"About the Charm of Karatsu Ware"

The appeal of pottery lies not only in its form, but also in the quality of the clay and the firing process. Especially in the case of Karatsu ware, the quality of the clay and the firing process determine the beauty of the work. It was Kazuo Yagi of the "Sodeisha" group, who sought pure form in pottery, who dismissed this quality of pottery as an "instinctive charm." Also, Shoji Hamada wrote in his book "Mujinzō" that "quality is in the parts, while feeling is in the whole. Those who speak of quality, even if their perspective is meticulous, are somehow trapped by the object. Those who view with feeling are detached and confront it from their own perspective." This is perfectly natural from the perspective of the flow of art movements, and until very recently, I myself thought so. However, when I considered the root of the Japanese sensibility, I began to question this way of thinking.

China is a land of stone. Jade, copperware, and porcelain are all originally minerals. There is a philosophy of stone there, but there is no method for cultivating stone. However, Japan is a land of soil. Since the Jomon period, Japan has built a relationship of coexistence and mutual prosperity with nature, and later cultivated satoyama (rural landscapes) and satoumi (coastal landscapes). For the Japanese, nature is not something to be rejected but something to be accepted, and that is why a culture rich in nature was born. Without such a cultural foundation, the idea of "cultivating soil" and the sensibility of "earthy flavor and fired flavor" would not have been born. When you think about it this way, I believe that "earthy flavor and fired flavor" are important things that relate to the essence of the Japanese people.

Now, let's return to the topic of Karatsu ware. The more you use Karatsu ware, the better its texture becomes and the deeper its character deepens. That's why even a fragment of it looks good and is durable enough to be used. In short, Karatsu ware continues to develop even after it's fired. This is not the case with porcelain, which strives for perfection. This is a sensibility unique to the Japanese, who seek change. In fact, pottery itself is inherently a product of change.

Plates were probably the most frequently produced type of Karatsu ware. Perhaps that's why there isn't one main piece among Karatsu tea ceremony ceramics. However, I believe that "Karatsu is a superb supporting actor." That's why it doesn't get in the way when combined with any other utensils, but rather blends in seamlessly. Yet, it still has a distinct presence. This understated individuality is probably why Karatsu is loved by so many tea masters and collectors.

Sajiro Tanaka, one of the participants in this exhibition, carefully selects the clay he finds most satisfying from among more than 200 types of Karatsu clay and uses it exclusively. This time, he is exhibiting a magnificent "Cinnabar Glazed Flower Vase."

Mr. Kai Yoshino changed his name to "Kai" after turning seventy, a move that reflects the artist's determination. Returning to his roots, he exhibited his "Black Candy Karatsu Hammered Flower Vase."

Kiyomi Kawakami's works are delicate yet powerful, capturing the essence of Karatsu ware. Her "Black Karatsu Flower Vase" perfectly exemplifies this characteristic.

Setsuo Hamasaki is an artist with a free-thinking approach that is not bound by preconceived notions. His "Blue Karatsu Vase" is a reflection of Hamasaki himself.

Kumamoto Senji's "Silver-Inlaid Square Vase" is a square-shaped work that emphasizes form. The silver inlay is beautiful.

Fujinoki Tohei's "Korean Karatsu Carved Tortoise Shell Vase" reveals the artist's playful spirit.

Tarouemon Nakazato XIV exhibited a "Karatsu white-ground black sgraffito vase" modeled after the Cizhou kiln, exploring innovation in Karatsu ware in his own unique way.

Okamoto Sakurei's "Korean Karatsu Triangular Flower Vase" is a work of refined elegance. It evokes a sense of movement within its stillness.

There is a mysterious charm to the works of Yasumoto Kajiwara, who devotes his energy to restoring old Karatsu ware. That charm can also be felt in his "Korean Karatsu flower vase," which is part of his personal collection.

Naoki Kojima is an artist who says, "Clay preparation is essential for pottery." This dedication is evident in the texture of the clay and the firing process of his "Karatsu Yamase Flower Vase."

Taiki Nakazato creates works that are pleasing to use, while never forgetting the fundamentals of Karatsu ware. His "Karatsu Nanban Tawara Vase" is a work that is distinctly different from that of his father, Takashi.

Raizan Yasunaga was a prefectural employee in Shimane Prefecture, but after encountering Karatsu ware, he decided to pursue pottery at the age of 30. That hidden passion is also reflected in his "painted Karatsu flower vase."

Masahiro Takehana is from Tokyo. He studied civil and environmental engineering at Kumamoto University. His "Kohiki Flat Vase" is an accidental product born from the application of glaze in a specific way, but it foreshadows the future of Karatsu ware.

Naoto Yano, after returning from studying in the United States, rediscovered his passion for Karatsu ware, which he had been familiar with since childhood, and is now a rising star creating his own unique style of pottery.

Koichi Mori (Art critic and Secretary-General of the Japan Ceramic Society)