Calendar 1977
Description
This 1977 calendar designed by Keisuke Serizawa is made up of twelve paper stencil prints packaged in a decorative cardboard folder with a stenciled label showing the year and Serizawa's "se" (せ) hexagonal seal. The stenciled prints and label pasted on the folder are done in Serizawa's katazome style perfected in the wake of WWII material shortages forcing him to look for alternatives to textiles to print his stencil dyed designs. Serizawa’s stencils were later named kataezome to reinforce the pictorial nature of his work. Serizawa must have taken delight each year in combining disparate design elements into a mass-produced cohesive calendar.
Folder containing the 12 prints
IHL Cat. #2648a
January 1977
IHL Cat. #2648b
February 1977
IHL Cat. #2648c
March 1977
IHL Cat. #2648d
April 1977
IHL Cat. #2648e
May 1977
IHL Cat. #2648f
June 1977
IHL Cat. #2648g
July 1977
IHL Cat. #2648h
August 1977
IHL Cat. #2648i
September 1977
IHL Cat. #2648j
October 1977
IHL Cat. #2648k
November 1977
IHL Cat. #2648l
December 1977
IHL Cat. #2648m
Calendar Details
Insert by Seibansha Craft Shop in Sapporo
芹沢銈介作品
A work by Keisuke Serizawa
Insert verso - a biography of Keisuke Serizawa sensei
(see translation and transcription)
芹沢銈介先生の作品
click on image to enlarge
Translation and Transcription of Insert
Keisuke Serizawa's Works
Serizawa-sensei graduated from the Department of Industrial Design at the former Kura-mae Higher Technical School, which is now part of Tokyo Institute of Technology. In 1928, he was deeply moved when he saw Okinawan bingata dyeing at the Folk Crafts Museum at the Peace Exhibition held in Ueno Park and decided to become a dyeing artist. Since then, he diligently studied traditional katazome (stencil dyeing) and other techniques both in Japan and Okinawa, mastering the essence of pattern design.
During his student days, he admired the works of Tomimoto Kenkichi [ceramic artist], Kishida Ryūsei [yōga-style painter], and Bernard Leach, and practiced sketching from nature. It is likely because of this that Serizawa-sensei's designs, while preserving old traditions, are also filled with a remarkably fresh sense of creativity.
Although many dyers can apply color to fabric, true pattern creators are surprisingly rare. Serizawa-sensei excelled at precise patterning and possessed abundant creativity. His approach to work was extremely rigorous, leaving no room for shortcuts or compromises. His pieces reflect not only his artistic skill but are imbued with a deep affection, delighting those who view them.
He was born in Meiji 28 (1895) in Shizuoka City.
In Showa 31 (1956), he was designated as an Important Intangible Cultural Property.*
*Serizawa received "individual recognition" for Individuals who embody a performing art designated as an Important Intangible Cultural Property at the highest level, or who are a master of a craft technique. "Intangible Cultural Properties" refers to stage arts, music, craft techniques, and other intangible cultural assets that possess high historic or artistic value for the country. Intangible Cultural Properties consist of human "technical artistry", embodied by individuals or groups of individuals who represent the highest mastery of the techniques concerned. [source: Agency for Cultural Affairs, Government of Japan https://www.bunka.go.jp/english/policy/cultural_properties/introduction/intangible/ [accessed 8-15-24]
芹沢銈介先生の作品
先生は、現在の東京工業大学の前身、蔵 前の高等工業学校図案科を卒業、昭和三年上野で開かれた平和博覧会内の民芸館で神縄の紅型をみて大いに感動して、染色作家になることを志したという。以来わが国内や沖縄に伝わる古来の型染その他の手法をみっちり学び、れこによつて図案づくりの真髄をつかんだ。また学生時代から富本憲吉、岸田劉生、バーナード・リーチなどの絵を好みつとめて野外に出て自然の写生をこころみた。先生の図案が古い伝統を守りながらも、非常に新鮮な感覚に溢れているのはこのためであると思う。
一般に絵のかける染色作家は多いが、真に模様をつくる人は意外に少い。先生は適確に模様ができ、しかも創造力が豊かで、仕事に対しては極めて厳格、どの作品を見ても手を抜いたり、ごまかしたところがな い。その作品には、先生の人柄も反映してか、深い愛情が流れており、これが見る者をたのしませてくれる。
明治二十八年静岡市に生る。
昭和三十一年重要無形文化財の指定を受く。