Ofukei Ware is Truly Captivating

Hanada: I would like to ask you about the pieces you plan to present for the upcoming exhibition. First, let’s talk about the Ofukei leaf-shaped plate. What inspired you to make this?

Takuji Hayashi : Ever since I was in Seto, I had been interested in Ofukei ware and thought, “I want to try making it someday.” Just recently, I remembered that desire and finally gave it a try. I had actually prepared the glaze a long time ago.

Hanada: What do you find most appealing about Ofukei ware?

Takuji Hayashi : It is the overall aesthetic—the atmosphere of the glaze and the shapes. Originally, many of the traditional pieces were small side bowls like mukozuke, and I wanted to create work that reflects the historical lineage of Oribe ware.

Hanada: When did you first encounter Ofukei ware?

Takuji Hayashi : It was when I was working at a pottery studio in Akazu. Ofukei is one of the seven Akazu glazes (ash, iron, Ko-Seto, Ki-Seto, Shino, Oribe, and Ofukei). That sparked my interest, and as I researched further, I learned about the original Ofukei ware from the early Edo period. It was close to the Momoyama style but had its own unique character. To me, Ofukei ware looked just as captivating as Oribe ware.

Hanada: Is this leaf-shaped plate the exact same shape found in traditional Ofukei ware?

Takuji Hayashi : The shape and size are identical, but I modified the foot.

Hanada: What was the original foot like?

Takuji Hayashi : It originally had three small legs. However, I felt this standard ring foot provided a better overall balance for the piece.

Hanada: How did it go when you first started making them?

Takuji Hayashi : I had wanted to achieve that distinct bluish hue of Ofukei for a long time, and since the clay and glaze were already prepared, it was mostly a matter of trial and error while making the plaster molds.

Hanada: What kind of food would you suggest serving on it?

Takuji Hayashi : As with my other pieces, I don’t have any specific rules on how to use it, but I think it would pair beautifully with traditional Japanese sweets.

The Excitement of Food Delivery

Hanada: Next, let’s look at the lidded bowl with crazing glaze.

Takuji Hayashi : When I first started making these about five years ago, they were slightly larger than this. I happened to make a smaller version as an experiment and found it to be just right, so this size became the standard.

Hanada: Why did you decide to add a lid?

Takuji Hayashi : I have always loved lidded tableware. Isn’t there a sense of joy when you lift a lid? It reminds me of the childhood excitement of opening the lid of a neighborhood food delivery. Because of that, I decided right from the start to include a lid. The shape of this piece is actually based on a clay pot. My parents’ house always had a clay pot used for making rice porridge, and I always admired its shape.

Hanada: It seems like it would also work wonderfully for everyday dishes, like braised pork belly.

Takuji Hayashi : Yes, absolutely. It is perfect for that.

Inspired by a Distant Land…

Hanada: Next is the oval plate, which could be considered one of your signature pieces. It is currently available in two colors and four sizes.

Takuji Hayashi : Yes. At first, the design was slightly flatter, but after a while, I raised the rim to give it more depth.

Hanada: Did you settle on the shape right away?

Takuji Hayashi : I made the largest size first, and when I transitioned from the flat style to the curved rim, the shape clicked instantly. The image in my mind was something like a metal bowl from another country.

Hanada: And that led to developing the different sizes.

Takuji Hayashi : I might have created a few too many variations (laughs). First came the large, medium, and small sizes, and after a while, I added the miniature dish size.

Hanada: Was that due to a request from customers?

Takuji Hayashi : No, not particularly. I just felt like making it.

Hanada: (Laughs)

A Texture I Love

Hanada: Moving on, here is the carbonized rimmed plate (approx. 18cm).

Takuji Hayashi : For the carbonization process, the pieces are placed in a saggar container filled with rice husks and charcoal, and then sealed tight for firing. Right after I finished technical school, I was talking with some fellow makers about what kind of pottery we could create, and this technique was one of the things we experimented with.

Hanada: The texture looks like it might absorb food oils or aromas over time.

Takuji Hayashi : Exactly. I really love that porous, absorbent texture found in stoneware or Suzu ware. Giving it a quick rinse in water before each use will make a significant difference in preventing stains.

Ofukei and Celadon

Hanada: We are looking forward to your two-person exhibition with Kodo Kiyooka.

Takuji Hayashi : I have been making a wide variety of Ofukei and celadon pieces, so I am excited for everyone to see them. Thank you very much.

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