河井寬次郎と棟方志功（千葉市美術館） Kawai Kanjiro and Munakata Shiko (Chiba City Museum of Art)

柳宗悦らとともに、民藝活動を主導し、自らも製作者だった、河井寬次郎と棟方志功の生涯と作品をたどる展覧会。

河井寛次郎は、柳とともに訪れた朝鮮で、素朴な味わいの陶磁器を見て、それまでの技巧的な取り組みを放棄して、以降は実に素朴な作品を製作するようになった。

棟方志功は、はじめは洋画を学んでいたが、やがて版画に自分の可能性を見出し、柳に作品を注目され、柳や河井らとともに活動するようになった。

河井の素朴な当時もいいが、棟方志功の版画作品の方が印象に強く残った。

華厳譜、菩薩釈迦十大弟子板畫柵、萬朶譜などの、複数の版画で一つの作品を構成するものは、圧倒的な力を感じた。

Together with Mr. Yanagi and Mr. Yanagi, the exhibition traces the life and works of Kojiro Kawai and Mr. Shiko Munakata, who led the folkloric activities and were also producers themselves.

Kawai Kazujiro, who visited with Yanagi in Korea, saw a rustic flavor of pottery, abandoned his previous technological efforts, after that he began to make a really simple work.

Mr. Shiko Mujira initially studied Western painting, but eventually found out his possibility in the prints, attracted the work to Yanagi, and began to work with Yanagi and Kawai et al.

Kawai's rustic time was nice, but the printmaking by Mikata Shiko remained stronger in the impression.

Things that constitute one work with multiple prints, such as Kogen scores, Bodhisattva Buddha Ten great disciples boards, Feng Shui, Fan Seiji, etc., felt overwhelming power.

(Translated by Google Translate)