あおもり藍工房見学ツアー
Tour of Aomori Ai (Indigo) Workshop

  • 日本語
  • ENGLISH

青森では、江戸時代に北前船によって徳島の藍がもたらされるようになり、藍染めが行われるようになりました。しかし明治に入ると藍産業は一度衰退。現在、休耕田を活用して無農薬で再び藍を育てる取り組みが行われています。今回は2004年に設立された「あおもり藍工房」(道の駅なみおか内)を見学(所要時間1時間程度)し、「すくも」とは異なる寒冷地ならではの独自の染織技法を学びます。希望者は藍染め体験(所要時間2時間程度)も
行うことができます。
日時|2023年4月16日(日) 12:30-14:30(見学のみ、工房には13:00-14:00頃滞在)、12:30-16:30(藍染め体験込み、工房には13:00-15:30頃滞在)
集合|展示棟ラウンジ
定員|5名
協力|あおもり藍工房
※要予約(申込締切:4月10日(月))、無料(藍染め体験は有料です。詳細はお申込時にお知らせします)

  • 福本 繁樹
    FUKUMOTO Shigeki

    1946年滋賀県生まれ、京都市育ち。京都市立美術大学(現・京都市立芸術大学)西洋画科で学ぶ。89年まで家業の和装染色業に従事。京都市立美術大学ニューギニア美術調査隊に参加するなど、69―90年にかけて南太平洋美術を探査し、著作にも注力する。76年『メラネシアの美術』(求龍堂)の出版以降、染色家として作品発表を本格化させ、国内の絵画展や工芸展、80年代後半からスイス、ポーランド、インドネシア、中国、韓国などの国際展に参加するなど、現代美術やファイバーアートの領域で活動。京都を拠点に、「染め」が日本固有の文化であることを論証・実践し、染色・工芸論講義や民族藝術学会での研究活動にも取り組む。近年は「する」から「なる」へ、自然の理や現象にまかせた「なるほど染め」を考案。「日本の美」を伝えてきた、35年にわたる活動の軌跡を集約した作品集『愚のごとく、然りげなく、生るほどに』(淡交社)を2017年に刊行した。

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  • 福本 潮子
    FUKUMOTO Shihoko

    1945年静岡県清水市生まれ。68年京都市立美術大学(現・京都市立芸術大学)西洋画科卒業。ニューギニアの民族美術の学術調査に携わったことを機に、自らのアイデンティティを問いなおし、二代目龍村平蔵のもとで京都の染織文化を学ぶ。そのなかで藍に出会い作品制作を開始。日本の伝統と独自技法を組み合わせた藍染め作品を、80年代より欧米各地の国際展や個展で発表する機会を得て、国際的に評価を受けている。近年では、手績みの業が凝縮された希少な自然布に着目。時代とともに失われてゆく日本の手仕事にみられる風土や気質を再認識し、それを自らの作品に活かす制作を試みている。2015年、最初期からの活動の集大成として『福本潮子作品集 藍の青』を刊行(赤々舎、第50回造本装幀コンクール「出版文化国際交流会賞」受賞)。近年の個展「福本潮子展 藍の青 2021」(高島屋美術画廊やARTCOURT Gallery)などを通じ、古布の作品シリーズの新たな展開を見せている。

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In Aomori, indigo from Tokushima was brought by the Kitamaebune during the Edo period, and indigo dyeing began to be practiced. However, the indigo industry declined once in the Meiji era. Currently, efforts are underway to utilize fallow rice paddies to once again grow indigo without agricultural chemicals. This time, visitors will tour the “Aomori Ai Workshop” (located in Roadside Station Namioka), established in 2004, and learn the unique dyeing technique characteristic of cold climates, which is different from “sukumo” (about an hour). Those who want can also experience indigo dyeing (about 2 hours).
Date|Sunday, April 16, 2023 12:30-14:30 (visit only, stay at the workshop from 13:00 to 14:00), 12:30-16:30 (including indigo dyeing experience, stay at the workshop from 13:00 to 15:30)
Venue|Meet at the lounge, Exhibition Hall
Capacity|5 people
Cooperation|Aomori Ai Workshop
*Reservations required (deadline: Monday, April 10), free of charge (Indigo dyeing experience is charged. Details will be provided at the time of reservation.)

  • FUKUMOTO Shigeki

    Fukumoto Shigeki was born 1946 in Shiga Prefecture and grew up in Kyoto. He studied Western painting at Kyoto City University of Arts and worked in the family kimono dyeing business until 1989. Having joined the Kyoto City University of Arts New Guinea art research expedition as a student, between 1969 and 1990 he continued investigations of South Pacific art while also devoting himself to publication in the field. Having published Melanesian Art (Kyuryudo, 1976), he began in earnest to exhibit his work as a dye artist, participating in national painting and craft exhibitions and from the late 1980s he has been active in the fields of contemporary art and fiber art, participating in international exhibitions in Switzerland, Poland, Indonesia, China, Korea and elsewhere. Based in Kyoto, he has argued that the culture of ‘somé (Japanese dyeing)’, which he puts into practice, is unique to Japan. He is also involved in lectures on dyeing and crafts theory, together with research activities at the Society of Ethno-Artists. In recent years, he has shifted from the principle of ‘suru (doing)’ to ‘naru (becoming)’ and invented ‘naruhodo-zomé‘, a dyeing method that relinquishes control to natural principles and phenomena. In 2017, he published a collection of his writing, titled in English To Dye, Perchance to Dream (Tankosha), which brings together the trajectory of his activities over 35 years of conveying the ‘beauty of Japan’.

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  • FUKUMOTO Shihoko

    Born 1945 in Shimizu City, Shizuoka Prefecture, Fukumoto Shihoko graduated from Kyoto City University of Arts in 1968 with a degree in Western painting. After engaging in academic research on ethnic art in New Guinea, she began to consider the question of her own identity, studying the dyeing and weaving culture that flourished in Kyoto under TATSUMURA Heizo II. In the process, she encountered indigo and began producing her own works. Since the 1980s, she has had a number of opportunities to exhibit her indigo dye works, which combine Japanese tradition and her own techniques, at international and solo exhibitions in Europe and the USA, and has received international acclaim. In recent years, she has focused her attention on rare natural fabrics which are a condensed product of the handspun industry. She has gained a renewed appreciation of natural environment and human temperament reveled in Japan’s old and rapidly disappearing handicraft tradition, and attempts to bring this to life in her own work. In 2015, as a compilation of her activities since the beginning of her career, she published Fukumoto Shihoko: Japan Blue (Akaakasha), which was awarded the Publication Culture International Exchange Society Prize at the 50th Japan Book Design Awards. Her recent solo exhibition “Fukumoto Shihoko Exhibition: Ai no Ao (Japan Blue) 2021″ (Takashimaya Art Gallery and ARTCOURT Gallery), has revealed new developments in her series of works using old cloth.

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