The Ultimate Precision Born from Resilience: The Dry Lacquer Cylindrical Bowl
2026-04-02T14:30
I would like to introduce a piece that captured the attention of many visitors at last year’s exhibition at Takashimaya. It is a cylindrical bowl crafted using the "Kanshitsu" (dry lacquer) technique.
This particular work is etched with a certain frustration that remains an unforgettable turning point in my career as an artist.
A Turning Point: The Cancelled Commission
This project began when I was told, "I would like to purchase this bowl if you could add a lid to it." When using the same meticulous technique as the bowl itself, a one-year production period for a lid is actually quite short.
Nevertheless, I prioritized this request and accelerated my work to meet the expectation.
However, when I finally presented the completed piece, the order was cancelled. The frustration I felt at that moment was beyond words.
However, that experience ignited a fire within me. I decided then that I would no longer create "a lid for someone else," but instead craft the "ultimate lid"—one that I could be truly satisfied with. From that point, I spent several more years in a cycle of trial and error. My bold motivation was simple: "I want to achieve a precision that surpasses even that of Living National Treasures." The source of that ambition lies in the setback I tasted that day.
9,000 Years of History and Modern Determination
The lacquer used in this piece has a unique significance.
The sap is harvested from traditional lacquer trees in the region that served as the model for the Emishi village in the film "Princess Mononoke."
This precious resin, carrying the ancient life force of the forest, reveals a deep and translucent beauty as each layer is applied. Guided by the inherent power of the material, I painstakingly repeated the delicate work.
It has been approximately 9,000 years since humans first began using lacquer. By employing these ancient materials and techniques over several years, I finally achieved a "seamless fit" (Aiguchi) where the joint is invisible to the naked eye. When visitors at the gallery remarked, "I cannot even tell where the lid meets the bowl," that old frustration finally transformed into true confidence as an artist.
The Integrity of Silence
I entered the world of lacquer from a background completely unrelated to the craft. Since graduating from Tokyo University of the Arts and establishing myself as a lacquer artist, I have made it a point not to disclose my specific production processes.
I believe that if an artist wishes to take on such a challenge, they should discover the way through their own thought and effort. I felt a deep sense of empathy and encouragement when I saw a television program mentioning that Shohei Ohtani of the Dodgers does not easily share his training secrets with his peers.
I choose not to explain the process. No matter the hardships endured during its creation, the finished work simply exists in silence and beauty. That is my pride as a lacquer artist. The finished piece speaks for itself. I hope you can feel the intersection where 9,000 years of tradition meet the unwavering determination of a modern artist.
