36 Years: Long Yet Short

Hanada: Thank you for your hard work over the past 36 years.

Mitsuo Fujitsuka : It felt long, yet short at the same time. But I suppose it was good, as I was able to make it this far safely. When I first started, the concept of aging never crossed my mind, but naturally, your physical strength declines over time.

Hanada: Making a living out of what you love is not something everyone can do. You have spent your career surrounded by things you truly love.

Mitsuo Fujitsuka : I was just lucky. The timing was great, and I was blessed with wonderful encounters.

Hanada: Encounters…

Mitsuo Fujitsuka : I have truly been supported by so many people. They gave me a lot of inspiration as well.

Hanada: First, your meeting with Hideo Hata became your connection to pottery.

Mitsuo Fujitsuka : Yes, Mr. Hata was the first. Then I went to Kutani Seiyo, met various people in Kanazawa, and they all helped me. Even after returning to Kyoto, so many people supported me. Museums and antique shops showed me many things that I could never have afforded on my own.

Hanada: Your way of interacting with people is very thoughtful, so I imagine it was not just a one-way street where you were only receiving help.

Mitsuo Fujitsuka : A lot has happened, so it is hard to sum it up in a few words.

Hanada: There must have been many memorable moments.

Mitsuo Fujitsuka : When I try to recall them, only the silly things come to mind (laughs). Getting carried away while drinking, acting wild… things like that.

Hanada: Those kinds of memories are exactly what make the past and present so enjoyable.

Mitsuo Fujitsuka : I have plenty of funny stories. Especially from my time at Seiyo, there are countless tales (laughs).

Hanada: Everyone argued, yet you all got along well.

Mitsuo Fujitsuka : Exactly. It was quite an unusual group.

Hanada: Coming from Kyoto, weren’t you surprised?

Mitsuo Fujitsuka : In the beginning, yes. The mindset was completely different from my student days. At Seiyo, everyone acted as if they were the center of the universe (laughs). It was chaotic.

Hanada: That must have built your character.

Mitsuo Fujitsuka : You get used to it after a while (laughs). You figure out how to handle it, and eventually, you find like-minded friends.

Hanada: Kutani Seiyo also deserves recognition for presenting a new form of everyday tableware.

Mitsuo Fujitsuka : I knew nothing about pottery at first, so I learned the basics of tableware at Seiyo. In that sense, Yoichi Hata was also my teacher.

Hanada: You have also valued your relationships with younger artists.

Mitsuo Fujitsuka : It comes down to energy, after all. Even in terms of creativity, they make me feel that I cannot afford to lose to them.

Realizing and Beginning to Accept

Hanada: You have focused on making tableware based on early Imari ware.

Mitsuo Fujitsuka : When you are young, you try to create things entirely from scratch. You strive to make something that no one else is doing. But in reality, there are very few geniuses capable of that. Most of us are ordinary, and once you realize that, you can honestly begin to accept things outside of yourself. When you make things yourself, your perspective on antiques changes too. It starts with asking yourself, “Why am I so drawn to this piece?” Through that, you come to understand the merits of the piece in your own way, and it begins to take shape in your work.

Mitsuo Fujitsuka : If you try to make something entirely on your own, you might end up going in a completely wrong direction. While that drive is certainly important, from ancient times to the present day, everyone has learned by emulating something, and through that process, their own individuality emerges. Even if you understand this intellectually, it takes time for it to truly sink in.

Continuing to Create

Hanada: Let’s talk about a few of your pieces. What was the very first tableware you made after becoming independent?

Mitsuo Fujitsuka : It was an Inban (transfer-printed) bowl and plate. I recall referencing old Southeast Asian semi-porcelain.

Hanada: It has become an iconic piece for you.

Mitsuo Fujitsuka : This one is also an old design. It is a Namasu plate with a chrysanthemum pattern, and I believe it was mostly a reproduction. When you want to replicate an antique, you cannot afford to buy the actual piece, especially in the beginning. So, I gathered as many books as possible. I frequented secondhand bookstores, and museum catalogs were perfect because the photos were beautiful and the prices were reasonable. Because of that, whenever I held an exhibition in Tokyo, I would always stay for three or four days afterward to visit museums.

Hanada: This is a recent piece. It has a fresh feel to it.

Mitsuo Fujitsuka : I intended for these waves to appear whiter and more defined.

Hanada: The size relationship between the flowers and the bird is interesting. It feels as if a bird is flying in the distance.

Mitsuo Fujitsuka : This is an entirely original creation, but I thought it would be interesting to paint camellias here and add a bird. And this one features a rabbit.

Hanada: Your Dami (wash painting) technique has a soft and gentle feel.

Mitsuo Fujitsuka : Yes, I like to create a soft look with subtle gradations. I do not really like the feeling of making it look too neat and rigid.

Hanada: Speaking of your work, your white porcelain pieces are also lovely.

Mitsuo Fujitsuka : I also admired Joseon dynasty ware. I also replicated Delft plates. Since Delftware did not seem entirely suited for everyday use as it was, I widened the base.

Hanada: This is another timeless classic.

Mitsuo Fujitsuka : This shape originally exists in Nezumi-Shino ware, and I recreated it in white porcelain. I have been making this since around the time I became independent.

Hanada: We often receive inquiries from customers saying, “I don’t know the artist’s name, but I want that specific piece I saw before,” and it usually turns out to be yours. This shows that while you have many loyal fans, there are also many people who are simply drawn to the tableware itself. This Rinka (flower-shaped) bowl has brought in a particularly high number of inquiries.

Mitsuo Fujitsuka : I have been making that since my early independent days as well. This design features chrysanthemums, flowing water, and rabbits.

Gratitude and Continuing On

Hanada: Could you share a closing message as you close your kiln? First, to your customers.

Mitsuo Fujitsuka : I have nothing but gratitude. Many have supported me for a very long time, and some have even become like friends. I am deeply grateful to everyone.

Hanada: Do you have any words for those aspiring to do pottery, or for the young artists in their 20s and 30s who are working hard?

Mitsuo Fujitsuka : I cannot say anything grand (laughs). “Continuity is strength,” so continuing is probably the most important thing. I have focused on being a tableware maker, but there are various approaches. I hope people find the style and method that suits them best. Everyone has a different perspective, so I cannot generalize. The main thing is simply to keep going.

Hanada: Your former apprentices are also finding success in their careers. They always speak of your supportive nature and express their gratitude toward you.

Mitsuo Fujitsuka : They are all working hard while showcasing their own unique styles. I think that is truly wonderful. When I see their work on social media, I am often impressed by how much they have improved or by the new things they have started. Sometimes, I even find myself wanting to ask, “How did you manage to do that?” (laughs).

Hanada: Finally, your wife’s support must have been invaluable.

Mitsuo Fujitsuka : Indeed, she has truly stood by me through all of this. I would not have been able to keep going this long without her.

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