A master of kutani glazing, Jun Takegoshi inherited the traditional techniques of his father who was a master of kutani ware; a style of Japanese porcelain revived from the elaborate and complex Ko-Kutani wares developed in the 17th and early 18th centuries.
Takegoshi graduated in 1972 from Kanazawa College of Art where he studied Japanese traditional painting (nihonga). As a brilliant painter, he created an incredible array of colourful glazes to bring his personal kacho (bird and flower) imagery to life on his slab building (tatara) porcelain forms. This tatara technique is when thin sheets of clay are cut with metal wire, to create three-dimensional surfaces through layering of the clay sheets. He devoted himself to producing polychrome enamel porcelain vessels that serve as vehicles for his brilliantly coloured and elegantly painted depictions of the natural world.
‘I apply iroe (overglaze enamel painting), in which I aim to create an impression on the viewer by making the best use of the space or blank emptiness of hakuji (white porcelain)’. Takegoshi was shown a remarkable ink painting created by a physically challenged right-handed person, forced to paint with his other hand. This painting impressed him with its overpowering presence and led to his realisation that every brushstroke must emanate from the heart. So inspired, he set off in search of his own true passion and found it at an exhibition of ko-kutani (traditional kutani ware) in Tokyo.
Remarkably, despite his heritage, this was the first time he truly appreciated this type of polychrome glazing. This revelation set him on his course to reinvent kokutani for the new millennium.
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