The name Karatsu is said to have originated from the fact that it was a port (tsu) from which ships departed for the continent (Tang Dynasty) since ancient times.

However, I didn't know that it originated from Kukai's trip to Tang China.

The subtitle of this exhibition, "Returning to the Origin," was chosen from the word "gengen" (還源) used by Kukai, and this is the second time it has appeared in an exhibition.

The essence of things must always be questioned, so it's fine for it to appear again and again.

This exhibition is a return to the essence of Karatsu ware, featuring eight artists.

Sakurei OkamotoWas it around the time of the fourth exhibition that he began to experiment with Korean Karatsu ware in the style of Oribe?

Looking at the "Korean Karatsu Water Jar with Handles" in this exhibition, we can see that Okamoto has created a sense of unity between the pattern and form by deliberately leaving the glaze uneven, resulting in his own unique style of Korean Karatsu ware.

This work is a return to the fundamental principle of freedom of spirit.

Kiyomi KawakamiThis "Black Karatsu Large Vase" is a revised and redesigned version that challenges the style of Karatsu ware from the Momoyama period and earlier.

Black Karatsu ware is made by applying a wood ash glaze to a glaze containing rocks rich in iron, and then firing it. In this piece, the black glaze flows intensely over a persimmon-colored glaze surface.

This is a magnificent vase that poses a profound question about the very essence of life.

Sajiro TanakaThe "Karatsu Large Sake Cup, White Whale" is a magnificent sake cup with a cracked white glaze.

Moby Dick refers to the white sperm whale known as the devil of the sea, and it suddenly reminded me of the protagonist in Melville's novel. This is a work that is typical of this author, who never stops challenging himself even as he ages.

Nakazato TaikiThis "Incised Water Jar" is an original work that was created using the Mishima ware technique as a reference.

After drawing lines on the surface with a board and printing a floral pattern, a white slip is applied to the entire piece. When the surface is scraped while it is still semi-dry, and then cooled and fired in a reduction atmosphere, the white lines take on reddish or bluish hues due to the kiln transformation.

Tarouemon Nakazato XIVIn the "Karatsu Tarouemon Blue Scratched Tea Bowl," black clay is applied to the still-dry clay body, and parts of it are scraped away to depict the leaves of the Neolitsea sericea tree.

He has created a unique color called Tarouemon Blue, expressing the distinctive world of beauty that is unique to the 14th generation.

Rui MitoThe Karatsu Crane Neck Vase is a flower vase that exudes femininity, with a round body that bulges at the bottom and a slender, long neck extending from it.

Originally a copy of a copper vessel, the natural distortions inherent in ceramics actually give it a deeper, more refined character.

Yasunaga RaizanThis "Karatsu tea bowl" is a plain Karatsu tea bowl that is shaped like a bowl.

It has an elegant finish, incorporating the spirit of the tea ceremony. In particular, the carving of the foot and the surrounding area is excellent.

This might be excessive praise, but he is a skilled craftsman when it comes to making tea bowls, and a ceramic artist who will carry the future of Karatsu tea ceramics.

Naoto YanoThe "Carved Karatsu Tea Bowl" is a square, cylindrical tea bowl that embodies Yano's distinctive style.

Four "X" patterns are carved into the front of the body using a spatula, reminiscent of the "Carved Karatsu Tea Bowl" donated by Hirota Fukosai to the Tokyo National Museum. However, it deliberately avoids pursuing that same boldness, instead expressing the dignity of the tea bowl.

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