These Mino ceramics were produced exclusively for export in the 1960s. When the bottom of the cup is shone through light, a figure of Japanese woman appears. Back in the day, there were several stamp patterns for these pieces but they deteriorated throughout the years and there is only one left today. At the same time, since there are no longer any artisans who are able to recreate them, it is impossible to produce precisive and photo-like stamps now. Needless to say, when the last existing stamp is worn out, the series will be discontinued permanently.
The simple and pureness of the pieces are like fruits of beauty that veils uncompleted potential.
1960年代に海外輸出用に作られた美濃焼きをモダンにプロダクト化。
カップの底に光を当てると厚さの変化だけで見せる日本の女性像がうっすら浮かび上がる。当時は何種類か存在していた判も磨耗して使えなくなり、女性像としては一つの判を残すのみとなった。判を作る職人ももはやおらず、当時の精密で写真の様な判を制作することは不可能とされている。もちろん現在使用されている判も磨耗しきってしまえばこのシリーズは終了となる。表情を表には出さず、白磁の底に隠した日本の『みたて』の文化。それは可能性を秘めた美の結晶。
