• • 標準
  • 大
  • 特大
• 背景の色
  • 白
  • 青
  • 黒

Aritayaki Sakai hōchō paring knife (Keizō Ishikawa, Saga Danbōru Shōkai Ltd.), Saga Prefecture

The Arita-ware and Sakai kitchen knife is a collaboration product made by representative creators of both production areas that possess a history of 400 and 600 years. The kitchen knife was created by the master craftsman Shun’ichi Tahara from Sakai City and the Arita-ware was produced by Shinji Terauchi from Riso-gama Kiln who is succeeding worldwide.

It is a kitchen knife giving impression and the joy of cooking to its users.

Hyōseiji kumibachi –en- (Masakatsu Aoki), Saga Prefecture

The motive of this work is glacier. The blue and white color tone and the sticking feeling that the ice sticks at one’s hand when holding it in hand is expressed by the glaze.

I expressed this work in a soft way by manufacturing the vessel in a circle shape, curving the edge and letting the vessel have sharpness at the mouth and making an engraving of the circle into the inner part of the bowl.

Rin Lin tabishuki (Kinshōdō Shinji Kaneko), Saga Prefecture

The “travel sake vessel” of the “Lin”-series has a mysterious color tone that can change its color depending on the angle from where you look at it. I made it for the purpose of enjoying it slowly for married couples or when being together with friends to enjoy the famous local sake or for brewery tourism.
The vessels are also handy, since they can be stacked together. The small plates can also be used for snacks.

Seiji hakusai chūbachi, Kokusai chūbachi (Masahide Ōgushi), Saga Prefecture

I added an accent to the celadon colored vessel by matting it with black and white and would be happy if you enjoy my work.

Turquoise blue sōmenbachi (Yūjirō Etō), Kumamoto Prefecture

Turquoise blue is an excellent blue whose transparency does not use any pigments. I tried to put this blue on a sōmen bowl. The blue for the salad bowl reminds of water and sky and it shines even on the bowl for boiled dishes.

Usude hakeme monyō senborihachi (Soemasa Seitōsho Ltd., Takanobu Soejima), Saga Prefecture

I manufactured this work by utilizing the characteristic trait of completing it softly uniform, what is a strong point of mold forming, in which gypsum mold is used. It’s inside and outside expressions differ from each other and I decorated it while being aware of the beauty of white porcelain.

Sawaru monyō (1) (Ken’ichi Imamura), Saga Prefecture

I thought about making an effective use of the kaolin of higher class and the kaolin of lower class that gets fired at low temperatures, being a by-product when quarrying high class kaolin from Amakusa.
I thought of an Arita-ware colorizing one’s space and that it shall be an item for daily use.

Hagi kuro sentenmon pasta de lunch (pair) (Takashi Hirokawa), Yamaguchi Prefecture

The decorating technique called “Tobikanna” is an old technique which can be seen on Cizhou-ware from China. When I put it on the white clay of Hagi-ware, it turned out to be pretty modern. Though Hagi is famous for tea bowls, I dared trying to make a western tableware pasta plate set out of it.

NERO －S－ (Yuka Nishida), Saga Prefecture

Having the coexistence of modernity and simplicity as a theme, I made a sake vessel that can be enjoyed when looking at it, taking it in one’s hand and serving sake.
The rough fissures are being put out to the entire, and a glaze is partly put on those positions with fissures, showing a different black depending on the angle from where you look at it.

Hakuji blast shinogi gaiwan set (Shinji Terauchi), Saga Prefecture

“I would like to drink delicious tea.” We are currently greeting an era where a tea boom is about to arise.
Including green tea, I created a universal vessel arranging a tea set in a Japanese way, while integrating the style of Chinese tea.

Ryūgūjō e yōkosō (Keinosuke Nagano), Nagasaki Prefecture

The many fishes within the sea are greeting Tarō Urashima. By just following my heart, I expressed the sea world in adding the light and shade of gosu (zaffre) to white porcelain as well as line engraving.  

Kōbyō obi sudare (Yoshiyasu Harada), Saga Prefecture

The difference of matting the glaze of the mold and sand blast that were put onto the dough lets the density and reflection look different depending on the angle from where you see it. I manufactured this work in a way that it can be seen in various ways.

Menbachi to shuki (Yōichi Nagayama), Nagasaki Prefecture

I expressed texture and integrated the traditional technique of “tobikanna”.

Hakuji – Seihakuji hachi (Jun Nakao), Saga Prefecture

At first glance, the vessels look inclining. But when looking more precisely, you will see that the circles are keeping the horizontality. I added playfulness to its easy way to use and expressed the use and beauty.

Yūsendan Léger rock glass (Shinji Hataishi), Saga Prefecture

I mixed colors to the porcelain clay which lets a new porcelain flavor arise. I also utilized the translucent clay and manufactured the work softly, expressing the grip and handiness through painting the “sendan”-technique according to the glaze.

Hakuji seiyū namimon kumizara (Inoue Yasunori), Saga Prefecture

This work contains a plate set of one big plate and five small plates. They show light and shade through the blue glaze on it. After I formed them by using the potter’s wheel, I shaved the abysses into a wave form and also put a wave pattern onto its surface.

Kinsai ginsai namimon hori series (Takanobu Tokunaga), Saga Prefecture

Robot yakan (Hyonjin Son), Republic of Korea

I wanted to create the robot with my own hands that I liked since I was little. By giving functionality to the kettle, I tried to create an interesting work.

Tsuki no utsuwa (Hiroki Tsuji), Saga Prefecture

I expressed the mystery and the aspiration of human beings towards the moon in 5 kinds of the moon. I would be glad if these vessels will make a start for you to enjoy life being aware of the moon.

bunbun ball pen TYPE3 (Bun’ichirō Morita, Bunshōgama), Saga Prefecture

My work shows ball pens with caps made of porcelain. I achieved that the market refills are already fired in an adjusted size and thus can be used the way they are. I also achieved a construction of a cap that did not exist before.

2017.4.18

Examination Review

Makoto Koizumi, Chief Examiner of the Industrial Ceramic Arts Division

The examiners carried out the examination at the Industrial Ceramic Arts Division of the 114^th Arita International Ceramics Competition. Under the applications, there were 96 works mainly from the Kyushu area, the number of works is declining slightly since last year. Since also at craft competitions in other areas a “turn away from competitions” phenomenon can be observed, we are presently living in an era, where the way a competition ought to be should be questioned.

At the examination, the examiners shared their images with each other beforehand through articulating their evaluation criteria in words. Ryuko Honda, who has been an editor for long times and compared products throughout the world daily, chose the criteria “I want to choose the thoughtfulness that lets feel the warmth of the hands, the texture and nature for nowadays life of young people.”. Hideyo Ishii, a food researcher who is detailed in European food culture chose “I want to choose vessels that are easy to use and are not particular about Japan, China and Western countries as well as that these vessels are shining on photos being uploaded on social network pages due to the raising number of parties at home.” Being involved in the craftsmanship all over Japan, I chose “vessels that do not have a superficial design, but a design straining a structural ingenuity, vessels that impact their surroundings.” By these words, which all have different standpoints we selected the works widely and started the examination meeting.

At the examination meeting, the number of voting points for each examiner was narrowed down to 40 points. The examiners discussed a lot about the 12 works that received a multiple number of votes. About the five works “Aritayaki Sakai hōchō paring knife”, “Hyōseiji kumibachi –en-“, “Rin Lin tabishuki”, “bunbun ball pen TYPE3”, “Hakuji blast shinogi gaiwan set”, a strong discussion was carried out and out of these works, the number of those products appearing to be most excellent was narrowed down to three works. These three works were further discussed. Together with the colouring, the stacking ability of “Rin Lin tabishuki” was appraised, but since it was lacking in terms of innovation, the most excellent works were narrowed down to the two other works.

“Aritayaki Sakai hōchō paring knife” is a collaboration between Arita and Sakai utilizing the mutual excellent techniques of both places. This work was valued as a kitchen knife that wants to be shown at the place of an open kitchen, but there was also an opinion mentioning that there would be a need to deliberate the design a bit more. “Hyōseiji kumibachi –en-“ utilizes a cold looking texture and can be used diversely. It was valued as a work that one wants to have on the table. It was hard to say which of the two works is better and the discussion prolonged. Since “Aritayaki Sakai hōchō paring knife” created a new value, it was selected as the most excellent work.

At the examination meeting, the words expressed by the examiners were overflowing with such as “lifestyle”, “warmth feeling”, “photo shining”, “vague focus”, “statelessness”, “texture + mold”, “emotional”, “Japan gets conveyed”, but there were also many more important keywords mentioned. It is not that only the result of the value at a competition is what conveys, but these kind of “words” that get exchanged while examining make out the true charm of the competition. By recording these words, the sense of value for this competition conveys and I think that maybe this could lead to the feeling to participate into the competition. I sincerely hope that this worldwide well-known ceramics competition at Arita with its long history will persist making great activities.

(In the order of the Japanese Alphabet, titles omitted)

問い合わせ

Arita International Ceramics Competition Executive Office

Division for Commerce, Industry & Tourism

Office address: 2202　Tachibe-otsu, Arita-cho, Nishimatsuura-gun, 849-4192 Saga-ken
 

Phone: 0081-955-46-2500

Fax: 0081-955-46-2100