Kobayashi Tōgo (b. 1935) began his artistic training under his father, Kobayashi Zentei, studying classical Chinese calligraphy (shodō) and seal engraving. These disciplines instilled in him a refined sense of line, balance, and restraint. This early foundation led to a lasting fascination with Korean ceramics, particularly those of the Goryeo and Joseon dynasties. In 1973, Kobayashi travelled to South Korea to study these traditions firsthand. Upon returning to Japan, he established his own kiln on the island of Tsushima, where he has worked independently since the 1970s, dedicating his career to the revival of historic Korean glaze techniques and producing Koraimono in Japan (literally translated to "Korean things," a term referred to Korean objects in Japan, from the 16th century when there was a developing taste for Korean tea wares following the Imjin War in 1592-1598).

Kobayashi’s work reflects the ethos of the Mingei (folk craft) movement, founded by Hamada Shōji and Yanagi Sōetsu, which honors the beauty of functional, handcrafted objects. His pottery embodies this philosophy through its quiet strength, tactile surfaces, and unpretentious forms. Drawing inspiration from Korean wares, his vessels often embrace asymmetry and subtle irregularities, celebrating the expressive potential of imperfection.

This black-glazed jar exemplifies Kobayashi’s mature style. Its restrained form and lustrous, depth-rich glaze evoke both the austerity of Joseon ceramics and the meditative qualities central to Mingei aesthetics. Fired in Tsushima—an island historically linked to the Korean peninsula and known for its distinctive clay—the piece carries a sense of place as well as tradition. The result is a work that feels both grounded in history and contemplative in spirit, inviting close attention to its surface and form.