The Kurinuki technique is a traditional Japanese ceramic technique that combines craftsmanship and artistic expression. Sepideh Jahanpanah uses this Kurinuki technique daily. Together with Sepideh, we will tell you more about the essence of this unique method, its rich history and the ways in which Sepideh puts her own stamp on it.

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What is Kurinuki

Kurinuki is an ancient Japanese technique for making ceramic forms, in which clay is ‘carved’ or ‘hollowed out’ from a solid block of clay. Unlike, for example, wheel-throwing or building with clay slabs, the Kurinuki method starts with a solid mass of clay.
This is the technique that Sepideh also uses in her works. She uses various tools, from knives and wire tools to spatulas and sometimes simple stones, to gradually ‘sculpt’ the form by removing excess clay. The inside is hollowed out and the outside is shaped, with clear traces of the process: cut lines, facets and rough textures. The result is bowls and cups with a robust, organic and often asymmetrical aesthetic. These have a deep connection to the natural origins of the clay.

A Look at History
The Kurinuki technique has its origins in Japanese ceramic tradition, specifically the tea ceremony (Chanoyu). Although its exact beginnings are difficult to trace, the technique is deeply rooted in the philosophy of Wabi-sabi – the appreciation of beauty in imperfection, transience and simplicity. Early masters of tea ceramics, such as those in the Momoyama period (1573-1603), used methods very similar to Kurinuki to create tea bowls (chawan). These bowls were often irregular in shape, with rough textures and natural glazes, which contributed to the meditative nature of the tea ceremony. The carving process gave the pieces a unique, handmade character and emphasized the direct interaction between the maker and the material, in line with the Zen Buddhist principles that influenced the tea ceremony.

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Sepideh's Own Style
What makes Kurinuki so special is the space it offers for the personal expression of the ceramist, in our case Sepideh. Although the basic principles of carving remain the same, each artist gives their own twist to the technique:
1. The choice of clay: The texture, color and composition of the clay influence the end result. Sometimes she chooses coarse, speckled clays that enhance the rough aesthetic, sometimes she uses finer clay for more subtle surfaces. In addition, in some projects she adds clay or soil types from her own environment, which gives the cups or bowls an extra unique dimension.
2. Tools and Technique: from sharp knives for straight lines to wooden spatulas for softer, wavy shapes. In this way she determines the texture and ensures her own 'fingerprint' on the object. Sepideh leaves clear traces of the carving. Other ceramists soften the edges for a more organic look.
3. Shape and Asymmetry: The beauty of Kurinuki pieces is that they are rarely perfectly symmetrical. Rather, the opposite is true, and in Kurinuki you look for the deliberate asymmetry, the 'imperfections' and the irregular curves that define their beauty. Ceramicists experiment with various shapes, from simple tea bowls to complex vases and sculptural objects, embracing and even manipulating the natural tendency of the clay to deform during firing. Sepideh says of this, "I create timeless designs and vibrant ceramic pieces by exaggerating the marks of my tools and emphasizing irregularities and imperfections."
4. Glaze and Surface Treatment: Many opt for subtle glazes that allow the natural color and texture of the clay to speak. Sometimes no glaze is used at all, allowing the rough, tactile surface and the traces of the flames in the kiln to take center stage. This accentuates the earthy, pure aesthetic of Kurinuki. In Sepideh's work, you often see a combination of glazed and unglazed parts, which makes the imperfections stand out. 5. Philosophical Interpretation: Ultimately, the 'own style' in Kurinuki is also a reflection of the philosophy of the ceramicist. This is also what attracts Sepideh to the Kuriniki technique. The appreciation of the material, the acceptance of chance and imperfection, and the process of 'discovering' the form from the block of clay, all contribute to the unique signature of each piece.

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