Bantaoyao Koji Pottery and Jiannian Art Cultural Base

I. Origin of Koji Pottery Koji Pottery is the most distinctive traditional cultural art in the Chiayi region. During the Han Dynasty, the area south of Guangdong was called Jiaozhi (Cochin-China). At that time, it was known as "Jiaozhi Wengzi" (Cochin-China Dolls) or "Miao Weng" (Temple Dolls). Originally used to decorate traditional temple architecture and wealthy residences, it is renowned for sculpting vivid and expressive figures from stories of loyalty, filial piety, integrity, and righteousness. In Taiwan, Koji pottery primarily has two major systems, represented by Ye Wang, known for his jewel glazes, and Ke Xun and Hong Kunfu, known for their watercolor glazes. Ye Wang's works emphasize carving and lines, with the vibrant jewel glazes being a distinctive feature of his Koji pottery. Ke Xun, from Tongan County, Quanzhou Prefecture, arrived in Taiwan in the early Japanese colonial period. His brother Ke Renlai and apprentice Hong Kunfu also accompanied him to Taiwan to work on the Beigang Chaotian Temple in Yunlin. After the work was completed, they returned to mainland China. Due to the call for reconstruction of the Xingang Fengtian Temple in Chiayi by Qing Dynasty scholar Lin Weichao, construction contractors were asked to invite Hong Kunfu to undertake the temple's Koji pottery. Hong Kunfu's Koji pottery is characterized by its emphasis on form over detail. The figures and background are harmoniously arranged. When molding Koji pottery figures, the emphasis is on the overall shape and, most importantly, on conveying the spirit, followed by the display of skill and the engraving of details. Therefore, the limbs of Koji pottery figures are slightly longer than the torso, especially noticeable in the thighs. During his work period, he resided in the area around Shuili Port in Chiayi, where he began to impart his skills and techniques, often traveling between mainland China and Taiwan. Hong Kunfu taught several apprentices in Taiwan, including Mei Jingyun, Shi Lianchi, Chen Tianqi, Zhang Tianfa, Chen Zhuanyou, Yao Zilai, and Jiang Qinglu, in order of their apprenticeship. His disciples and grand-disciples are spread throughout Taiwan, forming a vast lineage that is mainstream in contemporary temple jiannian and Koji pottery. II. Jiannian Art Jiannian art, also known as "cut flower art," is a form of folk art with a long history and profound cultural roots. Early temples in Taiwan used it as decoration for roof ridges or walls. Its vibrant colors reflect light under the sun and simultaneously showcase the society of that era. Jiannian is a traditional craft introduced to Taiwan from Tangshan, mainland China, gradually developing into artworks and installation art. Literally, Jiannian means "cut and then paste." It involves cutting broken ceramic or bowl pieces into desired shapes, then adhering these various shaped ceramic fragments with mortar onto pre-molded forms. This is a very time-consuming and labor-intensive task. Artisans must firmly affix the ceramic pieces to the roof, so the project often requires long hours of work on the rooftop. Jiannian artworks can last for hundreds of years. They often convey the meaning of religious beliefs and virtuous customs. III. Bantaoyao Cultural Development Association Once an important decorative art on temples, which were ubiquitous in Taiwan, Koji pottery and jiannian art face the risk of disappearing in this materially abundant society. Visits with several artisans revealed the difficulties of传承 (inheritance/passing down). On one hand, they are unwilling to see their children follow the same arduous path. On the other hand, young people are not willing to dedicate enough time to learning a craft. For Koji pottery and jiannian art, which often require three to five years to master, this is extremely challenging. The Bantaoyao Cultural Development Association hopes that this spirit of inheritance can connect with the younger generation sooner, allowing young people to stay in their hometowns to learn skills and perpetuate traditional crafts through continuous promotion.