Charming Rinka Plates

Hanada: I would like to ask you about some of the pieces you have chosen from your upcoming solo exhibition. Let us start with this Rinka (flower-shaped) plate.

Mitsuo Fujitsuka : The pattern features autumn maple leaves. I replicated a piece of antique Ko-Imari porcelain that an antique dealer showed me. I think it was about four or five years ago when I saw it and thought it was absolutely charming.

Hanada: Is your version made in almost the exact same way?

Mitsuo Fujitsuka : Nearly identical. Though I must say, the brushwork on the original was far superior. (laughs)

Hanada: How did you find the process of making it?

Mitsuo Fujitsuka : Thinner pieces tend to look sharper and more refined, so I paid close attention to the form. The original piece was actually even thinner.

Hanada: That explains why it feels so light and airy, like a leaf fluttering in the wind.

Mitsuo Fujitsuka : It is first thrown on the wheel, then pressed into a mold, and finally the rim is shaved down further. You cannot get it that thin just by throwing it on the wheel.

Hanada: I love the subtle, effortless spacing between the maple leaves.

Mitsuo Fujitsuka : The balance is beautiful, isn’t it? As I was copying it, I couldn’t help but admire how delicate and skilled the artisans of the past were. (laughs)

Hanada: Have you painted maple leaves before?

Mitsuo Fujitsuka : I have done pieces like this one before.

Hanada: We do not see maple patterns very often these days elsewhere.

Mitsuo Fujitsuka : They do exist, but they evoke a specific season a bit too strongly. In the past, people enjoyed collecting tableware for each season, but today, I think most people prefer things they can use all year round.

Katamigawari Rinka Plates

Hanada: Next, let us look at this Rinka plate.

Mitsuo Fujitsuka : The shape itself is quite common, but I decided to try it with a katamigawari (asymmetrical, split-design) composition.

Hanada: This shape can also be found in Chinese ceramics, right?

Mitsuo Fujitsuka : Yes, it can. That is why you see it in Kutani and Ko-Imari ware as well. I tried a few different styles of painting on it, but none of them felt quite right at first.

Hanada: Did the designs not suit the shape?

Mitsuo Fujitsuka : It is not that they did not fit, but rather that they just lacked a certain spark. Something about them felt a bit off.

Hanada: What made you decide to draw two concentric lines around the center?

Mitsuo Fujitsuka : Just one line would be a bit dull, wouldn’t it?

Hanada: That is true. (laughs) Especially since half of it gets covered by the dami wash anyway.

Mitsuo Fujitsuka : I thought introducing a touch of empty space right here would help bring out the beauty of the flower shape.

Hanada: The katamigawari style is quite common in traditional tableware, including lacquerware. What do you find appealing about it?

Mitsuo Fujitsuka : It is simple and timeless. It has a surprisingly modern feel to it.

The Appeal of Dami Blue Wash

Hanada: In katamigawari, the dami wash covers half the surface.

Mitsuo Fujitsuka : The work of master artisans who apply it flawlessly with zero bleeding is truly impressive. However, I find the natural variations and unevenness of this wash to be far more interesting.

Hanada: Do you draw the outline first and then gently apply the brushstrokes?

Mitsuo Fujitsuka : Yes, exactly. I use a standard brush rather than a specialized dami brush. This one over here is a dami brush, but this is the one I prefer to use.

Hanada: Why do you prefer a standard brush over a dami brush?

Mitsuo Fujitsuka : It makes it easier to create delicate gradations of shade. A dami brush might work well if the piece were a bit larger. I prefer a wash with movement, rhythm, and varied intensity.

Hanada: What about this piece?

Mitsuo Fujitsuka : This features a split glaze, but personally, I use the plain lapis lazuli glaze version. It has a nice depth, making it very practical for everyday use.

Hanada: It looks like the perfect depth.

Sho-Chiku-Bai (Pine, Bamboo, and Plum)

Hanada: Let us move on to the Sho-Chiku-Bai motifs.

Mitsuo Fujitsuka : It is a very auspicious motif. I thought it would be interesting to keep it minimal, placing the pine, bamboo, and plum elements simply and cleanly across the surface.

Hanada: These would be lovely as individual plates for New Year’s dishes. You have arranged the motifs quite boldly and on a large scale, rather than keeping them small.

Mitsuo Fujitsuka : I felt that if I made them too small and neatly contained, they would lose their visual impact.

Hanada: And how about this Sho-Chiku-Bai design?

Mitsuo Fujitsuka : This pattern originally comes from an antique Ko-Imari soba choko (buckwheat noodle cup).

Hanada: With this composition, the plate has no top or bottom, which makes it very easy to use at the table.

Mitsuo Fujitsuka : Yes, dividing the design into three symmetrical sections achieves that beautifully.

Hanada: There are so many ways to express Sho-Chiku-Bai.

Mitsuo Fujitsuka : It is a theme that suits any season, and I think it is widely appreciated by everyone.

Celadon and Blue-and-White

Hanada: Next is this celadon piece… is this a plum blossom pattern?

Mitsuo Fujitsuka : Whether it is a plum or something else… it is definitely a flower. (laughs) It was originally done in blue-and-white, but I wanted to see if a celadon glaze would give it a cleaner, crisper look. This version has its own unique charm too.

Hanada: This is lovely. Personally, I prefer this blue-and-white one. It feels beautifully cool. Well, actually, they both look refreshing. (laughs)

Mitsuo Fujitsuka : In that case, shall I make both versions?

Hanada: Thank you so much! Since most tableware has an even number of sides, a piece with an odd number of corners really catches the eye.

Mitsuo Fujitsuka : Pentagonal shapes are fascinating. This form wasn’t inspired by any particular piece; I simply wanted to create a shallow bowl. It is a classic shape, after all.

Hanada: The form is truly beautiful.

Bringing Out the Lines…

Hanada: Next up is this three-flower pattern, which is a classic composition.

Mitsuo Fujitsuka : I have made this pattern quite often myself. The piece is first thrown on the wheel and then shaped using a mold.

Hanada: Why is that?

Mitsuo Fujitsuka : To bring out this specific line.

Hanada: It flows smoothly and extends outward. You mentioned earlier that you wanted to refine it a little further.

Mitsuo Fujitsuka : I am thinking of making the incised lines slightly thicker. I initially kept them understated to maintain an elegant look, but they ended up being a bit too faint. I will try it out and see which version feels right.

Ideas, Trial and Error, an Endless Journey…

Hanada: How do you feel about the time spent on this kind of trial and error?

Mitsuo Fujitsuka : I thoroughly enjoy it. I always try to act on an idea as soon as it comes to me. Even if I am working on another piece, I will pause and try the new idea out immediately. If I am away from the studio and cannot work on it right away, I make sure to sketch it. I like to capture ideas the moment they appear because they can fade or change over time.

Hanada: When you get an idea and create something new, does it turn out perfectly on the first try?

Mitsuo Fujitsuka : Only occasionally. (laughs) Usually, I have to redo it at least twice.

Hanada: Do your ideas come from many different places?

Mitsuo Fujitsuka : Yes, sometimes inspiration strikes while looking at something completely unrelated. I will think, “Oh, I could apply that to a piece of tableware.” Having made tableware for over thirty years, my mind naturally operates that way.

Hanada: That must be one of the great joys of this profession. As long as you have the drive, you can bring your ideas to life. In a corporate environment, for instance, even if you think an idea is wonderful, it can get stuck in the planning stages. In your work, you get to make all the final decisions yourself.

Mitsuo Fujitsuka : You can, but things often don’t reach the level you initially envisioned. (laughs)

Hanada: (laughs)

Mitsuo Fujitsuka : It is easy enough to produce something ordinary, but creating something truly exceptional is a different story. For example, if you love Shoki-Imari (early Imari) porcelain, you could spend your entire life trying to create a single piece that approaches its quality. If you manage that, you are incredibly fortunate, but for most, even that remains out of reach. I suppose all you can do is keep working at it, though there is no guarantee of success even if you do. (laughs)

Moments of Reflection

Hanada: You have brought countless ideas to life over the years, and of course, you use many of them yourself at home.

Mitsuo Fujitsuka : Take a simple rice bowl, for example—it is something used every single day. What is fascinating is that occasionally, while eating from it, I will look down and suddenly think, “Oh, this is actually quite nice.”

Hanada: Is that a moment where you are able to view it objectively?

Mitsuo Fujitsuka : Exactly. The thought that “I made this” completely disappears, and I see it with fresh eyes. I just think, “Wow, this is surprisingly good.”

Hanada: You mean this particular rice bowl?

Mitsuo Fujitsuka : Yes. I think, “The shape and balance are just right.” It feels a bit funny saying it about my own work. (laughs) But those moments happen most often with everyday items like rice bowls and teacups.

Hanada: They are pieces whose true qualities reveal themselves over a long period of use.

Mitsuo Fujitsuka : This one, for instance, is just a plain flat plate. Yet, the ones that bring a deep, quiet sense of satisfaction are these completely ordinary, simple plates. In the end, I suppose I just love those understated pieces because you never grow tired of them.

Hanada: Thank you very much. I look forward to the exhibition.

Mitsuo Fujitsuka : Thank you, I look forward to it as well.