The Concept of ‘The Other Power’and Unglazed Pottery

Yanagi Muneyoshi’s Interpretation of Hamada Shoji’s Salt Glaze

Abstract

This paper aims to clarify Yanagi Muneyoshi (1889-1961)’s interpretation of Hamada Shoji(1894-1978)’s salt glaze from the 1950s. Both of them are well renowned as leaders of the ‘Mingei (folk craft) movement’ and it is famous that Yanagi acclaimed Hamada as the excellent potter, but Yanagi’s interpretation of Hamada’s salt glaze has not been researched enough.

In this paper, first, I confirm the outline of Hamada’s salt glaze technique, and then confirm the outline of Yanagi’s thought about the concept of ‘the Other Power’ (Tariki) from the 1950s. Based on these, first, I consider the relationship between Yanagi’s theory about the tea ceremony and Hamada’s tea bowls with salt glaze which Yanagi admired as the symbol of the tea utensils which passive "the Other Power".

Next, I consider the relationship between Yanagi's "Buddhism-aesthetics"(esthetic based on Pure Land Buddhism) and Hamada’s works with salt glaze, focusing on Yanagi’s enthusiastic interest in unglazed pottery (pottery not glazed artificially, but glazed naturally in a kiln) at the time.

From these considerations, it is clarified that Yanagi interpreted and explained Hamada’s salt glaze as reflection of Hamada’s passivity to "the Other Power", to justify Hamada’s works and to show the newest example of "Buddhism-aesthetics".