In 1951, sculptor Hiroatsu Takada, who was studying in Paris, sent a long letter of reflection to his friend, ceramics scholar Fujio Koyama.

This is an essay about my impressions of the "Exhibition of Contemporary Japanese Ceramics" held at the Cernuski Ceramics Museum in Paris that year.

"Having studied Western art for a long time, I learned that breaking traditional forms does not necessarily mean freedom or novelty. Rather, I came to understand that truly embodying tradition requires one's own spirit to be constantly renewed. (omitted)"

Koyama-kun, let me repeat this once more. For true tradition to live, one's own spirit must always be new. It seems that high-end Japanese ceramics are interpreting this in the opposite way. That's why there's nothing free and vibrant about them. No matter how much you inherit the shapes and patterns from the past, when your own soul is new, the shape and pattern itself become new. The masterpieces of the past teach us this."

The reason I'm telling you this is because last year, the director of an Italian museum who visited Japan visited a pottery region and muttered, "Japanese contemporary ceramics are technically excellent, but that's all there is to it. They lack charm."

I was stunned to hear the same sentiment as I had 67 years ago.

Even with technical skill, a work of art is empty without freedom of spirit.

Conversely, even with freedom of spirit, a work of art is powerless without skill.

Therefore, I asked the highly skilled Team Kutani to submit works based on the theme of "Freedom of the Soul."

The appeal of Kei Akaji 's "Perforated Bowl" lies in its bold openwork design. The circles, triangles, and squares are reminiscent of the Zen paintings of Sengai.

Ryou Satou 's "Frame" series consists of small ceramic plates sandwiched between transparent acrylic sheets. The themes, such as "Shigure-michi" (Autumn Rain Path), "Yamashiro" (Mountain Backs), "Keisei" (Vegetation Sounds), and "Ugetsu" (Rainy Moon), evoke a world of richly poetic, lightly colored paintings.

Jun Takegoshi 's "Amiboshi-mon Hyosai Kakubinshi" is a Kutani ware bottle featuring a net-like pattern in five colors. Though small, it challenges contemporary Kutani ware with a fresh spirit.

Shouni Tajima 's "Glazed Bowls" are appealing for their soft outlines. They exude a relaxed, unpretentious sense of freedom.

Naoto Tabata 's "Parrot Ceramic Box" combines a plain skull with vibrant blue and yellow parrots, creating a striking contrast between life and death, which I believe reflects the artist's intention.

Kazuo Nakada 's "Silver Glazed Underglaze Silver-Painted Yuuen" box is a small yet elegant piece that beautifully combines delicate patterns with the shimmering brilliance of silver.

Masaru Nakada 's "SEN" is based on the traditions of Kutani ware, but challenges the status quo with a modern and simple new form of Kutani.

Buzan Fukushima , a leading figure in Akae Saibyo (red porcelain painting), created "Incense Burner with Waterfall View," a magnificent incense burner that combines his signature landscape paintings with geometric patterns.

Masayasu Mitsuke 's "Red Enamel Fine Feather Pattern Tea Bowl" features a modern composition with red enamel fine painting that makes good use of negative space, and incorporates Kutani ware blue pigments.

Shigemasa Minami 's "Seasonal Vegetable Platter" is based on solid design skills and beautifully captures the characteristics of seasonal vegetables.

Yoshihiro Yoshida's "Gold Brocade Colored Ceramic Box" is a modern piece featuring gold leaf applied to a grid pattern.

We invite you to take this opportunity to fully experience Team Kutani's "freedom of spirit."

       Kouichi Mori (Art critic, Standing Director of the Japan Ceramic Society)