Tetsuro DEGAWA (Director, Osaka Municipal Museum of Oriental Ceramics)

夢中になれた基礎工時代 Engrossed by Engineering Science

大阪のリバーサイド、中之島。ここに日本、韓国、中国などアジアの陶磁を一堂に集め、展示する大阪市立東洋陶磁美術館がある。豊臣家ゆかりの油滴天目茶碗、鴻池家伝来の飛青磁花生という2点の国宝に加え、中国歴代の皇室専用の窯で制作された名品を楽しめる、世界的にも知られた美術館だ。館長を務める出川さんは、大阪大学の基礎工学部卒業。意外な経歴だといえるかもしれない。

The Museum of Oriental Ceramics, Osaka, which houses a collection of ceramics from Japan, Korea, China, and other parts of Asia, is located on Nakanoshima, part of Osaka’s riverside district. At this world-famous museum, visitors can enjoy famous pieces, including two national treasures (an oil-spotted ceramic piece tied to the Toyotomi family and tobisei-hanaike , a piece handed down in the Konoike family) and pieces made in furnaces specifically for the Chinese imperial house. Mr. Degawa, Director of the museum, is in fact a graduate of the School of Engineering Science at Osaka University, unexpected to say the least.

「なにしろ新しい学部だったので、自由な雰囲気にあふれていました。量子力学、物性物理学など、先生方の熱の入った講義は本当に楽しかったですね。理系の学科ですが、中国哲学の発想も進んで取り入れるような懐の深さがありました」

“The School of Engineering Science was new at the time, so it was brimming with an atmosphere of freedom. From quantum mechanics to condensed matter physics, the classes held by those passionate professors were always a lot of fun. My major was science-oriented, but the classes were quite broad-minded, even incorporating Chinese philosophy.”

ちょうどこの頃、同じ豊中キャンパスで、文学部に美学科を設立する準備が進んでいた。出川さんは授業の合間を縫って、美学、芸術学の講義を聴講しに行った。「数式を使って芸術を表そうとする『情報美学』の考え方が出てきた頃でした。物理学や数学の理論と芸術をつなぐ考え方が非常に衝撃的で、夢中になりましたね」と振り返る。

At the very same time, on the very same Toyonaka Campus, preparations were moving along to establish a Department of Art in the School of Letters. In between classes, Mr. Degawa would audit lectures in art and fine arts. “This was around the time that a way of thinking emerged known as ‘Information Aesthetic,’ in which one uses formulas to portray art. The idea of pairing physics and mathematical theories with art was extremely impactful. I was obsessed with the concept,” reminisced Mr. Degawa.

木村重信 、 ドナル ド・ キーン先生との出会い Meeting Shigenobu KIMURA and Donald Keene

芸術学のなかでも、木村重信先生の抽象美術論の講義が楽しくて仕方がなかった。「木村先生は本当に博学で、どこの国のどんな時代の芸術作品にも分け隔てなく興味や関心を持ってアプローチできる方。まず現物から芸術を考える人。ダイナミックでエネルギッシュな考え方の持ち主です」

Out of all of his courses in fine arts, the course by Professor Shigenobu KIMURA on abstract art was quite enjoyable. “Prof. Kimura was quite erudite and never played favorites in terms of country or period: he could approach anything with genuine interest. He thought about fine art from the pieces themselves. He had a dynamic and energetic way of thinking.”

美学への思いにかられ、とうとう文学部への転部を思い立つ。しかし木村先生から「いったん物理学を修めてから文学部においで」と言われ、基礎工学部を卒業。その後文学部美学科に学士入学し、大学院へと進んだ。美学の基礎は哲学。プラトンから始め、カント、ヘーゲル、ハイデッガーと、さまざまな思想家の美学、芸術論に触れた。量子力学に触れた時のように、多様な理論がどれも興味深く感じられたという。

Driven by his love for art, Mr. Degawa decided to transfer to the School of Letters. But Prof. Kimura told him, “Finish up your physics study and then enter,” so he graduated from the School of Engineering Science, after which he entered the School of Letters as a post-grad, making it all the way through the Graduate School of Letters. Philosophy forms the fundamentals of art, and Mr. Degawa studied art and fine art theories from various philosophers, such as Plato, Kant, Hegel, and Heidegger. Just like when he studied quantum physics, he says, he felt a deep interest in each of the various theories on art.

出川さんにとって大学時代から今も交流が続く恩師の一人に、ドナルド・キーン氏がいる。「先生は非常勤講師として毎週、飛行機に乗って教えに来ておられたのです。日本文学論を聴講しましたが、もうとびきり楽しかったですね。どんな時もユーモアを忘れない、本当にすてきな人で、その魅力は変わりません」

One mentor from his days as a university student, someone with whom he still keeps in touch today, is Donald Keene. “He used to hop on a plane each week to come and teach as a part-time lecturer. His lectures on Japanese Cultural Theory were so much fun. He was a really nice man with such a great sense of humor, something that has never changed.”

キーン氏は今も時折、お気に入りの韓国陶磁を鑑賞するために東洋陶磁美術館を訪れるそうだ。

Even now, Dr. Keene occasionally visits the museum to view his favorite Korean ceramics.

美は見る人の中に現れる Beauty is in the eye of the beholder

修士課程を修了し、西宮市の大谷記念美術館に勤めていたころ、「東洋陶磁美術館の採用試験を受けてみては？ 君にぴったりだよ」と、木村先生から声をかけられた。出川さんが学生時代から東洋の陶磁に興味を持っていることを、覚えていてくれたのだ。

After finishing his master’s degree and working at Otani Memorial Art Museum, Prof. Kimura approached Mr. Degawa and said, “Why not give the Museum of Oriental Ceramics a shot? It’d be perfect for you.” Prof. Kimura had remembered that Mr. Degawa was interested in East Asian ceramics since he was a student.

新しい職場では、伊藤郁太郎館長から多くのことを教わったが、特に心に残っているのは「一流のものを見なさい。そうすれば応用が利くよ」という言葉だ。「いつも良いものに触れていると、洋の東西を問わず、価値観の違いや様式の違いを超えて、ものを見る目が養われる」。学芸員に必要なものは知識だけではなく、豊かな芸術経験なのだと教わった。

At his new workplace, he learned a lot from then-Director Yutaro ITOH, but one thing in particular left an impression: “Always keep your eyes on the best. You can use that knowledge in your own work.” Mr. Degawa said, “If you always interact with high quality pieces, you’ll develop an eye for quality, regardless of place of origin, differences in values, or differences in styles.” He learned that both knowledge and experience are important for curators.

「学生時代は、作品の中にある『美そのもの』を追究し、理論的に表現しようと試みていました」。修士論文は、「抽象表現主義とゆらぎについて」。物理学の概念を美学に当てはめて考えるというユニークなテーマだった。

“When I was a student, I pursued ‘beauty itself’ in pieces of art, and attempted to theoretically express this beauty.” His master’s thesis was entitled “Abstract Expressionism and Fluctuations.” This was a unique topic that considered physics from an artistic perspective.

しかし、今は変わってきた。「『見る人の中に美がある』という思いが強まりました。来館される方に、自分の目で見てすばらしいと思った気持ちを大切にしてほしいのです。美術館は、そのような『見る人の気持ち』をサポートするところ。学術的な解説を伝える準備はきちんとしなくてはなりませんが、そのような情報はいったん後ろに置いて、作品そのものを見てもらうための環境を整えることがとても大切だと考えています」

However, things are different now. “The thought that ‘beauty is in the eye of the beholder’ has grown stronger. I want those who visit the museum to treasure the feelings they experience when looking at a piece of art with their own eyes. Art museums support the feelings of art observers. While we do need to be able to explain each piece academically, I think it’s also very important to set that information to the side to create an environment where people can view pieces as they are.”

ビジョンを定めつつ、柔軟に Decide on a vision and stay flexible

「回り道もあったけれど、無駄なことなんてひとつもなかった。いい出会いばかりだった」と出川さんは振り返る。基礎工学部でも、文学部でも、楽しいことばかり。どの先生も「自由に柔軟に何でもやってみろ」と背中を押してくれた。今の仕事も楽しくてしょうがない。

“I took the scenic route a few times, but nothing was ever wasted. I had nothing but positive encounters,” recalls Mr. Degawa. Be it in the School of Engineering Science or Letters, it was all enjoyable. All of his teachers supported him and said, “Do what you want, freely and flexibly.” His current work is just as enjoyable.

後輩たちにも、「ビジョンをしっかりもつことは大事だが、同時に好奇心と柔軟な発想を大切にしてほしい」と語る。「どんな道をたどっても、確かな目標があれば解決する道が見えてくる。安易に妥協しないで、柔らかな心で人生を謳歌してください」

To current students, he says, “Having a vision is important, but at the same time, cherish curiosity and flexible ideas.” He continued, “Whatever path you take, if you have a set goal, the path to achieving it will come into view. I want you to lead your lives with an open mind that never settles for less than your best.”

■ 大阪市立東洋陶磁美術館 The Museum of Oriental Ceramics, Osaka

中国・韓国の陶磁の収集では世界屈指の「安宅コレクション」を所有する住友グループが大阪市に寄贈。大阪市は1982年に美術館を設立。日本陶磁やペルシャ陶器も合わせ約4000点を収蔵。国宝2点、重要文化財13点を含む約400点の代表作が平常展、特別展を通じて紹介されている。最寄駅は、京阪中之島線「なにわ橋」地下鉄御堂筋線・京阪本線「淀屋橋」、地下鉄堺筋線・京阪本線「北浜」。

The Ataka Collection, a world-class collection of Chinese and Korean ceramics, was donated by the Sumitomo Group to Osaka City, which opened The Museum of Oriental Ceramics in 1982. The museum houses 4,000 works in Chinese, Korean, Japanese, and Persian ceramics. Some 400 masterpieces are on display in year-round and special exhibits, including 2 national treasures and 13 important cultural properties. Nearby stations to the museum include Naniwabashi Station on the Keihan Nakanoshima Line, Yodoyabashi Station on the Midosuji (Subway) and Keihan Main Lines, and Kitahama Station on the Sakaisuji (Subway) and Keihan Main Lines.