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

Yuusaikoubyou Kahou (Yoshiyasu Harada), Saga Prefecture

The sense and time we could not notice anymore while living being restricted by something. I thought that some things might also transmit if one captures those boundaries with another sense and therefore I produced with the meaning of visualizing smell and fragrance.

Kakewakekatakuchikumibachi (Rokuhei), Saga Prefecture

In order to add softness to the appearance of the bowl, I applied a faint blue and white glaze and in order to add balance, I applied white glaze to the outside. I mainly thought of the multiuse but also wanted to add a characteristic point at one spot so I turned them into lipped bowls.

Moon cycle plate (Shinji Terauchi), Saga Prefecture

From ancient times, people receive a lot of information from the waxing and waning of the moon and it comes as the sustenance of life. The moon rising in the jet black night sky changes every day. This is the way I expressed it.

Neriage Soupbowl Set「Tenmonbudou」(Namiko Kusaba), Saga Prefecture

This piece of art was made using a method of kneading in which pre-colored earth is used and the pattern is expressed in unity on the inside and outside. These bowls are versatile so please use them while enjoying the unique pattern.

 Asahi Shinbun Award

『Tanoshii』(Kaoru Ueki), Saga Prefecture

Shirokumashoukakukashibako「Mezame」「Tabidachi」(Terayuki Furukawa), Saga Prefecture

With the expression of the scenery as the subject, I thought of the use as a vessel and brought that into shape. In its title “Mezame” I contrived the idea that one should enjoy the moment when opening the lid.

Nishokukakewakeichirinzashi (Kenichi Imamura), Saga Prefecture

When removing the upper part, one can clean the inside. One can enjoy the difference in the scenery with the overglaze being split into two colors. During this period where it is difficult to go out, I hope that one can enjoy nature at home.

Rinkawan (Mutsuko Tanaka), Saga Prefecture

During the Edo period, bowels were used in a way that the vessel and the lid could both be used to serve food. The bowl consists of four parts, the big, medium and small bowl plus the lid. I used common sizes for this lidded pottery which becomes a set as one nest of pottery. I would be happy if this became one step towards aiming for the SDGs.

 Saga Television Award

Koukin Rin Lin NY+ Shuki (Kinshoudou Shinji Kaneko), Saga Prefecture

I thought of the hammered pattern for the NYNOW exhibition and imagined the armor and helmet of a samurai. Thinking of the spread of Covid-19, I applied antibacterial coating. I used photocatalysis through titanium oxide that was developed in Saga. The metallic sense was achieved through the high refractive index of the titanium oxide.

Tōgyōjihō Award                                              

Soekyuugosu Gosukyuusunsara 1.0~5.0 (Hisahiro Soejima), Saga Prefecture

Soehisa GOSU1.0-5.0 in five different tones of blue. Even if you generalize Gosu as one thing, the graduation of the color is different. Whether those would be refined with a sense of depth, showy with a sense of shining or light like a veil of clouds. We at Soehisa are particular about Gosu and produced these five different color tones, turning them into our very own “Soehisa GOSU*1.0-5.0”.

Nishinippon Shinbun Award

Ukihorimon Asabachisoroe (Kabushikigaisha Tokkou Hiroyuki Tokunaga), Saga Prefecture

 “I want you to digitally capture the Tensha pattern and progress that into a visible design.” The staff at ARITA PLUS patiently took on that challenge and thanks to them these vessels were born. I would like to use this opportunity to express my gratitude once again.

Nikkan Kōgyō Shinbun Award

Kuromattofuchikinsumie Egawari 5 Sun Usudefukazara (Fukujugama Yuusuke Fukuda), Saga Prefecture

Inside the matt black glazed surface, designs in polished black are faintly slipping in and out of view. The outlines of the mountains and trees are lighted up by moonlight in which they vaguely stand out. I recalled such a shape and produced according to that.

Nihon Keizai Shinbun Award

arc (Ojiyama Kazuhisa Iwanaga), Saga Prefecture

Mixing two kinds of overglaze from the sand and stones of a mountain close by. The cool and soft appearance spreads the original ideas of the people from this area.

White Tone - Cup & Bowl (Tetsuya Kaneishi), Saga Prefecture

Cups and bowls with two “white tones”, the shiny overglaze one and the matt one with its unevenness. I applied “waves” into the three directions of the rims and kept them in a simple, lose curbed shape. I tried to allow that there would be a sense of presence when standing on a table and that one could use these pieces for a long time, developing an attachment to them. Also, the pot handles are easy to hold and firmly attached.

Sometsukeryuusenkumibachi (Takuo Enda), Saga Prefecture

I produced these pieces being conscious of living lines, movements and energy.

Soesenseitoushokinseidobin (Yuugengaisha Soesenseitousho Kenichi Soejima), Saga Prefecture

Since the foundation of our company, we have kept on producing earthenware teapots with handles. These days, the demand for items like that keeps declining. We produced these pieces trying to appeal to new target groups, conducting the manufacturing process in a way that the items could become the main piece among tableware without anything strange about it.

Hyouseijikakewakehamonkokukumibachi (Masakatsu Aoki), Saga Prefecture

Separating the overglaze into celadon green and white, I hope that one can feel the richness in appearance. Also, I applied ripples to the inner side, expressing the harmony of celadon green porcelain and the surface of water.

Nihonshu Glas 「Jiki」(Yasuyuki Kawashima) , Nagasaki Prefecture

Based on trial and error on the production of the thin foot and slim body which has been considered very difficult until now, I completed these pieces in one firing procedure. I developed the three kinds of shapes and the design in a modern fashion that allows Japanese Sake, which is a part of Japanese culture to be enjoyed in a fancy and delicious way in many various scenes.

N.A.

April 7^th, 2021

Shin Azumi (Chief Examiner)

 In 2020, the world faced the Corona pandemic, an unprecedented crisis with its effects still going on. It became a situation in which our daily lives and industry had to change the perception of their values while converting their conceptions and move on to its implementation immediately. We feel that this one year was a time during which everyone and anyone deepened their thoughts regarding the things that necessarily had to be brought up and the things that must not be forgotten within the new lifestyle.

The “Arita International Ceramics Competition” also had to pause for one year but standing at ready the whole time, the emotion and research of a total of two years came together at the Industrial Ceramic Arts Division of the 117^th Arita International Ceramics Competition held in 2021 in the numbers of 70 pieces of art by 55 different people.

The shining winner of the Minister of Economy, Trade and Industry Award “Yuusaikoubyou Kahou” lets you feel something that could be called an interval depth in between the painted sketches by applying the underlying and overlying paintings as well as the sandblast stratified. The design that aims to visualize the fragrances was completed by the controlled faint color types and we highly valuated its magical charm that felt like it was engulfed in spring haze.

The winner of the Governor of Saga Prefecture Award “Kakewakekatakuchikumibachi” is a piece of art with a beautiful expression of the scraped off mouth part within its minimal form, that lets you imagine its figure that shines when various kinds of dishes are served in these bowls. We highly valuated that even the grade of the dish served on these bowls will feel higher while their extraordinarily high versatility makes them “easy-to-use vessels”.

The winner of the Mayor of Arita Town Award “Moon cycle plate” expressed the relation of the moon and the craters through the glazing of the bubbles on black ground and we appraised the fact that it is a gallant and poetic piece of art. Also, we feel that black is a color that beautifully presents the served dishes, that the expression of the moon as the ground pattern brings the food to prominence and that the perfect dosing are highlights.

The winner of the Technique Award “Neriage Soupbowl Set [Tenmonbudou]” uses the technique of drawing the design using clay colored beforehand and we recognized the charm of the minute graphic expression that stretches out from the inside to the outside of the bowls.

This year, a special focus lay on the way, ceramic ought to exist adding charm to the livelihood. Within the wider spread of remote work and the resulting increase of time spent at home, the awareness to try to make the daily life a little bit more comfortable is rising. We feel, that regarding the choices, pieces of art that are able to picture a lively and useful shape display a strong sense of presence this year as well. In addition, the result showed that objects in which the deepening of technique, conception and manufacturing and the charm of life came together, received a lot of votes.

Within the changes that Corona brought, the positives sides in a meaning that it gave us the opportunity to rethink our own lives and values must not be forgotten. Also in the future, various changes in the world will change people`s lives and values. I hope that this long-established ceramic competition that accepts change and preservation at the same time, will keep on expanding further.

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