Artist Takashi HINODA was born in 1968 in Kobe-city,Japan. He studied ceramic art from 1987 to 1991 in Osaka University of Arts, under his faculty,ceramic artists such as Hikaru Yamada,Yasuo Hayashi,Mutsuo Yanagihara.In1992 he had his first solo exhibition at gallery HAKU,Osaka.Since then he has been showing his artworks worldwide.He was awarded Kyoto Cultural Encourage Prize in 2010. Currently he lives and works in Kyotanabe-city,Kyoto-prefecture and is the professor of Kyoto Saga University of Arts .

1968年兵庫県神戸市生まれ。1991年大阪芸術大学 芸術学部 工芸学科陶芸コース卒業。在学中は、陶芸家の山田光教授、林康夫教授、柳原睦夫教授らの指導のもとで学ぶ。1992年に初の個展をギャラリー白(大阪)で開催。以降、国内外のギャラリー、美術館での個展・グループ展で作品を発表している。2010年、京都府文化賞 奨励賞受賞。現在、嵯峨美術大学 教授。京都府京田辺市のスタジオで制作活動をおこなっている。

ABOUT "HANDS-ON VISIONAMUSEMENT(Shushikikeigaku)"/手色形楽(しゅしきけいがく)について

Shushikikeigaku is a term I invented as a concept to replace bijutsu, which was coined in Meiji-period Japan in an attempt to capture a Western concept of art (fine art) that did not really gel with Japanese aesthetics. I have long felt that the Japanese language needs a term other than bijutsu, or its alternatives such as the much over-used and highly ambiguous katakana phonetics for “art,” or the use of “Art” spelled out in English, which in Japan is strongly associated with Western modern art. Shushikikeigaku—written with the Japanese characters for ‘hand,’ ‘color,’ ‘shape,’ and ‘amusement’—signifies the act of producing perceptual delight through colors and shapes realized in a physical medium by a real creative act (with particular emphasis on manual or physical intervention). In English, it could perhaps be rendered as Visionamusement, or as Hands-on Visionamusement. From an art-historical perspective, shushikikeigaku is a key concept in the search for a new understanding of visual art in an age when deluges of information and an over-emphasis on conscious perception have become the norm. It brings a fresh perspective in the same way that music inspired the art of Orphism at the beginning of the twentieth century.

The shushikikeigaku concept emphasizes manual or physical input because the use of the hands or the body intrinsically resonates with everyone, irrespective of national identity, age, or gender. In this world, the body provides our location and functions as the only vessel for the human consciousness or soul.       



Public Collections/主要な作品収蔵先


Le musée de la céramique. Le château de Vallauris(ヴァロリス/フランス)
財団法人 滋賀県陶芸の森(信楽町)
Ceramics Research Center, Arizona State University Art Museum(アリゾナ/アメリカ)
Mint Museum of Craft+Design(ノース・キャロライナ/アメリカ)
RBC Wealth Management Collection(ミネアポリス/アメリカ)
Musée Ariana (ジュネーヴ/スイス) 
Newcastle Art Gallery(ニューカッスル/オーストラリア)




artist's portrait_HINODA
photo:Jian Zih-Shin

カナダ、ケベック州の撮影チームが2011年に制作した映像です。/The process of making ceramic sculptures in the film shooted by Canadian team in Kyoto,2011