今後の予定
これまでの個展

松崎融 -お盆の季節の大盆展-

2019年7月12日 - 2019年7月20日

松崎の赤はまぎれもなく縄文の赤である。縄文の赤は太陽の赤である。
大きく屈託のない太陽はそのまま松崎の器に移された。

松崎融の仕事を前にしたとき、思わず縄文を想い、その造形、表情、親和性、そして何よりも祈りの感情を見た。
この親和的で祈りの対象となるものが今日、もっとも失われたものなのである。

内田 繁



漆はJAPANと言われ日本の誇る工芸の一つである。
45年前、師も持たず私は木漆工芸の世界に足を踏み入れた。その頃の漆の業界は表面的な美しさを求め過ぎたばかりに、技術を誇るような器を作り、機能性や現代性を失い仕事は細かく分業化されていた。私は原点にもどるべく"一木をくりぬき形を造り 漆を塗る"。漆の強さを前面に出すために漆を塗り重ね技術をシンプルにすることで私自身の想いと個性を出してきた。
私がもの作りとなった背景には日本画家であった父と、3人の心の師がいる。玉川大学創立者の小原國芳先生、洋画家の牛島憲之先生、そして陶芸家の島岡達三先生である。「目標を強く強く念じ願うことにより道が開くこと。静かな表現の中で色を重ねることの強さ。器の大きさ、工芸の奥深さ。」"大道無門"この3人から学び、今の私があると思っている。
今回の一穂堂での展覧会では、大盆に酒や料理をいっぱいのせて、人が集まり絆が生まれればと思いつつ、木を削り、漆を塗った。

松崎 融



松崎融は幼い頃 野球少年だった。大学を卒業しても野球監督をするほどのスポーツマンで、今でも日々作り続けて 野球のプレーをしているかのようにイキイキと働き 楽しそうに木に向かう。その彼は仕事を始めた頃、師も持たず 我流で作った額、欅の厚い板をただ四角くくり抜き 朱漆をたっぷり塗った。
その額が染織家・故芹沢銈介の目にとまり、板絵やガラス絵が入って一世を風靡した。もう40年以上も前のことである。
現在 国画会工芸部の代表として、浜田庄司や柳宗悦の意志を継ぎ、次世代に「用の美」の機能と形、モノ造りの哲学を伝える使命を担っている。
その松崎融の木工作品は どこかで見たことがあるような懐かしさと 温かさと 荒々しい中に気品が漂い本当に美しい。それは作者のお人柄そのもの。一穂堂のめざす日本人の心、日本人の技や美意識がギュッと詰まっているように思える。
お盆は一年に一度、先祖の精霊をお迎えし供養する期間。そんなお盆に松崎融が40年間作り貯めた大きな大きな盆を一同に集めてみた。この大盆を囲んで人と人が食べ、飲み、話し、笑い……。至福の時が流れますように。

一穂堂 青野 惠子



Matsuzaki's red is unmistakably Jomon red.
Jomon red is the red of the sun. It is as if the great, untroubled sun itself is being reflected from Matsuzaki's utensils.
As I stood before Tohru Matsuzaki's works, I intuitively thought of the Jomon and saw its shapes, its expressions, its power to attract and, more than anything else, its sense of prayer. Today things that can draw us and that can give shape to our prayers are the things that we are most in danger of losing.

Shigeru Uchida



Lacquer is sometimes called "japan" and is in fact a craft that Japan takes pride in.
Fourty five years ago, without the benefit of a teacher's direction, I entered the world of lacquered wooden crafts. In those days, the lacquer industry, because of an over-emphasis on surface beauty, produced technically proficient pieces that lacked functionality and modernity, and its production process was fragmented into a variety of specialized tasks. In order to make a fresh start, I have gone back to "hollowing out the wood, shaping it and applying the lacquer." I have been able to express my individuality and my own ideas by keeping the technique simple and applying and re-applying the lacquer to emphasize its strength.
Behind my decision to become a craftsman are my father who was a Nihonga painter and my three spiritual masters: the founder of Tamagawa University, Professor Kuniyoshi Obara, the Western artist Noriyuki Ushijima, and the ceramic artist Tatsuzo Shimaoka. "One finds his way by strongly desiring something." "The strength of layering color upon color in an otherwise simple piece." "The size of an utensil, the depth of the craft." These are the things that I learnt from these three open-minded free-spirits, and they have made me what I am today.
The trays in this exhibition were carved and lacquered in hopes that people will bond by surrounding them with plenty of sake and delicious food.

Tohru Matsuzaki



Young Tohru Matsuzaki's first passion was baseball. That passion persisted into adulthood, and he coached a university baseball team for several years. And he exhibits the energy of an athlete to this day in the vigorous way he goes about his artistry.
Starting out as a self-taught artist, Matsuzaki came to the attention of the famed textile designer Keisuke Serizawa about 30 years ago. What caught Serizawa's eye was a hefty square plaque that Matsuzaki had hewn from zelkova and had painted with a thick layer of vermilion lacquer. Under the influence of Serizawa, Matsuzaki experimented with a broadening range of painting on wood panels and on glass.
Today, Matsuzaki promotes the spirit of craft tirelessly through his art and as the head of the Kougeibu (Craft Division) of the influential artists' association Kokugakai. He has inherited the "beauty in utility" philosophy articulated by Soetsu Yanagi in the mingei (folk art) movement and evoked famously by Hamada and the other artists who participated in that movement. Matsuzaki fulfills an indispensable role in passing on to future generations a uniquely Japanese fusion of function and form, of aesthetics and craftspersonship.
To happen upon a work by Matsuzaki is to experience a warm sense of déjà-vu. Something is mystifyingly familiar about the refined elegance that emerges through the deceivingly rough-hewn shapes and finishes. That is a remarkably accurate reflection of the artist himself. And it is the very essence of the Japanese sensibility that we seek to convey at Ippodo.
The Bon Festival is an event held every summer when people welcome back and honor their ancestors. This year we take advantage of this festival to present an exhibition of large trays, also called ‘bon’ in Japanese, which Tohru Matsuzaki has created and treasured over the last forty years. People sit around these large trays to eat, drink, talk, laugh... Hoping to enjoy a time of bliss.

Keiko Aono
Ippodo Gallery