Keywords

1 Introduction

Cochin ceramics, a low temperature and soft pottery, is one of Taiwanese traditional arts. Originally it comes from southern part of Chinese areas, with people migrating from China to Taiwan in Chin dynasty (in the 18th century). Cochin ceramics set foot on this land and developed in its full scales. As a sort of architectural decoration, it can be seen in traditional temples, family temples, schools and rich mansions Taiwan. Cochin ceramics has been integrated with sculpture, ceramics, literature and painting in one.

Traditional Taiwan architecture can be divided into three categories: town –houses, house-hall, and quadrangles. Town-houses combine both commercial and residence functions. Town-halls are bigger sizes. Mostly they can be found in temples, ancestral shrines, and learning academies. Quadrangles are in the forms of residences (Lin 1990). Not only are temples the places of people worshipping their deities but also they offer sacrifices to gods. People would pray for their gods to protect them. The temple culture has a significant meaning to Taiwanese people. In the temples they’ll pray for their lives to be safe. Temple culture has a great impact on ordinary people. Furthermore, inside the temples are rich Taiwan Traditional folk arts. Also let’s not forget their architectural and decorative elements in temples which become the places of people’s spiritual and cultural shrines. Therefore, this research is based on Cochin ceramics in temples, trying to discuss humanism presented in Taiwan Cochin ceramic design.

Under the global impact and the changing of time, people no longer have deeper recognition of their traditional culture, for their understanding of the themes of temples and the symbolic meanings of most decorations on temples become scarcer. Meanwhile a lot of precious relics are facing the crisis of being destroyed. Now a day all global nations stress on cultural identity. Only by recognition and valuing our culture can those cultural legacies be fully preserved.

The study of Cochin ceramics covers four dimensions as follows:

(1) An artistic study in terms of shapes and themes. (2) A study of craftsmen’s lives and their work patterns. (3) A broader investigation of porcelain ingredients as well as cultural legacy preservations through modern scientific technology. (4) A study related to Cultural Industry in Cochin ceramics.

My study focuses on the first and second dimensions.

The method for my study, field research and documentary analysis are the main research methods. First, a review of literature and historical documents is administered. In addition, we conduct field surveys and collect data by recording the materials and interviewing with pottery craftsmen. The research covers the historical development of Cochin, its thematic analysis, its inherent moral design, its cultural spirit, and conclusions.

Research purposes are as follows:

(1) Discussing Cochin ceramic design in question. (2) Analyzing the way of expressing the theme of Cochin ceramic design. (3) Studying the symbolic meanings and fables of Cochin ceramic design. (4) Giving a clearer picture of the themes and humanism relation. (5) Upgrading the young to better understanding and recognition of their own culture.

2 About Cochin Ceramics

2.1 What Are Cochin Ceramics?

Cochin ceramics are a kind of low temperature lead glaze pottery, which brushes glaze on the surface or on the inner wall of the clay with the process of firing to certain temperatures. There are two methods. One is to fire them at the temperature of 1,200 ℃. The other is to fire it at a low temperature. First it is fired into biscuit, then is brushed with lead glaze over it, and lastly is fired the second time at a low temperature (Central Academy of Fine Arts 1988). Cochin ceramics are classified into the latter. By using lead flux and colorants as mental oxides they are fired under the low temperature of 800 ℃ (Bian et al. 2001).

With the soft quality Cochin ceramic can’t last long and easy to decay. Used as architectural decoration, it needs to be renewed every twenty or thirty years. The earliest Cochin ceramic can be traced back to Quanzhou, Fujian province. Yet this is not the final conclusion. During my field trip, in Fujian and Quanzhou Cochin ceramic still could be found in traditional ancient residences such as the West Street Old Mansion in Quanzhou’s city and Tsai’s Mansion group in Nanun. Both are late 19th century and early 20th century legacy. But Tsai’s Mansion at Foothills in Miali, Taiwan is probably the oldest one, dating from late Jiaqing Dynasty (1796–1820) (Shih 2008). Due to its high replacement rate of elimination it is lacking in existing evidence. Therefore the earliest era of Cochin ceramic can’t be traced back.

2.2 The Origin of Low Temperature Glaze Clay

The discovery of Chinese low temperature glaze clay can be traced back to Han Dynasty (BC 202–AD 220).The glaze of that time was much simpler, only for monochrome pottery, with the color of green, yellow and brown (Zhu and Li 2000), and served as funeral utensil. When it came to Tang Dynasty (618–907 AD), with the success of producing Tang Three-color-glaze pottery, lead-glaze pottery was promoted into another higher level. The colors became more vivid. There were green, yellow, white, blue and black. The decorative techniques included engraving, printing, heaping paste, and molding (Shing 2008). The blooming of Tang Three-color-glaze pottery directly had a great impact to Song Three-color-glaze and Liao Three-color-glaze (10th–12th century), as well as on the future development of architecture color-glazed roof tile (Luo 1990). To the Ming (1368–1644) and Qing Dynasties (1644–1912) in addition to the low temperature lead-glazed pottery we noticed not only Ming Dynasty focused on plain Three-color-glaze pottery and architectural glass products such as glazed tile, glass sculpture (Shing 2008). Building along the coast of Fujian Province in Qing Dynasty tended to decorate them with low temperature lead-glaze pottery to gain the glamorous effect. In 18th century the Chinese immigrants brought low temperature pottery to Taiwan.

With the prosperity of Taiwan economy, people came across the sea to hire Chinese potters. Hence, pottery skills were also brought to Taiwan. These skillful potters passed their skills on to the locals through teaching. Therefore, the Cochin ceramic set its root in Taiwan. Now a day it has gone beyond its original habitat and become one of Taiwan’s representative traditional arts.

2.3 The Name of Taiwan Cochin Ceramics

The name of Taiwan Cochin comes from Japanese teachers who lived in Taiwan in the Japanese colonial era. Originally Cochin is the name of the place which was formerly known as Fujian, Guangdong, and Guangxi areas or the region of northern Vietnam in Hanoi in between Chinese Han Dynasty to early Tang Dynasty. Those Japanese teachers were so surprised at the exquisite beauty of Cochin on Taiwan’s traditional architecture. Cochin was mistaken as the incense box named Kogou which were used in Japanese tea art ceremony. Therefore, those Japanese teachers named it as Cochin and wrote articles and spoke highly of it. Those articles aroused the affection and attention from Japan. Therefore, the name of Cochin is used till today (Shih 2000).

However, recent archaeological researches reveal that Japanese incense boxes are not produced in Vietnam, but from Zhangzhou Pinghe Tian Pit Kiln (Fujian), its glaze are “plain three-color” (the use of yellow, green and purple glaze) (Lee 2013). Although the ceramic of Tian Pit Kilns is not necessarily related to Taiwan, but Cochin’s name has been used in Taiwan for a long time. Now it has become a fixed name.

3 The Architecture and Decoration of Taiwan Traditional Temples

3.1 Folklore Religion in Taiwan

In 17th century (late Ming and early Qing Dynasty) when Chinese people immigrated to Taiwan, the initial cultivation was hard and the incomes were not abundant. By the 18th century (the mid-Qing period), due to reclamation success, Taiwan social stability and accumulation of wealth immigrants had extra money to commit the construction of temples and mansions (Li 2005). Generally they hired Chinese craftsmen to build Taiwan’s temples and mansions. This was based on the ethical code they abode. Never forgot where they came from. They hired craftsmen from their birth places. Even building materials were also shipped from the mainland (Zuo 1996).

In the early reclamation, a large number of Fujian and Guangdong people who came to Taiwan led hard lives. Immigrants not only prayed for smoothly crossing the strait, but also faced the natural disasters in the natural environment and plagues. Furthermore, they had to fight with the aboriginal tribes over the land disputes. They lived in fear all day long. In the face of these difficulties and hardship, their confidence and support came from the ancestral religion. Immigrants brought their deities and beliefs with them as a spiritual reliance when they crossing the strait. Over time, religion has played an important part to the Taiwanese. That’s the reason there are so many temples in Taiwan.

In Taiwan’s traditional society, the function of the temples provides worshiping and praying. Also they are important places of religion spreading; it often becomes the active center. Because they locate on the corner of streets, they become the leading places of the local education, counseling and command center for villagers. Temples are the strongholds of belief, bless, protection, and teaching as well as arts, entertainment, and autonomy multiple functions in one (Kang 2004). Temples also have an important contribute to promote the prosperity and social stability to the locals.

Due to the function to fulfill the special needs of the immigrants in the early Qing period religious activities in Taiwan were active. People prayed for the survival and reproduction. They hoped to get psychological help and blessing from the gods. No sooner the economy permitted than they actively built temples. Almost pretty soon each immigrant settlement place built temples. Devotees worshiped the gods and embrace the feelings of admiration. Their devotion urged them to hire the best craftsmen, which brought the finest things to dedicate to the gods, and offer the most beautiful temples to their gods. So along wealth affluent society, the ornaments of the temples became more and more elegant. Decorative architecture and complicated building temples in Taiwan which used sculpture, painting and building reflected Taiwanese lively pursuit of lush life with psychological and aesthetic tastes.

3.2 The Decoration of Taiwan Traditional Temples

The temple is the concrete reflection of Taiwan religion. Inside each construction assembled with architectural essence of folk art which is an important public buildings and art treasures. The so-called architectural decoration refers to the techniques of the traditional building craftsmen on building, stacking, painting, sculpturing, plastic, inserting, coloring (Lee 1993), and other different expression which create landscaping or symbolic meaning of flat or three-dimensional architectural elements. Taiwan’s architectural researcher Noushi Kang divided the decoration of Taiwan temples into five categories (Kang 2007).

(1) Sculpture: stone carving, wood carving, brick carving. (2) Molds: Jian-nian (cut-and-paste), clay, Cochin ceramic. (3) Combinations of pile: brick, window frames, fancy brickwork. (4) Inlay: Jian-nian, marquetry wood, shell inlay, inlaid glass. (5) Painting: plane painting, relief painting, door-god painting, inscription couplet, murals. (6) Others: Terrazzo, hand-painted tiles.

Cochin ceramic as one of architectural ornaments is basically shaped in the dough-based, collect painting, literature, ceramics and other art in one, In addition to bright colors can be added to make the building look gorgeous, and Cochin subject is rich. It covers the historical stories and auspicious meaning.

Cochin fragile essence makes them easily broken, so most of them are placed in the higher places of the temples. They include center Ridge, Swallow Tail Ridge, Side Ridges, Beam Stabilizer, Gable (Ridge Pendant), Bird-perching Wall Panel, Eave Pad, Decorative Engraving Wall, Decorative Engraving Wall, Hallway walls (Tiger Gate and Dragon Gate), etc., and gold paper burning stove (furnace) roof and engraving wall (Fig. 1).

Fig. 1.
figure 1

Cochin ceramics are commonly found adoring. (Source: Chiayi City Koji Pottery Museum)

Full size image

4 Themes and the Expression of Moral and Symbolic

4.1 Themes of Cochin Ceramic

Most of the traditional Cochin inherited the style of China Quanzhou. Taiwan craftsmen modeled after it, but with the personal interpretation and creativity, combined with local features or style influence, slowly forming their own characteristics. I divided the subjects of Cochin according to the results of the field trip. There are figures from the stories, auspicious animals, auspicious plants, artifacts, objects of religious symbols, calligraphy, natural phenomena, geometric patterns and landscape architecture (background). Are as follows:

4.1.1 Figures from the Stories

Most contents are drawn from traditional Chinese mythology, folklore, history, stories, literary allusions, chapter novels and drama. Characters include ghosts, loyal and virtuous, literary figures and historical figures, etc. In accordance with the plots can be divided into “civil scene” and “military scene”. The civil scene refers to the scene of the combination of the literati without any martial arts scenes; or the romantic love story, elegant social story etc., such as West Chamber, Twenty-four Filial Pieties. The military scene is generally about the battles wrestling with demons or gods or plots rewriting from historical figures and many more battle scenes based, such as The Romance of The Three Kingdoms, Heroes in Sui and Tang Dynasties, Gods of Honor and Water Margin. Myth or folklore is based on well-known folk legends or mythology with the purpose of blessing and avoiding evil forces, such as representatives of auspiciousness of the Eight Immortals, the Three Official Great, Magu and other representative’s immortals. Other subjects are mainly on the narrative contents including metaphor, advising people to do good deeds to promote the society to be on the track of ethical development.

4.1.2 Auspicious Animals

In addition to the general common animals, a mythological animal is imagined by the people to idealize and is widely used in a variety of decorative arts, those animals all got their names from their appearances, essences and their symbolic meaning, which presents blessing, good luck and avoiding evils in order to meet the common people’s need for an ideal life. Animals are divided into two kinds, general and auspicious animals (Lin 1999). General animals include birds, animals, insects, aquatic life, etc. Auspicious animals come from the long-popular myths and legends, which gradually evolved into the concept of embracing good fortune and served to avoid evils. For example dragon, phoenix and unicorn represent auspicious animal and the crane and tortoise are regarded as a symbol of longevity. Also from homonym in Chinese, such as bats, “bat” and “blessing” are homophone, “quail” and “peaceful”, “fish” and “remnants”, “deer” and “prosperity” are homophone, all with auspicious meaning.

4.1.3 Auspicious Plants

Since ancient times, plant patterns with its elegant features and patterns have become commonly used objects of artistic expression. Along with the historical evolution they are given numerous symbolic meanings. With a wide variety, trees, flowers, grass and fruits are mostly common used. Such as evergreen pines represents forever youth and longevity; a section of bamboo have a gentleman ethical meaning; peony is the king of flowers, symbolizing wealth; Ganoderma, as a symbol of longevity, is believed to be able to bring immortality to people; pomegranate fruit with many seeds inside it means prosperity in the family; peaches are immortals edible fruit, symbolic of longevity. Lily is viewed a symbol of eternal love; or homonyms such as “lychee” sound like “benefit”; “sweet osmanthus flower” sound as “high position”; also available homonyms combined into auspicious meaning, such as peony and sweet osmanthus flower together are the representative of richness.

4.1.4 Artifacts

They mainly serve for daily utensils, including ritual, room appliances, home decorations and weapons; ritual such as Jazz (drinking vessel), Ding (three-legged ancient Chinese cooking vessel); common room appliances such as “Four Arts” (quadrivium, included Chin, chess, calligraphy and painting), a symbol of elegance literati, meaning all descendants will have glory future. Common home decorations vary such as vases, baskets, table, mirrors, shelves and so on; these are also commonly used to denote a symbolic meaning by combining homonyms such as “box” to “fit” homonym, “mirror” the same “territory”, “vase” and “peaceful”, together have “Peaceful in the whole territory” meaning, “incense” passing the torch image (generation to generation). Weapon such as halberds with flags, balls, chime form a meaning of praying for auspicious things.

4.1.5 Objects of Religion Symbol

They including religion-related objects and symbols in talisman, such as whisk, bracelets, swastika, the eight divinatory trigrams, Tai Chi, Eight treasures (Eight kinds of Buddhist magic instruments), etc. Such items are considered to have the power to avoid evils.

4.1.6 Calligraphy

Calligraphy includes the text of banners, couplets, and inscriptive poems, in addition to displaying scholarly temperament. They have the function of encouraging people to be good. Some words transforming into simple patterns or into graphs with auspicious connotations, such as patterns of swastika, “Fu” word, longevity and double happiness.

4.1.7 Natural Phenomena

They contain the moon and stars and other natural phenomena. Moon dominates the timing of life. It has god’s identity. Clouds are the wagons of the deities, representing wonderland.

4.1.8 Geometric Pattern

Usually they are frames, subordinate of decorative patterns and with simple shape patterns by using a continuous, repeatable way to performance. Most commonly used are patterns of dragons, twisted trees, geometric flowers, clouds, ice cracks, waves and ripples.

4.1.9 Landscape Architectural (Background)

Mostly they are background landscape which describes the theme of time and space, and strengthens the depth of the plot and drama scene, as illustrated by the scenery with hills and waters, trees and rocks, pavilions and buildings, city walls and gates, palaces, and other pastoral scenery.

In these nine Cochin themes the first five ones are commonly used and the last three set off topic purposes. Calligraphy category appears in rich mansions.

From the above theme designed Cochin, we can clearly see that through fable and symbolic way to convey praying, avoiding evils, and educational functions. Chinese ancient dynasties all have a preference for the traditional auspicious designs; its formation can be traced back to a long time ago. According to the Chinese scholar Jitang Qiao’s research, it recorded Chinese architecture ornamentation was originated, which originated in the Shangzhou and Qinhan dynasties, began in Qin and Han dynasties, and matured in Tang and Song dynasties. It was in the Ming and Qing Dynasties that it flourished (Qiao 1993). Taiwan’s traditional architecture researchers Qian-Lang Li considers that Taiwan temple decoration: “was the inevitable thing from ancient architectural structures, over time, through the craftsman’s imagination eventually evolved into a specific form of decoration….” (Lee 1993) Therefore, Chinese ornamentation is produced in a long tradition.

4.2 The Way of Expression the Theme

The way of the expression the theme of Cochin are as follows:

  1. (1)

    Themes from mythology, folklore, historical stories, literary allusions, and Chapter Novels, etc. Parts of the story are employed to proclaim the ethical spirits of four anchors (Courtesy, Righteousness, Honesty and Honor) and eight virtues (Loyalty, Filial Obedience Humanity, Love, Trust, and Peace). They help strengthen the concept of punishing evil and promoting good. The use of these meaningful expressions in the moral stories achieves the purposes of enlightenment.

  2. (2)

    Auspicious animals and plants are mostly derived the characteristics of the things itself and extended meaning for auspicious. They give auspicious ideas, or the association connection, such as lotus mean unstained characteristics, pine trees present the natural of forever green and long life, mandarin ducks on behalf of loving; turtle and the crane on behalf of longevity; pomegranate seeds on behalf of the family many descendants; gourd-vines stretches, with the meaning of descendants stretching without a break in one family. The mythological animal category is either imagined or idealized, which is deification product. These are circulated for a long time, and social customary convention with their symbolic meaning.

  3. (3)

    In the homonym approach, examples are abundant: for instance, the word for “deer” is pronounced “lu”, as the word “fortune”; also, the word for “pray” is read “chi”, just as the word for “flag”. Use different words are homonyms to achieve the symbol. The most commonly usage for architectural approach is a combinations to form auspicious semantics.

  4. (4)

    The calligraphy category theme, the words themselves have special meaning. Most poets write down poems which not only shows the beauty of calligraphy but also have performs the function of teaching moral lessons and exhorting people. Also it can use single word to show auspicious and as a simplified symbolic decorative word.

  5. (5)

    Borrowing religious which has representative symbols. For the purpose of warding off evils spirits, such as the eight divinatory trigrams, Eight Immortals utensils etc.

  6. (6)

    Geometric Patterns are the result of the class through the artistic processing. By decoration and using the repetition and continuous techniques to appear beauty.

Belgian poet A. Moekel (1886–1945) said, “Implied meaning is manmade and external. Symbols are natural and inherent. With the same abstract graphs implied meaning is obvious implications and the social concepts people agree.” (Lee 1994) Both implied meaning and symbols are the combination of abstract feeling and perception. In other words, only through concrete variation the words and graphics can we realize their existence.

In fact, different cultural backgrounds have different interpretations of the same object, such as Taiwan’s “bat” in the homonym meaning ‘blessing’, but in the western culture it is the incamation of Halloween vampire on behalf of the evil. This shows that it is an experience of cultural heritage. In presenting the theme of Cochin, we must learn through cognition to learn to understand their inner spiritual meaning and symbolism.

5 Humanism Contained in Cochin Ceramics

Traditional Taiwan society is founded on agriculture. The formation of the idea of self-sufficiency in material life makes practical becomes the center of arts. Because of the need for adaptation to the natural environment the concept of the harmony between men and nature revolve (Chen 2004). Those ideas with humanism as the central ideas are demonstrated in the traditional culture in which people are urged to have a yearning for happiness. Those are embodies in the images that decorate in the temples.

Cochin in traditional temples has the decorative function using symbols to express special meaning of each thing. With the chosen motif and theme, craftsmen will add his own notation and advocate his social value in it (Lee 2003).

Taiwan Scholars Qian-Lang Li believed temple architectural decoration in Taiwan indicates the wish to seek good fortune, hope, and self-motivation. Avoiding disaster and pursuing good luck are the basic wishes of mankind. Praying is the pursuit of an ideal state. Enlightenment is to make a valuable indicator to become a model or moral. All these will have great effect on the descending generation (Li 1993). With the decorations on temples’ wall provoke an educational function of being a kind and good person. Through the decorations of the temples, one can see the abstract or explicit motivations of people’s yarning.

All in all I believe the rich hidden embodiment of humanism lies in Cochin ceramic. Since the Renaissance Europe has regarded humanism as the values of human natural, humanity, human values and subjectivity of human (Cheng 2003). Taiwanese former Minister of Education Wei Fan Guo stresses, “Humanism represents a humanistic spirit of selfless attitude, a social care, life purpose, and meaning of life consciousness” (Guo 1994). Therefore humanism spirit is an ideal personality shaping and affirmation.

By fieldwork I found Cochin theme contains static character scenes (civil scene), auspicious animals and plants pattern, and with lively martial fight scenes (military scene). Both the static and the dynamic scenes are of different prayers and desires. The static ones are with auspicious animals and plants. Their demand is elegance with the function of avoiding evil and pursuing good luck and encouraging descendants to gain fame and wealth. Dynamic scenes use Four Anchors and Eight Virtues as the outlines of the themes. Historical stories educate people in order to have social stability and binding effect which has strong ethics and values. Understand the value of the humanity revelation. Whether it is static or dynamic Cochin ceramic, it has the role of education in a subtle way. Through storytelling, it can lay deeper into people’s minds to arouse inner spirits which are motions, hopes, ideals, morals, ideas, etc., resulting in a positive character.

6 Conclusions

Immigrants brought Taiwan’s low temperature lead glaze pottery from the hometown of Fujian coastal areas. Although at present the real source can’t be traced, it inherits the hometown style. Furthermore temples become the center of life and the location for spiritual worship. As the temple decoration Cochin, it inherits the historical heritage with a wide range of subjects which follow the traditional craftsmen in the selection and designing. By using their imagination, the historical stories turn into decorative patterns with a variety of symbolic themes, moral stories, symbols of natural phenomena, homonym or changing of the text, etc. It expresses the people’s aspirations, the ideal life. Its images contain hidden rich cultural heritage. It conveys the adding beauty to the building, and also has aesthetic and social functions which serve as the role of appreciation and beautify the spirit.

American anthropologist Clark Wissler (1870–1947) once said that culture is a mode of life. Hence, Culture is the result of mankind’s activities, a kind of accumulation instead of genetic (Jan 1998). All in all the formation of culture is from the formation of history and reflects the thoughts, feelings, and habits of mankind. People also learn a lot of tradition and experience. Craftsmen pick the themes of Cochin connecting with praying for prosperity, avoiding disaster, hoping blessing, and gaining fortune. Consequently it is believed that by going to the temples people can obtain lucks, longevity, prosperity, glory, splendor, wealth and rank from gods which are the ideal life style they wish to have.

Naturally by presenting these themes, temples craftsmen hope to make people’s wishes come true. Since temples also are a place for early education, temples are the first places by presenting Cochin in a narrative story style which conveys artistic beauty, cultivating good virtue, showing awareness of Taiwanese conscience, and humanism value.

From my research it is showed that Cochin decoration is a manifestation of social culture and cultural implications with folklore thoughts. Although the building itself only serves as a beautification, the Cochin is not simply for the decorative purpose. Any chosen theme reflects the traditional ethical norms and symbolic meaning for praying, which is a concrete manifestation of the common people’s aesthetics, philosophy, social outlook, and values which lies the spirit of humanism.