Hakuyuuryousen Asabachi (Masaru Okada), Kyoto-fu
I applied ridgelines on a white overglaze piece of porcelain that is warm and soft by pressing my fingers from the backside right after shaping it at the potter`s wheel when it is still soft. Since it is soft, I expressed the image of wind blowing down from the mountains and through the surroundings of the studio with the moving shape and the three-dimensional ridgelines.
Tanka Senzougan Shinogi Touhako 「Sazanami」(Kouichi Fukuyoshi), Kumamoto Prefecture
It is a cuboid ceramic box. The lines on this piece in colors stretching from white to dark blue were inlayed after sharpening the ridges on the upper side, outside, inside and bottom side. I wanted to express the movements of the waves on the sea and lakes. I was thinking whether it might be possible to express the complicated countenances of waves by adding ridges to the inlayed lines and this is how I chose the shape and technique.
Yuuzougan Hachi (Jun Nakao), Saga Prefecture
I applied matt overglaze all over the basin and after that carved out the parts in which polish would be inlayed filling these with overglaze.
Cha ni omou (Masashi Miyajima), Tokyo-to
In one`s imagination, a handful of soil materializes into shape.
I wish that the containers with striped patterns in black-red coloring (pitcher・teacup) and white-red coloring (container for green tea powder) can appear in a modern “tea party”.
Subtleties (Johanna De Maine), Saga Prefecture
Subtlety: the quality or state of being subtle.
This work explores the cultural differences between Japan and the West through the iconography and techniques employed.
WAVE Ⅱ (Takumi Maruta), Fukuoka Prefecture
I saw a video of the Antelope Canyon in America and was thinking whether it might be possible to express natural beautiful curved lines caused by the erosion of the stratum on the piece of pottery and produced this piece sticking to the casting on a potter`s wheel.
Saishokuzougan Kaki (Yasuzumi Nakao), Saga Prefecture
This is a piece of inlayed porcelain. The pattern of notches was put on while the clay was still soft, the protection layer was applied and the pigments were inserted.
I created a smooth atmosphere for the piece with the graduation of the colors.
Houga no Kioku (Shouichirou Uragou), Saga Prefecture
I normally produce with focus on objects.
This image of this piece is the one of a plant`s sprout growing bigger, making their way even through hard clods.
Aiyoku (Eri Taniguchi), Saga Prefecture
I tied together paper strings, soaked them in slurry and piled them up.
I covered them in risk husk ash and fired with deoxidation.
Look at the cuteness of the dim peach color in the middle.
Rensaku Nehan (Toshio Shimada), Saga Prefecture
I have produced for approximately more than ten years but there was only one piece that was fired after fixing it with gold lacquer.
Sekisaisenmon Kaki (Katsuhiko Kunisada), Kyoto-fu
I produced while imagining a bamboo forest on a summer evening.
The clay uses Shigaraki-based blended soil.
The casting method is making threads and the lines were carved one by one with a self-made plane.
The red color was mixed with mud colors several times and fired at different temperatures.
Shirotaisaijitsubo (Hisaki Shoumura), Saga Prefecture
The beautiful, pleasant curved lines were one by one tied up in a bundle which gives the image of three-dimensionality. This piece pursues my imagination of “beautiful white porcelain”.
Kouhakusen Shayou -2203- (Kaori Masuhara), Hokkaido
“Red-white clearness” is the conception of three parts that express “heaven”, “earth” and “the in-between”. This piece expresses one of those, “heaven”.
Saishokukeshounamisenkokumon Kaki (Atsuyuki Ueda), Yamaguchi Prefecture
I made this, having the green decoration as a ground color opposed to the ripple pattern assembled by drawing of red lines.
April 7th, 2022
Daisuke Tokudome (Chief Examiner)
In 2022, there have been many heartbreaking incidents shaking up our daily lives such as war, earthquakes and Corona. There is a feeling of hopelessness in the air these days. I want to express gratitude and joy that the 118th Arita International Ceramics Competition is held, taking a share in being one of the artistic activities making the heart and life more relaxed and bringing back the normal life.
Even though the number of entries has decreased by 20 pieces compared to last time, 80 pieces of different creation and points of view have entered the competition. The three examiners are Mr. Yuushi Ishibashi, Mrs. Noriko Kuwahara and (Daisuke) Tokudome. 67 pieces were selected in the first round, 17 in the second, and upon mutual agreement, 14 pieces were chosen as prize-winning pieces.
The first prize is the winner of the Ministry of Education, Culture, Sports, Science and Technology Award, “Hakuyuuryousen Asabachi” by Mr. Masaru Okada. It is a, with its caliber exceeding 50 cm rather large basin and the cream-colored overglaze of devitrification gives it a soft expression as a whole. Contrary to that are the ridges that stretch from the outside of the vessel to the inside as well as the opening edge that connects those in between add a moderate feeling of excitement to the whole. Another charming point about this piece is that one can enjoy the change of the appearance when looking at it from different angles such as from the side, from above and from diagonal.
The second prize is the winner of the Governor of Saga Prefecture Award, “Tanka Senzougan Shinogi Touhako「Sazanami」” by Kouichi Fukuyoshi. This piece is also very large with a length of close to 50 cm. While gradually changing the color from white to blue by inlay on a black background and also with the striped pattern that is expressed slightly changing the thickness of the stripes, this creates an effect that goes in great harmony with the complex shape that is created by sharpening. This piece made all the judges simultaneously raise their voices, unconsciously saying “Waah” when we opened the lid because of the beauty of the rhythmically placed inlay of stripes on the inside.
The winner of the Mayor of Arita Town Award “Yuuzougan Hachi” by Jun Nakao is a handsome and elegant piece for which the shape of the bowl itself works together with the form that is finished off like gently rolling waves and pattern created by inlayed glaze also in combination with the beauty of white porcelain. The Saga Ceramic Art Association Award winner “Cha ni omou” by Masashi Miyajima is a piece that creates an atmosphere that lets you enjoy a modern and relaxed tea ceremony with its form born out of certain technical skill together with cute colors and design.
The pieces that closely missed being selected as winning pieces included, the expressions in shape of their thoughts by the producers had no limits regarding the trends and were extremely divers. This will emotionally touch everyone who looks at and uses these pieces. Also, this was an opportunity to reconfirm the charm of ceramics as a craft. I would be very pleased if as many people as possible would visit the exhibition and enjoy looking at the pieces.
Japan Kougei Association
Crafts and Arts
Idemitsu Museum of Arts
Arts and Science Division Senior Head