In the midst of contemporary ceramics, where anything goes from vessels to sculptures, when I consider what is needed now, I think it is "depth of humanity."

While various sculptural works are created using all sorts of techniques, if those works lack "depth of humanity," they will be nothing more than a fleeting trend and will quickly become tiresome.

In the world of the tea ceremony, the inherent charm of the materials themselves, such as the texture of the clay and the firing process, is appreciated. However, this is not merely a superficial appreciation; it stems from the sensitivity towards nature that the Japanese people have cultivated over a long history.

The charm of the materials has been added to the form, giving birth to a new Tanba style.

This exhibition showcases two aspects of Tanba: stillness and movement.

Please come to the venue.

Nobumizu IchinoHis "Tanba Eared Water Jar" is a simple, oval-shaped water jar that widens slightly from the base to the rim, with small, round ears attached to the upper left and right sides.

The crimson color and charring, created by the semi-underground kiln, blend together to create a subtle earthy and fired texture.

Masahiko IchinoMr. Ichino's "Saiki" pieces are inspired by flowers and fruits, featuring natural and free forms. This set of five small bowls, in particular, has a unique texture thanks to the black granules contained in the Benten clay from Tanba Sasayama.

However, as shown in the image above, stacking the small bowls vertically makes them look like an art object.

Kimihiko ImanishiHis "Tamba Chrysanthemum Pattern Three-Handled Vase" is a sincere engagement with the genre of Old Tamba ware, creating a modern take on Old Tamba.

This vase has round, cord-like handles on three sides of its shoulder, with chrysanthemum motifs carved between them. The bold, natural glaze flows from the shoulder, expressing the old Tanba style in the Imanishi style.

Masafumi OnishiHis "Red Tanba Flower Vase" was born from his fascination with the red clay of Tanba ware and his desire to try it himself.

When using raw clay from Tanba, applying red pigment, and firing it in a snake-shaped kiln, various shades of red emerge, from lustrous reds to muted reds, depending on the changes in the kiln.

The front shoulder of the vase is covered in a generous amount of ash.

Kako KatsumiHis "Silver-Glazed Bowls" are made by throwing porcelain clay on a potter's wheel, applying a white matte glaze, removing the wax, and then combining individual parts to create a continuous pattern. The entire piece is then covered in silver, resulting in a difference in the way the silver shines between the glazed areas and the unglazed porcelain parts.

This will add even more depth.

Tsuyoshi ShimizuHis "salt kiln water containers" are made using a salt kiln inherited from his father, whose teacher was Kazutaka Ikuta, and whose teacher was Kanjiro Kawai.

The glaze mixture and the addition of salt are apparently methods developed by Shoji Hamada.

He mastered that technique in his own way, and that's how the beautiful glaze patterns in this piece came to be.

Nobuhito NakaokaHis "Tanba Carbonized Lacquer Tea Bowl" is a tea bowl made using a carbonization firing process, and the contrast between the crimson color and the burnt areas is beautiful.

The inside of the tea bowl is thinly coated with black lacquer, which, when used to prepare tea, enhances the vibrant green color and gives it a refined appearance.

This tea bowl speaks to you every time you use it.

Peter HarmonHis "Vase with Divided Glaze and Grass Pattern" is a piece created by carving a grass pattern onto the surface before bisque firing, applying a white porcelain glaze and wax coating, carving the grass pattern again, and then applying a celadon glaze with a brush.

It is both a divided design and not a divided design; it is a pattern and not a pattern—such Zen-like words suddenly come to mind.

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