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stand for years. I’m hoping that I can create something new from such traditional clay. Also, since I am now in the position to support and nurture young potters, I am planning to hold various events for exhibiting their works. It is a loss in all aspects when there is no setting for people to view the works of young potters.I: Do you feel that, so to speak, the “Fujiwara style” has been handed down?F: I think something close to “Fujiwara-ism” has certainly been handed down through the apprentices of the Fujiwara family. For example, until my grandfather and father created tableware such as beer mugs or round, bottom-bulging pots, Bizen ware potters had not been creating tableware. While tradition and culture must be carried on to a certain extent, it is better that there are some aspects that call for and undergo changes. I: That’s true. That is also one of the wonderful elements of Fujiwara Bizen ware. I am a big fan and have collected many works of the Fujiwara family.F: Thank you very much. I sincerely hope that you use them daily. I think it is a lot of fun when you spend your everyday life surrounded by your favorite items. But when people consider an item in terms of its value, there emerges the possibility of them not using it, being afraid that they might break it. I: Yes, that’s true. I, myself, tend to decorate them so I can cherish them in a safe place. F: I do understand the inclination to keep them stored Bizen ware of the Fujiwara familyAs mentioned earlier, Kei and Yu Fujiwara—father and son—have both been recognized as a Living National Treasure.Kei Fujiwara loved literature and had left the town of Bizen to pursue a different life, but returned to his hometown after suffering from an illness and began his carrier as a potter at the age of 40.His creative activities were governed by the policy, “simple, explicit and openhearted,” and he made this policy the essence of Fujiwara style Bizen ware. While Kei’s first born son Yu was visually impaired—very poor vision in the right eye and blind in the left eye—he was able to effectively supplement this visual impairment with his sense of touch. The works created by his hands were smoother and lusher compared to those of his father.Kazu, Yu’s first born son and the third generation Fujiwara, began his career as a potter by beginning training under Kei, his grandfather, and Yu, his father, at the age of 22 after graduating university. Today, while vigorously continuing to create his own works, he is also pouring energy into supporting and nurturing young potters who will carry on Bizen ware.away or to decorate them. But when I think in terms of the “feelings” of the tableware, I have a feeling that they are saying “Use me!” “Arrange some food on me!” since, after all, they were brought into this world as tableware. I love and often purchase pottery myself. I consider the payment I make when I purchase an item as betrothal money.I: Betrothal money?F: Yes. My thought behind this concept is that by making a payment, I obtain time to live with the tableware. When an item is used with great care, family history is engraved on to the tableware—“This is the part that got fixed after Grandpa broke it.” “This is the crack made by Mom.”—and for this reason, I think traditional Japanese aesthetics could become more prominent where people can proudly say that “this is our cherished plate, the pride of our family.” I: I sincerely understand what you are saying. I often receive orders to fix worn out tea ceremony rooms. When people own an item of good quality, authenticity or particular fondness, there is always a strong desire to keep on using the item no matter how old it gets by fixing it as required from time to time. This is a sense that we, as Japanese people, should maintain and cherish. Well, it has truly been my pleasure to be able to talk about so many things with you today. Thank you very much. F: The pleasure has been mine. Thank you very much.092Fujiwara Kazu / Ishide KazuhiroDialoguechapter 2