Nakada Kingyoku Morikin Grape Pattern Aochibu Drawstring Bag Shaped Vase
The drawstring bag-shaped vase expertly combines the morikin "raised gold" and aochibu "blue dots" techniques. This exquisite piece captivates with its intricate design featuring a black base color that serves as a canvas for the mesmerizing blue dot swirl pattern, applied with precision above the base. The elegance of this design is further enhanced by the addition of platinum and gold grape patterns, showcasing a dedication to both beauty and detail, and elevating the vase with an air of sophistication and delicate charm.
Nakada Kingyoku the Third's work, characterized by the dynamic visual rhythm of aochibu and shirochibu “white dots” and the depth of morikin gold, masterfully combines traditional techniques with contemporary creativity. Drawing inspiration from the Rimpa School's philosophy, which places equal value on the beauty and intentionality of space and detailed design, Nakada skillfully integrates this concept into his work. Allowing the presence of space to not only enhance the dignity and elegance of the final piece but also to bridge the gap between traditional aesthetics and modern artistic expression.
PRODUCT DETAIL
- Dimension: D 11 cm (4.3 in) x H 16 cm (6.3 in)
- Material: Porcelain
- Origin: Made in Japan - Kutani ware
- Artist: Nakada Kingyoku
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Employing the aochibu technique, this vase features the delicate placement of blue dots forming intricate swirl patterns that gracefully adorn the vessel's surface. The intentional blank space surrounding the pattern allows the design to emerge starkly against the black, drawing the viewer's attention to the precision and vibrancy of each dot. This design choice highlights the meticulous craftsmanship and creative vision behind the vase, eliciting admiration and contemplation.
This vase is shaped like a drawstring bag, featuring one of the traditional Japanese patterns known as “the collection of treasures.” During Japan's Heian period (794 CE–1185 CE), drawstring bags were used to store valuable items. The vase's elegant and smooth lines not only reflect beauty but also symbolize wealth and good fortune.
The addition of platinum and gold leaves brings an opulent depth to the vase, with the platinum's subtle sheen and gold's radiant sparkle creating a luxurious interplay of metallic textures. This blend of precious metals against the black backdrop not only catches the light but also captivates the gaze, making the vase a focal point of any room.
This vase is shaped like a drawstring bag, featuring one of the traditional Japanese patterns known as “the collection of treasures.” During Japan's Heian period (794 CE–1185 CE), drawstring bags were used to store valuable items. The vase's elegant and smooth lines not only reflect beauty but also symbolize wealth and good fortune.
The addition of platinum and gold leaves brings an opulent depth to the vase, with the platinum's subtle sheen and gold's radiant sparkle creating a luxurious interplay of metallic textures. This blend of precious metals against the black backdrop not only catches the light but also captivates the gaze, making the vase a focal point of any room.
NAKADA KINGYOKU
Under the tutelage of his father, Nakada Kingyoku the Second, and decade of rigorous apprenticeship, he has culminated in a profound mastery over the Aochibu "blue dots" and Morikin "raised gold" techniques. Blending traditional elegance with innovative flair through the use of platinum and spatial elements inspired by the Rimpa school. His commitment to excellence is reflected in his meticulous choice of tools and materials including platinum, ensuring each piece he creates embodies the intricate beauty characteristic of Kutani ware.
His work was selected for the National Traditional Craftwork Exhibition and the Traditional Kutani Craft Exhibition. He was officially certified as a Kutani Ware Traditional Craftsperson. In 2017, he was honored with the Ishikawa Prefecture Traditional Industry, Outstanding Technician Encouragement Award, underscoring his significant contributions to the field and recognizing his efforts to push the boundaries of traditional craftsmanship.
