Exploring the Art of Tenmoku and Celadon: An Interview with Yoshinori Izumi

Hello, I’m Masatoshi Yokoyama, owner of KOTOPOTTER.

Today, I’m excited to share an in-depth conversation with ceramist Yoshinori Izumi, who runs his studio in Keihoku, Kyoto.

Izumi-san has captivated many fans with his handmade yohen technique works—like Tenmoku glaze and celadon—that produce stunning natural gradients. With over 50 years of experience, I asked him about his journey, his passion, and his approach to creating traditional and contemporary ceramic art.

Note: Yohen is a firing technique where minerals in the glaze chemically react under high heat to produce unique color effects.

Yoshinori Izumi

• September 1947 – Born in Higashiyama, Kyoto
• 1970 – Graduated from Osaka University of Arts, Department of Ceramic Craft Design
• 1971 – Graduated from Kyoto Municipal Industrial Research Institute
• ～
• 1977 – Began holding annual solo exhibitions in Tokyo and Osaka
• 1994 – Traveled to China to visit ancient celadon and Tenmoku kiln sites
• 2013 – Relocated his studio to Keihoku, Ukyo Ward, Kyoto

What inspired you to begin ceramics?

Yokoyama: What motivated you to pursue ceramics as a career?

Izumi: My family was in the Kiyomizu ware wholesale business in Higashiyama, so pottery was always around me as a child. I also studied ceramics at a university in Osaka. Though I considered taking over the family business, I felt more suited to creating than selling. That’s how I stepped into the world of pottery.

Yokoyama: What did you study at university?

Izumi: I was taught by Osamu Suzuki and Yasuo Hayashi. Both were top ceramic artists at the time. Their focus was more on sculptural and object-based work than traditional pottery.

Osamu Suzuki (1926–2001): A founding member of the Sōdeisha movement and Professor Emeritus at Kyoto City University of Arts.

Yasuo Hayashi (born 1928): A ceramic artist with numerous accolades including the Grand Prize at the 30th Faenza International Ceramic Exhibition.

Yokoyama: How did you come to establish your own studio after graduation?

Izumi: After university, I researched glazes at the testing center. Later, I set up my first studio near Daikaku-ji Temple in Saga. There were kilns near my family home as well, but my father’s acquaintance happened to vacate a place near Daikaku-ji, so I took it over.

< Daikaku-ji Temple, a historic site in western Kyoto, also known as a filming location for period dramas. >

Yokoyama: That was around the time of the 1970 Osaka Expo, wasn’t it?

Izumi: Yes, it was when Kyoto started to see more tourists. I even ran pottery workshops for school trips and offered bicycle rentals.

What led you to start creating yohen (kiln-transformation) works?

< Celadon sake cup by Yoshinori Izumi >

Yokoyama: Were your works back then different from your current style?

Izumi: I was already working with Tenmoku and celadon. But back then, Tenmoku wasn’t popular and didn’t sell much. I continued with celadon thanks to a supportive shop, even hiring a wheel-thrower and gradually continuing the work.

< "Ryusei" Tenmoku sake cup by Yoshinori Izumi >

Yokoyama: Your "Ryusei" Tenmoku glaze is iconic. How did it come to be?

Izumi: I thought, if I’m going to make something, it should be exciting. So I pushed the flow of Tenmoku glaze to the limit. Subtle differences in composition or temperature create visual changes. After lots of trial and error and data recording, the blue gradation naturally evolved. Unsuccessful pieces got weeded out—like in nature.

Yokoyama: Were there any masterpieces that inspired it?

Izumi: I think it’s original. Making the same thing repeatedly would bore me, so I kept adding variations, which led to the current form.

Yokoyama: Why are you so drawn to yohen techniques?

Izumi: I wouldn’t say it’s an obsession—just genuine curiosity. In university, sculpture and objects were the focus, which didn’t suit me. I wasn’t interested in painted designs either. Collecting glaze data and refining it suited me better.

Yokoyama: So it’s not like you were inspired by a famous piece?

Izumi: Saying that would make a better story, but I can’t lie. (laughs)

How has the world of ceramics changed?

Yokoyama: With a career spanning half a century, how do you think the pottery world has changed?

Izumi: In the past, awards and solo exhibitions were everything. Now, people judge the work itself. Thanks to that, even without a title, people who appreciate the pieces support me.

< Small bowl, Kitayama cedar ash glaze, by Yoshinori Izumi >

Yokoyama: What do you value most when making pottery?

Izumi: I try to create pieces that people can use and never get tired of. I cook too, so I care about how food looks in the bowl. If something doesn’t sell, I know it needs changing.

Yokoyama: You seem to approach pottery very naturally. Some artists completely immerse themselves in it—do you?

Izumi: I do love pottery, but I also enjoy thinking about lunch, or how travel discoveries influence my work. Keeping a bit of distance helps me enjoy it more.

Yokoyama: You’re 77 this year. Have you thought about retiring?

Izumi: Not really—as long as my body moves and people want my work, I’ll keep going. I still want to make more interesting and beautiful things.

Do you have a message for our readers?

Yokoyama: Lastly, do you have anything you’d like to say to those who pick up your work?

Izumi: I just want people to find it beautiful. That’s all. Don’t overthink it—just enjoy it with your senses.

< Sake cup "Ginsei" by Yoshinori Izumi >

Editor’s Note

Thank you, Izumi-san. Your natural enjoyment of creating and your honest voice left a deep impression. We look forward to seeing more of your beautiful handmade ceramic works in the future.