Graceful, from the Nara period.

Hanada: I’d like to ask about your new works.
First, the 7.5-inch plate with the raised Hōsōge pattern.Why did you choose the Hōsōge motif?

Haruya Abe: I wanted to create something glamorous.
The Hōsōge pattern is a Buddhist decorative motif that was popular in Japan during the Nara period.
It’s wonderful that something popular in the Nara period still feels appealing today.
I think it fits within the flow of the work I’ve done so far.

Hanada: What do you mean by “the flow of your work so far”?

Haruya Abe: I mean plant-based motifs like arabesques and flowers; I feel familiar with them both technically and aesthetically.

Hanada: Why have you used so many plant motifs?

Haruya Abe: They are elegant without being too assertive, and I think they pair well with food.

Hanada: Aside from their elegance, what is the charm of the Hōsōge pattern as a motif?

Haruya Abe: Although it comes from Buddhist design, it also works well on plates for Western food like pasta.It fits today’s mixed Japanese food culture as well.

Hanada: The first impression of this plate doesn’t feel purely Eastern.

Haruya Abe: This pattern originally came from vases. With vases, you can’t view the whole design at once.
When composing such designs, you consider the depth of hidden parts, but with a plate you must consider the overall layout without escape.
I carefully cut each part of the vase pattern and arabesque, but arranged them on the plate so the balance would not feel off.

Hanada: The glaze accumulation on the yellow plate is beautiful.
Was that accidental or intentional?

Haruya Abe: Well… yes… I did it on purpose (laughs).
It was calculated.
Having done this many times, I can roughly predict how the glaze will settle when carved this way…
Ah, I forgot to carve this part on the plaster mold.

Haruya Abe: This is a sample, so from next time it will be carved properly.
But comparing them like this, the three-dimensional effect is different.

Hanada: It has become a one-of-a-kind piece (laughs).

The .5 Habit

Hanada: Did you pay attention to the width of this band?

Haruya Abe: I considered the width for easy plating.
In that sense, it’s slightly larger than 7 inches, at 7.5 inches.
It allows for some openness when serving food, making it a nice plating size.
7.5 inches may seem awkward, but I find it practical.
8 inches is quite large, 7 inches feels insufficient—at least in my household.

Hanada: Now that you mention it, you often use “.5” sizes (laughs).

Haruya Abe: You noticed (laughs)?

Hanada: Yes, just now (laughs).

Haruya Abe: It started when my family mentioned it about three years ago…
5.5 inches, 3.5 inches… I have a habit of using these “.5” sizes (laughs).

Salt Soba and Ko-Imari

Hanada: Next, the scalloped-edge plate.

Haruya Abe: I made this because I wanted a small plate for oden.
Once at a soba restaurant, I had salt soba—soba with rock salt, lemon, and olive oil—served on a slightly smaller Ko-Imari plate, which inspired me.
It stayed in my mind, and I decided to try it this time.
It’s good for small dishes with a bit of liquid, like oden, and the shape makes plating easy.

Hanada: It would also work for sashimi.

Haruya Abe: The center is flat, so it’s easy to plate.
Continuing the “.5” theme, it’s 5.5 inches.

Hanada: A “.5” man, huh (laughs). You really like the “.5” story today.

Haruya Abe: (laughs)At 5 inches it feels cramped.
Slightly larger gives more room when serving and makes eating feel more relaxed.

About the Scalloped-Edge Plate

Hanada: Did you pay attention to anything when making the Scalloped-Edge Plate?

Haruya Abe: The Ko-Imari example had a rough feel. Before, I tried to make perfectly neat edges, but I thought this natural look was nice.I aimed for a natural feel this time.

Hanada: “Aiming for a natural feel” must be more difficult. The spacing of the waves is all different.

Haruya Abe: Each one is different, but overall it looks like a flower.

Hanada: This part rises slightly and then flares outward.

Haruya Abe: It allows liquids to settle nicely and the rough edge gives a sense of shape.
I adjusted the lines to prevent elongation and balance the overall form.
Functionally, it also makes it easier to scoop with a spoon.

Hanada: The wavy edge appears differently depending on the color.

Haruya Abe: Of course it’s a matter of preference, but I think this shape suits Ruri (deep blue) best.

Hanada: I wouldn’t want the individual parts to be too distinct.

Haruya Abe: This plate is meant to show the overall atmosphere.
It’s better if nothing stands out too much.The same goes when plating food.

Haruya Abe: Yes, initially it was meant as an oden plate, but it also works for stuffed cabbage, pot-au-feu, and both Japanese and Western dishes.

Plate with Cat Motif

Hanada: Next, the cat. This is the first time animals appear in your works.

Haruya Abe: It’s my first time outside of chopstick rests.
I’ve been working along an extended line, so I wanted to try something a little different.

Hanada: Why did you choose a cat?

Haruya Abe: Because I like cats.I used to have a cat named Tom, but not anymore. Tom has always been on my mind.

Hanada: He was a member of your family, after all.

Haruya Abe: I made a slightly grumpy-looking cat. In my view, it’s “a little ugly but cute.”Tom was like that.

For the exhibition

Hanada: Thank you very much.
I’d like to ask for your previous works as well, so I look forward to the two-person exhibition.

Haruya Abe: Likewise, thank you very much.

≪ END ≫