@article{oai:nichibun.repo.nii.ac.jp:00007229,
 author = {WINTHER-TAMAKI, Bert},
 journal = {Japan review : Journal of the International Research Center for Japanese Studies},
 month = {},
 note = {This article investigates the turn to an earthy aesthetic in Japanese ceramics of the 1950s through the early 1970s. One term for this aesthetic is “earth flavor” (tsuchi aji), defined here as “the beauty of the bare complexion of the earth fired for a long time” in the manner of several types of ancient Japanese pottery and practiced anew by contemporary Japanese potters in the postwar period who admired it as a “natural feeling for the oneness of clay and kiln.” The postwar production of earth flavor ceramics is mapped to four sites, namely Seto and Shigaraki, regions of continuous ceramic production since ancient times, American coordinates of Japanese earth flavor, and the avantgarde ceramics group Sōdeisha. The kilns of Seto in Aichi Prefecture were the source of a canonical earth flavor associated with tea wares, but the fortunes of this type of pottery were buffeted by a series of controversies centered on the conservative Seto potter Katō Tōkurō. The medieval Shigaraki pot became an icon of earth flavor in the photography of Domon Ken, and was revalued in the practice of contemporary ceramicists. America was a powerful market for ceramic objects as well as ideals of Japanese earth flavor, but it was also the source of provocations that instigated new Japanese views of earth flavor. And finally, experiments with earth flavor in the sculptural ceramics of the Sōdeisha group ranged from forms suggesting live organisms of the soil (Yagi Kazuo) to clay firings that protested the industrial pollution of the earth (Satonaka Hideto).},
 pages = {151--191},
 title = {Earth Flavor (Tsuchi aji) in Postwar Japanese Ceramics},
 volume = {32},
 year = {2019}
}