Bizen Kuro Guinomi

Drawing a wealth of inspiration from the natural environment of his beloved home of Bizen, Jun Isezaki brought a new spirit to the tradition of Bizen ware. This is a newly released Bizen Kuro-Guinomi by the artist.

Fired in February 2026, it is a work from the final period of his career.

The Guinomi was fired for approximately ten days in a semi-underground Anagama kiln. Its clay surface was exposed to a great deal of smoke during the firing, developing a beautiful natural sheen.

The work was also subjected to an intense flow of flames from the reverse side. Golden Kigoma, resembling scattered grains of gold and produced by high-quality split pine wood, surged toward the front of the vessel, where the streams converged to form a magnificent Tamadare pattern.

The overall sheen of the surface and the translucent streams of Goma are almost reminiscent of works produced using the hikidashi technique. Together with the exceptionally smooth texture, they give the Guinomi a distinctive and compelling presence.

In contrast, the interior has a much more matte surface with little sheen. Its metallic appearance, blending shades of black and silver, becomes particularly rich and sensual when moistened with sake.

With its black surface displaying two distinctly different types of luster, its exceptionally large and energetic form, and its many varied kiln effects, this is a work filled with the qualities characteristic of Jun Isezaki.

Jun Isezaki (1936–2026) was born in Imbe, Bizen City, Okayama Prefecture, as the second son of Yozan Isezaki, a Bizen ware artist known for his skill in decorative and sculptural works.

He learned ceramic techniques from his father from an early age. After graduating from the Special Art Course in the Faculty of Education at Okayama University in 1959, he began pursuing pottery in earnest.

In 1962, together with his elder brother Mitsuru Isezaki, he reconstructed a medieval semi-underground anagama kiln and successfully fired it.

In addition to traditional vessels such as flower vessels, plates, and tea wares, he worked extensively on highly sculptural creations, including ceramic walls, reliefs, and objects.

Isezaki placed particular importance on forming and firing. By making full use of the distinctive characteristics of anagama kilns, climbing kilns, and electric kilns, he established a unique style filled with a contemporary sensibility.

He was also a leading artist in the creation of ceramic walls and reliefs in Bizen ware and produced numerous works, particularly for public facilities.

In 1966, he became a full member of the Japan Kōgei Association. From 1978 to 1987, he served as a lecturer in the Special Art Course of the Faculty of Education at Okayama University.

In 1998, together with his elder brother Mitsuru Isezaki, he was designated a Holder of an Important Intangible Cultural Property by Okayama Prefecture. In the same year, he was appointed a director of the Japan Kōgei Association and secretary-general of its Chugoku Branch.

In 2002, he created a ceramic wall for the new Prime Minister’s Official Residence.

In 2004, he became the fifth Bizen ware artist to be designated a national Holder of an Important Intangible Cultural Property, commonly known as a Living National Treasure.

In 2025, he was selected as a Person of Cultural Merit.

Jun Isezaki passed away in 2026.

Major awards and honors include the Kaneshige Toyo Award, the Excellence Award at the Chanoyu no Zokeiten, the Okayama Prefecture Cultural Encouragement Award, the Sanyo Shimbun Cultural Merit Award, the Okayama Prefecture Miki Memorial Award, the Okayama Prefecture Culture Award, and recognition as a Person of Cultural Merit.