Hello everyone. It has been quite cold lately; how are you all doing?
Well, I recently attended a retrospective exhibition of the late Mitsuru Isezaki.
Sensei Mitsuru sadly passed away from respiratory failure at the end of August 2011, leaving the Ibe community wrapped in the grief of losing a pillar of their world.
Now, about a year and a half later, this retrospective exhibition was held, and the collection of wonderful works on display made me reaffirm the painful reality of losing "Mitsuru Isezaki-sensei" all over again.
The venue also featured works by his four sons, accompanied by their personal reflections on their father and mentor.
Through each of their words, I felt as though I could perceive his character—known to them both as family and disciples—his earnest, artisan spirit, his quiet but warm gaze, and his boundless dedication to his craft.
The exhibition displayed works by category, showcasing the vast diversity of his life's work, ranging from traditional tea utensils and flower vases to his later "Hidasuki Aratsuchi" (rough clay with fire-cord) pieces, as well as Kuro-Oribe and Shino wares.
Among them, the "Yohen" (kiln-transmutation) pieces from his Heian Kiln period stood out with a unique brilliance.
The dry, robust white clay was dusted with an equally dry-textured yellow sesame glaze, offering a precious experience distinct from the firing style of his later years.
Many sake cups were also on display, and the "Yohen" and "Akae" (red-painted) sake cups were truly remarkable.
The "Akae" pieces fully exhibited the gentle yet stylish touch that Mitsuru-sensei passed down to the Isezaki school. The brushwork gliding across the smooth white porcelain was so pleasing that I found myself wanting to reach out and pick them up.
The "Yohen" pieces featured a magnificent pink "tsuchiaji" (texture/color of the clay). Given that he achieved this one-of-a-kind pink by being so meticulous about his clay, it saddened me to think that we might see the word "pink" used less frequently in descriptions of Bizen ware from here on.
Just as with the "Akae" sake cups, a gentle touch—like the soft caress of washi paper—seemed to come to mind when looking at his work. This quality was common to all his pieces, from the surface of his water jars and the rims of his tea bowls to the elegant curves of his sake bottles. Even in his "Hidasuki Aratsuchi" works, which expressed a certain ruggedness, one could not hide the profound care and tenderness exuded by the pieces. By gathering such a diverse range of works, as if analyzing the master from every possible angle, even an ordinary person like myself was able to catch a glimpse, however slight, of the heights he had reached.
We often use the expression "pouring one's heart and soul" into one's work, but I think to dedicate oneself to making Bizen ware is to imbue one's very heart into the form, as if sharing one's own flesh and blood. It is no exaggeration to say that these pieces are his alter egos.
I am certain that these alter egos of Mitsuru-sensei will continue to shine as beacons for many potters to come.