The Japanese sensibility is born from Japan's nature, and the changing seasons of spring, summer, autumn, and winter have a significant influence on the Japanese sensibility.

In particular, many waka poems describe the time between seasons, a theme shared with the tea ceremony.

I believe that the concept of "ma" (間), meaning "space" or "interval," is a part of Japanese culture, and that this Japanese sensibility will attract attention in the 21st century.

To achieve this, it is necessary to convey Japanese values, not Western values.

Crafts and fine arts play a vital role in this.

The artwork above is by Kazuya Furutani .Shigaraki Five-Color Round PlateThe exhibition combines the unique characteristics of Shigaraki ware, such as its crimson color, kiln variations, glass-like textures, scorching, and drawer-like patterns, with the exhibition's subtitle, "-Interval, Transition-," to express the changing seasons of Shigaraki.

Sumiko Aoki"Flower Arrangement, Moonlit Tea Bowl"This is an Aoki Oribe piece that only this artist could create.

Most Oribe works are unable to escape the spell of Momoyama Oribe.

With that in mind, the contemporary Oribe ware created by this artist—namely, the bold patterns of flowers and birds seen in moonlight—becomes even more appealing. The arrangement and spacing of the patterns, in particular, are exquisite.

Satoki OonishiShigaraki ware, stacked tea bowl with altered shape.This piece expresses the way the appearance changes as the pottery is fired repeatedly, showing a transformation where one side of the tea bowl appears to have turned silvery.

Apparently, this piece was fired once in a wood-fired kiln, and then fired again in a different kiln.

He believes that there are still undiscovered expressions to be found when firing Shigaraki clay, and he wants to continue his challenge.

For Sueo Okuda , the mountain tea bowl is an incarnation of the gods and Buddhas that reside within him.

thisShigaraki Mountain Tea BowlPerhaps such a prayer is contained within it.

Now that I think about it, it seems sharper than the previous version, but maybe I'm just imagining things.

Since this isn't an open call exhibition, the best thing to do is to keep creating what you like, however you like. I hope Okuda continues to create works that are uniquely his own.

Shuusaku Kanzaki 's works are what are known as bucket-shaped water containers.

Although he's trying his hand at new works, he's still drawn to classics.Shigaraki water containerThis work was born from that inner void.

Fujio Koyama praised its crimson beauty, saying it resembled a forest of withered leaves bathed in the bright setting sun, and looking at this beautiful fiery red water container, I can't help but imagine such a scene from Shigaraki.

Teppei KomakiCarbonized and painted potHe explains that the pieces are fired in a gas kiln, and a mixture of pigment and alumina is dissolved in water. The colors are then applied to masked pots, and after firing, the pots are sanded to wash away the excess pigment, leaving the pattern on the clay.

When viewed from the side, the geometric pattern resembles a grove of trees, and the alternating colors of red, orange, and yellow evoke the changing seasons of nature.

Yoshihiro Sako says that both his kiln and his living space are located in the natural environment of Shigaraki, and that his life exists by sharing a small part of the habitats of plants and animals.

Shigaraki tea bowlWith glass-like glaze flowing from both sides, it resembles the butterbur sprouts that emerge with the melting snow, making it a tea bowl that evokes the feeling of early spring.

Sako says that the inspiration he receives from nature when he engages in pottery making forms the core of his being.

Nozomu Shinohara first became aware of the potential of Shigaraki clay from researchers and potters in the United States who work with wood-fired kilns.

thisShigaraki black tea bowlThis technique originated from burying the tea bowl in ashes early on, digging it out when the ashes began to melt, exposing it to the flame, and pulling it out the moment it melted.

Shinohara believes that there's no point in him doing it unless it's a technique that couldn't be done in Mino or Seto.

Even though Rakusai Takahashi is past the age of 70, he never stops learning and strives to always be true to himself.

Therefore, there is absolutely no excessive expression in his work.

thisShigaraki tea bowlThis tells the story of Rakusai's life.

The unique appearance of the tea bowl was created by chance when a crouching stone bowl that was on top of the kiln rolled over and landed on the bowl during firing. The spatula marks on the sides are also just right, making it a truly delightful tea bowl.

Tomoko Takama 's layered porcelain works utilize a unique technique of layering many different colored clays and then carving out patterns.

thisLaminated colored porcelain - shaker type -The three types of tea ceremony utensils beautifully express the "intervals of color" created by the transitions and combinations of colors that are layered and carved out.

Kyuu Tani is a diligent student.

Old Shigaraki ware was cultivated through the advanced techniques of the time, but this work aims to understand not only those techniques and forms, but also the high level of spirituality of the potters of that era.

thisShigaraki Tsukubai (stone basin)This work is the culmination of Tani's aesthetic sensibilities, and as such, it clearly reflects the artist's desire for "the color of fire to be like this."

Looking at Aiko Tsumori 's work, it's不思議 (strange/amazing) how it feels like her artwork has grown along with her beloved daughter's growth through first, third, and fifth grades of elementary school.

One of the two cats I'd lived with for twenty years recently passed away.

Seated statue with a cat on its backFrom this, you can feel the gradual changes in life and the passage of time as your beloved daughter grows up.

Kazuya Furutani 's hybrid series began with the aim of expressing the fascinating aspects of raw clay.

However, if molded using only raw clay, it will leak water because it has low viscosity and poor plasticity.

Therefore, I applied raw clay to the surface of the artwork to bring out its texture.

Shigaraki mixed flower vaseThis is a masterpiece by Furuya that skillfully integrates the unique characteristics of Shigaraki ware, which originates from the anagama kiln.

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