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On Jômon Ceramics

On Jômon Ceramics AbstractOkamoto Tarô is one the most prominent intellectuals and artists of postwar Japan. His “On Jômon Ceramics” marks the beginning of his engagement with prehistoric Japanese culture. Published in 1952 in the Japanese journal Mizue, the article was highly controversial as it challenged the common view that traced Japanese culture to the achievements and the refined ceramic tradition of the prehistoric Yayoi people and ascribed elegance and understatement to Japanese aesthetics. Okamoto, however, argued that the earlier Jômon culture, a hunting-gathering economy with a dynamically different ceramic tradition, was an equally important influence. Okamoto's vision of Japanese culture as rough, explosive and even “surreal” anticipates an alternative understanding of what modernist artists, architects and the general public would subsequently consider as authentically “Japanese.” http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Art in Translation Taylor & Francis

On Jômon Ceramics

Tarô, Okamoto; Reynolds, Jonathan M.
Art in Translation , Volume 1 (1): 12 – Mar 1, 2009
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On Jômon Ceramics

Abstract

AbstractOkamoto Tarô is one the most prominent intellectuals and artists of postwar Japan. His “On Jômon Ceramics” marks the beginning of his engagement with prehistoric Japanese culture. Published in 1952 in the Japanese journal Mizue, the article was highly controversial as it challenged the common view that traced Japanese culture to the achievements and the refined ceramic tradition of the prehistoric Yayoi people and ascribed elegance and understatement to...
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Publisher
Taylor & Francis
Copyright
© 2009 Taylor and Francis Group, LLC
ISSN
1756-1310
DOI
10.2752/175613109787307645
Publisher site
See Article on Publisher Site

Abstract

AbstractOkamoto Tarô is one the most prominent intellectuals and artists of postwar Japan. His “On Jômon Ceramics” marks the beginning of his engagement with prehistoric Japanese culture. Published in 1952 in the Japanese journal Mizue, the article was highly controversial as it challenged the common view that traced Japanese culture to the achievements and the refined ceramic tradition of the prehistoric Yayoi people and ascribed elegance and understatement to Japanese aesthetics. Okamoto, however, argued that the earlier Jômon culture, a hunting-gathering economy with a dynamically different ceramic tradition, was an equally important influence. Okamoto's vision of Japanese culture as rough, explosive and even “surreal” anticipates an alternative understanding of what modernist artists, architects and the general public would subsequently consider as authentically “Japanese.”

Journal

Art in Translation – Taylor & Francis

Published: Mar 1, 2009

Keywords: Japan; ethnography; Jômon culture; ceramics; tradition; decoration; hunting; magic

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