Our relationship began when we met Kosai-san, a Bizen ware artist who has an anagama (cave kiln) in Ushimado, Setouchi City, Okayama Prefecture. After working as a math instructor, he changed careers to pottery. After completing his studies at Bizen Pottery Center, he apprenticed under a master craftsman, became independent, and built his own anagama. Later, he became an Ajari (high-ranking priest) of Shingon Buddhism and then the chief priest of Sairyuji Temple. He is a Bizen ware artist with an unconventional background.

Bizen ware, one of the Six Ancient Kilns of Japan, has a long history. Kosai-san is a "Pioneer" who constantly pursues "Kobizen" (old Bizen ware) and challenges himself by trial and error to find his own firing methods.
We are now able to offer Kosai-san's works, which have previously only been introduced in department stores, at our "Kingyoya Toen." This time, we are featuring a limited collection of sake cups.

Bizen Ware: The Challenge of the Underground Kiln

Unlike inherited traditions, he creates Bizen ware in an anagama he built himself. Bizen ware is fired for several days at about 1300°C using pine firewood without glaze. The beauty born from the unpredictable results of this "yakishime" (unglazed firing) until it comes out of the kiln, is the true pleasure of an anagama.

This time, Kosai-san decided to try making Bizen ware in an "underground kiln that no one does nowadays," starting by building the kiln itself. Without any blueprints, he utilized his intuition and mathematical knowledge to dig deep into the ground with a shovel. He built the base of the ceiling and walls like an "igloo" underground, repeatedly applying layers of mud all by himself, and completed an underground kiln that was just barely wide enough for one person to pass through.

Everything was a first-time attempt, with no advice or blueprints. He was filled with anxiety, wondering if he could really fire in this underground kiln, or if the kiln itself would collapse and ruin the works. Nevertheless, relying on his cultivated experience and artistic intuition, he arranged the pieces while envisioning how the flames would swirl within the narrow kiln.

Pottery is unpredictable until it comes out of the kiln, but he suppressed his anxiety by telling himself, "If it succeeds, it will be amazing." Perhaps Bizen ware fired in his own original kiln would be more interesting than in a ready-made kiln. To confirm the outcome of this seemingly reckless challenge, I spent January, after the new year, closely observing the process from loading the kiln to unloading it.

In the silent darkness of the night, only the sounds of burning firewood and the roaring flames from within the kiln flowed quietly with time. I believe this long period is a "time" that only artists can experience, a time when body and mind can be separated, something not usually felt. Physically, he was very tired, but his mind might have been deeply immersed in the stillness.

Until now, I had been involved in sales without even considering the process of how a vessel is made, but being able to witness the artist's solitary dedication to the creation process and experience a mysterious world simultaneously, I feel nothing but emotion and gratitude for having been present.

Several days after sealing the kiln, the temperature inside began to drop, and I received news that it was "time to unload the kiln," so I headed to Okayama. The intense period of swirling flames had passed. In front of the silent, completely dark kiln, Kosai-san entered the underground kiln, suppressing his urge to see the results immediately.

From inside the kiln, Kosai-san's voice said, "Oh, the wall is collapsing..." We outside froze for a moment, but then began to receive the pieces one by one in a relay fashion.

The continuous stream of pieces being carried out from the still warm kiln was like the moment a child is born. Pieces adorned with "hidasuki," unique to Bizen ware, emerged into the sunlight still wrapped in straw. Their appearance was as if they still had their "umbilical cord."

Needless to say, both Kosai-san and we were greatly relieved that the damage from the collapsed wall was minimal and, most importantly, the works themselves were splendid.

One sake cup remained stuck to the collapsed wall due to the heat. When I saw its appearance, as if it was desperately clinging to the wall, I involuntarily cried out at the sight I had never witnessed before.

It was as if the sake cup itself was pleading, "If I leave this wall, I'll break! Don't peel me off!" More than the other pieces that came out in perfect condition, I was moved and felt "I could gaze at this forever," wishing to take it home exactly as it was, in this unique state that I would never encounter again.

With good pieces assembled and the kiln holding out until the end, Kosai-san's exhilaration reached its peak. If the results had been poor, the conversation might have ceased, followed by a heavy silence. The celebration after overcoming such a "terrifying crossroads" was incredibly lively, filled with talk about the still-fresh excitement of the kiln unloading.

The Creation of Bizen Ware and Thoughts on "Scenery"

Each fired piece is carefully checked. Inside the kiln, depending on where they were placed, pieces may exhibit colors and expressions entirely unexpected by the artist, or some unbroken pieces might be deemed worthy of re-firing, leading to a second or even third firing.

Also, if a reason is found, such as "not enough fire" or "temperature didn't rise sufficiently" in certain areas, the artist might decide to fire it again! Even though the effort is the same as the first firing, when a piece significantly improves after a second or third firing, and becomes something satisfying, the artist feels it was "worth it," confirming the meaning of multiple firings. If the effort proves worthwhile, they say they might even fire it a fourth or fifth time. When looking at such works, one can envision the joy of the people who will acquire them. The artist wishes for those who understand this sentiment to see the pieces. They continue to create for that moment when they feel "the ultimate reward of an artist."

Every single piece is shaped with care and intention, placed in the kiln, enduring intense flames, transforming, and emerging. Considering this process, the individual marks of ※1) "goma" (sesame seeds) and ※2) "ishihaze" (popped stones) that appear on each piece become unique characteristics and enjoyable aspects of Bizen ware. Hold them in your hands and immerse yourself deeply in the world of Bizen.

Glossary
• ※1) Goma (Sesame seeds)
These are yellow or brown speckled patterns, like sprinkled sesame seeds, that appear when pine ash falls on the pottery during firing (1200°C to 1300°C) and melts, vitrifying on the surface of the vessel.
• ※2) Ishihaze
This phenomenon occurs when small stones contained in the clay crack the surface of the vessel and protrude due to differential shrinkage during firing. Both are unique expressions that are valued as part of the "scenery" of the piece.

Next, we check the fired pieces for "water leakage." Since they are sake cups, if they leak, they cannot be offered as products.

Even if you don't drink sake, if you like the colors and textures, you can enjoy them as art, similar to paintings, bringing art closer to your life. Of course, it's said that "their expression and scenery change" with use. Many people use them repeatedly, wanting to see how they change over time. This is also important for "getting value out of using them."

Products that don't leak water then undergo a final check for feel and lip comfort. Some pieces fresh from the kiln can have sharp, pointed edges or rough spots that catch a finger. For sake cups, in particular, care is taken with the rim. The "itozoko" (footring) — the ring-shaped base at the bottom — is also sanded to prevent scratching tables.

While some connoisseurs might prefer that even these parts not be sanded, the assumption is that these pieces will be used. Therefore, they are carefully sanded just enough to prevent injury without over-sanding, ensuring a fine finish.

We hope you can feel the long hours and thoughtful process involved in transforming "earth" through fire into a finished piece. May you enjoy finding something you like, and discover pieces you've never encountered before.

View Kosai's Works