Hotarude vase "Ryokufu" by Chisato Taniguchi

Hotarude Vase "Ryokufu" by Chisato Taniguchi

Dimensions (diameter × height): 25.2 × 22.8 cm

――"On the surface of white porcelain, pale green hotarude drift like the wind. A vase where a refreshing presence fills the silence."

I. First Impression of this Vase: A Fresh Composition of "Wind Sweeping Through a Cylinder"

This piece, "Hotarude Vase 'Ryokufu'," features a refined cylindrical white porcelain base, with a band of fine pale green hotarude spreading across its surface.

The first thing that catches the eye is the quiet white of the white porcelain. It is not a dazzling white, but a white that gently absorbs light, as if slightly infused with humidity. Across this white surface, countless pale green dots traverse like a flow of wind.

The form of the vessel is intentionally not broken into eccentricity. By maintaining a simple cylindrical shape, the beautiful, delicate color variations characteristic of Chisato Taniguchi's work become even more apparent. In other words, this piece is not a vase that emphasizes the strength of its form, but rather a vase that reveals the light, particles, and the presence of wind created on the white porcelain surface.

With dimensions of 25.2 cm in diameter and 22.8 cm in height, the vase has a substantial presence without feeling heavy. On the contrary, the brightness of the white porcelain and the lightness of the pale green evoke a refreshing coolness, as if infused with air.

II. The White Porcelain Surface: "White" for Maintaining Silence

The white porcelain of this vase is not merely a background. It is a quiet space for receiving the pale green dots.

The white porcelain surface is smooth, avoiding unnecessary embellishments. By not having large glaze flows or strong irregularities, each dot appears clear. The quieter the white, the more vividly the pale green particles stand out. The white in Chisato Taniguchi's work is not a cold white. It is clean yet somehow soft. While possessing the tension of porcelain, it is a white that does not make the space feel rigid when placed in a tea room or tokonoma.

It is precisely this "white space" of the white porcelain that brings the title "Ryokufu" (Green Wind) to life. Wind is invisible. However, as the pale green dots connect on the white surface, an invisible path of wind subtly appears on the vessel.

III. Hotarude Dots: Not Decoration, but Holes that Hold Light

The central feature of this piece is the fine pale green dots spread across the surface of the vessel.

These dots are not merely painted patterns. Small holes are pierced in the white porcelain body, and by imbuing them with color and light, they give depth and transparency to the vessel's surface. Each dot is tiny, but when they gather, a rhythm is created across the entire surface.

The dots are not perfectly uniform. There are areas where the density is high, where it is faint, where rows appear strong, and where they softly loosen, creating a natural undulation. This is not mechanical repetition, but a breath of human craftsmanship. Viewed up close, it appears as an accumulation of meticulous work. From a slight distance, it looks like ripples on water, particles of grass swaying in the wind, or a celestial map. The charm of this piece lies in how its expression changes with distance.

IV. The "Ryokufu" (Green Wind) Pattern: Wind with a Hint of Green, Not Just Blue

The dots in this piece are not merely blue. Their coloration includes shades of light blue, pale green, and faint green. As a result, the entire work evokes not only a cool impression but also a freshness reminiscent of young leaves or early summer air. The title "Ryokufu" perfectly captures this sensation. It is not the wind itself, but the wind that becomes visible only when it sways green foliage. Such invisible movement is expressed on the surface of the white porcelain.

The outer pattern wraps around the body like a band, undulating significantly in places. There is a densely concentrated area in the center, from which it spreads faintly to the left and right. Rather than the wind blowing in one direction, it seems to be circulating around the vessel, creating layers of air.

Furthermore, a series of dots is also visible on the inner surface. This is particularly striking. The pattern is not confined to the exterior; it extends into the interior of the vessel. When flowers are arranged, the presence of their stems and water resonates with these inner dots, creating depth throughout the vase.

V. The Vase's "White Space": Embracing Flowers, Not Dominating Them

This vase is not one that strongly dominates flowers.

It certainly has presence. However, because neither its shape nor its color is excessive, when flowers are arranged, it naturally accepts their lines and colors. It should go well with white flowers, pale purple flowers, green foliage, slender branches, or even a single wild flower.

It is especially well-suited for light and airy floral materials. Branches that sway in the wind, those with beautiful leaf lines, and flowers of pale colors. When such materials are placed, the movement of the flowers merges with the title "Ryokufu," and the vase and flowers together create a unified atmosphere.

On the other hand, it also stands on its own without flowers. The white porcelain cylinder, the pale green dots, and the continuous pattern both inside and out – these elements alone already form a complete landscape. While being a vase, it is also a highly accomplished work as an objet d'art.

VI. Expression in Space: Coolness Suitable for Both Tea Rooms and Modern Spaces

This piece brings an exceptionally clean presence when placed in a tea room or tokonoma (alcove).

The stillness of the white porcelain harmonizes well with the shadows of a tea room, and the pale green dots subtly emerge when catching natural light or lamplight. Rather than shining brightly, it gradually changes its expression depending on the viewing angle and how the light hits it. This change aligns with the passage of time in a tea room.

It also harmonizes well with modern spaces. The simple cylindrical form, the minimalist presence of white porcelain, and the graphical rhythm created by the pale green dots fit naturally into contemporary architecture and simple interiors. It is not the heavy grandeur of a classical vase, but rather light, quiet, and slightly futuristic. Yet, it is not cold. Because the holes are pierced and the dots connected by human hands, there is a definite warmth within the work.

VII. Conclusion: A Serene White Porcelain Vase that Embodies Wind

"Hotarude Vase 'Ryokufu'" is a work that conjures invisible wind on the vessel through the serenity of white porcelain and the pale green hotarude dots.

The dots are a pattern, yet also light. They are holes, yet also breath. The pale green progression spreading across the white porcelain surface is like bubbles, like ripples, and like a celestial map. However, in this piece, all of these converge into the term "Ryokufu" (Green Wind).

It is not a vase that asserts itself strongly. Yet, it possesses the power to quietly transform a space. When flowers are arranged, it clarifies their presence; when left empty, a pale green wind flows within the white porcelain.

This piece excellently showcases the cleanliness, lightness, modernity, and meticulous craftsmanship characteristic of Chisato Taniguchi's hotarude expression. Wind passes through the white space of the porcelain, and the pale green dots leave its trace. It is a cool, serene, and poetic vase.

Biography

1976 Born in Higashiyama, Kyoto
1999 Graduated from Doshisha University, Faculty of Law
2000 Completed Kyoto Prefectural Pottery Technology Training School
2001 Completed Kyoto Municipal Industrial Research Institute
2002 Studied under Yasutaka Shimizu
2010 Assisted in glass production
2019 Resumed pottery creation
2024 Kyoto Mayor's Award at the Kyo-yaki & Kiyomizu-yaki Exhibition
2025 Special Award (Gallery Yamasakiki Award) at the 12th Tobi Exhibition
2025 TOKI Oribe Grand Prize at the 17th Contemporary Tea Ceremony Pottery Exhibition
Present Regular Member of the Japan Art Crafts Association