Hidaka Kaori
by Hidaka Kaori
2015年1月7日から2月6日まで、ハイデルベルク大学東アジア美術史研究所より石橋財団客員教授として招かれ、冬学期の集中講義と演習、公開講演会、2回にわたる日帰り見学旅行などをおこないました。海外において日本美術史を教えるという貴重な経験、また、歴史あるハイデルベルクにおける一月あまりの実り多い滞在の機会を与えてくださった石橋財団とハイデルベルク大学に感謝の意を表し、ここに客員業務の終了のご報告を申し上げます。
私の専門としている日本の漆工芸史は、美術におけるグローバリゼーションとアイデンティティの問題を考えるための格好の素材といえます。講義においてとりあげた「蒔絵」は、東アジアの中でも日本でのみ発達した独自の表現技法としてユニークな位置を占めるばかりでなく、絵画をはじめとする他の日本美術のメディアと深い相関関係をもち、日本美術の特性を語る上でも欠かせない存在です。そして、それゆえに、東アジア内のみならず、16世紀後半以降は、西洋をはじめとする世界各地に交易品として流通し、愛好されるに至ったのです。つまり、従来の漆工史研究においては、日本国内での展開に終始しがちであった蒔絵の歴史を、グローバルな視点でとらえ直すことが、近年の私の研究テーマであり、ハイデルベルク大学における講義・演習・講演でとりあげた内容です。
短期間の集中講義で、その真意がどの程度伝わったかは心許ないのですが、受講してくれた学生たちは、みな、きわめて熱心に、楽しみながら拙い私の英語の講義を聴いてくれていたように感じました。漆工芸という重要ではあるけれども取り上げられる機会の少ない日本美術の一分野を、海外の学生に紹介することができたのは大きな喜びです。
メラニー・トレーデ教授による学生の指導は行き届いており、和気あいあいとした雰囲気の中に、それぞれの学生の学ぶ意欲が引き出されているのには感服しました。全般におとなしい日本の学生と異なり、学生たちは、率直に、核心を突いた質問をどんどん投げかけてくれるため、講義で話し足りなかったことを補足する機会にもなり、教師としては実にありがたく、この点については、日本の教育も大いに改善されるべきと感じました。
また、日本における大学の講義では、教師と学生の大半が日本人であるため、交流史の中で漆器を扱っていてもなお、視点が一定の方向に偏りがちですが、ここにいる学生たちは、国籍もさまざまで、特別に意識せずともグローバルな視点が培われるという、きわめて恵まれた環境にあることを羨ましく感じます。
その反面、専門的な観点からは、東洋美術史の図書室は、海外としては比較的多くの蔵書を揃えているとはいえスペースが少なく、さらなる充実が望まれるところです。また、私の関心の東洋趣味に関わる図書は、西洋美術の図書室の所蔵しているものとに分かれているため、やや使いづらさを感じました。なお、中央図書館の蔵書が受け入れ年代にしたがって配架されており、分野ごとに分類されていない点については、全く理解できず、学生のためにも好ましくないと感じました。
短い滞在のあいだに2回のエクスカーションが準備されており、とくに、ミュンスター漆芸美術館での見学会は、講義の内容を実物の漆工芸品を見ながら理解してもらうことができ、学生も喜んでいました。このようなプログラムを計画していただいたことに感謝しています。
公開講演会は、私の準備不足のため、急遽通訳をしていただくことになりましたが、担当してくださったバイリンガルの学生さんとカフェで打ち合わせをし、二人三脚で講演原稿を仕上げたことなど、忘れられない思い出になりそうです。
以上、一月あまりの滞在期間は怒濤のように過ぎ去り、欲を言えば、もう少し腰を落ち着けた研究生活を送りたかったという気持ちはありますが、日本以外で講義をするということは、私自身にとって想像した以上に刺激的な出来事であり、このような得がたい体験をさせていただいたことを心より感謝しています。
心地よい滞在の手助けをしてくださったメラニー・トレーデ教授、脇田美央准教授をはじめとする東アジア美術史研究所のスタッフの皆さん、お世話をしてくださった学生さん、ハイデルベルク在住の日本美術OBの方々など、多くの方々にお世話になり、招聘期間を終えることができました。
Student's assessments
Concerning this semesters lecture about Japanese lacquer, in particular maki-e, I gained many new informations and insights regarding the complex origination process of lacquer objects, it's origin and also the versatile and complex influences. Another interesting aspect was the extent of the transcultural actions between Japan and Asian, but also European countries and the fact, that nonetheless the research about it is often rather difficult due to the lack of written documentation and other evidences.
All in all we had the rare possibility to learn from an expert how to deal with lacquer objects in terms of scientific research, what broadend our minds in a great measure.
Ann-Kathrin Wittmann, BA student, East Asian Studies, major: Japanese Studies, minor: East Asian Art History
As an expert on the topic of export lacquer and international trade of lacquerware, Prof. Hidaka did not only offer very insightful and well-structured lessons, but was also able to answer questions concerning details of dating as well as providing background information on the complicated exchange of lacquerware both in Inner-Asian and European trade.
Lecture and seminar, while focusing on different aspects of the topic, complemented each other perfectly and thus ensured a broad knowledge foundation for the understanding of Japanese lacquer and its appreciation without neglecting the complex historical and cultural backgrounds central to the mechanisms of trade.
Finally, during the field trip to the Museum fürLackkunst in Münster, students had the unique chance to apply their newly acquired knowledge and to experience the evolution of different styles and tastes by examining a variety of objects of diverse periods and origins under the proficient assistance of both Prof. Hidaka and the competent and obliged museum staff.
AltogetherI found the class of Prof. Hidaka to be an overall enriching experience and am grateful for having had the unique opportunity to benefit from her vast knowledge in the field of lacquer production and trade.
Virginia Clauß, MA student, major: Japanese Studies, minor: East Asian Art History
This semester I attended the lecture by Professor Kaori HIDAKA, „Lacke im transkulturellen Kontext Japan – Asien – .At the beginning I knew nothing about any aspect of Japanese lacquer, so I've taken great interest in it. Moreover, it is my first lecture in Japanese art. After listening to the introduction of the course and the orientation of exported lacquer products, reading many related materials and participating in Professor HIDAKA’s other presentations, I gained plentiful knowledge as to the historical background, lacquer techniques, development of Japanese lacquer as well as the methodology of comparing lacquer products in Asian and in Europe. During the lecture I also found more detailed information and watched the videos of producing Japanese lacquer products.
Furthermore, we also visited the lacquer museum in Münster, I felt this lecture combined not only theoretical information but also exercise of examining lacquer products. I am grateful to have this opportunity for knowing more about Japanese art.
Fu Yi-Wei, MA student, major: East Asian Art History, minor: Transcultural Studies
Since this is my first semester in Heidelberg, in an another country to study, and moreover, this class is the first class about east asian art history and japanise art i took, i really learnt a lot.
Personally i always have huge passion about japanese art, but never learnt it systematically. Before i took this class, i had many worries. For example i have no basic knowledge of the japanese history, art, and of lacquer. But finally it turns out my worries are unnecessary. Prof. Hidaka and Prof. Trede gave us first a general view of lacquer, and then gradually went deep into the techniques, decorations, motifs, shapes, and the trade of lacquer wares. I think the courses provide all the students a chance to get something useful for their study and research, or not so with purpose, just find a new interest and a new horizon, which again is my personal experience. Ever if the students like me, who don’t know really much about Japan and art there, have learnt a lot.
This class stimulates my interes in techniques and modelling of artware(not just lacquer). Moreover Prof. Hidaka and Prof. Trede introduced us not only japanese Lacquer, but also the Lacquer wares from other part of the world. My major is Sinology. So all the information about chinese lacquer wares and the exchange between China and other countries is especially intructive for me. From the cultural and commercial trade between Japan and other countries, i also got a general view of the similar process in China. Moreover the method the two professors observe and analyse the art works and the trade is also pretty inspiring for me. What also interested me ist the field trip to the lacquer museum in Münster. The chance to look, touch and feel the lacquer wares is essential for all the art students.
After this class i have decided, that my research in future will be the techniques and modelling of Chinese artworks. Although i didn´t decide the specific aspect, the whole inspiration comes from this class (not exaggerated at all). I think this is the best reflect, how much and what i learned from this class.
Sun Meng, MA student, major: Chinese Studies, minor: East Asian Art History
Attending the course of a noted expert on the field, as Prof. Hidaka undoubtedly is, was an incredible oppurtunity for me to get a first hand, profound insight into the fascinating field of maki-e and transcultural lacquer objects. Her passion for her field of study, in her classes as well as during the field-trip to the "Museum fü rLackkunst" in Münster, was always perceptible and very inspiring.
It certainly motivated me to carry on the research in this special field."
Lena Schulten, MA student, major: European Art History, minor: East Asian Art History
Frankly speaking, I gained much knowledge from Prof. Hidaka.
First, About what is maki-e? Maki-e is Japanese lacquer sprinkled with gold or silver powder as a decoration. Maki-e uses pure gold powder to paint various objects. There are Takamakie and Hiramakie two types. Maki-e objects were initially designed as household items for court nobles; they soon gained more popularity and were adopted by royal families and military leaders as a symbol of power.
Second, I see many pictures about Namban Lacquer. The Namban style is export lacquer, which include items for liturgical application and Common items for daily use. Undoubtedly, Prof. Hidaka shows the images which illustrate Namban lacquer objects for liturgical are excellent. The objects are made of mother-of-pearl, So beautiful and so shining. The large Namban Round box with lid, which collected in Peabody Essex Museum leave me a deep memory. I wonder why the inside part was destroyed. What is it used for? For hat or collar or something hard? I wonder it is used for jewelry storage.
Third, the Korean mother-of-pearl inlay lacquer are totally different from Japanese. They use the technique of broken shell which is called wrigai. So the visual sense are totally different as well.
Fourth, Prof. Hidaka shows us abundant Japanese and Chinese export lacquer for European market. Japanese export lacquer is with maki-e decoration. Distinctly, Chinese export lacquer is with miaojin decoration. This differences between maki-e technique and miaojin technique are what I didn’t know before. Motifs in Japanese design include natural motifs,literary motifs, auspicious motifs and artificial motifs.
Another point, which I am concerned with is the lacquer boxes used in Japan and China have a lid that completely separates from the body of the box. However the boxes made for Western commissions had hinges connecting the lid and the body, and metal locks on their front. I think it is an interesting thing about the reason.
Thanks very much for Prof. Hidaka’s lecture which share export Japanese lacquer in a global context and domestic Japanese lacquer and Chinese lacquer. Many motifs on the lacquer, I have never seen before. I gained lots of knowledge.
Fan Xiaobing, PhD candidate, Chinese Art History
