It is not easy to become a true craftsman. Determination and dedication are only the mininum, witness the journey to become a true Raden craftsman!
Takaoka City’s prized Takaoka Urushi lacquerware has captivated many people with its beauty. Decorated with simple, delicate designs and vividly elegant colors, it has gained popularity both inside and outside of Japan. Two Urushi Raden technique are representative of Takaoka Urushi lacquerware: yusuke-nuri and aogai-nuri. Aogai-nuri uses inlaid mother-of-pearl to create its designs. By using thin, hand-crafted shells, the foundation becomes transparent, illuminating a beautiful shade of blue. Musashigawa Kobo is famous for its aogai-nuri technique. This video details the story of Takeshi Musashigawa - 4th generation Urushi lacquerware craftsman - learning and improving his skill to become a true Raden craftsman.
Takeshi Musashigawa is a young traditional craftsperson who has inherited the traditions and techniques of aogai-nuri Takaoka Urushi lacquerware, designated a traditional handcraft by the government of Japan. As the fourth generation of Musashigawa Kobo, founded in 1910, he works with his father Yoshinori, the third generation of the family business, and other partners to tackle the challenge of creating new things. In 2016, he was designated a traditional craftsperson by the Minister of Economy, Trade and Industry.
“In Takaoka Urushi lacquerware, mother-of-pearl inlay is made by creating various patterns using abalone and other shells ground to about 0.1 mm thick and cut to various shapes. In Takaoka, it’s called “aogai-nuri (lit. “blue shell coating”)” because the color of the base lacquer gleams through, giving the seashells a blue glow. Takaoka actually holds a roughly 90% share of Japan’s market for inlaid mother-of-pearl wares.”
The techniques of producing beautiful aogai-nuri Urushi lacquerware have been handed down from generation to generation in the Musashigawa family. The best-known work of Takeshi’s grandfather Kenzo are splendid display tables made from the Taisho through the early Showa period in the early 20th century.
“The display tables my grandfather made with the Chinese-style pattern called karamono are still treasured in the world of the tea ceremony. Apparently, ornate decorations were very popular at the time. My father specializes in vivid patterns of flowers and birds. I like to rearrange traditional ancient patterns in contemporary ways. Mother-of-pearl inlay has a long history. For example, if you take a look at a masterpiece from the Edo Period, it still seems fresh. I rearrange traditional patterns like flower-shaped rhombi and the seven treasures in my own ways to create contemporary designs. Recently, in addition to wood, I’ve been creating inlaid mother-of-pearl products using materials like glass vessels, metal like Takaoka copperware, stone, and even iPhone covers. By combining the casual products we use every day with mother-of-pearl inlay, I’m trying to create products for the way people live today.”
Disclaimer: I do now claim ownership of this video.
All copyrights go to the original owner, ニッポン手仕事図鑑.
16 май 2018
