| 2003 (Heisei 15) |
Studied under Nakada Kingyoku II. |
|---|---|
| 2013 (Heisei 25) |
Selected for the National Traditional Crafts Competition. Selected for the Traditional Kutani Ware Crafts Exhibition. |
| 2016 (Heisei 28) |
Certified as a Traditional Craftsman of Kutani Ware. |
| 2017 (Heisei 29) |
Received the Ishikawa Prefecture Outstanding Traditional Craft Technician Encouragement Award. Crafted the Chairman's Trophy for the Oomurasaki Golf Club. |
| 2019 (Reiwa 1) |
Won the Ichinoseki Mayor's Award at the Japan Traditional Craftsmen Association Exhibition. |
| 2021 (Reiwa 3) |
Won the Technique Award at the 44th Traditional Kutani Ware Crafts Exhibition. |
| 2022 (Reiwa 4) |
Won the Hokkoku Shimbun Award at the 45th Traditional Kutani Ware Crafts Exhibition. |
| 2023 (Reiwa 5) |
Selected for the 70th Japan Traditional Art Crafts Exhibition with "Kumpu" (Breeze), a platinum relief white dot lidded box. Won the Ishikawa Prefectural Art and Culture Association Chairman's Award at the 27th Crafts Competition of the Kanazawa Castle and Kenrokuen Great Tea Ceremony. |
| 2025 (Reiwa 7) |
Won the Newcomer Award at the 20th Modern Small Pot Exhibition during the 50th Gafuten. |
Kutani Ware Ceramic Sculpture "Kozuchi" Lucky Mallet: Morikin Hosoge & Aochibu / Nakada Kingyoku
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Kutani Ware Ceramic Sculpture "Kozuchi" Lucky Mallet: Morikin Hosoge & Aochibu / Nakada Kingyoku
Sale price¥396,000
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Work introduction
A culmination of virtuoso techniques mastered by Kutani master artisan Nakada Kingyoku: an "Uchide no Kozuchi" (auspicious lucky mallet) radiating breathtaking beauty from every 360-degree angle.
Catching the eye as the centerpiece is a magnificent pine tree sculpted three-dimensionally in Morikin (raised gold). The dynamically twisting trunk is overwhelming in presence, evoking grandeur and a profound prayer for good fortune. The hosoge flowers and arabesques adorning its surroundings are likewise painted in Morikin, where the plump, dimensional gold radiates a luxurious, noble brilliance.
Blanketing the remaining surface outside the raised gold is ultra-dense, minute "Aochibu" (blue granulation) applied without a millimeter of error. This meticulous stippling is executed entirely freehand, dot by individual dot, using a traditional applicator tool called an itchin. Such uniform, refined beauty is the fruit of Nakada Kingyoku's honed sensibility and masterful craftsmanship.
The Morikin technique involves thickly raising the underlying foundation before layering gold on top; any imperfection in preparing the base leads to uneven surfaces and dulls the gold's luster. The act of laying gold smoothly is in itself a supreme technical feat. By layering these uncompromising processes, an endlessly beautiful, noble expression of gold is born.
The contrast between the exquisitely delicate Aochibu and the sumptuous Morikin creates a magnificent harmony, commanding a breathtaking, auspicious presence. Bringing together the master's pinnacle skills and aesthetic devotion, this is a supreme masterpiece worthy of becoming a lifelong treasure.
Artwork Title: Kozuchi Lucky Mallet: Morikin Hosoge Arabesque & Aochibu
Dimensions: W 20 × D 13 × H 10.5 cm
Stand Dimensions: W 30 × D 20 × H 4 cm
Box Type: Paulownia wooden box with cord tie
Nakada Kingyoku III
Inherited "Morikin Aotsubu" Technique:
An Unrivaled Beauty of Pointillism
Nakada Kingyoku III is the leading authority in the Aotsubu Morikin (blue dots and raised gold) technique.
Aotsubu is an overglaze relief technique in which tiny dots are applied densely across the surface, featuring variations such as shirotsubu (white dots) alongside blue. The hallmark of Nakada Kingyoku's aotsubu lies in the remarkably uniform size and spacing of each dot, which collectively form mesmerizing spiral patterns. Using a specialized piping tool called an icchin, he rhythmically places each dot onto the ceramic vessel.
Meanwhile, morikin is a technique in which patterns are first built up in relief using bengara (red iron oxide) paste before being coated with liquid gold. Nakada Kingyoku sources 24-karat gold leaf directly from Kanazawa and refines his own gold pigment. Backed by authentic materials and master craft, this beauty is truly one of a kind.
Biography
| 2003 (Heisei 15) |
Studied under Nakada Kingyoku II. |
|---|---|
| 2013 (Heisei 25) |
Selected for the National Traditional Crafts Competition. Selected for the Traditional Kutani Ware Crafts Exhibition. |
| 2016 (Heisei 28) |
Certified as a Traditional Craftsman of Kutani Ware. |
| 2017 (Heisei 29) |
Received the Ishikawa Prefecture Outstanding Traditional Craft Technician Encouragement Award. Crafted the Chairman's Trophy for the Oomurasaki Golf Club. |
| 2019 (Reiwa 1) |
Won the Ichinoseki Mayor's Award at the Japan Traditional Craftsmen Association Exhibition. |
| 2021 (Reiwa 3) |
Won the Technique Award at the 44th Traditional Kutani Ware Crafts Exhibition. |
| 2022 (Reiwa 4) |
Won the Hokkoku Shimbun Award at the 45th Traditional Kutani Ware Crafts Exhibition. |
| 2023 (Reiwa 5) |
Selected for the 70th Japan Traditional Art Crafts Exhibition with "Kumpu" (Breeze), a platinum relief white dot lidded box. Won the Ishikawa Prefectural Art and Culture Association Chairman's Award at the 27th Crafts Competition of the Kanazawa Castle and Kenrokuen Great Tea Ceremony. |
| 2025 (Reiwa 7) |
Won the Newcomer Award at the 20th Modern Small Pot Exhibition during the 50th Gafuten. |
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