In the eighty years since the end of the war, Japanese ceramics have developed at a dizzying pace.

During that time, it seems that a variety of techniques and forms of sculpture emerged.

No other country has a more thriving pottery industry than Japan.

When we look at Japanese ceramics that have received high acclaim around the world, we see that many of the works are based on Japanese aesthetics and traditional techniques, while also expressing a free spirit.

Therefore, the theme of this exhibition is "The Moment of Returning to the Source."

The term "Kangen" means "to return to the origin," a phrase coined by Kobo Daishi, but the German philosopher Heidegger also said, "To question the origin of a work of art is to question the essence of art."

I hope that you will not be bound by old preconceptions, but instead embrace the freedom of spirit, sincerely engage with Bizen clay, and share its charm with the world.

Koichiro Isezaki had previously made tea bowls by hand, but a few years ago, he encountered white clay and began using a potter's wheel for the first time. He explains the story behind the birth of his "white tea bowls," saying, "It was the unique characteristics of the clay that made me do it, and I feel like I was saved by the material."

Takuma Takigawa's "Horse Incense Box" was created by making a prototype out of clay, then making a mold from plaster, and finally producing the piece based on that mold.

Next year's zodiac animal is the horse, and since ancient times, there has been nothing that has been as directly useful in life and has as much direct significance as the horse.

Words like beloved horse, famous horse, dragon horse, celestial horse, and divine horse all tell that story.

Kazuya Ishida's "Bizen Porcelain Tea Bowl" is a tea bowl that has been molded from porcelain clay he himself mined from a pottery stone mine in Bizen, and fired in a wood-fired kiln, resulting in a unique kiln-fired finish.

My theme is "How can I create my own world using materials that have been dormant in the Bizen region since ancient times?" and I am taking on the challenge of working with Bizen porcelain.

Hiroshi Toyofuku's "Natural Marbled Water Jar" is a work that expresses the clay in its natural state as it was dug out.

Based on a hexagon, the design features a complex combination of surfaces, and its appearance changes depending on the viewing angle.

Furthermore, the lid, which was fired in a different color, and the contrast between the bluish-gray and crimson colors make this a wonderful water container.

Masahiko Kondo's "Hikikuro Chawan" is a shoe-shaped tea bowl made from Bizen clay and coated with black pigment.

Towards the end of the firing process, the pieces are removed from the kiln and transferred to a container to cool rapidly, preventing them from cracking.

The black pigment creates a variety of patterns when exposed to flame. The highlight of this tea bowl is observing these changes.

Ichiro Mori's "Kiln-fired Collapsed Pentagonal Flower Vase" is a work that encapsulates the power of the earth and expresses the strength of Bizen ware.

Made using a plaster mold, the collapsed pentagonal mouth and the surrounding details are magnificent.

The overall appearance is a beautiful ash glaze with kiln-fired variations, and the patterns created by the seashells used to support the flower vase and the ash that fell from the kiln shelves are truly captivating.

Sohei Takashima's "Bizen Scarlet Bowl" is a tea bowl fired in a newly rebuilt anagama kiln, resulting in a firing pattern never seen before.

By pursuing the unique characteristics of Bizen clay, the source of pottery, we have created pieces that exhibit outstanding color development and a striking contrast between the top and bottom firing colors.

The base, reminiscent of Koetsu's red Raku tea bowl "Otogoze," is unique.

Yusaku Matsumoto's "Vase" is a simple, turnip-shaped Bizen ware vase, but its thick, straight neck gives it a very powerful and stable form.

The bluish body features visible brown sesame and charred areas, creating a beautiful contrast.

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