Japanese Ceramic Essay Example

The history of Japan is one that is rich with various forms of art. A closer look at the cultural heritage of the Japanese reveals a myriad of art expressions ranging from music to poetry and paintings. Ceramic art is one of the aspects of Japanese culture that has stood the test of time. It has evolved systematically over the years with different epochs in the Japanese historical calendar having distinctive ceramic art forms (Heimann & Maggeti, 2014).

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These periods were graced by various ceramic artists who contributed significantly to the development of the art. In modern day Japan, many ceramic artists, and potters earn a decent living from their skills. It is, therefore, a form of art that is not only integral to the heritage of the Japanese population but also vital to the economic survival of many. This paper explores the history of the Japanese ceramic culture, the different styles, the artists and its significance to the people.

Historical accounts trace the emergence of ceramic art to the Jomon era that stretched between 10000 and 300 BC. The rich tradition of design, creativity, and innovation that exists in the modern Japanese society started during the above era. The notable ceramic wares of the time included large cooking pots which were mostly shaped like cones. The main predominant method of production was the coil technique in which rolls of clay were layered successively over one another. The final product looked thick and had irregular shapes. The heating technology employed included open with a fire that reached approximately 700 degrees. The insufficiency of heat resulted in earthenwares that were mostly soluble in water (Heimann & Maggeti, 2014).

Closely following this period was the middle Jomon era. This period was characterized by ceramics with a variety of shapes. There were oval, circular, spiral and other unique forms that included animal and animal facial impressions. This era produced heavily ornamented and unique pieces. The main wares after immediately after the middle era included minute statuettes that mainly took up the shapes of animals. Their animistic nature notwithstanding, they had a solid artistic appeal (Heimann & Maggeti, 2014).

The Yayoi eon followed the later Jomon era and lasted between 300 BC and 300AD. Historians suggest that the Yayoi way of life was introduced to the Japanese by indigenous tribes that movement from the Korean Headland. The Yayoi potters introduced a new technology of production that used bronze. This form did not have conspicuous shapes like the art of the Jomon era. On the contrary, they had plain forms. However, the use of fine clay and the creation of thin walls in the ceramics gave them a good visual appeal. In addition, they introduced the use of color in pottery with black and red becoming the predominant shades (Heimann & Maggeti, 2014).

The assimilation of Korean and Chinese culture in the seventh century significantly changed the landscape of porcelain making in Japan. The interaction between the different cultures introduced new aspects to the Japanese way of life. Particularly, there was the emergence of Buddhism, new medical techniques and government systems all of which informed the evolution of ceramic techniques and content. As an example, the introduction of the Chinese technology of using tri-colored glazes to produce earthenware and the Korean high heat techniques significantly improved the Japanese ceramic industry (Heimann & Maggeti, 2014).

The changes in systems of government also had an impact on the ceramic culture. The beginning of the 12th century, for instance, was marked by the change of leadership from the court system to a warrior system. This led to the introduction of less complex pieces of ceramics which was a sharp move away from the more colorful and heavily decorated pieces. This move could be attributed to the increasing adoption of Buddhism and the varying tastes of the warrior class (Heimann & Maggeti, 2014).

Notably, the emergence of class distinctions in the Japanese society also contributed significantly to the development of the art. Mostly, the upper class used luster bowls whereas wooden utensils were used by the lower class. Consequently, most of the productions of this era included pots and jars for food storage. The use of ash glazes helped create the fine varnish finishing that was demanded by the upper echelons. The glazes were used in kilns that can be found in the Shigaraki areas (Heimann & Maggeti, 2014).

Another significant development during this period was the production of the "tsubo" jar which has a constricted mouth and was used to store cereals. Also, the culture tea drinking which is attributed to Zen contributed to the creation of unglazed pots and jars. A leading name in the production of ceramics for drinking tea in the mid to late 16th century was Sen Rikyu. The teapots bowls which were christened the "raku" by porcelain enthusiasts are considered to be the epitome of Japanese ceramic history. They had smaller designs that enhanced easily handling as well as transmission of heat to the handler in cold conditions (Heimann & Maggeti, 2014).

One leading contributor to the ceramic industry during the 18th century was Ogata Kenzan. He produced colored porcelains and invented new shapes. Particularly, he used overglaze and underglaze elements of painting in his work. He also contributed to the development and use of the white and blue color in porcelain production. Generally, the work of ceramic art that was produced in this period and the subsequent century has a greater influence in the modern ceramic scene. Many producers today employ techniques that were invented in this golden era (Heimann & Maggeti, 2014).

The contemporary Japanese ceramic culture is associated with the names Otagaki Rengetsu and Kitaoji Rosanjin who were some of the artists to propagate the styles and techniques of the medieval era. Actually, in some quarters, people have commented that the works of Rosanjin are in many respects similar to those of Kenzan. Evidently, the historical interaction between the different cultures has contributed to the evolution of the craft. In modern times, the advent of new technology continues to improve the efficiency of production in the ceramic sector. There is also a significant influence from the western culture. Ceramic sculpting and other techniques are products of the interplay between Japanese heritage and the western modern styles (Heimann & Maggeti, 2014).

As far as the modern ceramic art in Japan is concerned, there are two artists namely Hayashi Yasuo and Yagi Kazuo that are worthy of consideration. This is so because their works continue to shape the dialogue on ceramic art both in museums and literature. For instance, Hayashi became the first artist to have his work exhibited in Osaka. His worked went against the established conventions regarding form and technique. His work which was an abstract representation of the human body continues to influence modern abstract ceramic artists. Likewise, Yagi also produced the work known as "Mr. Samsa Walk" which defied conventional rules of taste and function (Swan, 2017).

Hayashi Yasua was born in 1928. His father was a potter who could occasionally create tableware from molds. Contrary to his father's expectation, Hayashi studied painting and did well. Like other school children, he contributed in the world war by helping to transport gunpowder. Hayashi later joined the naval air force and became a pilot. After the war, he was disoriented and underwent a lot of suffering because the economy had been destroyed. Subsequently, he tried to revive his painting studies but could not. Finally, he decided to assist his father in the family pottery studio and it there that he first interacted with clay (Swan, 2017).

Hayashi was not inclined towards functional ceramics which was deemed to be superior to the other forms. On the contrary, he was drawn to the non-functional and artistic aspect of ceramics probably because of his earlier studies in painting. He underwent proper training under the guidance of Uno Sango through whom he managed to learn about art in the west and also met international artists (Swan, 2017).

Together with his peers, Hayashi desired to create samples of work that would evoke the emotions of the time and depict the predominant theme of the post-war era. He longed to create a human form in a manner that would expressly connect with the audience's inner being. This quest culminated in the creation of the "cloud." The work was grounded in the experience of war even though some observers commented that it had sexual undertones. Others claimed that the term cloud represented the bombing of Hiroshima. He denied such interpretations mainly because it was illegal to comment expressly about the bomb (Swan, 2017).

His work was however criticised for his insufficient use of straight lines in his work. In response, he spent time studying the forms of scriptural ceramics in Europe and the East. The exploration significantly contributed to his signature style because he discovered certain aspects of his culture that employed the geometry of straight lines and arcs. His subsequent works, notably "human body" embodies a synergy between western ideas and Japanese tradition (Swan, 2017).

Yagi Kazuo, on the other hand, was born in 1918. A year later, his father partnered with other ceramists to form the Red Clay Group. Their main objective was to raise the standard of ceramics and have it recognized alongside other art forms. Many years later and following in his father's tradition, Yagi joined the Institute of ceramics in Kyoto to study sculpting. This helped him to have a strong foundation in three-dimensional forms (Swan, 2017).

His main interest was in ceramic sculpture and strongly believed that ornamental ceramics was inferior in both substance and function. Moved by the desire to break away from the Kyoto tradition, he tried to explore the styles of stoneware reminiscent of the Song dynasty. Inspired by Picasso, he later settled for the asymmetrical shapes that ultimately defined his uniqueness. His ground-breaking work "Mr. Samsa's Walk" represented his new philosophy as well as a digression from the functional tradition of Japanese ceramics (Swan, 2017).

The two ceramic artists Yagi and Hayashi represent the various styles of ceramic art that exist today. The creation of functional ceramics is still practiced in the modern Japanese society. The wares are used domestically and sold in the international market. Many non-functional ceramic artists have also emerged. This proliferation of artists is attributed to the establishment of collectives since the beginning of the 20th century to date (Swan, 2017).

In recent times, ceramic artists such as Maeda Masahiro have continued in the footsteps of Yagi and Hayashi. Many years since the advent of Japanese Exhibitions, he has consistently adhered to the craft-art dichotomy that shaped Yagi and Hayashi's works. Tea ceremonies have been an integral part of the Japanese culture since the ancient times. Maeda masterfully created tea bowls that earned him a position as a leading ceramic artist of the contemporary times. Art commentators believe that his works pioneered a new form of ceramic artistry (Oguro, 2011).

Conclusion

Interestingly Maeda also intended to join the field of painting like Hayashi. Some of his recent works portray a sharp departure from the multicolored Arita and Kutani traditions. Particularly, he employs the overglaze technique of the western origin because of the low content of the glass. One of his achievements has been the creation of checked and stripe design on porcelain. He produces this unique feature by using many small pieces of tape strips on porcelain covered with...