は古の人々が半永久的に残っていく磁器の表面に、短命ゆえに美しい植物を描いたことに、花および花器の本質的な存在意義との緊密な関連性を感じ取ったのである。
 Impressed by these rich blue hues, Kaki Kenkyusho approached Tsuji House with an invitation to produce a new work for the laboratory’s inaugural project and when the 15th master generously accepted their offer, the project was born.
 Among Tsuji House’s many masterpieces, the laboratory was drawn to one piece in particular, “Four Kunshi (Four Noble Ones).” The classical Oriental motif depicts a plant for each of the four seasons - orchids for spring, bamboo for summer, chrysanthemums for fall and plum for winter. Historically, the motif was popular among cultured men because the plants were understood to depict the four virtues of a wise and noble gentleman: the reticence of orchids, integrity of bamboo, frankness of chrysanthemums and nobleness of plums. Although these characteristics may no longer be held in the same regard, a man of such demeanor would still, by today’s standards, be regarded as a gentleman. Furthermore, the depiction of plants – with their short life spans – on a resilient porcelain surface questions the essence of the relationship between flowers and their vase.


 花器研究所から十五代への提案は、大壺の四面に描かれた四君子のうち、二面を残し、残りの二面を新しく選ぶ四種の植物の絵柄に変更すること。禁裏窯としての辻家の長い歴史の中で前例のない試みであったが、物作りへの情熱で共鳴した両者は、新しい時代の「四君子」を製作することとなった。
 差し替えられる二面に描かれたのは、花器研究所が現代の日本の四季を象徴すると考えた四種の植物。春は洋蘭、夏は時計草、秋はウツボカズラ、冬はスミレ。数百年前とは気候も植生も違う上、外来種が横溢する今日の日本において、身近な、そしてそれぞれに美しい植物である。
 It was proposed that the 15th master would paint the traditional Four Kunshi on two sides of the foursided porcelain, before depicting four new plants on the remaining two sides. Despite presenting an unprecedented challenge for the historic and royally warranted kiln, the passion shared by both parties led to the creation of a new “Four Kunshi”.
Kaki Kenkyusho selected the four new plants: western orchids for spring, passion flowers for summer, nepenthes for fall and violets for winter. As the climate and natural environment have evolved over the past few centuries – at times due to invasive species – these beautiful plants have become increasingly familiar in our daily lives.


 花の選定においてイニシアティブをとることとなった東信は次のように語る。
「意味合いにはあえて拘らず、絵になる植物を選んだ。もしかしたら今回の四つはこの先、また違う植物に置き換えられるかもしれない。その自由さやしなやかさが“今”なのではないか。そして複雑化・多様化する現代を生きるためには固定化された四君子だけでは不十分ではないかという思いもある」
 Regarding his selection of the four new plants, Makoto Azuma explained, “Rather than symbolizing certain virtues, the plants were chosen because of their beauty. They may be replaced by another four plants in the future – such is the freedom and flexibility of our era. We also thought that the traditional “Four Kunshi” couldn’t sufficiently represent the diverse and complex nature of our lives today.”
 

 十五代の伸びやかな筆捌きで現出した四種の植物は、ガラス質の柔らかな光沢の中に、優美なまま閉じ込められることとなった。古来から伝わる四君子に、新たな四つが加わり、ここに八君子「EIGHT KUNSHI」が誕生。八は末広がり、無限をも表す数字であることは言うまでもない。
 The plants painted by the dynamic brushstrokes of the 15th master are caught beneath the glassy surface of the porcelain, their beauty held still for eternity. With four new plants added to the traditional motif, “Eight Kunshi” was born. The name carries additional meaning as the numeral 8 represents infinity, while in Japanese, the broad base of its corresponding kanji (八) signifies prosperity and stability.


 東とともに花器研究所を設立し、彼の創意と十五代の職人技の橋渡し役を務めた「丸若屋」丸若裕俊は完成した作品を前に興奮を隠せない。
「現代的なデザインを施すのではなく、あくまで辻家の伝統に最大限の敬意を抱きながら、残 すこと、変えることを慎重に吟味した結果、有田の未来に繋がる新たな名品が出来あがった」
After developing the project’s concept and acting as the mediator between Makoto Azuma and the 15th master, Kaki Kenkyusho’s co-founder Hirotoshi Marukawa could not hide his excitement upon seeing the completed piece.
 “Without applying contemporary design, they have paid utmost respect to the tradition of Tsuji House and have carefully chosen what to keep and what to change. The result is a new masterpiece that will pave the way for Arita.”


 古の辻家の作品と同様、奥ゆかしさを湛えた青い花々が躍動する大壺「EIGHT KUNSHI」。描かれた八種の植物が四君子としての意味や役割を超え、現世に語りかけてくること。それは、伝統は常に現在であるということかもしれない。
 Reminiscent of traditional Tsuji House works, the large-scale porcelain “Eight Kunshi” depicts delicate and fleeting flowers in vivid blue. The eight plants coexist in peace, each transcending its own significance. They show that tradition lives on and thus remains contemporary.


 これは青い花たちの静かな、そして美しきREBELLION(反乱)である。 
 “Eight Kunshi” presents blue flowers that quietly and elegantly declare a rebellious rebirth.