序文
こんにちは、英会話エスティームです！
私たちのスクールでは、単なる「英語学習」ではなく、世界標準の本物の英語力を目指しています。今回は、ケンブリッジ英検C2 Proficiency（CPE）という、英語母語話者レベルを証明する資格を持つ私が執筆したオリジナル英語ブログを紹介します。
テーマは、日本の伝統工芸「輪島塗」と、あるイギリス人女性との出会いです。日本の文化を世界に伝える視点を、ネイティブレベルの英語で体感してみてください！
この本文を執筆したのは能登大震災の起こるだいぶ前でした。輪島塗の工房は壊滅的な打撃を受けたようですが、復活に向けて前進しているようです。このような伝統文化が継承されることを真に願っています。
※本文はすべて英語で書かれています。後半に日本語訳もつけていますので、ぜひ併せてお楽しみください。
私たちのスクールでは、単なる「英語学習」ではなく、世界標準の本物の英語力を目指しています。今回は、ケンブリッジ英検C2 Proficiency（CPE）という、英語母語話者レベルを証明する資格を持つ私が執筆したオリジナル英語ブログを紹介します。
テーマは、日本の伝統工芸「輪島塗」と、あるイギリス人女性との出会いです。日本の文化を世界に伝える視点を、ネイティブレベルの英語で体感してみてください！
この本文を執筆したのは能登大震災の起こるだいぶ前でした。輪島塗の工房は壊滅的な打撃を受けたようですが、復活に向けて前進しているようです。このような伝統文化が継承されることを真に願っています。
※本文はすべて英語で書かれています。後半に日本語訳もつけていますので、ぜひ併せてお楽しみください。
The Timeless Art of Wajima Lacquerware
A British Woman Enchanted by the Artistry of Japanese Lacquerware
Nestled in the northern reaches of the Noto Peninsula, Wajima City, Ishikawa Prefecture, extends gracefully into the Sea of Japan. Renowned for its exquisite Wajima Lacquerware, this city stands as a beacon of traditional Japanese craftsmanship, distinguished as the only lacquer-producing region officially recognized by the government as an “Intangible Cultural Asset of Japan.”
The meticulous artistry of Wajima’s craftsmen yields a splendid array of lacquerware, each piece embodying solid elegance and intricate beauty. Among the myriad steps in the creation of these masterpieces, the application of lacquer stands paramount, encompassing an astonishing 124 stages. The quality and allure of Wajima Lacquerware rest heavily upon the skilled hands of its artisans, whose expertise has been meticulously honed and passed down through generations.
Central to the profound aesthetic of Wajima Lacquerware is urushi—the sap of the Japanese urushi tree. With the extraction of its precious sap representing a laborious endeavor, this natural resource is not only rare but also bears a considerable cost, contributing to the overall allure and value of the lacquerware it produces.
Immersed in the rich tapestry of urushi lacquerware, Suzanne Ross, an artist from England, has resided in Wajima for over fifteen years, engaging deeply with this ancient craft. Her journey is a radiant illustration of the profound connection between culture and creation, explored vividly by The Real Japan as it chronicles her odyssey through the world of Wajima Lacquerware.
From London to Wajima
Suzanne’s artistic inclinations can be traced to the influences of her lineage—her grandmother, a fashion designer, and her mother, a hair stylist. With a resolute heart, she pursued her passion for art and design after graduating from high school, never wavering in her intentions.
Her enchantment with urushi lacquerware ignited in 1982 during her tenure as an art student at the Royal Academy of Arts in London. There, she encountered an exhibition dedicated to Japanese art, where an inkstone case and a folding screen from the Edo period cast a spell on her—a moment she describes as love at first sight. The lacquered surface, adorned with meticulous ornamentation, evoked a profound sense of the universe's vastness, drawing her into its intricate depths.
Determined to immerse herself in Japanese lacquerware, Suzanne envisioned her journey to Japan just two years later. Yet, she embarked on this adventure with nary a word of Japanese in her lexical arsenal, initially naively believing that mastering the techniques of urushi would be a mere three-month endeavor. Upon arrival, she found herself astonished by the complexity and depth of the craft.
To sustain herself financially, Ross took on the role of an English teacher in Nagano Prefecture, home to Kiso lacquerware. For three years, she not only honed her teaching skills but also traversed various lacquer-producing regions in Japan, gradually uncovering Wajima’s reputation as the zenith of lacquer artistry.
Eager to delve deeper into her passion, Ross reached out to multiple lacquer workshops in Wajima, only to discover that they lacked openings for apprentices. Yet, fortune smiled upon her when she secured a position at the Academy of Wajima Lacquerware Art, a government-supported institution dedicated to preserving the mastery of this art form. Overflowing with excitement, she applied for the academy, ready to embark on her foundational journey into this exquisite craftsmanship.
Upon her brief return to London before embarking on her journey to the academy, an unforeseen twist awaited her. In the midst of her preparations, she found herself enamored with an Englishman she had known for some time. This burgeoning relationship necessitated a postponement of her entrance to the academy. Though she cherished their connection deeply, she understood that severing ties with her odyssey into the world of urushi was an impossibility. A year later, she confronted her beloved with a heart-wrenching ultimatum: to accompany her to Wajima or to part ways. To her immense relief, he chose the former.
The entrance to the academy marked the beginning of a formidable ordeal. Ross was confronted with two major obstacles: the daunting language barrier and the deeply entrenched Japanese tradition of apprenticeship, where skills are not merely taught but rather absorbed through keen observation of masters. "Some teachers wouldn’t offer me any guidance, instructing me instead to remain silent and simply watch them," she recounted, reflecting on the profound culture shock she experienced. "I found it disgraceful and could not comprehend why I was treated in such a manner."
Yet, her unwavering passion stirred some of the teachers, who graciously took the time to respond to her inquiries in halting English. For Ross, it mattered not whether she was addressed by an advanced-level instructor or a living national treasure. "I am particularly grateful to Oba-sensei, designated as a living national treasure, for his generous assistance. Had I not met him, I might have returned to London. His encouragement to persevere with my work was invaluable. When I received my graduation diploma, his warm words regarding my graduation project moved me deeply—I will never forget that moment."
However, her individualistic approach, lacking a full understanding of Japanese customs that emphasize hierarchy and group harmony, led to a significant incident. Ross designed a graduation piece in the form of “hakomono”—a decorative box with a door. When the academy declined her request for finishing carpentry due to excessive costs, she defiantly sought help from a teacher outside the institution without prior consultation. This decision resulted in an unfortunate debacle, as it was deemed inappropriate to bypass academy protocols. Nonetheless, despite the ensuing uproar, she tenaciously stood by her vision and successfully completed her work, which remains proudly displayed at the academy.
With the foundation course completed, she advanced to the Makie Course to master one of the most cherished techniques for applying ornamental designs to lacquered surfaces. Just as she concluded five years of rigorous study, her daughter was born. The subsequent decade saw her devoted to nurturing her child while simultaneously evolving into an independent artist, forging her own path in the art of urushi.
A Passion for Urushi
Ross embarks on a journey to preserve the ancient art of lacquerware, skillfully intertwining time-honored techniques with the finest materials, all while embracing the wisdom imparted by master craftsmen. Yet, this pursuit transcends mere preservation; it navigates the delicate balance between profound respect for tradition and the exhilarating innovation that pushes the boundaries of the conventional. This harmonious duality is vividly illustrated in her art, as seen in a bowl adorned with delicate French lace and a plate blossoming with European florals.
Her fervor for urushi often ignites impassioned critiques of the conservative realm of Wajima lacquerware. “Artists of Wajima should cast their gaze beyond familiar shores,” she contends, urging them to glean insights from European artistry and to weave these fine elements into the fabric of contemporary lacquerware. “To entice future generations, we must evolve; repetition does not captivate the heart. I firmly believe that the beauty of urushi deserves to be shared with the world.”
However, she is quick to clarify the creative boundaries; the marriage of east and west cannot extend to crafting wine glasses from urushi. “An appreciation for wine culture reveals the futility in concealing what one ought to see within,” she notes. “To truly flourish internationally, one must engage in thorough market research.” Her aspiration is to serve as a bridge that connects insular Japanese artisans with a world unacquainted with urushi’s rich heritage.
Yet, Ross laments that many in Japan perceive urushi as a luxury, too precious to grace daily life. “Lacquerware is not meant to languish on shelves; it flourishes in the hands of its users. With each use, these pieces grow in luster and beauty. Neglect may invite cracking, but with proper care, they can endure, revealing their splendor for generations, lasting even a century. Thus, in the grand tapestry of time, urushi is not an expense, but an investment. I yearn for my works to find a home with those who cherish them in daily ritual.”
Her Daily Life
Nestled along the serene banks of the Wajima River, Ross resides in a quaint farm village of a mere 100 inhabitants, a mere ten minutes from the town center. Amidst her flourishing garden of potatoes, cucumbers, tomatoes, carrots, eggplants, and pumpkins, she bakes bread with her own hands. Though her home feels isolated—her nearest neighbor a brief stroll away—she embraced its rustic charm when seeking more space for her blossoming family. “When I arrived, this once-deserted house stood without access to water, electricity, or gas. Life was a challenge at first, yet my husband devotedly nurtured our dwelling into a sanctuary. In Europe, the preservation of heritage is a way of life,” she reflects.
Having immersed herself in the intricate art of Makie and established her own workshop, the esteemed “Ross Studio,” her odyssey with urushi seems an endless exploration of beauty and complexity. “Urushi is a profound universe unto itself. I have dedicated half of my life to this craft. The journey is painstaking and exhilarating. When I first set foot in Japan, I naively assumed my stay would last only three or six months. Yet here I am, nearly 22 years later. Isn’t that remarkable?”
Suzanne Ross’s journey is more than the story of one artist’s devotion to a craft; it is a testament to the bridges that art can build between cultures. Rooted deeply in the traditions of Wajima and blossoming with the fresh perspectives of her European heritage, Ross’s work embodies the timeless dialogue between past and future, East and West. Through her life and art, she not only preserves the intricate legacy of urushi but also breathes into it new possibilities for generations to come. Her story reminds us that true artistry knows no borders—it flourishes wherever passion, respect, and imagination are given room to grow.
Nestled in the northern reaches of the Noto Peninsula, Wajima City, Ishikawa Prefecture, extends gracefully into the Sea of Japan. Renowned for its exquisite Wajima Lacquerware, this city stands as a beacon of traditional Japanese craftsmanship, distinguished as the only lacquer-producing region officially recognized by the government as an “Intangible Cultural Asset of Japan.”
The meticulous artistry of Wajima’s craftsmen yields a splendid array of lacquerware, each piece embodying solid elegance and intricate beauty. Among the myriad steps in the creation of these masterpieces, the application of lacquer stands paramount, encompassing an astonishing 124 stages. The quality and allure of Wajima Lacquerware rest heavily upon the skilled hands of its artisans, whose expertise has been meticulously honed and passed down through generations.
Central to the profound aesthetic of Wajima Lacquerware is urushi—the sap of the Japanese urushi tree. With the extraction of its precious sap representing a laborious endeavor, this natural resource is not only rare but also bears a considerable cost, contributing to the overall allure and value of the lacquerware it produces.
Immersed in the rich tapestry of urushi lacquerware, Suzanne Ross, an artist from England, has resided in Wajima for over fifteen years, engaging deeply with this ancient craft. Her journey is a radiant illustration of the profound connection between culture and creation, explored vividly by The Real Japan as it chronicles her odyssey through the world of Wajima Lacquerware.
From London to Wajima
Suzanne’s artistic inclinations can be traced to the influences of her lineage—her grandmother, a fashion designer, and her mother, a hair stylist. With a resolute heart, she pursued her passion for art and design after graduating from high school, never wavering in her intentions.
Her enchantment with urushi lacquerware ignited in 1982 during her tenure as an art student at the Royal Academy of Arts in London. There, she encountered an exhibition dedicated to Japanese art, where an inkstone case and a folding screen from the Edo period cast a spell on her—a moment she describes as love at first sight. The lacquered surface, adorned with meticulous ornamentation, evoked a profound sense of the universe's vastness, drawing her into its intricate depths.
Determined to immerse herself in Japanese lacquerware, Suzanne envisioned her journey to Japan just two years later. Yet, she embarked on this adventure with nary a word of Japanese in her lexical arsenal, initially naively believing that mastering the techniques of urushi would be a mere three-month endeavor. Upon arrival, she found herself astonished by the complexity and depth of the craft.
To sustain herself financially, Ross took on the role of an English teacher in Nagano Prefecture, home to Kiso lacquerware. For three years, she not only honed her teaching skills but also traversed various lacquer-producing regions in Japan, gradually uncovering Wajima’s reputation as the zenith of lacquer artistry.
Eager to delve deeper into her passion, Ross reached out to multiple lacquer workshops in Wajima, only to discover that they lacked openings for apprentices. Yet, fortune smiled upon her when she secured a position at the Academy of Wajima Lacquerware Art, a government-supported institution dedicated to preserving the mastery of this art form. Overflowing with excitement, she applied for the academy, ready to embark on her foundational journey into this exquisite craftsmanship.
Upon her brief return to London before embarking on her journey to the academy, an unforeseen twist awaited her. In the midst of her preparations, she found herself enamored with an Englishman she had known for some time. This burgeoning relationship necessitated a postponement of her entrance to the academy. Though she cherished their connection deeply, she understood that severing ties with her odyssey into the world of urushi was an impossibility. A year later, she confronted her beloved with a heart-wrenching ultimatum: to accompany her to Wajima or to part ways. To her immense relief, he chose the former.
The entrance to the academy marked the beginning of a formidable ordeal. Ross was confronted with two major obstacles: the daunting language barrier and the deeply entrenched Japanese tradition of apprenticeship, where skills are not merely taught but rather absorbed through keen observation of masters. "Some teachers wouldn’t offer me any guidance, instructing me instead to remain silent and simply watch them," she recounted, reflecting on the profound culture shock she experienced. "I found it disgraceful and could not comprehend why I was treated in such a manner."
Yet, her unwavering passion stirred some of the teachers, who graciously took the time to respond to her inquiries in halting English. For Ross, it mattered not whether she was addressed by an advanced-level instructor or a living national treasure. "I am particularly grateful to Oba-sensei, designated as a living national treasure, for his generous assistance. Had I not met him, I might have returned to London. His encouragement to persevere with my work was invaluable. When I received my graduation diploma, his warm words regarding my graduation project moved me deeply—I will never forget that moment."
However, her individualistic approach, lacking a full understanding of Japanese customs that emphasize hierarchy and group harmony, led to a significant incident. Ross designed a graduation piece in the form of “hakomono”—a decorative box with a door. When the academy declined her request for finishing carpentry due to excessive costs, she defiantly sought help from a teacher outside the institution without prior consultation. This decision resulted in an unfortunate debacle, as it was deemed inappropriate to bypass academy protocols. Nonetheless, despite the ensuing uproar, she tenaciously stood by her vision and successfully completed her work, which remains proudly displayed at the academy.
With the foundation course completed, she advanced to the Makie Course to master one of the most cherished techniques for applying ornamental designs to lacquered surfaces. Just as she concluded five years of rigorous study, her daughter was born. The subsequent decade saw her devoted to nurturing her child while simultaneously evolving into an independent artist, forging her own path in the art of urushi.
A Passion for Urushi
Ross embarks on a journey to preserve the ancient art of lacquerware, skillfully intertwining time-honored techniques with the finest materials, all while embracing the wisdom imparted by master craftsmen. Yet, this pursuit transcends mere preservation; it navigates the delicate balance between profound respect for tradition and the exhilarating innovation that pushes the boundaries of the conventional. This harmonious duality is vividly illustrated in her art, as seen in a bowl adorned with delicate French lace and a plate blossoming with European florals.
Her fervor for urushi often ignites impassioned critiques of the conservative realm of Wajima lacquerware. “Artists of Wajima should cast their gaze beyond familiar shores,” she contends, urging them to glean insights from European artistry and to weave these fine elements into the fabric of contemporary lacquerware. “To entice future generations, we must evolve; repetition does not captivate the heart. I firmly believe that the beauty of urushi deserves to be shared with the world.”
However, she is quick to clarify the creative boundaries; the marriage of east and west cannot extend to crafting wine glasses from urushi. “An appreciation for wine culture reveals the futility in concealing what one ought to see within,” she notes. “To truly flourish internationally, one must engage in thorough market research.” Her aspiration is to serve as a bridge that connects insular Japanese artisans with a world unacquainted with urushi’s rich heritage.
Yet, Ross laments that many in Japan perceive urushi as a luxury, too precious to grace daily life. “Lacquerware is not meant to languish on shelves; it flourishes in the hands of its users. With each use, these pieces grow in luster and beauty. Neglect may invite cracking, but with proper care, they can endure, revealing their splendor for generations, lasting even a century. Thus, in the grand tapestry of time, urushi is not an expense, but an investment. I yearn for my works to find a home with those who cherish them in daily ritual.”
Her Daily Life
Nestled along the serene banks of the Wajima River, Ross resides in a quaint farm village of a mere 100 inhabitants, a mere ten minutes from the town center. Amidst her flourishing garden of potatoes, cucumbers, tomatoes, carrots, eggplants, and pumpkins, she bakes bread with her own hands. Though her home feels isolated—her nearest neighbor a brief stroll away—she embraced its rustic charm when seeking more space for her blossoming family. “When I arrived, this once-deserted house stood without access to water, electricity, or gas. Life was a challenge at first, yet my husband devotedly nurtured our dwelling into a sanctuary. In Europe, the preservation of heritage is a way of life,” she reflects.
Having immersed herself in the intricate art of Makie and established her own workshop, the esteemed “Ross Studio,” her odyssey with urushi seems an endless exploration of beauty and complexity. “Urushi is a profound universe unto itself. I have dedicated half of my life to this craft. The journey is painstaking and exhilarating. When I first set foot in Japan, I naively assumed my stay would last only three or six months. Yet here I am, nearly 22 years later. Isn’t that remarkable?”
Suzanne Ross’s journey is more than the story of one artist’s devotion to a craft; it is a testament to the bridges that art can build between cultures. Rooted deeply in the traditions of Wajima and blossoming with the fresh perspectives of her European heritage, Ross’s work embodies the timeless dialogue between past and future, East and West. Through her life and art, she not only preserves the intricate legacy of urushi but also breathes into it new possibilities for generations to come. Her story reminds us that true artistry knows no borders—it flourishes wherever passion, respect, and imagination are given room to grow.
はじめに
世界には、その文化の核心を映し出す伝統工芸が数多く存在します。
日本において、輪島塗はその精神を体現する代表格のひとつです。
美しさと忍耐、そして世代を超えて受け継がれた知恵が、一筆一筆に重ねられていくこの芸術。
本記事では、輪島塗に魅せられ、人生をかけてその深淵なる世界を極めたイギリス人アーティスト、スザンヌ・ロス氏の軌跡をたどります。
日本において、輪島塗はその精神を体現する代表格のひとつです。
美しさと忍耐、そして世代を超えて受け継がれた知恵が、一筆一筆に重ねられていくこの芸術。
本記事では、輪島塗に魅せられ、人生をかけてその深淵なる世界を極めたイギリス人アーティスト、スザンヌ・ロス氏の軌跡をたどります。
輪島塗という時を超えた芸術ー日本の漆芸に魅了されたイギリス女性
能登半島北部、石川県輪島市。
日本海に面したこの地は、「輪島塗」という卓越した伝統工芸で知られています。
輪島塗は、国からも正式に「重要無形文化財」として認定されている、日本唯一の漆器産地です。
輪島の職人たちの手から生み出される漆器は、堅牢さと精緻な美を兼ね備えています。
その制作工程は、実に124もの工程から成り、職人たちが代々培ってきた卓越した技術があってこそ成り立つものです。
この漆器の核心となるのが、「漆の樹液」であるうるし。
うるしの採取は極めて手間がかかり、希少性と高価さゆえに、輪島塗の価値をさらに高めています。
そんな伝統と技術の結晶である輪島塗の世界に、イギリスから飛び込んだのが、アーティストのスザンヌ・ロス氏でした。
彼女は15年以上にわたり輪島に暮らし、漆芸に深く関わり続けています。
日本海に面したこの地は、「輪島塗」という卓越した伝統工芸で知られています。
輪島塗は、国からも正式に「重要無形文化財」として認定されている、日本唯一の漆器産地です。
輪島の職人たちの手から生み出される漆器は、堅牢さと精緻な美を兼ね備えています。
その制作工程は、実に124もの工程から成り、職人たちが代々培ってきた卓越した技術があってこそ成り立つものです。
この漆器の核心となるのが、「漆の樹液」であるうるし。
うるしの採取は極めて手間がかかり、希少性と高価さゆえに、輪島塗の価値をさらに高めています。
そんな伝統と技術の結晶である輪島塗の世界に、イギリスから飛び込んだのが、アーティストのスザンヌ・ロス氏でした。
彼女は15年以上にわたり輪島に暮らし、漆芸に深く関わり続けています。
ロンドンから輪島へ
スザンヌ氏の芸術への情熱は、ファッションデザイナーの祖母と美容師の母親の影響を受けて育まれました。
高校卒業後、彼女は迷うことなくアートとデザインの道を志しました。
彼女が漆器に出会ったのは、1982年、ロンドンの王立芸術学院在学中。
日本美術の展覧会で見た江戸時代の硯箱と屏風に一目惚れしたのです。
その漆塗りの輝きと緻密な装飾に、宇宙の広がりを感じたといいます。
その出会いから2年後、言葉も知らないまま日本行きを決意。
漆の技法は3か月もあれば習得できると思っていたものの、到着してすぐにその奥深さに圧倒されました。
長野県で英語教師として生計を立てながら、各地の漆器産地を訪問。
やがて輪島が「漆芸の頂点」と称されていることを知ります。
輪島にある多くの工房に弟子入りを志願したものの、断られる日々。
しかしついに、輪島漆芸美術工芸研修所という公的機関で学べる機会を得たのです。
入学直前、イギリスで交際していた男性と離れがたくなり、進路を迷いましたが、最終的に彼も同行する道を選び、彼女の挑戦は続きました。
高校卒業後、彼女は迷うことなくアートとデザインの道を志しました。
彼女が漆器に出会ったのは、1982年、ロンドンの王立芸術学院在学中。
日本美術の展覧会で見た江戸時代の硯箱と屏風に一目惚れしたのです。
その漆塗りの輝きと緻密な装飾に、宇宙の広がりを感じたといいます。
その出会いから2年後、言葉も知らないまま日本行きを決意。
漆の技法は3か月もあれば習得できると思っていたものの、到着してすぐにその奥深さに圧倒されました。
長野県で英語教師として生計を立てながら、各地の漆器産地を訪問。
やがて輪島が「漆芸の頂点」と称されていることを知ります。
輪島にある多くの工房に弟子入りを志願したものの、断られる日々。
しかしついに、輪島漆芸美術工芸研修所という公的機関で学べる機会を得たのです。
入学直前、イギリスで交際していた男性と離れがたくなり、進路を迷いましたが、最終的に彼も同行する道を選び、彼女の挑戦は続きました。
挫折と挑戦のなかで
輪島では言葉の壁に加え、日本独特の徒弟制度という文化に直面しました。
「黙って見て覚えろ」という教育スタイルにショックを受け、何度も心が折れそうになったといいます。
しかし、情熱に打たれた一部の師匠たちが、つたない英語ながらも彼女に教えを授けてくれました。
中でも人間国宝・大場先生との出会いは、彼女にとってかけがえのない支えとなりました。
卒業制作では、制作費問題から独断で外部の師匠に協力を依頼してしまい、波紋を呼びました。
それでも信念を貫き、見事に卒業作品を完成させ、学校に展示されています。
基礎課程を修了後、加飾技法「蒔絵」コースに進学。
5年間の厳しい修業を終えると同時に、第一子を出産し、母としての道も歩み始めました。
「黙って見て覚えろ」という教育スタイルにショックを受け、何度も心が折れそうになったといいます。
しかし、情熱に打たれた一部の師匠たちが、つたない英語ながらも彼女に教えを授けてくれました。
中でも人間国宝・大場先生との出会いは、彼女にとってかけがえのない支えとなりました。
卒業制作では、制作費問題から独断で外部の師匠に協力を依頼してしまい、波紋を呼びました。
それでも信念を貫き、見事に卒業作品を完成させ、学校に展示されています。
基礎課程を修了後、加飾技法「蒔絵」コースに進学。
5年間の厳しい修業を終えると同時に、第一子を出産し、母としての道も歩み始めました。
漆への情熱
スザンヌ氏は、伝統技術を忠実に守りながらも、そこに独自の現代的な感性を加えています。
フランスレースを施した器や、ヨーロッパの花々を描いた皿など、東西文化を融合させた作品が特徴です。
「輪島の漆器職人も、もっと世界に目を向けるべきだと思う。」
彼女はそう語り、変化の重要性を訴えています。
ただし、伝統を無視した革新では意味がないとも強調します。
「漆でワイングラスを作っても意味がない。
文化や市場の理解があってこそ、世界で成功できる。」
漆器を日常使いから遠ざける日本人の感覚にも疑問を抱いています。
「漆器は使うことで輝きを増すもの。壊れることを恐れて飾っておくだけでは、漆本来の美しさを味わえません。」
フランスレースを施した器や、ヨーロッパの花々を描いた皿など、東西文化を融合させた作品が特徴です。
「輪島の漆器職人も、もっと世界に目を向けるべきだと思う。」
彼女はそう語り、変化の重要性を訴えています。
ただし、伝統を無視した革新では意味がないとも強調します。
「漆でワイングラスを作っても意味がない。
文化や市場の理解があってこそ、世界で成功できる。」
漆器を日常使いから遠ざける日本人の感覚にも疑問を抱いています。
「漆器は使うことで輝きを増すもの。壊れることを恐れて飾っておくだけでは、漆本来の美しさを味わえません。」
日々の暮らし
輪島川沿い、人口わずか100人の小さな農村に暮らすスザンヌ氏。
庭ではジャガイモやナス、トマト、カボチャを育て、自家製のパンを焼く生活を送っています。
元は水も電気もガスも通っていなかった古民家を、夫と共に蘇らせたのです。
「ヨーロッパでは、古いものを大切にする文化があります。」
と彼女は語ります。
自身の工房「ロス・スタジオ」も構え、漆芸家として独自の道を切り拓き続けています。
「漆は一つの宇宙のよう。
私は人生の半分をこの世界に捧げました。
最初は3か月だけのつもりだったのに、もう22年。
本当に不思議な縁だと思います。」
庭ではジャガイモやナス、トマト、カボチャを育て、自家製のパンを焼く生活を送っています。
元は水も電気もガスも通っていなかった古民家を、夫と共に蘇らせたのです。
「ヨーロッパでは、古いものを大切にする文化があります。」
と彼女は語ります。
自身の工房「ロス・スタジオ」も構え、漆芸家として独自の道を切り拓き続けています。
「漆は一つの宇宙のよう。
私は人生の半分をこの世界に捧げました。
最初は3か月だけのつもりだったのに、もう22年。
本当に不思議な縁だと思います。」
おわりに
スザンヌ・ロス氏の物語は、単なるアーティストの歩みではありません。
文化と文化を結びつける、芸術の持つ力を示す証です。
輪島の伝統を深く尊重しながらも、ヨーロッパの感性で新たな風を吹き込む彼女の作品は、
過去と未来、東洋と西洋をつなぐ時代を超えた対話そのものです。
彼女の生き方と芸術は、これからも漆の美を未来へと受け継ぎ、広げていくことでしょう。
真の芸術は、国境を超えて輝き続ける。
文化と文化を結びつける、芸術の持つ力を示す証です。
輪島の伝統を深く尊重しながらも、ヨーロッパの感性で新たな風を吹き込む彼女の作品は、
過去と未来、東洋と西洋をつなぐ時代を超えた対話そのものです。
彼女の生き方と芸術は、これからも漆の美を未来へと受け継ぎ、広げていくことでしょう。
真の芸術は、国境を超えて輝き続ける。