New Products Released from “F-TRAD,” a Project Revitalizing Fukui’s Traditional Crafts for Modern Lifestyles
New Products VOL.15

VOL.1-15
Update
VOL.1-17
Update
VOL.1-2
Update
VOL.1-3
Update
VOL.1-42
Update
VOL.1
Update
VOL.1-7
Update
VOL.1-32
Update
VOL.1-26
Update
VOL.1-12
Update
VOL.1-3
Update
VOL.1
Update
We share a variety of information and perspectives on Japanese crafts, including exhibition information and interviews.
New Products VOL.15
KOGEI Topics VOL.17
New Products VOL.14
Editor's Column “The Path of Japanese Crafts” Part2: Modern Society and Kogei VOL.2
Mar 6 – Jun 7, 2025
SHISEIDO ART HOUSE
Mar 7 – Jun 15, 2025
21_21 DESIGN SIGHT
Mar 8 – Sep 28, 2025
SAGAWA ART MUSEUM
Mar 12 – Mar 17, 2025
Nihonbashi Mitsukoshi
When you look into this bowl, you see an infinite universe. It is as if a meteor shower is being sucked into the depths of the dark blue sky. At the same time, it looks as if a fantastic, moist glow is radiating from the center of the galaxy – a mysterious and profound expression contained within an awe-inspiring form. This is the entrancing charm of Takeshi Imaizumi’s Tenmoku.
Tenmoku flourished in ancient times, mainly in Kenyo (Jiàn yáo in Chinese) China, and came to be produced in various parts of Japan in the modern era. The beautiful glaze tones produced by the iron glaze and its wide range of expression have attracted many potters and tea connoisseurs.
A mysterious appearance created in the moment when the clay and iron glaze are enveloped in flames and change their forms. The expression created by a contemporary artist melds gently together with a certain longing for the universal beauty that has been prized throughout history. Through this work, I felt as if I could relive the genuine fascination of Tenmoku as pursued by Takeshi.