Mori Toshiaki's Journey in Reimagining Bizen Ware

Bizen ware is a traditional Japanese craft boasting over a thousand years of history. It is characterized by the absence of glaze, instead featuring colors and patterns created naturally through the firing process. Renowned for its high durability and water resistance, it has long been beloved for both practical and aesthetic purposes, appearing as everyday tableware, large water jars, and tea ceremony utensils. Combining functional elegance with a creative dimension, Bizen ware has woven a rich historical narrative and stands as a symbol of Japanese pottery culture.

Among the distinguished lineages known as the Bizen Rokusei, or Six families of Bizen ware potters, one of these venerable kilns is Hozan Kiln. The 19th-generation successor, Mori Toshiaki, is upholding tradition while also exploring new possibilities. In parallel with his work at the kiln, he is pursuing different approaches in his personal studio pieces, seeking new frontiers in both form and firing.

In this interview, we delve into Mori’s challenges in technological innovation, his artistic philosophy, and his vision for the future of Bizen ware.

Mori clearly separates the work he produces as the head of Hozan Kiln from his personal, original creations. While he sometimes makes the kiln’s pieces himself, these works often involve the contributions of various people, including younger potters who come to assist. He explains that the kiln is a place for the younger artists to learn and refine their skills; thus, the production aims toward specific predetermined shapes.

On the other hand, his own artworks reflect a more challenging spirit. “My personal works have a lot of experimental aspects—like trying to make something exactly the way I want or seeing what happens if I fire a piece in a certain spot in the kiln. The goal is somewhat different from that of the kiln’s items,” he says.

What he strives for in these personal works is the creation of something truly unique. “Rather than imitating, I want to create one-of-a-kind pieces, hoping that people who appreciate them will pick them up,” he says. So where exactly is this uniqueness realized? Let’s explore the secrets behind his methods.

Mori mentions that, particularly in his personal works, he wants to enhance their technical value. He cites two major areas of focus: zokei (form) and shosei (firing).

In terms of form, many of Mori’s pieces feature designs that pursue unique shapes while maintaining a sense of order. For example, the water basin currently featured at Musubi Gallery is formed by combining halves of cylindrical components. He explains, “My initial concept was to combine simple shapes to form a new shape.” While producing uniform, continuous shapes requires technical expertise nurtured over years of practice at the kiln, this attempt takes it one step further by trying to create something entirely new.

At the same time, he doesn’t like forms that collapse into disorder. He prefers working within certain rules that suit his style. He often takes inspiration from architecture, feeling that generating something refined within a set of guidelines aligns well with his creative process.

As for firing—one of the defining features of Bizen ware—he does more than just “fire” his pieces; he experiments with various methods. For instance, he may bury them in ash before firing, or he may introduce more air, or conversely reduce the air inside the kiln. He continuously searches for the place and the method of firing within his kiln that yields the most interesting colors. “Going forward, I’d like to create pieces where complex shapes produce fascinating fired colors, merging form and firing,” says Mori.

His exploration of firing techniques extends to scientific approaches as well. Currently, he is involved in an ambitious attempt to scientifically elucidate and partially control the coloration that was once left entirely to chance. By collaborating with Okayama University of Science and researchers overseas, he is analyzing the mechanisms of color formation and firing conditions.

“Bizen ware is called the art of earth and fire, but there’s often a strong sense of defeat in not being able to overcome nature. In the near future, if we can gradually start to control it, that would be really interesting. And if, on top of that control, there’s an added bonus of elements of chance, that’s the style I aim for. Rather than completely entrusting everything to nature, I’m looking for ways to approach my ideal,” he explains. Mori’s pursuit of balance between shape and color aims ever higher.

Following the discussion of the water basin, we next looked at a pentagonal matcha bowl. This time, we uncovered the ideas and sources of inspiration underlying Mori’s concepts, beyond technical considerations. Asked why he created such an unusual five-sided matcha bowl, Mori spoke about the contrast of yin and yang.

He says the inspiration began when he was studying tea ceremony and had a conversation with his teacher. “In talking with my tea ceremony instructor, I encountered the idea that yin and yang complement each other and combine to create harmony. For example, even numbers are considered yin and odd numbers are considered yang. By skillfully combining their inherent qualities, you can naturally produce a beauty that resonates within people.”

Mori feels that, because of the hardness of ceramic and his own personality that tends toward imposing order, his works often feel strongly yin. Thus, he tries to introduce yang elements—in this case, the odd number five for a pentagonal shape. Likewise, for a design that carries the energy of yang with its rounded shape, he might deliberately choose yin hues like deep blues or blacks to bring out a serene quietness.

Mori sees it as his mission to protect the tradition of Bizen ware while also connecting its potential to the next generation. “The value of Bizen ware might not spread worldwide in my generation. But our role is to prepare an environment where the next generation and those that follow can express themselves freely,” he says.

Not only does he pass on techniques through the kiln’s works, but he also strives to create an environment where young potters can test their own ideas and explore new forms of Bizen ware. In addition, through interactions with overseas ceramic artists and researchers, he works to introduce Bizen ware to a global audience.

“Bizen ware is both a functional craft grounded in daily life and an object with artistic value. For my own works, I always give them a purpose—arranging flowers, enjoying matcha—so they blend naturally into everyday life rather than just standing as objects of art,” Mori states. This vision not only broadens the appeal of Bizen ware but also provides a firm foundation for it to remain beloved over time.

He also regards Bizen ware as a “culture that matures with time.” Rather than rapidly popularizing it, he believes it’s important to enhance its value gradually. “To raise Bizen ware’s international profile, we first need people to actually pick it up and use it. Through that process, I’d like it to spread quietly as a culture that takes root over time,” he explains.

By moving forward step by step, Mori is working to ensure that Bizen ware continues to be valued worldwide. With a clear vision of honoring tradition while embracing innovation, he is leading Bizen ware into the next thousand years.