Taniguchi Seiran Chawan

Glazed stoneware

Dimensions: 12.1 cm (W) x 7.9 cm (H)

Taniguchi Toshio was born in Kyoto in 1951 and, after graduating from college in 1968, apprenticed with Nakamura Suiran, who introduced him to the technique of Cochin ceramics, known in Japan as kôchi .

The Origins of Kôchi Ceramics

In the mid-Edo period, when the production of Kyō ware began, the Qing dynasty flourished on the Chinese mainland.
The most advanced foreign cultures that the Japanese admired at the time came from several European countries and the dynasties on the Chinese mainland.
Courtiers, Buddhist monks, scholars, artists, and tea masters in Kyoto had access to the various cultural goods brought to Japan by merchant ships.

Vividly colored ceramics transported along trade routes from Southeast Asia on so-called "Kōchi ships" received the name "Kōchi-yaki" (交趾焼) after these vessels.
The term "Kōchi" refers to the region of modern-day Vietnam, which was known by this name during China's Qing dynasty.
Tea masters appreciated these ceramics and enjoyed using them at their tea gatherings, which eventually led to them also being produced in Kyoto. Today, Kōchi-yaki is one of the representative techniques of Kyō ware.

The unique design style of Kyō ware differs from that of other production centers because Kyoto had trade routes that continuously brought new cultural influences and ceramic styles from the mainland and Southeast Asia. This influence is still appreciated and preserved today.

Production

After shaping on the potter's wheel and bisque firing, a technique called "Ittchin-mori" is used to draw raised lines.
The tools and process are reminiscent of decorating a cake.
However, it requires exceptional skill to maintain the balance of the composition on the curved surface of the vessel and to draw the lines of Ittchin-mori precisely and fluidly by hand with varying thickness.
The glaze is then carefully rubbed onto the unglazed bisque ware to achieve a perfect finish.

This glaze only becomes transparent and develops its colors during the firing process in the main firing.
Kyō ware and Kiyomizu ware artisans pay particular attention to applying the glaze in such a way that as few irregularities as possible are created, and any imperfections emphasize the handmade charm of the piece.
This is a standard that cannot be achieved in mass production.