The Rhythm of a Potter’s Life

Hanada: You are originally from Tobe in Ehime Prefecture, a well-known pottery region. Your parents were also involved in pottery making.

Shinpei Watanabe : Although pottery was always around me growing up, I don’t remember ever helping with the work. However, there was a constant flow of days without any distinction between weekdays and weekends, and my parents would fire the kiln every month. I feel like that “rhythm of a potter’s life” is deeply ingrained in me. Since it was a pottery town, about half of my friends’ parents were also potters, so I didn’t think of it as anything special. In fact, because my parents couldn’t play with me on weekends, I used to envy families where the parents were salaried employees. (laughs)

Hanada: Did you already aim to work in pottery when you were living at home?

Shinpei Watanabe : I had never really thought about making pottery my career. It wasn’t that I had anything else I wanted to do either, but when I graduated from high school, I wanted some time alone to think about my future, so I lived by myself in Ishikawa Prefecture for about two years. I had always liked art and crafts, and it was around the time the 21st Century Museum of Contemporary Art opened in Kanazawa. I also liked the atmosphere of that town, which is why I chose Ishikawa. It was there, at the Ishikawa Prefectural Museum of Art, that I encountered Ko-Kutani (Old Kutani) ware, and I started considering pottery as a career. At the time, I was living with a strong desire to decide what I wanted to do with my life, so I think I was very receptive to that kind of inspiration when the opportunity arose.

Hanada: It sounds like a wonderful encounter.

Ko-Kutani, the Joseon Dynasty, and Shoki-Imari

Shinpei Watanabe : Although Ko-Kutani was the initial trigger, I later developed a love for white porcelain from the Joseon Dynasty. Eventually, I began to see similarities between Shoki-Imari (Early Imari) and Joseon porcelain, which led me to attend a pottery school in Arita. I absolutely love Shoki-Imari.

Hanada: What is the appeal of Shoki-Imari for you?

Shinpei Watanabe : Since it was originally made by potters from the Joseon Dynasty, Shoki-Imari inherits the beautiful clay bodies and shapes characteristic of Joseon white porcelain. On top of that, while the highest level of Jingdezhen’s underglaze blue techniques existed at the time, Shoki-Imari features simplified brushwork adapted by provincial kilns. How should I put it… everything I love is packed into Shoki-Imari. In its non-decorative nature, I can see the underlying philosophy of the Joseon period, and in its simple patterns, I feel a sense of Chinese atmosphere that the Japanese interpreted and digested in their own way.

Inspirations from Each Style

Hanada: Currently, you work with overglaze enamels, underglaze blue, and white porcelain, creating your pieces without majorly altering the styles of antique ceramics.

Shinpei Watanabe : My work centers on Shoki-Imari from around 1640 to 1660, as well as the overglaze enamels that were beginning to emerge during that period. After coming to the Arita College of Ceramics, I frequently studied the Shibata Collection at the Kyushu Ceramic Museum. Unlike the Gosai-de (five-color) or Ao-de (bold green) styles I had seen in Ishikawa, the subtle touch of overglaze enamels here is what makes them appealing. I was deeply intrigued by the overglaze enamels from the transitional period leading up to the creation of the Kakiemon style—pieces that feel as though the potters were experimentally saying, “Let’s try adding just a single stroke of red to this Shoki-Imari style.” For instance, I love the overglaze enamel dish in the shape of a military commander’s fan with a divided background and exotic flower patterns from the Shibata Collection. It carries a Chinese atmosphere, yet the expression of the overglaze enamel is gentle. I also like the naive charm that comes from it not being a highly sophisticated technique, and the choice of patterns feels fresh to me. The way red is utilized is also a great reference for my work.

Hanada: So you like that “experimental feel” before a specific style becomes fully established. I can see a similar quality in your own work, which is modest yet elegant.

Shinpei Watanabe : I think the peak of Arita’s technical sophistication was reached around the time Kakiemon was established. However, I am drawn to the earlier period when they were just starting to climb that hill, experimenting and finding their way through trial and error while being influenced by the Tianqi style.

The Beauty of “Fired Clay”

Hanada: Could you tell us what you prioritize when making tableware?

Shinpei Watanabe : I want to be a potter, not just a ceramic painter. Of course, I love painting patterns, but I want to stay deeply rooted in the act of firing clay. When it comes to tableware, the shape is more important than the decoration, and the clay is more important than the shape. That is how I look at it. I work on the painting together with my wife, but we make sure that the patterns do not become too dominant.

Hanada: It was precisely the power of the clay body that drew you to Shoki-Imari in the first place.

Shinpei Watanabe : Yes, it is because Shoki-Imari has such compelling shapes that the simple patterns truly stand out. Whether I am making tableware, flower vases, or teaware, I always find myself thinking how beautiful fired clay is. I want to hold onto that feeling forever.

Hanada: Does that come from a sense of respect or gratitude toward nature?

Shinpei Watanabe : I think of it more as the fundamental spark for human creation—the thoughts of the very first people who began firing clay. It is like the primal touch of making things. In that sense, I also love Jomon pottery and stone tools. You can really feel the raw urge to create objects for everyday life. I see myself at the very end of that long lineage, and even if I cannot reach their level, I never want to lose awareness of that origin.

The Movement of the Brush and Wheel

Hanada: Is there anything you would like to achieve in the future?

Shinpei Watanabe : Whether it is throwing on the wheel or painting patterns, I have recently been realizing how crucial technical skill is to fully satisfy my desire for expression. While I want to be selective about materials, my primary goal in my 30s and early 40s is to acquire the level of skill necessary to achieve true expression. It is not just about physical stamina or sensibility, but the actual technique—the way you move the brush and guide the wheel. To achieve that, making a large volume of pieces will be essential, and I also plan to increase my opportunities to see and handle antique ceramics.

Hanada: That sounds like a journey that takes a lot of time.

Shinpei Watanabe : I want to maintain the mindset of constantly refining the quality of my work, rather than letting daily tasks become mere routine. If I only realize the importance of technique when I reach 50 or 60, I feel it will be too late.

Hanada: Thank you, we look forward to the exhibition.

Shinpei Watanabe : I am currently creating new patterns and shapes. Since the exhibition takes place close to the New Year holidays, I am preparing items that would be perfect for special, celebratory occasions. I look forward to sharing them with everyone.

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