What we see in the white of the HANASAKA【Article 2】

The unpainted Kutani ware. These bare base pieces of Kutani ware are infused with Taniguchi Seidosho’s respect, commitment and passion for their town and their tradition. “Une” of the HANASAKA series explores new possibilities for Kutani ware by effectively utilizing the natural resource of Hanasaka pottery stone. The skin-like beauty of Kutani ware in this bare form makes one want to call it Shiro Kutani (white Kutani), adding another dimension to the Kutani charm.

Hanasaka pottery stone itself is milky white in color with a yellow tinge. Traditionally, Kutani ware primarily used 'oxidation firing' to enhance the texture of the materials, but nowadays 'reduction firing' has become the norm in creating the white base that highlights the vibrancy of the overglaze. The Asahiyama Kiln is one of the rare kilns that produce these white base pottery by still using the oxidation firing method. “Une” is handcrafted by the fourth generation, Kazutoshi Azuma.

"Since Mr. Azuma had little experience brining a piece from start to the end product at his kiln, we adjusted the design and process multiple times together with the designer Yukito Toda. Even once the shape was decided on, at times it did not hold its form when turned on the potter’s wheel due to weight or structural issues. In such cases, I asked Azuma to come up with a with alternative ways to make the piece work. Furthermore, since the outcome of the glaze also changes depending on temperature, we took great care to check the texture and finishes at the kiln. I had previously only visited Asahiyama Kiln to deliver clay, but since I began to engage and consult with him on various things, I feel I’ve truly encountered Mr. Azuma’s genuine artisan spirit (laughs)."

The wheel-throwing technique is the backbone of Kutani ware.

In addition to clay, the company will also be selling glazes in the future.

The depth of the history is felt in the Hanasaka clay, layered like geological strata.

Although mechanization has progressed, we fundamentally adhere to traditional methods.

Comes in a wide variety of shapes and sizes and is dishwasher safe.

In 2021, upon collaboration with designer Kenya Hara the “Hanasaka White Bowl” was created. When viewing the actual piece, one can see the color of the Hanasaka clay coming through, presenting a hue that resembles a soft gray blended with ivory, rather than a pure white.

“This took place at the 'GO FOR KOGEI' festival of Hokuriku crafts in 2021, where I had the opportunity to collaborate with Japan's leading designer, Kenya Hara. When it comes to Mr. Hara, pure white is indeed his signature. However, I proposed that instead of creating a pure white made with additives and modifications, we use an unaltered, natural state of the material and apply the term “white” to refer to the state of “purity” in which the material is unmodified. If we were to use 100% pure Hanasaka clay, black spots can appear when fired, and shaping it is also quite difficult. The color may not be consistent or accurate, but that is its true form. Mr. Hara embraced my vision and designed the bowls to account for a sense of visual movement and inconsistency when stacked. It maintains the essence of Kutani ware while being practical for everyday use, gently enriching our lives.

To support traditional crafts and our future, we will start with what we can do right now.

The project with Mr. Hara had a positive impact on 'Une'.

Continued development of new variations.

Hanasaka clay, born from volcanic activity is visible throughout the Taniguchi Seido factory, where layers of clay and mud are stacked all around like geological strata. Though they are all called Kutani ware, there are many methods of molding. For example, in the casting kilns that use molds, Mr. Taniguchi showcases his skills by customizing a clay that has a moderate level of plasticity that allows for easy release from the molds. Their signature porcelain clay is not only formulated for traditional Kutani ware wheel throwing, but also for industrial use, tailored to the needs of individual Kutani artisans. Additionally, there are various types of clay produced, including those enhanced for brightness and transparency for lamp shades, showcasing a wide range of options. When I asked Mr. Taniguchi why he continues the trade despite saying that 'it is difficult to keep the business alive, relying solely on soil manufacturing”, he smiled bashfully and replied, “Because there were many people who were happy when I succeeded the bustiness and kept the tradition alive.”

“If Taniguchi Seidosho stops producing clay, many people will lose their jobs. Neither my father nor the local kiln owners ever pressured me or forced me to succeed the business, but I’m sure they were secretly anxious about it (laughs). That is why I must continue making clay. By creating our own brand, the HANASAKA series, I want to increase production. We must also make use of any leftover clay that has been going to waste; otherwise, our current business is not sustainable. Before that happens, we need to come up with things we can do together. I want to spark interest in the younger generation, and we need to create jobs that allow them to earn a decent living. It will be too late to save once the fire is out. I believe that the spirit of Kutani ware lies in the collaboration of the painting kilns, the craftsmen making white base vessels, and the clay suppliers, all coming together and working in unison to take on new challenges.”

Listening to Mr. Taniguchi, one senses that the soft, gentle whiteness of HANASAKA is a canvas of countless possibilities. As these vessels are used over time, one will notice the subtle changes in the luster and hue of the glaze. When you notice such small changes, you may likely grow a deeper attachment to the pieces.

A future emerges from the pure white.

Mr. Taniguchi says with a laugh 'We aim for HANASAKA to bloom flowers in people's hearts. (A pun-like play on words referring to the Japanese terms “hana” meaning flower, and “sakaseru” meaning to make bloom.)