30 Years of…

As Mitsuo Fujitsuka celebrates his 30th year of independence this October, we look back on his three-decade journey through his work. Beyond each piece, the memories of those times, the faces of the people he has met, and his own changing thoughts come vividly to light.

The Joy of the Marumon Circular Motif

Hanada: First, let us start with the plates featuring the marumon (circular motif), which you have been making since you first went independent.

Mitsuo Fujitsuka : I have been creating these continuously for thirty years. I first saw this circular motif on an antique Ko-Imari soba choko (buckwheat noodle cup) and decided to adapt it for a plate. The original design on the cup was divided into four sections. Initially, I tried dividing it into six, but wanting a cleaner look, I settled on five. For a plate of this size, that feels just right in terms of balance.

Hanada: I noticed that the rim has been subtly shaved…

Mitsuo Fujitsuka : Yes, just to add a little accent.

Hanada: Is the circular motif difficult to paint?

Mitsuo Fujitsuka : …It’s a breeze. (laughs)

Hanada: By “a breeze,” you mean it is enjoyable, right? (laughs)

Mitsuo Fujitsuka : Yes, exactly. To be serious, early on, I used to paint with the intent of making it look perfectly neat. But when you are too conscious of painting perfectly, the artwork loses its soul. I have come to feel that when you stop worrying about such things, the painting truly comes alive.

Hanada: But that freedom only comes after a stage of painting seriously and meticulously, right?

Mitsuo Fujitsuka : That is true. It is a perspective you only gain after painting thousands of pieces.

Hanada: Do you use these marumon plates at home yourself?

Mitsuo Fujitsuka : We have them in every size lined up in our cupboard. The 4.5-sun (approx. 13.5cm) size works as side plates, and the 7-sun (approx. 21cm) size is perfect for serving main dishes. Originally, I only made the 4.5-sun size, but the variety grew over time to include 6-sun and 7-sun plates in response to customer requests.

Listening to Customers’ Voices

Hanada: So, your customers’ feedback played a big role.

Mitsuo Fujitsuka : When I first started out on my own, I thought I didn’t need to hold exhibitions. My plan was simply to bring samples to shops, take orders, and make them. However, a gallery owner I had a connection with invited me to do a show, and that is how I ended up holding exhibitions.

Hanada: Did this new approach bring any new insights?

Mitsuo Fujitsuka : Yes. Talking directly with customers brought all kinds of feedback, like “Could you make something like this?” or “I really like this aspect.” I realized that connecting directly with the people who use your work is essential for a maker. Hearing directly from those who prepare the food and arrange it on your tableware is an incredible learning experience.

Hanada: So, this plate made you realize the importance of the user’s voice.

Mitsuo Fujitsuka : It is not just this plate; minor adjustments like making something slightly deeper or a little larger can completely change how practical it is to use. It allowed me to refine those fine details and gave me a fresh perspective. For instance, with coffee cups, there are already so many wonderful foreign-made options out there that I thought there was no need to make them by hand. But once I started making them at the suggestion of my customers, they turned out to feel surprisingly right.

A Rinka Style Crafted for 30 Years

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

Mitsuo Fujitsuka : This is also from my early days and has remained a classic staple. It was the very first chrysanthemum-shaped Rinka form I ever made and painted. When I first created it, I never imagined I would keep making it for thirty years. The shape itself is traditional and timeless. It serves beautifully as a small side bowl or for presenting sashimi elegantly.

Hanada: The shape is remarkably practical. The depth is just right—neither strictly a plate nor a bowl. Has the central motif remained the same?

Mitsuo Fujitsuka : It started with this chrysanthemum and butterfly pattern. Rather than copying something else, I designed it myself.

Hanada: It sounds like you established the form first and then decided on a design that would suit it perfectly.

Mitsuo Fujitsuka : It was thirty years ago, so I have completely forgotten! (laughs) The plaster molds wear down over time, so I am already on the seventh or eighth generation of molds for this piece. As you repeatedly form the clay over the mold, the sharp ridges of the inner rim gradually wear away. Ah, looking closely at this mold, the ridges are starting to fade. It will soon be time to replace it.

Hanada: Did you pay extra attention to the Rinka shape?

Mitsuo Fujitsuka : This applies to all my work, not just molded pieces, but I always aim for a soft, gentle ambiance rather than a rigid, hard edge.

Hanada: Even so, it must be impossible to count how many of these you have made.

Mitsuo Fujitsuka : I have undoubtedly made two or three thousand, but I really don’t know the exact number. Lately, fewer shops and galleries carry regular inventory, so the size of individual production batches has decreased. There are more exhibition-focused shops now, aren’t there? Before that shift, I remember making them constantly.

Work That Reflects Individuality

Hanada: We have looked at several painted pieces, but next are the square plates in white porcelain and lapis lazuli glaze. They look exceptionally practical for everyday use.

Mitsuo Fujitsuka : I originally spotted the inspiration in a special magazine issue titled “1000 Small and Miniature Plates.”

Hanada: That publication is indeed a wonderful reference.

Mitsuo Fujitsuka : I took a small dish featured there and adapted it into a size suitable for a side bowl, and from there, I went on to create various sizes and shapes.

Hanada: Did you ever consider painting a design on them?

Mitsuo Fujitsuka : I did make some painted versions in the past, but I feel that plain solid glazes are timeless and you never grow tired of them.

Hanada: Was it challenging to create these?

Mitsuo Fujitsuka : No, it was quite straightforward. (laughs) However, since I was developing the form based on a photograph, I believe I made several trial pieces to figure out the right depth and the perfect degree of curvature for the rim. I also avoided making the exterior a strict, rigid square, opting instead for a gentle curve that gives it a slight fullness.

Hanada: That touch makes them feel even more practical to use.

Mitsuo Fujitsuka : I thought it would create a lovely presentation that softly elevates the food. People’s tastes vary; some prefer crisp, geometric lines, while others like a soft, slightly rustic feel, almost like my free-flowing underglaze painting. (laughs)

Hanada: Oh, please, not at all…

Mitsuo Fujitsuka : I originally fell in love with Shoki-Imari (early Imari) porcelain, which is why I got into pottery. Especially in my case, I never formally studied brush technique—everything is completely self-taught. (laughs) I have simply done things my own way, made a vast number of pieces, and followed my own instincts. Yet, that is precisely why people look at a piece and instantly recognize it as my work. Over the years, I have had several apprentices, but I have always done the painting myself. If I didn’t, the character of the work would change entirely.

Hanada: Do you use these plates yourself?

Mitsuo Fujitsuka : We use the smaller ones as soy sauce dishes for sashimi, or for serving little delicacies. Lately, I find myself using the larger ones more often for grilled fish or sashimi plates.

Hanada: Has your dining style changed?

Mitsuo Fujitsuka : We used to host gatherings at home quite frequently. When guests came over, presenting little portions of food on dishes like these looked beautiful.

Hanada: That sounds very sophisticated.

Mitsuo Fujitsuka : Even if you don’t serve anything extravagant, the shape of the dish makes it look wonderful. (laughs)

Crafting a 7-Sun Plate for the First Time in 20 Years

Hanada: Moving on, we have the Fuyode style 7-sun Rinka plate with a bird motif. This is another piece you made often in the past, and you are recreating it for this exhibition for the first time in twenty years.

Mitsuo Fujitsuka : I think I first created this about twenty-five years ago. It has always been a motif I love. The border pattern is a style frequently seen on antique blue-and-white porcelain, but I adapted the central design from Ko-Imari ware.

Hanada: It is an arrangement that feels very uniquely yours.

Mitsuo Fujitsuka : When it comes to patterns on tableware, food actually looks best on designs that are either exceptionally minimal or, conversely, densely detailed like this one.

Hanada: So, a halfway approach does not work as well.

Mitsuo Fujitsuka : Exactly. While this piece has a lot of drawing, the border features a dami wash, which frames the food beautifully when served.

Hanada: Sometimes leaving an awkward amount of empty space can actually make the presentation look cluttered.

Mitsuo Fujitsuka : That is why the balance is so important. (Gesturing with his fist over the plate to visualize food) When you arrange food like this, the blue around the edge creates a lovely look. Rather than piling a large stir-fry in the center to share, I envision this being used as an individual main plate.

Hanada: The flower-shaped Rinka edge is subtle, but what made you choose it?

Mitsuo Fujitsuka : Many antique pieces feature Rinka edges. Looking at the plate on its own, one might wonder why go to the trouble, but if it were left completely round, it would look a bit too contained.

Hanada: Too contained…

Mitsuo Fujitsuka : It feels a bit too plain, and you lose that touch of movement. Of course, there are Fuyode styles with perfectly round edges, but personally, I find the Rinka shape more enjoyable.

The Natural Fading of Stamped Inban

Hanada: Next, let us discuss the Inban (stamped) ware. You offer a wonderful variety of Inban designs. What originally inspired you to work with this technique?

Mitsuo Fujitsuka : It started when I found the so-called “konnyaku inban” patterns on antique Ko-Imari ware fascinating.

Hanada: While Inban features repeating patterns, there are natural irregularities that make it interesting, right?

Mitsuo Fujitsuka : Yes. Just like with my other work, I dislike stamps that look rigid and perfect. That is why I never use rubber stamps.

Hanada: A rubber stamp would apply the ink too flatly. What do you use instead?

Mitsuo Fujitsuka : Sponges—though not just ordinary ones. I tried so many different things before arriving at this method. People sometimes use potatoes or other root vegetables, but they rot over time. Vegetables don’t work because you have to carve a new one every time you use it. On the other hand, the material needs to have a certain level of absorbency…

Hanada: Where do you get the ideas for your patterns?

Mitsuo Fujitsuka : It varies every time. For the seashell motif, I was inspired by the beautiful, slightly faded texture of a textile dye pattern. I love the soft, blurred look that occurs naturally with Inban stamping.

Hanada: Do you use these at home?

Mitsuo Fujitsuka : We use this oval bowl constantly.

Hanada: Our shop has been very grateful for this piece over the years, even if we occasionally heard you say, “Hanada, you only ever order this one!” (laughs)

Mitsuo Fujitsuka : That is true! (laughs) This piece pairs beautifully with both Japanese and Western cuisine.

Hanada: While oval dishes have become more common recently, this specific depth and size is quite rare to find.

The Charm of Joseon Folk Paintings

Hanada: Next is the large plate with a butterfly and pomegranate motif. This was originally inspired by the Joseon Dynasty…

Mitsuo Fujitsuka : Folk paintings. Of course, the original paintings didn’t use stamping, and the placement of the butterflies was slightly different, but the tree was depicted very much like this. The overall composition remains the same. Joseon folk art is fascinating; I love the brushwork, and their depictions of lotus flowers are incredibly captivating.

Hanada: It feels quite different from how a Japanese artist would depict a lotus flower. Even the mountains look different…

Mitsuo Fujitsuka : Yes, they are entirely different.

The Most Enjoyable Part…

Hanada: Next is the 7-sun plate with a floral pattern and linear borders. This is a recent creation. What inspired it?

Mitsuo Fujitsuka : I simply wanted to work on a floral design, and it naturally evolved into this. The idea just came to me out of nowhere. Many of my new pieces happen that way—the concept flashes into my mind while I am busy with other tasks. When that happens, I pause what I am doing and sketch it out before I forget.

Hanada: While you maintain classics that you have made for decades, you also constantly introduce new designs.

Mitsuo Fujitsuka : Developing new concepts and crafting the first samples one by one is when I am happiest. Seeing that first sample emerge from the kiln is the greatest joy. Sometimes it is disappointing, but other times it turns out even better than expected.

Hanada: When you look at older pieces that you have made for many years, does your view of them change?

Mitsuo Fujitsuka : Occasionally, I will look at an older piece I haven’t made in a while and think to myself, “Wow, this is actually a wonderful piece.” (laughs)

Hanada: Taking a break from a design can bring that kind of appreciation. I see you keep your reference samples beautifully stored.

Mitsuo Fujitsuka : They aren’t beautifully stored; they are just lined up on shelves. (laughs)

The Petal Partition Pattern

Hanada: Next is the plate with the petal partition pattern. This is a Ko-Imari design. Was the original piece larger?

Mitsuo Fujitsuka : No, it was exactly this size. I saw it in an antique magazine. Flared shapes like this are incredibly practical to use.

Hanada: It must be exciting to create this.

Mitsuo Fujitsuka : Yes, it is. (laughs)

Let us make this in an 8-Sun size this time

Hanada: What can you tell us about this plate with a flowing water, plum blossom, and floral pattern?

Mitsuo Fujitsuka : I have been making this for about three or four years. I won’t be including it in this exhibition, but it is a pattern I am very fond of. It comes from an Imari design that was originally a large platter. This sample is a 7-sun size, but I actually think it might look better as an 8-sun (approx. 24cm) or 9-sun (approx. 27cm) plate.

Hanada: That size would probably bring out the beauty of the empty space.

Mitsuo Fujitsuka : Yes, for this particular design, a larger scale is better. At 7-sun, it is difficult to express the spatial composition effectively. I really love the spacious, relaxed atmosphere that the original large platter possessed.

Hanada: Is this element a cloud?

Mitsuo Fujitsuka : Yes. In an 8-sun or 9-sun size, the clouds would have more presence. I think I will try that next time. In fact, why don’t I paint this as an 8-sun plate for the upcoming exhibition?

Hanada: That would be wonderful. Yes, please do!

It is just more interesting. That is all there is to it. (laughs)

Hanada: Next is a 6-sun plate with a floral and bird motif and shinogi (fluted) carving. This is a new piece for the exhibition.

Mitsuo Fujitsuka : The central painting alone existed as a 5-sun plate in antique Ko-Imari ware, but I decided to adapt it into this form. I thought scaling it up to 6-sun and adding the fluted carving would make it interesting.

Hanada: Instead of expanding the painted design to fit the larger size, you chose to introduce the shinogi carving.

Mitsuo Fujitsuka : I felt that if I simply expanded the painting, the composition would end up looking sparse and lose its tension.

Hanada: There are many different styles of fluted carving. What kind of shinogi appeals to you most? What are your thoughts on this technique?

Mitsuo Fujitsuka : My thoughts on fluted carving? (laughs) I don’t really have any! (laughs)

Hanada: I am sorry, that was a bit of an unfair question. I noticed the fluted lines are carved diagonally rather than vertically.

Mitsuo Fujitsuka : It is just more interesting this way. That is all there is to it. (laughs)

An Unexpected All-Nighter

Hanada: Looking back over thirty years of work, how do you feel?

Mitsuo Fujitsuka : While I have forgotten a lot of things from the past, what I remember most vividly from the early days is my very first kiln firing. Back then, I didn’t have any apprentices; it was just my wife and me. Having just gone independent, I was full of enthusiasm, thinking, ‘Alright, it’s finally time to fire the kiln for the first time!’ We planned to finish loading everything into the kiln by around 8 PM. But midnight came, and we still weren’t finished. The work simply wasn’t progressing as quickly as I had originally estimated. Today, we have machines to remove the glaze from the foot of the pieces before firing, but back then, we had to wipe it off entirely by hand. That process takes an incredible amount of time. In the end, we finished at 10 AM the following morning. We pulled a complete all-nighter without a wink of sleep. (laughs) There was nothing left to do but laugh. Before going independent, when I was at Kutani Seiyo, those tasks were divided among different people, so wiping the glaze off one by one with a sponge was a completely new experience for me. I bought a glaze-removal machine immediately after that. I remember that clearly. (laughs)

Hanada: Have your tastes changed over the thirty years?

Mitsuo Fujitsuka : The things I consider truly beautiful haven’t changed much.

Hanada: Is that the same for your wife?

Mitsuo Fujitsuka : Regarding tableware?

Hanada: Yes, of course regarding tableware! (laughs)

Mitsuo Fujitsuka : Yes, it is. After all, my wife is always the first person to use the pieces I create.

The Past and the Future…

Hanada: This exhibition marks a significant thirty-year milestone for you. Thirty years ago, I was still only in elementary or junior high school.

Mitsuo Fujitsuka : The first time I met you at Kutani Seiyo was even before that—I think you hadn’t even started kindergarten yet. It’s funny to think about, now that we are sitting here talking like this.

Hanada: It has been a long relationship. And of course, you will continue your work moving forward.

Mitsuo Fujitsuka : I love making pottery, and I hope to keep going for as long as possible while maintaining a good pace. I am getting up there in years, too. Just the other day, Mansaku-san(Mansaku Nakao) called me and was saying how the summer heat was making the work really tough.

Hanada: Mansaku-san’s solo exhibitions at Hanada are always held in August, aren’t they?

Mitsuo Fujitsuka : He told me, ‘You’re so lucky, October is the absolute best time.’ (laughs) Joking aside, looking back over thirty years, what fills me with the most gratitude is the customers and the shop owners. With so many talented artists throughout Japan, I am deeply grateful that people choose my work. It is entirely thanks to them that I can continue making what I love. I am truly humbled beyond words.

Hanada: And those thirty years were made possible by your wife’s support.

Mitsuo Fujitsuka : A partner is incredibly important, truly.

Hanada: In the pottery business, the presence of a supportive partner is often essential.

Mitsuo Fujitsuka : I leave all the administrative work to her, so I don’t even know where anything is. She often tries to show me where things are, saying, ‘You’ll be in trouble if anything ever happens to me,’ and I always reply, ‘Right, I understand,’ but…

Hanada: Two or three days later, you have completely forgotten. (laughs)

Mitsuo Fujitsuka : I really am trying to remember! (laughs)

Hanada: Thank you very much for sharing your stories. I look forward to the exhibition.

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