{"id":10786,"date":"2017-09-27T11:37:21","date_gmt":"2017-09-27T02:37:21","guid":{"rendered":"http:\/\/www.utsuwa-hanada.jp\/hanada\/?p=10786"},"modified":"2025-12-17T22:22:29","modified_gmt":"2025-12-17T13:22:29","slug":"20170927interview-2","status":"publish","type":"post","link":"https:\/\/www.utsuwa-hanada.jp\/hanada\/blog\/20170927interview-2\/","title":{"rendered":"\u5c71\u7530\u6d0b\u6b21\u3055\u3093\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc\u3000\uff62\u30b9\u30ea\u30c3\u30d7\u30a6\u30a8\u30a2\u3068\u79c1\uff63"},"content":{"rendered":"<style>\r\n#interview .browntext{\r\n\tcolor:#674512;\r\n\tfont-weight:bold;\r\n}\r\n\r\n#interview p{\r\n\tmargin: 10px 0 20px;\r\n}\r\n\r\nh4.interviewtitle,h2.interviewtitle_bold{\r\n\tfont-weight:bold;\r\n\tfont-size:120%;\r\n}\r\n\r\n.titlelink{\r\n\tfont-weight:bold;\r\n\tfont-size:120%;\r\n}\r\n\r\nimg{\r\n\tmargin-bottom:20px;\r\n}\r\n\r\nh3{\r\n\tborder: medium none;\r\n    font-size: 20px;\r\n    font-weight: bold;\r\n    padding: 20px 0px 0px;\r\n}\r\n<\/style>\r\n\r\n<div style=\"width:100%;\" id=\"interview\">\r\n\r\n<!-- \u25bc \u82f1\u8a9e\u7248\uff08\u6298\u308a\u305f\u305f\u307f\uff09 \u25bc -->\r\n<style>\r\n\/* \u82f1\u8a9e\u6298\u308a\u305f\u305f\u307f\u30af\u30ea\u30c3\u30af\u90e8\u5206\u30c7\u30b6\u30a4\u30f3\u6307\u5b9a *\/\r\ndetails.translation summary {\r\n  cursor: pointer;\r\n  font-weight: 400; \r\n  color: #674512;\r\n  font-size: 1.1em;\r\n  list-style: none;\r\n  display: inline-block;\r\n  text-decoration: underline;\r\n  text-underline-offset: 2px; \r\n  transition: color 0.2s;\r\n}\r\n\r\ndetails.translation summary::before {\r\n  content: \"\u25bc \";\r\n  display: inline-block;\r\n  width: 1em;\r\n  margin-right: 0.2em;\r\n  transition: transform 0.2s;\r\n}\r\n\r\ndetails.translation[open] summary::before {\r\n  content: \"\u25b2 \";\r\n}\r\n\r\ndetails.translation summary:hover {\r\n  color: #0073e6;\r\n}\r\n<\/style>\r\n\r\n<!-- JSON-LD for Yoji Yamada Interview 2017 -->\r\n<script type=\"application\/ld+json\">\r\n{\r\n  \"@context\": \"https:\/\/schema.org\",\r\n  \"@type\": \"Interview\",\r\n  \"url\": \"https:\/\/www.utsuwa-hanada.jp\/hanada\/blog\/20170927interview-2\/\",\r\n  \"name\": \"Interview with Yoji Yamada 2017\",\r\n  \"about\": \"Japanese pottery, handcrafted ceramics, Japanese tableware artist\",\r\n  \"inLanguage\": [\"ja\",\"en\"],\r\n  \"interviewee\": {\r\n    \"@type\": \"Person\",\r\n    \"name\": \"Yoji Yamada\",\r\n    \"jobTitle\": \"Ceramic Artist\"\r\n  },\r\n  \"interviewer\": {\r\n    \"@type\": \"Person\",\r\n    \"name\": \"Hanada\"\r\n  },\r\n  \"publisher\": {\r\n    \"@type\": \"Organization\",\r\n    \"name\": \"Hanada\"\r\n  }\r\n}\r\n<\/script>\r\n<details class=\"translation\">\r\n  <summary> English version of the interview here.<\/summary>\r\n  <div lang=\"en\">\r\n\r\n<!-- \u82f1\u8a9e\u7248\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc\u3053\u3053\u304b\u3089 -->\r\n<h3>What Slipware Has Taught Me<\/h3>\r\n<img decoding=\"async\" src=\"\/\/www.utsuwa-hanada.jp\/hanada\/wp-content\/uploads\/2017\/09\/20170927-2_01.jpg\"><br>\r\n<h3>Encounter<\/h3>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: You first learned about slipware when you were a university student, right?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> Yes, when I was 21, I saw a poster for the Folk Craft Museum. I was instantly drawn to it \u2014 it was a piece with a bird motif. I remember seeing on their website the lattice-patterned one that Muneyoshi Yanagi was holding in a photo.<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: Back then, it must have been more instinctive than logical. Looking back, what do you think fascinated you so much about slipware?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> I\u2019m not really sure&#8230; In retrospect, I think I was seeing a tangible form of what I had only vaguely imagined I wanted to do at that time.<\/p><br>\r\n\r\n<img decoding=\"async\" src=\"\/\/www.utsuwa-hanada.jp\/hanada\/wp-content\/uploads\/2017\/09\/20170927-2_02.jpg\"><br>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: At that time, you were majoring in chemistry.<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> In chemistry, everything can be expressed with symbols. Slipware, on the other hand, felt like something that couldn\u2019t be expressed that way \u2014 something you couldn\u2019t quite grasp. To me at that time, it was like, \u201cWhat on earth is this?\u201d<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: What do you mean by that, specifically?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> The historical background of England, their way of life, materials, techniques \u2014 things that could only have come into being in that time and place. Compared to other soft-bodied ceramics in Europe made with similar materials and methods, slipware feels completely distinct. <br>\r\nI think it emerged through the interplay of local culture, climate, and traditions unique to that land.<\/p><br>\r\n\r\n<img decoding=\"async\" src=\"\/\/www.utsuwa-hanada.jp\/hanada\/wp-content\/uploads\/2017\/09\/20170927-2_03.jpg\"><br>\r\n\r\n<h3>Because It Was That Place and That Time<\/h3>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: Even though you later went to England to train, back then you didn\u2019t really know much about the country as it was in the era when slipware was originally produced, did you?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> No, not at all.<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: Yet, you still felt something.<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> Yes. Saying \u201csomething resides within it\u201d might sound religious, but I felt there were layers upon layers \u2014 a kind of depth or resonance that wasn\u2019t just on the surface. Maybe \u201cseen\u201d isn\u2019t quite right&#8230; but there was something deeply compelling about it.<\/p><br>\r\n\r\n<img decoding=\"async\" src=\"\/\/www.utsuwa-hanada.jp\/hanada\/wp-content\/uploads\/2017\/09\/20170927-2_04.jpg\"><br>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: Do you ever feel a similar kind of presence when you look at Asian antiques or other forms of classical art?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> No, not since slipware.<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: So, only slipware gives you that feeling.<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> Well, there are partial elements in Seto iron-painting or Karatsu ware that connect to slipware in some way. Even outside ceramics \u2014 wooden kneading bowls, for example \u2014 whether European or Japanese, sometimes just the atmosphere feels like slipware. I find myself thinking, \u201cAh, this is slipware.\u201d<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: So for you, \u201cslipware\u201d isn\u2019t just about appearance.<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> Of course, the patterns and colors are distinctive, and it\u2019s also appealing that they suit the Japanese dining scene. But as a maker, if you only extract and reproduce those superficial aspects, it wouldn\u2019t last long. I feel a sense of urgency about that. I want to think about what I saw and felt in those historical pieces, how to interpret that, and how to express it in my own work \u2014 combining many layers of meaning, while keeping the forms simple and pop-like for everyday use.<\/p><br>\r\n\r\n<img decoding=\"async\" src=\"\/\/www.utsuwa-hanada.jp\/hanada\/wp-content\/uploads\/2017\/09\/20170927-2_05.jpg\"><br>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: Just as slipware once emerged from its own environment \u2014 the society, economy, and customs of that time \u2014 you\u2019re creating your own version today, responding to the world you live in now.<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> I\u2019m not trying to recreate old slipware exactly, but I do hope to carry it forward. I\u2019m influenced by the old pieces, so there\u2019s a part of me that wants to get closer to them. I sometimes use materials similar to those of the past to see how my work compares, but I\u2019m Japanese, working in Shigaraki. So I want to make slipware that belongs to this time and this place.<\/p><br>\r\n\r\n<img decoding=\"async\" src=\"\/\/www.utsuwa-hanada.jp\/hanada\/wp-content\/uploads\/2017\/09\/20170927-2_06.jpg\"><br>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: What do you think is most important to make that possible?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> Everyday life, I think. What I choose to live with, what I want around me. <br>\r\nThe foundation of making things lies in creating what I myself would want. Without that, it loses its sense of reality. When I push myself to the limit, I sometimes go beyond what I imagined \u2014 but since tableware comes from daily life, that\u2019s always my starting point.<\/p><br>\r\n\r\n<img decoding=\"async\" src=\"\/\/www.utsuwa-hanada.jp\/hanada\/wp-content\/uploads\/2017\/09\/20170927-2_07.jpg\"><br>\r\n\r\n<h3>Connecting with the Past Through Objects<\/h3>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: Is there anything new you\u2019ve been trying lately?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> I\u2019ve started sourcing clay myself. From an efficiency standpoint, it\u2019s a terrible idea \u2014 digging your own clay. But there are things you can only learn by doing it. The clay doesn\u2019t behave as you wish, and if you try to force it, it collapses. When that happens, you realize, \u201cAh, so this is what it means.\u201d You start to understand the fine line \u2014 the physical limit where it barely holds together \u2014 and that line often turns out to be the most natural form.<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: So the natural form is the one that the raw clay itself allows.<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> Yes, I realized that recently. And when I finally shape something well and think, \u201cThis looks good,\u201d I sometimes find that the folk craft masters of the past had already done something similar. I\u2019m impressed \u2014 \u201cOf course they had.\u201d When I notice similarities or shared lines, I feel, \u201cWe were thinking the same thing.\u201d<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: That\u2019s the moment you feel connected to the people of the past \u2014 one of the real joys of traditional craft.<\/p><br>\r\n\r\n<img decoding=\"async\" src=\"\/\/www.utsuwa-hanada.jp\/hanada\/wp-content\/uploads\/2017\/09\/20170927-2_08.jpg\"><br>\r\n\r\n<h3>Trivial Talk, Folk Songs, and African Drums<\/h3>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: Has your idea of what you want to make changed since you became independent?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> I don\u2019t think the work I did back then was bad, but it has changed a bit. In the past, I worked like a \u201cone-man pottery factory,\u201d focused on making the same pieces in large numbers at low cost. Now I also want to make things that truly move me.<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> These days, I even change the background music while working. When I need to mass-produce, I listen to the radio \u2014 lighthearted talk shows. When decorating slipware, I play Japanese folk songs or African drums.<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: Japanese folk songs?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> They\u2019re actually really good.<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: That\u2019s interesting \u2014 slipware to the rhythm of Japanese folk music!<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> I like that the rhythm sometimes drifts \u2014 it\u2019s not perfectly steady.<\/p><br>\r\n\r\n<img decoding=\"async\" src=\"\/\/www.utsuwa-hanada.jp\/hanada\/wp-content\/uploads\/2017\/09\/20170927-2_09.jpg\"><br>\r\n\r\n<h3>Slipware Before Firing<\/h3>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: What\u2019s the most enjoyable moment when making slipware?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> Right after drawing the pattern, when the surface is still moist. It\u2019s so beautiful \u2014 the slip slightly swells where the lines are drawn, glistening with freshness.<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: Like a water surface, maybe&#8230; or is that too much to say? (laughs)<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> Hmm, not quite (laughs). The clay itself is just beautiful. When you apply the slip and see it flowing smoothly \u2014 that moment is amazing.<\/p><br>\r\n\r\n<div class=\"video-container\">\r\n<iframe loading=\"lazy\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/hMBJu8ueEmw?&#038;autoplay=1&#038;rel=0&amp;showinfo=0\" frameborder=\"0\" allowfullscreen><\/iframe>\r\n<\/div><br>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: You really love slipware, don\u2019t you?<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> I think everyone who makes it does. You can\u2019t help but think, \u201cI wish it could stay just like this.\u201d<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: But then it disappears once it\u2019s fired.<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> Yes, though once fired, a different kind of beauty appears.<\/p>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">Hanada: That\u2019s a maker\u2019s perspective. Thank you very much \u2014 I\u2019m looking forward to your exhibition.<\/p>\r\n\r\n<p><strong>Yoji Yamada:<\/strong> Thank you. 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src=\"\/\/www.utsuwa-hanada.jp\/hanada\/wp-content\/uploads\/2017\/09\/20170927-2_07.jpg\"><br>\r\n\r\n<h3>\u30e2\u30ce\u3092\u901a\u3058\u3066\u3001\u5148\u4eba\u305f\u3061\u3068\u7e4b\u304c\u308b\u3068\u304d<\/h3>\r\n\r\n<p class=\"browntext\" style=\"margin-top:0px\">\uff0d\uff1a\u3000\u6700\u8fd1\u3001\u4f5c\u308b\u3053\u3068\u3067\u65b0\u305f\u306b\u53d6\u308a\u7d44\u3093\u3067\u3044\u308b\u3053\u3068\u306f\u3042\u308a\u307e\u3059\u304b\u3002<\/p>\r\n\r\n<p 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