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Study on the Relation of Bernard Leach's Studio Craft and Korean Ceramics

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2017, 50(), pp.275-304
  • DOI : 10.17527/JASA.50.0.09
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : February 28, 2017

So-Rim Yoon 1

1상명대학교

Accredited

ABSTRACT

This study is for identifying the relation between Korean ceramic culture and Bernard Leach(1887-1979)'s craft value. Leach is one of the remarkable artist who established the system of Contemporary Studio Craft. Carrying out his point of view of Korean culture could raise a sense of sovereignty to crafts in Korea. Although William Morris presented a new art and craft configuration against capitalism which downsized the value of human labour in 19th century, Leach widened the concept of Studio Craft focused on historical objects which contributed for humanity. Also, Leach's Studio Craft and Contemporary Studio Crafts deployed at US and Europe had differences. Contemporary Studio Craft tended to be in compared with Fine Art which dealt with expression of materiality rather than Leach's idea which had strong will to overcome the devastated modernism. To approach Leach's ideal craft objects, he thought that uniting philosophies and experiences between East and West would be the core key of solution. He visited Korea in 1920 and 1935 with Soetsu(Muneyoshi) Yanagi and wrote about the trips in his books. On his first visiting. he exploited ‘the beauty of line’ through Korean landscape and objects in their lives. Especially he found Goryeo celadon that showed ever-changing consensus which contains human's spirituality. On his second visiting, his interest for Goryeo celadon moved to Joseon white porcelain which gave him experience of what is Yanagi's Minye(Mingei; folk craft). Leach modified and applied the technique and idea of Korean pottery which connected Minye-nameless living objects for his Studio Craft called Leach Pottery at St. Ives in Britain. They are climbing Korean kiln, glaze color of Krai celadon expressed as ‘the colour of the sky after rain’, and drawings on Joseon white porcelain and Buncheong stoneware. There are some problems to apply Leach's Studio Craft in this diversified contemporary visual art. However, the needs to set right objectivity among the industrial society and Fine Arts since the Second World War is urgent. Leach's effort to widen craft both conceptually and plasticly is just one trying to recover humanity and lead a life without pretense. Also the fact that Korean artefacts played importantly for Studio Craft has significant point which open the possibility to re-construct the aesthetic of Korean culture globally.

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