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Open a larger version of the following image in a popup: Yamada Hikaru 山田光, Tea bowl with designs after Shibugami surfaces
Open a larger version of the following image in a popup: Yamada Hikaru 山田光, Tea bowl with designs after Shibugami surfaces
Open a larger version of the following image in a popup: Yamada Hikaru 山田光, Tea bowl with designs after Shibugami surfaces
Open a larger version of the following image in a popup: Yamada Hikaru 山田光, Tea bowl with designs after Shibugami surfaces
Open a larger version of the following image in a popup: Yamada Hikaru 山田光, Tea bowl with designs after Shibugami surfaces
Open a larger version of the following image in a popup: Yamada Hikaru 山田光, Tea bowl with designs after Shibugami surfaces
Open a larger version of the following image in a popup: Yamada Hikaru 山田光, Tea bowl with designs after Shibugami surfaces
Open a larger version of the following image in a popup: Yamada Hikaru 山田光, Tea bowl with designs after Shibugami surfaces
Open a larger version of the following image in a popup: Yamada Hikaru 山田光, Tea bowl with designs after Shibugami surfaces

Yamada Hikaru 山田光 Japanese, 1924-2001

Tea bowl with designs after Shibugami surfaces
Stoneware
H3 1/8 × Dia 5 1/8 in.
H8 × Dia 13 cm
With signed wood box
Inquire
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Trained in Kyoto, Yamada Hikaru was known for his innovative sculptural work, moving beyond functional ceramic objects and focusing instead on abstracting traditional folk-craft forms. His work juxtaposes the organic...
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Trained in Kyoto, Yamada Hikaru was known for his innovative sculptural work, moving beyond functional ceramic objects and focusing instead on abstracting traditional folk-craft forms. His work juxtaposes the organic with the inorganic, his geometric shapes contrasting the malleability of clay. Alongside Suzuki Osamu 鈴木治 (b. 1926), he was one of the founding members of the influential Sodeisha movement. Formed in opposition to the folk-craft movement of Mingei, which was the dominant ceramic philosophy during the 20th century, Sodeisha sought to engage with questions regarding the relationship between ceramic aesthetics and their production, as well as the potter’s professional identity as an individual artist or a craftsperson. They used ceramic production in the context of high art to create forms distinct from inherited antique clay traditions. Yamada Hikaru’s pieces enquired on the ceramic medium as high art- sculptural rather than functional.
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