{"id":"studio-pottery","no":516,"name":"Studio Pottery","ja":"スタジオ・ポタリー","era":"1920s–","family":"陶磁の様式","kind":"スタイル","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"Victoria and Albert Museum — Studio Pottery: an introduction","url":"https://www.vam.ac.uk/articles/studio-pottery-an-introduction"},"reference":{"status":"verified","pageUrl":"https://www.vam.ac.uk/articles/studio-pottery-an-introduction","credit":"Victoria and Albert Museum — Studio Pottery: an introduction","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Spade-shaped%20vase%20by%20Hans%20Coper%2C%20V%26A%20London%2001.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Spade-shaped%20vase%20by%20Hans%20Coper%2C%20V%26A%20London%2001.jpg","credit":"ハンス・コパー《スペード形の花器》1968年 — Wikimedia Commons / CC0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Thrown%2C%20Combed%20tea%20bowl%20by%20Shoji%20Hamada%20(YORYM-2004.1.1957).JPG?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Thrown%2C%20Combed%20tea%20bowl%20by%20Shoji%20Hamada%20(YORYM-2004.1.1957).JPG","credit":"濱田庄司《飴釉櫛目文茶碗》— Wikimedia Commons / CC BY-SA 3.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Thrown%20jar%20by%20Lucie%20Rie%20(YORYM-2004.1.73).JPG?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Thrown%20jar%20by%20Lucie%20Rie%20(YORYM-2004.1.73).JPG","credit":"ルーシー・リー《壺》1971年 — Wikimedia Commons / CC BY-SA 3.0"}]},"essence":"工場ではなく個人の仕事場で、作り手ひとりが成形から施釉・焼成まで通す陶の様式。20世紀初めの工芸復興のなかで現れ、機械生産に与しないという立場が形と表面にそのまま出ている。1920年にコーンウォールのセント・アイヴスへ開かれた窯が中心になった。","cues":["轆轤で挽いた跡や、紐づくり・板づくりの継ぎ目を消さずに残す","高温の灰釉・青磁・天目。茶黒と鶯色が繰り返し現れる","銅赤や紫の釉が窯の中で流れ、器の面に予定されていない筋として残る","白釉の下に細い線を彫って色泥を埋め、縁と高台にだけ別の釉をかける"],"intents":["静けさ","親密","反骨"],"works":["量産品の均質さから離して見せたいとき、成形の跡と釉の流れを残す仕上げを選ぶ","一点ものの器を売る画面で、同じ形が二つと揃わないことを写真の並べ方で示すとき"],"recipe":{"type":"添える文字は細く小さく、器の名と作り手の名だけ。装飾的な書体を使わない。","layout":"一点を大きく置いて周囲を空ける。整列させず、器ごとの高さと傾きの違いをそのまま残す。","material":"高温の炻器・磁器・楽焼。灰釉、青磁、天目、流れた銅赤。釉は厚くかけ、素地の粗さを透かす。"},"avoid":"手の跡だけを真似て歪みを足すと、高温焼成と釉のふるまいという中身が抜け落ち、形の不揃いな量産品になる。","colors":["#3A2418","#93A98F","#D8CBB0"],"motif":"graphic","pair":["mingei","arts-and-crafts"],"study":["1940年刊の A Potter's Book で、リーチが焼成と釉について何を規範として書いたか読む","セント・アイヴスに築かれたヨーロッパ初のアジア式登り窯が、斜面と多室でどう働くか調べる","ルーシー・リーとハンス・コパーの器を並べ、同じ工房から出た二つの形の違いを見る"],"en":{"essence":"Ceramics made by individual artist potters in their own workshops, where one person carries a pot from forming through glazing to firing. It emerged in the early twentieth century as part of a wider revival of crafts and is deliberately non industrial. The Leach Pottery, opened at St Ives in Cornwall in 1920, became its best known centre.","cues":["Throwing rings, or the seams of coils and slabs, left visible instead of smoothed away","High temperature glazes: ash, celadon and tenmoku, returning again and again to brown black and grey green","Streaked copper red and purple glazes that ran in the kiln and stayed as unplanned marks on the wall","Incised lines inlaid with coloured slip under a white glaze, with a different glaze at rim and foot alone"],"works":["Pulling a product away from factory evenness by keeping the forming marks and the glaze runs in the finish","Selling one off pieces online, where the photography has to show that no two of the same form match"],"recipe":{"type":"Keep any lettering small and thin, naming only the piece and the potter, and never decorative.","layout":"One piece large with space around it. Do not align a row; let heights and tilts stay uneven.","material":"High fired stoneware, porcelain and raku. Ash, celadon and tenmoku glazes and running copper reds, laid thick enough to let the coarse body show through."},"avoid":"Copying only the marks of the hand and adding wobble leaves out the high firing and the behaviour of the glaze, and produces a mass made object that merely looks uneven.","study":["what Leach set down as standard for firing and glaze in A Potter's Book of 1940","how the first Asian style climbing kiln in Europe, built at St Ives, works with its slope and its several chambers","Lucie Rie and Hans Coper placed side by side, and the difference between two forms out of the same workshop"]}}