Show Aesthetics in Hideaki Miyamura Ceramics جماليات الإظهار في خزفيات هيدياكي ميامورا

  • Diaa Hassan Mahmoud Department of Plastic Arts, College of Fine Arts, University of Babylon, Iraq.
  • Salah Mahdiun Hamza Master Student, Department of Plastic Arts, College of Fine Arts, University of Babylon, Iraq
Keywords: Hideaki Miramura, investment , experience


Formation plays a vital role in the creative and creative process, especially in the art of ceramics. This represents modern trends in the twentieth century, with artistic achievements that transcended traditional contexts, to new and strange horizons. In order to achieve the new structure or structures in ceramics by performing a new form of diversity according to the levels of the response of the potter to the scientific progress and the technological revolution and its investment, or in the expression of the loss of its changing and changing psychology, new and unique and strange, Or instinct.

Our current research reflects the reflection of contemporary Japanese ceramics in its general form, the experience of the masterpiece Hideaki Miramura and the references and techniques of the show in his ceramic works, which constituted a new opening towards a vision that contributed to the crystallization and reading of the intellectual transformations in contemporary ceramic art. Visual

The researcher identified the problem of his research with the following questions:

- What transformations have occurred in the formation of contemporary Japanese ceramics in general and the works of the Heidaki Meyer potter specifically?

The study aimed at revealing the aesthetics of the show in the ceramics of the artist Hideaki Mayamore.

And the discovery of the role of raw material and the experience of the Japanese potter and the transformations of the formation in contemporary Japanese ceramics.

 The boundaries of research were represented by spatial boundaries (Japan), while its temporal boundaries for the period 2017-2010 were within the substantive limits of the contemporary ceramic works produced and exhibited in that country, among others (art galleries, public collections, museums, Electronic, magazines, newspapers and the Japanese Embassy in Baghdad

The second chapter deals with three aspects. The researcher dealt with the first topic: The aesthetics of showing in ceramics. The second topic is based on Japanese contemporary ceramics. The third section includes the experience of the potter Heidikeki Miyamura. The references and techniques of showing in ceramic work. In the third chapter, the researcher discussed the research procedures, Search, sample and analyze. In the fourth chapter, the results of the research, and its conclusions, were the most important: Most of the Japanese ceramic products of Heidiki carried the composition of a universal feature, the aesthetic, the diversity of the material, an aesthetic feature of the modern composite ceramic works of the artist Heikki Mimar, coordination, harmony, contrast and gradation The study of colors is an aesthetic feature of many of the ceramic products of the Japanese potter Hayayaki. The color unit in some of these products, combining the environmental, natural and cultural factor with the geometrical factor, or framing the shape within a technical school system, is considered to be the first-class and distinctive aesthetic feature. The space interaction between the interior space of the composite ceramic work and its surrounding space It is an aesthetic characteristic of kinetic dynamics. The technical diversity in the formulation of the composite ceramic work enriches this achievement in form, size and texture, and is an innovative and aesthetic feature.Finally, there were recommendations, proposals, a list of Arab and foreign sources, and supplements containing summaries of the views of the research community and the summary in English.


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How to Cite
D. H. Mahmoud and S. M. Hamza, “Show Aesthetics in Hideaki Miyamura Ceramics جماليات الإظهار في خزفيات هيدياكي ميامورا ”, JUBH, vol. 27, no. 6, pp. 269 - 289, Dec. 2019.