{"id":7565,"date":"2026-08-29T07:24:25","date_gmt":"2026-08-28T22:24:25","guid":{"rendered":"https:\/\/en.kogei-japonica.com\/media\/?p=7565"},"modified":"2026-08-29T07:27:36","modified_gmt":"2026-08-28T22:27:36","slug":"kogei-awards-2026","status":"publish","type":"post","link":"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/","title":{"rendered":"Japan Traditional K\u014dgei Exhibition 2026: 16 Prize Works"},"content":{"rendered":"<p>The prize winners of the 73rd Japan Traditional K\u014dgei Exhibition were announced on 15 August 2026. Led by the Japan K\u014dgei Association President&#8217;s Prize, awarded to Toshie \u014cki&#8217;s bamboo flower basket T\u014dsei (&#8220;Sound of Waves&#8221;), a total of sixteen prize-winning works have been made public across seven categories: ceramics, textiles, lacquer (shitsugei), metalwork, wood and bamboo (mokuchikk\u014d), dolls, and other crafts (shok\u014dgei).<\/p>\n<p>Checking the list of winners and titles alone, though, doesn&#8217;t reveal what is happening in Japanese craft in 2026.<\/p>\n<p><b>What matters when looking at the winning works isn&#8217;t the ranking of prizes, but how material, technique, form, and surface relate to one another to make a single work hold together.<\/b><\/p>\n<p>The 73rd Japan Traditional K\u014dgei Exhibition runs from 2 to 15 September 2026 at Nihonbashi Mitsukoshi in Tokyo, before touring the country. This article keeps the dates and access details to a minimum and uses the sixteen officially announced prize works as a way into reading &#8220;where technique stands now&#8221; across the seven categories.<\/p>\n<p>Note that the Japan K\u014dgei Association&#8217;s published list of winners gives the prize, title, maker, and an image for each work, but individual jury reasoning has not been published for every work. In this article, we <b>keep the official prize results and Kogei Japonica&#8217;s own viewing and analysis clearly separate.<\/b><br \/>\uff08Source\uff1a<a href=\"https:\/\/fs.nihonkogeikai.or.jp\/data\/info\/pdf\/20260814115940951821\/INFO-745-1.pdf\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: list of prize-winning works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-exhibition-2026\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2026\/05\/kogei-exhibition-2026_1-1.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">9 Japanese Kogei Exhibitions to Visit from June 2026 Onward<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-exhibition-2026\/\">https:\/\/en.kogei-japonica.com\/media\/events\/kogei-exhibition-2026\/<\/div><div class=\"lkc-excerpt\">From June through autumn 2026, a wide range of craft exhibitions will open across Japan \u2014 regional juried shows, textile exhibitions, ceramics retrospectives, contemporary handicraft, and a touring exhibition that brings craft techniques into contact with one of the world&#039;s most recognized character IPs. This guide covers what is coming and organizes it so you can find what fits your interests and schedule.We have selected nine exhibitions and events opening from June 2026 onward, coveri...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_73 ez-toc-wrap-center counter-hierarchy ez-toc-counter ez-toc-white ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#The_73rd_Japan_Traditional_Kogei_Exhibition_2026_what_was_recognised\" title=\"The 73rd Japan Traditional K\u014dgei Exhibition 2026: what was recognised?\">The 73rd Japan Traditional K\u014dgei Exhibition 2026: what was recognised?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#What_is_the_Japan_Traditional_Kogei_Exhibition_How_the_seven_categories_divide_definition_box\" title=\"What is the Japan Traditional K\u014dgei Exhibition? How the seven categories divide [definition box]\">What is the Japan Traditional K\u014dgei Exhibition? How the seven categories divide [definition box]<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#In_2026_what_kind_of_works_were_recognised_in_each_category_comparison_table\" title=\"In 2026, what kind of works were recognised in each category? [comparison table]\">In 2026, what kind of works were recognised in each category? [comparison table]<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#Ceramics\" title=\"Ceramics\">Ceramics<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#Textiles\" title=\"Textiles\">Textiles<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#Lacquer\" title=\"Lacquer\">Lacquer<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#Metalwork\" title=\"Metalwork\">Metalwork<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#Wood_and_bamboo\" title=\"Wood and bamboo\">Wood and bamboo<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#Dolls\" title=\"Dolls\">Dolls<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#Other_crafts\" title=\"Other crafts\">Other crafts<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#What_trends_in_technique_and_material_appeared_in_2026\" title=\"What trends in technique and material appeared in 2026?\">What trends in technique and material appeared in 2026?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#Five_viewing_points_to_keep_in_mind_at_the_venue_checklist\" title=\"Five viewing points to keep in mind at the venue [checklist]\">Five viewing points to keep in mind at the venue [checklist]<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/kogei-awards-2026\/#Frequently_asked_questions_FAQ\" title=\"Frequently asked questions (FAQ)\">Frequently asked questions (FAQ)<\/a><\/li><\/ul><\/nav><\/div>\n<h2><span class=\"ez-toc-section\" id=\"The_73rd_Japan_Traditional_Kogei_Exhibition_2026_what_was_recognised\"><\/span>The 73rd Japan Traditional K\u014dgei Exhibition 2026: what was recognised?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<figure id=\"attachment_11279\" aria-describedby=\"caption-attachment-11279\" style=\"width: 2288px\" class=\"wp-caption aligncenter\"><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/IMG_7761_1.webp\" alt=\"The 73rd Japan Traditional K\u014dgei Exhibition\" width=\"2288\" height=\"1430\" class=\"size-full wp-image-11279\" \/><figcaption id=\"caption-attachment-11279\" class=\"wp-caption-text\"><a href=\"https:\/\/nihonkogeikai-tokai.com\/posts\/activity_archive.html\" rel=\"noopener nofollow\" target=\"_blank\">Japan K\u014dgei Association, T\u014dkai branch<\/a><\/figcaption><\/figure>\n<p><b>The results of the 73rd exhibition are more useful as a way to see how contemporary makers are reworking inherited techniques than as a simple ranking of &#8220;the year&#8217;s best works.&#8221;<\/b><br \/>\n\uff08Source\uff1a<a href=\"https:\/\/nihonkogeikai-tokai.com\/posts\/activity131.html\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: prize winners and selected entrants announced<\/a>\uff09<\/p>\n<p>The Tokyo showing is scheduled from Wednesday 2 September to Tuesday 15 September 2026, in the event hall on the 7th floor of the main building of Nihonbashi Mitsukoshi. Opening hours are 10:00 to 19:00, and admission to the Tokyo showing is free. The organisers include the Agency for Cultural Affairs, the Tokyo Metropolitan Board of Education, NHK, The Asahi Shimbun, and the Japan K\u014dgei Association.<\/p>\n<p>The Japan K\u014dgei Association describes the Japan Traditional K\u014dgei Exhibition as the largest open-call exhibition in the craft field, and the only one the national government co-organises. It is an annual open call for works in seven categories: ceramics, textiles, lacquer, metalwork, wood and bamboo, dolls, and other crafts.<\/p>\n<p>One more thing matters for understanding the winning works: the Japan K\u014dgei Association&#8217;s own idea of &#8220;tradition.&#8221; The aims of the 73rd exhibition don&#8217;t frame traditional craft as imitating old things or keeping earlier techniques exactly as they were. They emphasise refining inherited techniques further while creating something new, suited to life today.<\/p>\n<div class=\"box3\">\n<p><b>Editor&#8217;s note<\/b><\/p>\n<p>The phrase &#8220;traditional craft&#8221; can bring to mind a world of accurately reproducing finished old styles.<br \/>\nBut reading the official aims of the Japan Traditional K\u014dgei Exhibition, that understanding isn&#8217;t enough. What is inherited isn&#8217;t only a finished design\u2014it&#8217;s material knowledge, process, and accumulated judgement. What today&#8217;s makers build using that technique: in the 73rd exhibition, it&#8217;s this space between &#8220;inheritance&#8221; and &#8220;the present&#8221; I want to watch.<\/p>\n<\/div>\n<h2><span class=\"ez-toc-section\" id=\"What_is_the_Japan_Traditional_Kogei_Exhibition_How_the_seven_categories_divide_definition_box\"><\/span>What is the Japan Traditional K\u014dgei Exhibition? How the seven categories divide [definition box]<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>The Japan Traditional K\u014dgei Exhibition is made up of seven categories with different materials and systems of making: ceramics, textiles, lacquer, metalwork, wood and bamboo, dolls, and other crafts.<\/b> Even within one &#8220;craft,&#8221; the materials, processes, and points at which technical judgement matters differ greatly from category to category.<\/p>\n<p>According to the Japan K\u014dgei Association, the Japan Traditional K\u014dgei Exhibition is an open call divided into seven categories, with selected works shown at venues across the country.<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.nihonkogeikai.or.jp\/competition\/\" rel=\"noopener nofollow\" target=\"_blank\">Open-call information, Japan Traditional K\u014dgei Exhibition | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<div class=\"box3\">\n<p><b>Definition box | The seven categories of the Japan Traditional K\u014dgei Exhibition<\/b><\/p>\n<ul>\n<li><b>Ceramics (t\u014dgei):<\/b> forming clay or porcelain stone and firing it. Alongside glazed works, there are varied techniques such as unglazed stoneware (yakishime) and bluish-white porcelain (seihakuji).<\/li>\n<li><b>Textiles (senshoku):<\/b> covering the techniques of dyeing thread and cloth, and of weaving thread into cloth. With kasuri (ikat), Edo komon, ukiori (float-weave) and the like, the very process by which the pattern arises is the key to understanding the work.<\/li>\n<li><b>Lacquer (shitsugei):<\/b> a field covering applying, layering, grinding, and polishing lacquer, together with varied decorative and modelling techniques such as maki-e (sprinkled-metal-powder decoration), raden (mother-of-pearl inlay), and tsuishitsu (built-up carved lacquer).<\/li>\n<li><b>Metalwork (kink\u014d):<\/b> working metals such as gold, silver, copper, and iron by hammering (tankin), casting (ch\u016bkin), chasing and engraving (ch\u014dkin), and inlay (z\u014dgan).<\/li>\n<li><b>Wood and bamboo (mokuchikk\u014d):<\/b> creating form through carving, joining, plaiting (henso), and bending, while drawing on the physical properties of wood and bamboo\u2014grain direction, figure, elasticity.<\/li>\n<li><b>Dolls (ningy\u014d):<\/b> a field that creates figures and forms by combining several materials and techniques\u2014wood carving, paulownia-paste modelling (t\u014dso), paper-covering, cloth-covering, costume.<\/li>\n<li><b>Other crafts (shok\u014dgei):<\/b> a field taking in materials and technical systems different from the other six, such as cloisonn\u00e9 enamel (shipp\u014d), glass, inkstones (suzuri), and cut gold leaf (kirikane).<\/li>\n<\/ul>\n<\/div>\n<p>Set the seven categories side by side, and it becomes clear that seeing the Japan Traditional K\u014dgei Exhibition as &#8220;a show of Japanese-style works&#8221; doesn&#8217;t fit. Each field has different material properties, processes, histories, and problems of form, and they can&#8217;t be compared by a single measure alone.<\/p>\n<p>On Important Intangible Cultural Properties, the Agency for Cultural Affairs explains that the state designates the most important among skills (waza) of high historical or artistic value as Important Intangible Cultural Properties, and certifies the individuals or groups who embody and command those skills to a high degree as holders or holding groups. Among these, individually certified holders are commonly known as &#8220;Living National Treasures.&#8221;<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.bunka.go.jp\/seisaku\/bunkazai\/shokai\/mukei\/\" rel=\"noopener nofollow\" target=\"_blank\">Intangible cultural properties | Agency for Cultural Affairs<\/a>\uff09<\/p>\n<h2><span class=\"ez-toc-section\" id=\"In_2026_what_kind_of_works_were_recognised_in_each_category_comparison_table\"><\/span>In 2026, what kind of works were recognised in each category? [comparison table]<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>At the 73rd Japan Traditional K\u014dgei Exhibition, sixteen prize-winning works were announced on 15 August 2026.<\/b> The top honour, the Japan K\u014dgei Association President&#8217;s Prize, went to Toshie \u014cki&#8217;s bamboo flower basket T\u014dsei.<\/p>\n<p>Looking at the list of winners, works were chosen from different material systems\u2014bamboo, lacquer, silk, cotton, ceramic and porcelain, metal, wood, dolls, cloisonn\u00e9, inkstone. First, here are the sixteen officially announced works.<br \/>\uff08Source\uff1a<a href=\"https:\/\/fs.nihonkogeikai.or.jp\/data\/info\/pdf\/20260814115940951821\/INFO-745-1.pdf\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: list of prize-winning works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/73_1.webp\" alt=\"The 73rd Japan Traditional K\u014dgei Exhibition\" width=\"500\" class=\"aligncenter size-full wp-image-11292\" \/><img decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/73_2.webp\" alt=\"The 73rd Japan Traditional K\u014dgei Exhibition\" width=\"500\" class=\"aligncenter size-full wp-image-11293\" \/><img decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/73_3.webp\" alt=\"The 73rd Japan Traditional K\u014dgei Exhibition\" width=\"500\" class=\"aligncenter size-full wp-image-11294\" \/><img decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/73_4.webp\" alt=\"The 73rd Japan Traditional K\u014dgei Exhibition\" width=\"500\" class=\"aligncenter size-full wp-image-11295\" \/><\/p>\n<div class=\"scroll_table\">\n<table>\n<thead>\n<tr>\n<th>Category<\/th>\n<th>Prize<\/th>\n<th>Maker<\/th>\n<th>Work<\/th>\n<th>What to look for in technique and material<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>Wood and bamboo<\/td>\n<td>Japan K\u014dgei Association President&#8217;s Prize<\/td>\n<td>Toshie \u014cki<\/td>\n<td>Flower basket T\u014dsei (&#8220;Sound of Waves&#8221;)<\/td>\n<td>Linear structure in bamboo; plaiting, void, and volume<\/td>\n<\/tr>\n<tr>\n<td>Lacquer<\/td>\n<td>Prince Takamatsu Memorial Prize<\/td>\n<td>Yasunori Sud\u014d<\/td>\n<td>Aizu keshifun maki-e lacquer box &#8220;Wind Crossing the Valley&#8221;<\/td>\n<td>Lacquer, keshifun maki-e, the relationship between the box&#8217;s planar form and its decoration<\/td>\n<\/tr>\n<tr>\n<td>Textiles<\/td>\n<td>MEXT Minister&#8217;s Prize<\/td>\n<td>Ei Miyairi<\/td>\n<td>Ukiori raw-silk kimono &#8220;Tree Rain&#8221;<\/td>\n<td>Raw silk, float-weave, a surface arising from the weave structure<\/td>\n<\/tr>\n<tr>\n<td>Ceramics<\/td>\n<td>Tokyo Governor&#8217;s Prize<\/td>\n<td>Sh\u016bsaku Ichino<\/td>\n<td>Ash-glazed coloured bowl &#8220;Oboro&#8221; (&#8220;Haze&#8221;)<\/td>\n<td>Ash glaze, colour, the bowl&#8217;s form and glaze quality<\/td>\n<\/tr>\n<tr>\n<td>Wood and bamboo<\/td>\n<td>NHK Chairman&#8217;s Prize<\/td>\n<td>Tetsuya Hayashi<\/td>\n<td>Buried-zelkova wiped-lacquer box &#8220;Ceaseless Change&#8221;<\/td>\n<td>Jindai-keyaki (buried zelkova), wiped lacquer, grain and box structure<\/td>\n<\/tr>\n<tr>\n<td>Textiles<\/td>\n<td>Asahi Shimbun Prize<\/td>\n<td>Noriko Tsuiki<\/td>\n<td>Kokura-jima cotton obi &#8220;Abstract: Black Butterfly&#8221;<\/td>\n<td>Cotton, Kokura stripe, the repetition of stripes and colour<\/td>\n<\/tr>\n<tr>\n<td>Metalwork<\/td>\n<td>Japan K\u014dgei Association Chairman&#8217;s Prize<\/td>\n<td>K\u014dd\u014d Murakami<\/td>\n<td>Inlaid flower vessel &#8220;Canal in Dusk Colours&#8221;<\/td>\n<td>Metal, inlay, plane and colour from different metals<\/td>\n<\/tr>\n<tr>\n<td>Wood and bamboo<\/td>\n<td>Japan K\u014dgei Association Member Holder&#8217;s Prize<\/td>\n<td>Seiz\u014d Kawaguchi<\/td>\n<td>Zelkova wiped-lacquer serving vessel &#8220;Hansh\u014d&#8221; (&#8220;Soaring Sail&#8221;)<\/td>\n<td>Zelkova, wiped lacquer, grain and mass<\/td>\n<\/tr>\n<tr>\n<td>Ceramics<\/td>\n<td>Japan K\u014dgei Association Encouragement Prize<\/td>\n<td>Hiroshi Nakata<\/td>\n<td>Momotamana<\/td>\n<td>Ceramics. The specific technique should be confirmed from the exhibition label or catalogue<\/td>\n<\/tr>\n<tr>\n<td>Textiles<\/td>\n<td>Japan K\u014dgei Association Encouragement Prize<\/td>\n<td>Yasuyoshi Komiya<\/td>\n<td>Edo komon kimono length &#8220;Shi to Shi to&#8221;<\/td>\n<td>Edo komon, fine stencilled repetition<\/td>\n<\/tr>\n<tr>\n<td>Lacquer<\/td>\n<td>Japan K\u014dgei Association Encouragement Prize<\/td>\n<td>Masakazu Ishihara<\/td>\n<td>Tsuishitsu and inlay small chest with bird-shaped drawer pulls<\/td>\n<td>Tsuishitsu, inlay, form that treats the lacquer layer itself as material<\/td>\n<\/tr>\n<tr>\n<td>Dolls<\/td>\n<td>Japan K\u014dgei Association Encouragement Prize<\/td>\n<td>Ritsuko Noda<\/td>\n<td>Wood-core paulownia-paste, cloth- and washi-covered &#8220;Rhythm&#8221;<\/td>\n<td>Wood-core t\u014dso, cloth and washi covering, body and surface<\/td>\n<\/tr>\n<tr>\n<td>Other crafts<\/td>\n<td>Japan K\u014dgei Association Encouragement Prize<\/td>\n<td>Reiko And\u014d<\/td>\n<td>Cloisonn\u00e9 lidded vessel &#8220;Drift Ice&#8221;<\/td>\n<td>Cloisonn\u00e9, metal body and glassy layer, the form of the lidded vessel<\/td>\n<\/tr>\n<tr>\n<td>Ceramics<\/td>\n<td>Japan K\u014dgei Association Newcomer&#8217;s Prize<\/td>\n<td>S\u014d Urag\u014d<\/td>\n<td>Bluish-white porcelain carved flower vessel &#8220;Ry\u016bkei\u20132026\u2013&#8221;<\/td>\n<td>Seihakuji, carved decoration, pale colour and relief<\/td>\n<\/tr>\n<tr>\n<td>Textiles<\/td>\n<td>Japan K\u014dgei Association Newcomer&#8217;s Prize<\/td>\n<td>Nobuko Kat\u014d<\/td>\n<td>Kurume-gasuri kimono &#8220;Night of the Bright Moon&#8221;<\/td>\n<td>Kurume-gasuri, pre-dyed thread and pattern<\/td>\n<\/tr>\n<tr>\n<td>Other crafts<\/td>\n<td>Japan K\u014dgei Association Newcomer&#8217;s Prize<\/td>\n<td>Ichihime Nakamura<\/td>\n<td>Biwa inkstone<\/td>\n<td>Inkstone. The stone, form, and grinding surface are worth confirming<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>The &#8220;what to look for&#8221; column in this table isn&#8217;t a summary of official jury reasoning. It gathers points worth attending to when viewing, based on the work titles, the maker&#8217;s category, and past works and technique information verifiable through the Japan K\u014dgei Association.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Ceramics\"><\/span>Ceramics<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>In ceramics, Sh\u016bsaku Ichino&#8217;s ash-glazed coloured bowl &#8220;Oboro&#8221; received the Tokyo Governor&#8217;s Prize, <figure id=\"attachment_11230\" aria-describedby=\"caption-attachment-11230\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/4.webp\" alt=\"Ceramics: Sh\u016bsaku Ichino's ash-glazed coloured bowl Oboro\" width=\"478\" height=\"598\" class=\"size-full wp-image-11230\" \/><figcaption id=\"caption-attachment-11230\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure>Hiroshi Nakata&#8217;s &#8220;Momotamana&#8221; received the Japan K\u014dgei Association Encouragement Prize, <figure id=\"attachment_11231\" aria-describedby=\"caption-attachment-11231\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/9.webp\" alt=\"Ceramics: Hiroshi Nakata's Momotamana, Japan K\u014dgei Association Encouragement Prize\" width=\"478\" height=\"598\" class=\"size-full wp-image-11231\" \/><figcaption id=\"caption-attachment-11231\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure>and S\u014d Urag\u014d&#8217;s bluish-white porcelain carved flower vessel &#8220;Ry\u016bkei\u20132026\u2013&#8221; was chosen for the Japan K\u014dgei Association Newcomer&#8217;s Prize. <figure id=\"attachment_11232\" aria-describedby=\"caption-attachment-11232\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/14-.webp\" alt=\"Ceramics: S\u014d Urag\u014d's bluish-white porcelain carved flower vessel Ry\u016bkei\u20132026\u2013, Japan K\u014dgei Association Newcomer's Prize\" width=\"478\" height=\"598\" class=\"size-full wp-image-11232\" \/><figcaption id=\"caption-attachment-11232\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure><br \/>\uff08Source\uff1a<a href=\"https:\/\/fs.nihonkogeikai.or.jp\/data\/info\/pdf\/20260814115940951821\/INFO-745-1.pdf\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: list of prize-winning works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p>Even within a single category such as ceramics, it helps to separate form and surface when comparing the three works.<\/p>\n<p>For the ash-glazed coloured bowl &#8220;Oboro,&#8221; the title suggests one useful starting point: the relationship between the ash glaze, colour, and the bowl&#8217;s form. For the bluish-white porcelain carved flower vessel &#8220;Ry\u016bkei\u20132026\u2013,&#8221; meanwhile, you can look closely at seihakuji&#8217;s pale tone, the relief of the carved decoration, and the shadow when light falls across it.<\/p>\n<p>Hiroshi Nakata can be confirmed through the Japan K\u014dgei Association&#8217;s official maker information as a full member in ceramics, and has continued to show ceramic works titled &#8220;Shinju k\u014dsai&#8221; (pearl lustre). That said, it&#8217;s best not to infer the specific making technique of &#8220;Momotamana&#8221; from the title alone; it should be confirmed at the venue caption or in the catalogue.<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.nihonkogeikai.or.jp\/works\/8966\/\" rel=\"noopener nofollow\" target=\"_blank\">Hiroshi Nakata, list of works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p><b>In ceramics, what matters isn&#8217;t only &#8220;is the glaze beautiful,&#8221; but how form, firing, glaze quality, and surface are integrated into a single work.<\/b><\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/skills\/ceramics\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2026\/01\/ceramics.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">Ceramics Explained: A Comprehensive Guide from Materials and Firing to Decora...<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/skills\/ceramics\/\">https:\/\/en.kogei-japonica.com\/media\/skills\/ceramics\/<\/div><div class=\"lkc-excerpt\">Ceramics, crafted from clay and stone through processes of forming, firing, and decoration, represent one of humanity&#039;s oldest craft traditions. Classified into earthenware, porcelain, and stoneware based on clay properties and firing temperatures, each type differs in texture, strength, and application.Furthermore, the choice of glazes, decorative techniques, and firing methods dramatically alters their appearance, with each production region developing its own unique aesthetic sensibil...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<h3><span class=\"ez-toc-section\" id=\"Textiles\"><\/span>Textiles<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>In textiles, Ei Miyairi&#8217;s ukiori raw-silk kimono &#8220;Tree Rain&#8221; received the MEXT Minister&#8217;s Prize, <figure id=\"attachment_11233\" aria-describedby=\"caption-attachment-11233\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/3.webp\" alt=\"Textiles: Ei Miyairi's ukiori raw-silk kimono Tree Rain, MEXT Minister's Prize\" width=\"478\" height=\"598\" class=\"size-full wp-image-11233\" \/><figcaption id=\"caption-attachment-11233\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure>Noriko Tsuiki&#8217;s Kokura-jima cotton obi &#8220;Abstract: Black Butterfly&#8221; received the Asahi Shimbun Prize, <figure id=\"attachment_11234\" aria-describedby=\"caption-attachment-11234\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/6.webp\" alt=\"Textiles: Noriko Tsuiki's Kokura-jima cotton obi Abstract: Black Butterfly, Asahi Shimbun Prize\" width=\"478\" height=\"598\" class=\"size-full wp-image-11234\" \/><figcaption id=\"caption-attachment-11234\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure>Yasuyoshi Komiya&#8217;s Edo komon kimono length &#8220;Shi to Shi to&#8221; received the Japan K\u014dgei Association Encouragement Prize, <figure id=\"attachment_11235\" aria-describedby=\"caption-attachment-11235\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/10.webp\" alt=\"Textiles: Yasuyoshi Komiya's Edo komon kimono length Shi to Shi to, Japan K\u014dgei Association Encouragement Prize\" width=\"478\" height=\"598\" class=\"size-full wp-image-11235\" \/><figcaption id=\"caption-attachment-11235\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure>and Nobuko Kat\u014d&#8217;s Kurume-gasuri kimono &#8220;Night of the Bright Moon&#8221; won the Japan K\u014dgei Association Newcomer&#8217;s Prize. <figure id=\"attachment_11236\" aria-describedby=\"caption-attachment-11236\" style=\"width: 445px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/15\u65e5\u672c\u5de5\u82b8\u4f1a\u65b0\u4eba\u8cde-\u4e45\u7559\u7c73\u7d63\u7740\u7269\u300c\u7693\u6708\u306e\u591c\u300d-\u52a0\u85e4\u4f38\u5b50.webp\" alt=\"Textiles: Nobuko Kat\u014d's Kurume-gasuri kimono Night of the Bright Moon, Japan K\u014dgei Association Newcomer's Prize\" width=\"445\" height=\"582\" class=\"size-full wp-image-11236\" \/><figcaption id=\"caption-attachment-11236\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure><br \/>\uff08Source\uff1a<a href=\"https:\/\/fs.nihonkogeikai.or.jp\/data\/info\/pdf\/20260814115940951821\/INFO-745-1.pdf\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: list of prize-winning works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p>These four works are easier to compare if you ask at what stage of the process the pattern is created.<\/p>\n<p>Ukiori produces variation on the surface through the weave structure itself. In Kokura stripe, the arrangement and colour of thread make the stripes; in Edo komon, the fine, repeated stencil-dyeing matters. In Kurume-gasuri, weaving pre-dyed threads brings the pattern into view.<\/p>\n<p>In other words, even what looks like the same &#8220;pattern&#8221; isn&#8217;t drawn onto the surface afterwards. <b>Where the image is made\u2014at the thread stage, the dyeing stage, or the weaving stage\u2014lies at the heart of each technique.<\/b><\/p>\n<p>Ei Miyairi can be confirmed through the Japan K\u014dgei Association as a maker in textiles who has continued to show ukiori raw-silk kimono.<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.nihonkogeikai.or.jp\/works\/8300\/\" rel=\"noopener nofollow\" target=\"_blank\">Ei Miyairi, list of works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Lacquer\"><\/span>Lacquer<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>In lacquer, Yasunori Sud\u014d&#8217;s Aizu keshifun maki-e lacquer box &#8220;Wind Crossing the Valley&#8221; received the Prince Takamatsu Memorial Prize, <figure id=\"attachment_11237\" aria-describedby=\"caption-attachment-11237\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/2.webp\" alt=\"Lacquer: Yasunori Sud\u014d's Aizu keshifun maki-e lacquer box Wind Crossing the Valley, Prince Takamatsu Memorial Prize\" width=\"478\" height=\"598\" class=\"size-full wp-image-11237\" \/><figcaption id=\"caption-attachment-11237\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure>and Masakazu Ishihara&#8217;s &#8220;Tsuishitsu and inlay small chest with bird-shaped drawer pulls&#8221; received the Japan K\u014dgei Association Encouragement Prize. <figure id=\"attachment_11238\" aria-describedby=\"caption-attachment-11238\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/11.webp\" alt=\"Lacquer: Masakazu Ishihara's tsuishitsu and inlay small chest with bird-shaped drawer pulls, Japan K\u014dgei Association Encouragement Prize\" width=\"478\" height=\"598\" class=\"size-full wp-image-11238\" \/><figcaption id=\"caption-attachment-11238\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure><br \/>\uff08Source\uff1a<a href=\"https:\/\/fs.nihonkogeikai.or.jp\/data\/info\/pdf\/20260814115940951821\/INFO-745-1.pdf\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: list of prize-winning works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p>Though both are lacquer, these two works are a way into seeing the difference between treating lacquer as surface decoration and as a material in its own right.<\/p>\n<p>Keshifun maki-e is a maki-e technique that uses fine metal powder over patterns drawn in lacquer. Tsuishitsu, by contrast, takes the thick layer built up by repeated lacquer coats as the object to be worked.<\/p>\n<p>Masakazu Ishihara can be confirmed through the Japan K\u014dgei Association as belonging to lacquer, and has consistently produced works combining tsuishitsu and inlay, such as &#8220;Tsuishitsu inlay layered box.&#8221;<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.nihonkogeikai.or.jp\/works\/698\/\" rel=\"noopener nofollow\" target=\"_blank\">Masakazu Ishihara, list of works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p>In lacquer, rather than seeing only &#8220;colour&#8221; such as gold or black, understanding deepens when you look at how the surface is made through layering, grinding, polishing, and decoration.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Metalwork\"><\/span>Metalwork<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>In metalwork, K\u014dd\u014d Murakami&#8217;s inlaid flower vessel &#8220;Canal in Dusk Colours&#8221; received the Japan K\u014dgei Association Chairman&#8217;s Prize. <figure id=\"attachment_11239\" aria-describedby=\"caption-attachment-11239\" style=\"width: 1280px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/7\u65e5\u672c\u5de5\u82b8\u4f1a\u4f1a\u9577\u8cde-\u8c61\u5d4c\u82b1\u5668\u300c\u66ae\u308c\u8272\u306e\u904b\u6cb3\u300d-\u6751\u4e0a\u6d69\u5802.webp\" alt=\"Metalwork: K\u014dd\u014d Murakami's inlaid flower vessel Canal in Dusk Colours, Japan K\u014dgei Association Chairman's Prize\" width=\"480\" height=\"800\" class=\"size-full wp-image-11239\" \/><figcaption id=\"caption-attachment-11239\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure><br \/>\uff08Source\uff1a<a href=\"https:\/\/fs.nihonkogeikai.or.jp\/data\/info\/pdf\/20260814115940951821\/INFO-745-1.pdf\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: list of prize-winning works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p>Inlay (z\u014dgan) is a technique of setting a different material into a base metal to create pattern, colour, and variation across the surface.<\/p>\n<p>In metalwork, colour isn&#8217;t necessarily &#8220;painted on&#8221; like pigment. Visual difference is produced through the colours of the different metals themselves, surface treatment, colouring, and polishing. So when looking at &#8220;Canal in Dusk Colours,&#8221; rather than taking in colour alone, it&#8217;s worth confirming <b>where that colour arises, and how the boundaries of the planes are made.<\/b><\/p>\n<p>Metalwork handles hard materials, but in the finished work the physical force and technical difficulty involved in making can disappear from the finished appearance, leaving what reads as a quiet plane. The distance between that &#8220;force of process&#8221; and &#8220;stillness of the finished form&#8221; is one of the interesting things about contemporary metalwork.<\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/contemporary-japanese-metalwork\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2026\/07\/contemporary-japanese-metalwork_1.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">Contemporary Japanese Metalwork: 3 Women Artists in U.S. Museums<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/contemporary-japanese-metalwork\/\">https:\/\/en.kogei-japonica.com\/media\/lnt\/contemporary-japanese-metalwork\/<\/div><div class=\"lkc-excerpt\">Overseas museums are drawn to contemporary Japanese metalwork not only for the precision of the hammer work, but for the artistic vision that keeps renewing alloy, color, surface, and form.When you look into Japanese metal artists or contemporary metalwork, what you usually find is fragmented information: a Living National Treasure&#039;s biography, a basic explanation of a technique, an exhibition announcement \u2014 with little sense of what is actually being valued overseas.In recent years, U.S...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<h3><span class=\"ez-toc-section\" id=\"Wood_and_bamboo\"><\/span>Wood and bamboo<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>In wood and bamboo, Toshie \u014cki&#8217;s flower basket &#8220;T\u014dsei&#8221; received the Japan K\u014dgei Association President&#8217;s Prize, <figure id=\"attachment_11240\" aria-describedby=\"caption-attachment-11240\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/1.webp\" alt=\"Wood and bamboo: Toshie \u014cki's flower basket T\u014dsei, Japan K\u014dgei Association President's Prize\" width=\"478\" height=\"598\" class=\"size-full wp-image-11240\" \/><figcaption id=\"caption-attachment-11240\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure>Tetsuya Hayashi&#8217;s buried-zelkova wiped-lacquer box &#8220;Ceaseless Change&#8221; received the NHK Chairman&#8217;s Prize, <figure id=\"attachment_11241\" aria-describedby=\"caption-attachment-11241\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/5.webp\" alt=\"Tetsuya Hayashi's buried-zelkova wiped-lacquer box Ceaseless Change, NHK Chairman's Prize\" width=\"478\" height=\"598\" class=\"size-full wp-image-11241\" \/><figcaption id=\"caption-attachment-11241\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure>and Seiz\u014d Kawaguchi&#8217;s zelkova wiped-lacquer serving vessel &#8220;Hansh\u014d&#8221; received the Japan K\u014dgei Association Member Holder&#8217;s Prize. <figure id=\"attachment_11242\" aria-describedby=\"caption-attachment-11242\" style=\"width: 1280px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/8\u65e5\u672c\u5de5\u82b8\u4f1a\u4fdd\u6301\u8005\u8cde-\u6b05\u62ed\u6f06\u76db\u5668\u300c\u5e06\u7fd4\u300d-\u5ddd\u53e3\u6e05\u4e09.webp\" alt=\"Seiz\u014d Kawaguchi's zelkova wiped-lacquer serving vessel Hansh\u014d, Japan K\u014dgei Association Member Holder's Prize\" width=\"480\" height=\"799\" class=\"size-full wp-image-11242\" \/><figcaption id=\"caption-attachment-11242\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure><br \/>\uff08Source\uff1a<a href=\"https:\/\/fs.nihonkogeikai.or.jp\/data\/info\/pdf\/20260814115940951821\/INFO-745-1.pdf\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: list of prize-winning works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p>Even within wood and bamboo, \u014cki&#8217;s flower basket and the woodwork of Hayashi and Kawaguchi differ greatly in how their forms are constructed.<\/p>\n<p>In the bamboo flower basket, the repetition, curve, and crossing of the linear material, and the voids (k\u016bgeki) themselves, make the form. The &#8220;empty parts&#8221; inside are also part of the three-dimensional structure. In the zelkova boxes and serving vessel, by contrast, grain, plane, thickness, ridge lines, and how the surface reads through wiped lacquer (fuki-urushi) matter.<\/p>\n<p><b>When looking at wood and bamboo, what matters isn&#8217;t only how extensively the material has been manipulated, but how the maker incorporates the material&#8217;s inherent properties\u2014such as grain and the directional character of bamboo\u2014into the form.<\/b><\/p>\n<p>Even at the stage of viewing the official work images, &#8220;T\u014dsei&#8221; holds together through a gathering of lines and an interior space, while in &#8220;Ceaseless Change&#8221; and &#8220;Hansh\u014d&#8221; the planes and mass of the wood are large visual elements\u2014giving a sense of the range within a single category.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Dolls\"><\/span>Dolls<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>In the dolls category, Ritsuko Noda&#8217;s wood-core paulownia-paste, cloth- and washi-covered &#8220;Rhythm&#8221; received the Japan K\u014dgei Association Encouragement Prize. <figure id=\"attachment_11243\" aria-describedby=\"caption-attachment-11243\" style=\"width: 389px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/12-2.webp\" alt=\"Dolls category\" width=\"389\" height=\"545\" class=\"size-full wp-image-11243\" \/><figcaption id=\"caption-attachment-11243\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure><br \/>\uff08Source\uff1a<a href=\"https:\/\/fs.nihonkogeikai.or.jp\/data\/info\/pdf\/20260814115940951821\/INFO-745-1.pdf\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: list of prize-winning works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p>Wood-core t\u014dso is a doll technique that models with paulownia paste (using paulownia powder and the like) over a core of wood or similar. This work&#8217;s title also carries &#8220;cloth- and washi-covered,&#8221; showing that not only the three-dimensional form but the materials making up the surface matter.<\/p>\n<p>Noda can be confirmed through the Japan K\u014dgei Association as belonging to the dolls category, continuing to make works using wood-core t\u014dso and paper-covering.<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.nihonkogeikai.or.jp\/works\/2793\/\" rel=\"noopener nofollow\" target=\"_blank\">Ritsuko Noda, list of works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p>With doll works, the eye tends to go to the face, but the body&#8217;s centre of gravity, the direction of the limbs, the flow of clothing and surface material, and the distance to the base matter too. Given the title &#8220;Rhythm,&#8221; this is a work where you&#8217;d want to confirm at the venue not just the figure&#8217;s momentary pose but the sense of movement created by the figure as a whole.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Other_crafts\"><\/span>Other crafts<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>In other crafts, Reiko And\u014d&#8217;s cloisonn\u00e9 lidded vessel &#8220;Drift Ice&#8221; received the Japan K\u014dgei Association Encouragement Prize, <figure id=\"attachment_11244\" aria-describedby=\"caption-attachment-11244\" style=\"width: 478px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/13.webp\" alt=\"Other crafts: Reiko And\u014d's cloisonn\u00e9 lidded vessel Drift Ice, Japan K\u014dgei Association Encouragement Prize\" width=\"478\" height=\"598\" class=\"size-full wp-image-11244\" \/><figcaption id=\"caption-attachment-11244\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure>and Ichihime Nakamura&#8217;s &#8220;Biwa inkstone&#8221; received the Japan K\u014dgei Association Newcomer&#8217;s Prize. <figure id=\"attachment_11245\" aria-describedby=\"caption-attachment-11245\" style=\"width: 581px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/\u65e5\u672c\u5de5\u82b8\u4f1a\u65b0\u4eba\u8cde-\u3073\u308f\u7814-\u4e2d\u6751\u4e00\u59eb.webp\" alt=\"Ichihime Nakamura's Biwa inkstone, Japan K\u014dgei Association Newcomer's Prize\" width=\"481\" height=\"657\" class=\"size-full wp-image-11245\" \/><figcaption id=\"caption-attachment-11245\" class=\"wp-caption-text\"><a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2026 ISETAN MITSUKOSHI<\/a><\/figcaption><\/figure><br \/>\uff08Source\uff1a<a href=\"https:\/\/fs.nihonkogeikai.or.jp\/data\/info\/pdf\/20260814115940951821\/INFO-745-1.pdf\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: list of prize-winning works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p>Thinking of other crafts as &#8220;miscellaneous crafts&#8221; misses the specialism of this category. Between cloisonn\u00e9 and inkstone, the materials, the making processes, and what to look for in the finished work all differ greatly.<\/p>\n<p>Reiko And\u014d belongs to other crafts in the Japan K\u014dgei Association, and has shown wired cloisonn\u00e9 (y\u016bsen shipp\u014d) and cloisonn\u00e9 vessels. Because cloisonn\u00e9 works through a metal body and glassy glaze, what matters visually is not only the surface gloss and colour but how the metal and glassy layers make a single plane.<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.nihonkogeikai.or.jp\/works\/2030\/\" rel=\"noopener nofollow\" target=\"_blank\">Reiko And\u014d, list of works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<p>Ichihime Nakamura also belongs to other crafts in the Japan K\u014dgei Association, and has continued to show inkstone works such as &#8220;Ky\u016bj\u014d-ken,&#8221; &#8220;T\u014dka-ken,&#8221; and &#8220;Kay\u014d-ken.&#8221; With &#8220;Biwa inkstone,&#8221; it&#8217;s worth attending to how the form of an object with the function of an inkstone connects with the sculptural quality of the form itself.<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.nihonkogeikai.or.jp\/works\/9683\/\" rel=\"noopener nofollow\" target=\"_blank\">Ichihime Nakamura, list of works | Japan K\u014dgei Association<\/a>\uff09<\/p>\n<h2><span class=\"ez-toc-section\" id=\"What_trends_in_technique_and_material_appeared_in_2026\"><\/span>What trends in technique and material appeared in 2026?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>From the sixteen prize works of the 73rd exhibition alone, you can&#8217;t assert a single trend that &#8220;2026 craft moved in this direction.&#8221;<\/b> Even so, reading across the official work images, titles, techniques, and makers&#8217; histories, a few recurring questions do emerge that are useful when viewing the works.<\/p>\n<p>The first is the difference between <b>showing the material as it is and greatly transforming its impression.<\/b><\/p>\n<p>In wood and bamboo, the material&#8217;s own properties\u2014the line of bamboo, the grain of zelkova\u2014remain visible. By contrast, in tsuishitsu that layers lacquer, inlay that sets one metal into another, and kasuri that makes pattern from thread placement, layering several processes onto the material creates an expression different from the starting point.<\/p>\n<p>The second is that <b>works that visibly foreground technical virtuosity and works in which technique dissolves into the finished form exist side by side.<\/b><\/p>\n<p>Explanations of craft tend toward the order &#8220;because the technique is very difficult, the work is excellent.&#8221; But difficulty of making isn&#8217;t the same as a work&#8217;s value. Some works strongly visualise a complex process; others converge into a plane so quiet that technical complexity is barely felt.<\/p>\n<p>The third is that <b>names indicating use\u2014bowl, box, kimono, obi, flower vessel, serving vessel, lidded vessel, inkstone\u2014remain in many of the winning works today.<\/b><\/p>\n<p>Still, the presence of a use-name doesn&#8217;t mean the work should be seen only for its &#8220;usability&#8221; as an everyday object. Among the works at the Japan Traditional K\u014dgei Exhibition are those that keep the structure of a vessel while pursuing form deeply as art craft.<\/p>\n<p>Rather than an either\/or of usable or not usable, it&#8217;s easier to read across the 73rd exhibition&#8217;s works by asking <b>how strongly the object&#8217;s original function remains legible in its form.<\/b><\/p>\n<div class=\"box3\">\n<p><b>Editor&#8217;s note | How to read &#8220;where technique stands now&#8221;<\/b><\/p>\n<p>Looking at this year&#8217;s winners, what I&#8217;d most avoid is the either\/or of &#8220;tradition or innovation.&#8221; Ukiori, Edo komon, Kurume-gasuri, maki-e, wiped lacquer, inlay, cloisonn\u00e9, bluish-white porcelain. By name alone, long-inherited techniques line up. But the works that came from them\u2014&#8221;T\u014dsei,&#8221; &#8220;Wind Crossing the Valley,&#8221; &#8220;Abstract: Black Butterfly,&#8221; &#8220;Canal in Dusk Colours,&#8221; &#8220;Ry\u016bkei\u20132026\u2013&#8221;\u2014aren&#8217;t re-makes of past works.<\/p>\n<p>What is inherited in craft isn&#8217;t only a finished design, but the knowledge and technique for engaging with material. Using that shared language, where do today&#8217;s makers make their difference? Looking there is one way to read the 2026 Japan Traditional K\u014dgei Exhibition as &#8220;where technique stands now.&#8221;<\/p>\n<\/div>\n<p>Note that this article analyses mainly the official materials and work images released before the Tokyo showing opens. In the actual works, there is information images can&#8217;t convey\u2014size, gloss, three-dimensionality, the finish of details. After seeing them in person, it&#8217;s worth allowing that the impression may differ from this preliminary analysis based on published images.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Five_viewing_points_to_keep_in_mind_at_the_venue_checklist\"><\/span>Five viewing points to keep in mind at the venue [checklist]<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>If you stand before a winning work and feel &#8220;I don&#8217;t know what&#8217;s impressive about it,&#8221; there&#8217;s no need to worry about a lack of knowledge.<\/b> Looking in the order material, technique, size, surface, and overall structure makes it easier to organise a work&#8217;s information.<\/p>\n<div class=\"box3\">\n<p><b>Checklist | Five viewing points for the winning works<\/b><\/p>\n<ul>\n<li><b>1. Look at the material:<\/b> confirm what the work begins from\u2014clay, thread, lacquer, metal, wood, bamboo, washi, glassy matter, stone.<\/li>\n<li><b>2. Look at the technique:<\/b> rather than just memorising a technique&#8217;s name, find where in the work that technique appears.<\/li>\n<li><b>3. Look at size and mass:<\/b> confirm the height, width, thickness, and its scale in relation to the viewer&#8217;s body that official images make hard to gauge.<\/li>\n<li><b>4. Look at surface and light:<\/b> attend to the change when you shift your viewing position a little\u2014the gloss of lacquer, colour difference in metal, the thickness of glaze, the raised texture of a textile.<\/li>\n<li><b>5. Look at the relation of form and use:<\/b> consider how much a use-indicating form\u2014bowl, box, flower vessel, kimono, obi, serving vessel, lidded vessel, inkstone\u2014remains within the modelling.<\/li>\n<\/ul>\n<\/div>\n<p>If you have time to spare, don&#8217;t end your viewing with the winning works\u2014go on to see other selected works shown in the same category.<\/p>\n<p>Even within ceramics, some foreground glaze, while others foreground form. Even within textiles, some make pattern through dyeing and others make it from the weave structure. Even within wood and bamboo, bamboo work that builds up line and woodwork that handles the plane and grain of wood proceed from different thinking.<\/p>\n<p><b>Rather than seeing a winning work as &#8220;the answer,&#8221; see it as one possible response to the same material and technical tradition.<\/b> Do that, and the whole Japan Traditional K\u014dgei Exhibition becomes interesting as a place of comparison.<\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/crafts\/choose-matcha\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2026\/03\/matcha-chawan.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">How to Choose Your First Matcha Bowl (Chawan): A Beginner\u2019s Guide<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/crafts\/choose-matcha\/\">https:\/\/en.kogei-japonica.com\/media\/crafts\/choose-matcha\/<\/div><div class=\"lkc-excerpt\">When you decide to start learning the tea ceremony or simply want to enjoy matcha at home, one of the first questions that comes up is: Which matcha bowl should I buy? With so many regions, styles, and price points, choosing your first bowl can feel overwhelming.However, prioritizing practical usability makes the process much easier.This article outlines the basics of selecting your first bowl for tea ceremony beginners and international fans of Japanese culture.For your first matcha bowl, pr...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<h2><span class=\"ez-toc-section\" id=\"Frequently_asked_questions_FAQ\"><\/span>Frequently asked questions (FAQ)<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>Here we organise the points worth checking when researching the winning works or the venues of the 73rd Japan Traditional K\u014dgei Exhibition 2026.<\/p>\n<dl>\n<dt><b>When and where is the 73rd Japan Traditional K\u014dgei Exhibition held?<\/b><\/dt>\n<dd>The Tokyo showing is scheduled from Wednesday 2 September to Tuesday 15 September 2026, in the event hall on the 7th floor of the main building of Nihonbashi Mitsukoshi. Opening hours are 10:00 to 19:00, and admission to the Tokyo showing is free.<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.mistore.jp.e.az.hp.transer.com\/store\/nihombashi\/shops\/other\/other_shopnews\/dentoukougei_50.html\" rel=\"noopener nofollow\" target=\"_blank\">The 73rd Japan Traditional K\u014dgei Exhibition<\/a>\uff09<\/dd>\n<dt><b>Who won the top prize at the 73rd Japan Traditional K\u014dgei Exhibition 2026?<\/b><\/dt>\n<dd>The Japan K\u014dgei Association President&#8217;s Prize went to Toshie \u014cki&#8217;s flower basket &#8220;T\u014dsei.&#8221; It can be confirmed in the list of prize-winning works the Japan K\u014dgei Association announced on 15 August 2026.<br \/>\uff08Source\uff1a<a href=\"https:\/\/fs.nihonkogeikai.or.jp\/data\/info\/pdf\/20260814115940951821\/INFO-745-1.pdf\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: list of prize-winning works | Japan K\u014dgei Association<\/a>\uff09<\/dd>\n<dt><b>How many categories does the 73rd exhibition have?<\/b><\/dt>\n<dd>Seven: ceramics, textiles, lacquer, metalwork, wood and bamboo, dolls, and other crafts. The Japan K\u014dgei Association holds an annual open call divided into these seven categories.<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.nihonkogeikai.or.jp\/competition\/\" rel=\"noopener nofollow\" target=\"_blank\">Open-call information, Japan Traditional K\u014dgei Exhibition | Japan K\u014dgei Association<\/a>\uff09<\/dd>\n<dt><b>What trends are there in the 2026 winning works?<\/b><\/dt>\n<dd>It would be misleading to reduce the sixteen winners to a single trend, but they include both works that draw on the material&#8217;s inherent properties and works that greatly transform the material through processes such as layering, inlay, and weaving-dyeing. The relation between use-indicating forms\u2014bowl, box, kimono, obi, flower vessel, serving vessel, lidded vessel, inkstone\u2014and sculptural expression is also an important axis of comparison. This is Kogei Japonica&#8217;s analysis of the works, and doesn&#8217;t represent an official jury summary.<\/dd>\n<dt><b>What was recognised in the winning works?<\/b><\/dt>\n<dd>The Japan K\u014dgei Association&#8217;s list of winners gives the prize, maker, title, and image, but individual jury reasoning hasn&#8217;t been published for every winning work. So for works where official jury reasoning can&#8217;t be confirmed, it&#8217;s best to avoid asserting from the outside that &#8220;this technique was recognised.&#8221; This article analyses the works as viewing points for material, technique, and form.<\/dd>\n<dt><b>What is a Living National Treasure?<\/b><\/dt>\n<dd>According to the Agency for Cultural Affairs, the state designates important intangible cultural properties as Important Intangible Cultural Properties, and certifies the individuals or groups who embody and command those skills to a high degree as holders or holding groups. Among these, individually certified holders are commonly known as &#8220;Living National Treasures.&#8221;<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.bunka.go.jp\/seisaku\/bunkazai\/shokai\/mukei\/\" rel=\"noopener nofollow\" target=\"_blank\">Intangible cultural properties | Agency for Cultural Affairs<\/a>\uff09<\/dd>\n<dt><b>Are the &#8220;Japan Traditional K\u014dgei Exhibition&#8221; and &#8220;Traditional Craft Products&#8221; the same system?<\/b><\/dt>\n<dd>They aren&#8217;t the same. The Japan Traditional K\u014dgei Exhibition is an open-call exhibition organised by the Japan K\u014dgei Association and others. &#8220;Traditional Craft Products,&#8221; by contrast, is a designation system based on law; despite the similar names, they are institutionally separate.<\/dd>\n<dt><b>Can the winning works be purchased?<\/b><\/dt>\n<dd>Winning a prize and a work being for sale are separate matters. Whether a work is for sale, its price, and where it&#8217;s handled differ by work, so check the venue&#8217;s sales information, official maker information, and handling galleries. You can&#8217;t tell from the prize information alone whether a work is available for purchase.<\/dd>\n<dt><b>Can the 73rd Japan Traditional K\u014dgei Exhibition be seen outside Tokyo?<\/b><\/dt>\n<dd>Yes. After Tokyo, the 73rd exhibition for 2026 is scheduled to tour Aichi, Kyoto, Osaka, Miyagi, Ishikawa, Okayama, Shimane, Kagawa, Fukuoka, and Hiroshima. Dates, venues, admission, and closed days differ by venue, so check the official page before visiting.<br \/>\uff08Source\uff1a<a href=\"https:\/\/www.nihonkogeikai.or.jp\/exhibition\/honten\/73\/?tab=info\" rel=\"noopener nofollow\" target=\"_blank\">73rd Japan Traditional K\u014dgei Exhibition: schedule | Japan K\u014dgei Association<\/a>\uff09<\/dd>\n<\/dl>\n<p>Set the sixteen winning works of the 73rd Japan Traditional K\u014dgei Exhibition 2026 side by side, and it becomes clear how inadequate the single label &#8220;traditional craft&#8221; is for describing them all.<\/p>\n<p>There are works that make space from the line of bamboo, and works that draw on the plane and grain of wood. Works that make pattern from thread arrangement, and works that set one metal into another. There are ways of decorating lacquer on the surface, and ways of treating the layering of lacquer itself as material.<\/p>\n<p><b>The interest of viewing the Japan Traditional K\u014dgei Exhibition isn&#8217;t confirming that &#8220;traditional craft has forms like this,&#8221; but being able to compare how differently makers working within the same technical tradition have arrived at their works.<\/b><\/p>\n<p>See the winning works first, then the selected works in the same category. And compare how, even with the same material, the relation of form, surface, light, and use differs.<\/p>\n<p>Widen your view that far, and the 73rd Japan Traditional K\u014dgei Exhibition shifts from &#8220;a show for seeing advanced technique&#8221; to <b>a show for seeing what today&#8217;s makers choose to preserve, reinterpret, and renew.<\/b><\/p>\n<div class=\"linkcard\"><div class=\"lkc-external-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/personal\/\" target=\"_blank\" rel=\"external noopener\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img loading=\"lazy\" decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/www.google.com\/s2\/favicons?domain=en.kogei-japonica.com\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/pz-linkcard\/cache\/01681da6668a03879e0b8d4e0eee8d9089a4928012cd5e5fccf0a66785f9744a.jpeg\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">Support for Japanese Craft Artists &amp; Artisans<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/personal\/\">https:\/\/en.kogei-japonica.com\/personal\/<\/div><div class=\"lkc-excerpt\">Kogei Japonica supports craft artists, artisans, craftspeople, and studios through profile and portfolio features, product sales, market development, editorial coverage, and connections with buyers, media, and businesses.<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>The prize winners of the 73rd Japan Traditional K\u014dgei Exhibition were announced on 15 August 2026. Led by the Japan K\u014dgei Association President&#8217;s Prize, awarded to Toshie \u014cki&#8217;s bamboo flower basket T\u014dsei (&#8220;Sound of Waves&#8221;), a total of sixteen prize-winning works have been made public across seven categories: ceramics, textiles, lacquer (shitsugei), metalwork, wood and<\/p>\n","protected":false},"author":2,"featured_media":7580,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[281],"tags":[],"class_list":["post-7565","post","type-post","status-publish","format-standard","has-post-thumbnail","category-events"],"acf":[],"aioseo_notices":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7565","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/comments?post=7565"}],"version-history":[{"count":5,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7565\/revisions"}],"predecessor-version":[{"id":7582,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7565\/revisions\/7582"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/media\/7580"}],"wp:attachment":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/media?parent=7565"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/categories?post=7565"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/tags?post=7565"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}