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\u2018Takaukibori\u2019 Technique in Makuzu K\u00f4zan\u2019s <\/span>Ceramic Art: Transformation of Traditional <\/span>Japanese Aesthetics of Meiji Era<\/span><\/span><\/p>\n Dilruba Sharmin<\/span><\/strong><\/p>\n Assistant Professor, Department of Japanese Studies, University of Dhaka, Dhaka, Bangladesh. <\/span>Email:dsharmin.jsc@du.ac.bd<\/span><\/span><\/p>\n Abstract<\/span><\/strong><\/p>\n This paper examines the transformation of pottery art during Meiji Japan by <\/span>discussing a unique technique called \u2018Takaukibori\u2019 created by Makuzu K\u00f4zan, an official <\/span>potter of the Japanese Imperial householdAgency. The ceramic art of the Meiji era was the <\/span>turning point of Japanese individualism, and this paper will discuss one of the examples <\/span>of that creation with other classifications. Makuzu K\u00f4zan was a Kyoto native who started <\/span>his early career in the Gion area but soon moved to Yokohama. In 1876, he broke into the <\/span>international scene when his work was featured at the Philadelphia world\u2019s fair. Makuzu\u2019s <\/span>move from Kyoto to Yokohama\u2014from the tranquillity of the old capital to a turbulent port <\/span>city\u2014shaped his approach to ceramics. Makuzu decorated the surface of his artwork with <\/span>depictions of both natural flora and fauna and therianthropic figures in a way quite <\/span>different from any previously produced works of Japanese art. He had created the unique <\/span>and artistic technique in a ceramic decorative style known as \u2018Takaukibori\u2019 or \u2018Sculptural <\/span>Relief\u2019. This decorative technique is visible as a three-dimension style, and its intangible <\/span>beauty has gained popularity worldwide. That being the case, Makuzu\u2019s work never <\/span>imitated Western models, and he has been most appreciated for his willingness to burrow <\/span>into the surface of his ceramic ware, not just work around it. This essay will discuss how <\/span>Makuzu K\u00f4zan\u2019s experiences across the Meiji transition shaped his art and how his work <\/span>influenced unique forms of Japanese ceramic art and aesthetics more broadly. <\/span><\/p>\n Keywords<\/strong> Ceramic art . Japan . Meiji . Taisho . Makuzu K\u00f4zan . Yokohama port, and <\/span>Kyoto . \u2018Takaukibori\u2019 Technique . Cultural heritage .<\/span><\/p>\n https:\/\/doi.org\/10.55156\/jjsem.dec2118<\/span><\/p>\n [\/fusion_text][fusion_button link=”https:\/\/department-of-japanese-studies.local\/wp-content\/uploads\/2022\/03\/18.-Dilruba.pdf” text_transform=”” title=”” target=”_self” link_attributes=”” alignment=”” modal=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” color=”custom” button_gradient_top_color=”” button_gradient_bottom_color=”” button_gradient_top_color_hover=”” button_gradient_bottom_color_hover=”” accent_color=”” accent_hover_color=”” type=”” bevel_color=”” border_width=”” border_radius=”” border_color=”” border_hover_color=”” size=”medium” stretch=”yes” icon=”” icon_position=”left” icon_divider=”no” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]Download[\/fusion_button][\/fusion_builder_column][\/fusion_builder_row][\/fusion_builder_container]<\/p>\n","protected":false},"excerpt":{"rendered":" [fusion_builder_container hundred_percent=”no” hundred_percent_height=”no” hundred_percent_height_scroll=”no” hundred_percent_height_center_content=”yes” equal_height_columns=”no” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” status=”published” publish_date=”” class=”” id=”” link_color=”” link_hover_color=”” border_size=”” border_color=”” border_style=”solid” margin_top=”” margin_bottom=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=”” gradient_start_color=”” gradient_end_color=”” gradient_start_position=”0″ gradient_end_position=”100″ gradient_type=”linear” radial_direction=”center center” linear_angle=”180″ background_color=”” background_image=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ background_blend_mode=”none” video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” filter_hue=”0″ filter_saturation=”100″ filter_brightness=”100″ filter_contrast=”100″ filter_invert=”0″ filter_sepia=”0″…<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_eb_attr":"","footnotes":""},"categories":[17,18],"tags":[],"class_list":["post-2977","post","type-post","status-publish","format-standard","hentry","category-journals-of-djs","category-number-1-december-2021","category-17","category-18","description-off"],"acf":[],"_links":{"self":[{"href":"https:\/\/djs.du.ac.bd\/index.php?rest_route=\/wp\/v2\/posts\/2977","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/djs.du.ac.bd\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/djs.du.ac.bd\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/djs.du.ac.bd\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/djs.du.ac.bd\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2977"}],"version-history":[{"count":0,"href":"https:\/\/djs.du.ac.bd\/index.php?rest_route=\/wp\/v2\/posts\/2977\/revisions"}],"wp:attachment":[{"href":"https:\/\/djs.du.ac.bd\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2977"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/djs.du.ac.bd\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2977"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/djs.du.ac.bd\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2977"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}