Learn more about Japanese arts & crafts. See Our Instagram ・ @JapanCraft21
【Craft Leader】Kohei MURATA
Hikibaku (Metal Leaf) / Shiga
Kohei MURATA is a 3rd-generation metal leaf artisan (gold, silver, etc.), an integral part of the internationally renowned Nishijin weaving process which combines silk, metal leaf and paper into obi sashes for kimono.
Fifty years ago there were about 40 hikibaku 引箔 metal-leaf masters working in Kyoto, but because of changing market trends only a very few remain today. In response, the award-winning Murata has been developing other applications and designs as well as previously untried materials and tools with a commitment to pass down his craft to future generations.
Murata produces leaf finish on a variety of items. This highly innovative artisan recently applied metal leaf to thinly sliced leather which was then woven with silk to create a dazzling and durable armrest for a custom BMW. He also creates decorative panels for interior designs. Says Murata, “The only surfaces to which I cannot apply leaf are air and water.”
Murata strives to evolve his process with continuous refining. “I feel a responsibility to move tradition forward by always exploring, adapting and innovating, challenging myself to try new applications and push the boundaries of my craft.”
@koheimurata.9
#japancraft21 #japan #kogei
Japanese washi paper to which different kinds of metal leaf (gold, etc.) and urushi lacquer colored with natural mineral pigments.are affixed.
—
Metal Leaf. Such metals as gold, silver and platinum can be applied to nearly any surface (wood, metal, glass, paper, bamboo, etc.) in leaf form, using urushi lacquer.
Hikibaku 引箔: Precious metallic thread, a type of paper yarn, has been used for the legendary hikibaku weaving process of Kyoto’s Nishijin weaving district for over 500 years.
The yarn is made by affixing gold, silver, or platinum leaf to handmade washi paper in artistic patterns using Japanese urushi (lacquer). The washi paper is then cut about 0.02-inch thickness (about 0.5 ml) and woven into silk to create luxurious kimono obi (belt sashes) of Kyoto. The warp of the weave is silk, and the weft is washi paper; the obi can be up to 50 percent washi paper.
This is a process done only in Kyoto, and is not understood by most of the world, including most Japanese. It is truly one of the world’s most rarefied weaving arts of the past 500 years.
@koheimurata.9
#japancraft21 #japan #kogei
The application of silver leaf at various stages of oxidation to Japanese washi paper in layers creates the illusion of depth. The paper is then sliced into strips of 1/64 inch (.4 mm) and is then woven as a weft into a silk warp. The floral design is then added by embroidery. Therefore, the piece is 50% silk and 50% paper.
—
Metal Leaf. Such metals as gold, silver and platinum can be applied to nearly any surface (wood, metal, glass, paper, bamboo, etc.) in leaf form, using urushi lacquer.
Hikibaku 引箔: Precious metallic thread, a type of paper yarn, has been used for the legendary hikibaku weaving process of Kyoto’s Nishijin weaving district for over 500 years.
The yarn is made by affixing gold, silver, or platinum leaf to handmade washi paper in artistic patterns using Japanese urushi (lacquer). The washi paper is then cut about 0.02-inch thickness (about 0.5 ml) and woven into silk to create luxurious kimono obi (belt sashes) of Kyoto. The warp of the weave is silk, and the weft is washi paper; the obi can be up to 50 percent washi paper.
This is a process done only in Kyoto, and is not understood by most of the world, including most Japanese. It is truly one of the world’s most rarefied weaving arts of the past 500 years.
@koheimurata.9
#japancraft21 #japan #kogei
【Craft Leader】Sachi KITAGAWA
Woven Silk / Silk Interior Designs / Kyoto
Sachi KITAGAWA's family business has been supplying fine woven silk for Japanese kimono to yuzen* dyers, stencil dyers, & other artisans for generations. Made in tan* (rolls), there are literally thousands of subtle, culturally and aesthetically significant weaving design variations of this white silk.
* Yuzen 友禅. Dye applied with tiny brushes. Tan 反. Standard size for a kimono roll, generally 35 cm in width x 12 meters in length.
Though local production in the 1970s was about 11,000,000 tan per year, current annual production has dropped to just under 170,000 tan. The number of weaving design variations has dwindled, accordingly. In response to the changing market, Kitagawa has developed a line of panels, partitions and furniture made from woven or embroidered silk sandwiched between layers of glass or plexiglass. These can be seen in hotel lobbies, galleries, restaurants, and other architectural installations.
Kitagawa has been active in revitalizing domestic silk production, an important part of Japan’s cultural history. Today less than one percent of the silk used in Japan is locally grown. By using domestic silk in her installation elements, Kitagawa is contributing to Japan’s cultural preservation.
Finally, by providing meaningful and challenging work for highly skilled master crafts people, Kitagawa is keeping rarefied dying and gold leaf techniques alive.
@sachi_kitagawa_itoko
#japancraft21 #japan #kogei
Hanging silk panels, Yuzen hand-dyed with small brushes, set in a public showroom.
—
A highly complex yuzen dye process that begins with an undyed white base tanmono silk roll (typically 40 cm wide x 13 meters long) which has been woven in a subtle pattern. The outline of the peony design is then painted onto the silk with a fine brush using a water-based dye. Then the outlined leaves and flowers are filled in with a resist paste. The piece is then dyed black using small brushes. The resist paste is removed by steaming, then the flowers are dyed with white oyster shell dye. Next, each leaf and petal is further dyed by a small brush with a color gradationshading technique. Then a liquified gold is applied to the outline of the leaves and petals. To achieve the variegation in gold-accented areas, a very loose gauze (dyed in persimmon juice to give it strength) is affixed to the surface of the piece, over which gold leaf is applied. Pulling the gauze off results in a crackled effect.
@sachi_kitagawa_itoko
#japancraft21 #japan #kogei
【Zoom presentation】
Explore the artistry and innovation of Japan’s regional crafts in Part V of JapanCraft21’s ongoing discovery series. Join Steve Beimel for a complimentary one-hour Zoom presentation highlighting remarkable traditions revealed through JapanCraft21’s in-depth research. Encounter the worlds of woodworking, papermaking, textiles, dye techniques, urushi lacquer, and beyond.
Deepen your appreciation and share in the enduring legacy of Japanese craftsmanship.
・Date & Time:
ーNorth America West Coast: Monday, September 29, 5 pm
ーNorth America East Coast: Monday, September 29, 8 pm
ーJapan: Tuesday, September 30, 9 am
・Registration:
https://forms.gle/iMwM3H66Q4Fkkats7
Reserve your spot today and be inspired by the artistry already shaping Japan’s craft future!
Together we can ensure the survival of Japan's extraordinary master craft culture for generations to come.
#japancraft21 #japan #kogei
A master textile dyer applies gold leaf to a silk kimono with bamboo tongs.
—
A highly complex yuzen dye process that begins with an undyed white base tanmono silk roll (typically 40 cm wide x 13 meters long) which has been woven in a subtle pattern. The outline of the peony design is then painted onto the silk with a fine brush using a water-based dye. Then the outlined leaves and flowers are filled in with a resist paste. The piece is then dyed black using small brushes. The resist paste is removed by steaming, then the flowers are dyed with white oyster shell dye. Next, each leaf and petal is further dyed by a small brush with a color gradationshading technique. Then a liquified gold is applied to the outline of the leaves and petals. To achieve the variegation in gold-accented areas, a very loose gauze (dyed in persimmon juice to give it strength) is affixed to the surface of the piece, over which gold leaf is applied. Pulling the gauze off results in a crackled effect.
@sachi_kitagawa_itoko
#japancraft21 #japan #kogei
Craft exhibitions this week: Tokyo & Kyoto.
For the full month’s schedule—see our website.
#japancraft21 #japan #kogei
#craftexhibitions
【Craft Leader】Katsumi KAKO
Ceramics / Hyogo
Katsumi KAKO is a third-generation, Kyoto-born potter living in Sasayama, a charming provincial town outside of Kobe in Hyogo prefecture. Throughout the production process, he resonates with clay as a natural material, culminating with works completed by fire in the kiln. Kako’s pots have a keen, cutting-edge sense of form, while maintaining faithfulness to traditional shapes and the tsuchi aji (the “flavor” of the clay) of traditional ash glazes and earthy skin textures.
Kako is always pushing himself to expand the range of his work and creates a new series on a regular basis. While he is best known for his chawan tea bowls, he also creates large, innovative, and timeless sculptural works that show his deeper creative side. His work retains the rusticity of the traditional pottery of his district but with a contemporary sensibility. A modest man, Kako will ask others for ways to improve his work. Listening to others sharpens his senses.
He continues to mature, testing his horizons as an artist and building on the foundations of his previous success. In addition to his own clay work, he holds a vision of a collaborative of local Sasayama crafts people, specializing in ceramics, glass, woodworking, amongst others, with the goal to develop markets internationally, domestically as well as locally.
#KatsumiKAKO #japancraft21 #japan #kogei
Colorful arabesque designs in a tri-color scheme on this stoneware vase.
—
Japan is home to some of the world’s oldest ceramics dating back about 12,000 years. There are possibly more ceramic styles and techniques in use in Japan today as well as more working master ceramists than most of the world combined. Japan produces earthenware, stoneware, and porcelain, for both functional and non-functional purposes.
In addition to pottery by Master Artisans who create in small quantities, those by Master Artists making one-of-a-kind or very limited editions can be found in significant collections throughout the world.
Whether it is distinctively Japanese unglazed works, porcelain, or stoneware for tea ceremony or fine food presentation, folk-style functional ware or celadon works at the pinnacle of human achievement, we see shapes, colors, and textures of almost limitless variety, making Japan a true Mecca of ceramics for the 21st century.
#KatsumiKAKO
This stoneware tea bowl created with wax-resist silver glazed patterns is fired three times. The first is a bisque firing at 800 C. Next comes a high-temperature glaze firing. A wax resist is then applied to the glazed surface in a decorative pattern. After the bowl is coated in silver, it is fired at a low temperature. This affixes the silver to the ceramic surface while the wax-resist melts away, exposing the original glaze.
—
Japan is home to some of the world’s oldest ceramics dating back about 12,000 years. There are possibly more ceramic styles and techniques in use in Japan today as well as more working master ceramists than most of the world combined. Japan produces earthenware, stoneware, and porcelain, for both functional and non-functional purposes.
In addition to pottery by Master Artisans who create in small quantities, those by Master Artists making one-of-a-kind or very limited editions can be found in significant collections throughout the world.
Whether it is distinctively Japanese unglazed works, porcelain, or stoneware for tea ceremony or fine food presentation, folk-style functional ware or celadon works at the pinnacle of human achievement, we see shapes, colors, and textures of almost limitless variety, making Japan a true Mecca of ceramics for the 21st century.
#KatsumiKAKO
【Craft Leader】Tomoya HYODO
Sashimono (Fine Wood Crafting) / Kyoto
Sashimono master Tomoya HYODO lives in the idyllic country town of Keihoku-cho, outside of Kyoto, in a simple traditional wooden house. It is his dream to revitalize the refined culture of traditional Kyoto. There are very few sashimono (fine wood crafting) artisans left in Japan today, especially at his level, and he wants to train young apprentices to continue this tradition in the future.
Hyodo was born in 1974 and raised in Kyoto. While studying furniture making at a trade school, he encountered a small sashimono box while visiting a producer of wooden boxes for tea-ceremony untensils. The passion for "precision beauty" he experienced on that visit changed his life's course, and he became completely engrossed in sashimono.
Sashimono is wood crafting at its highest level. Produced without nails, it includes fitted boxes for especially fine masterworks of craft such as ceramics, metal, bamboo, figurative art, lacquer ware, kimono and more. Sashimono also includes various stands and furniture and the intricate parts of fine scrolls.
@hyodo.zepp
Craft exhibitions this week: Tokyo & Kyoto.
For the full month’s schedule—see our website.
This low table is made from paulownia wood, a versatile material favored by Japanese craftspeople for both its beauty and durability. This strong and stable wood is warp-resistant and has the highest strength-to-weight ratio of any forest product. The joinery is accented with a thin layer of black persimmon wood.
—
Sashimino 指物 is wood crafting at its highest level. Produced without nails, sashimono includes fitted boxes for especially fine masterworks of craft such as ceramics, metal, bamboo, figurative art, lacquerware, kimono and more. Sashimono also includes various stands and furniture and the intricate parts of fine scrolls. This craft is based on a reverence for wood, working in cooperation with nature rather than fighting it.
Precise joinery construction results in remarkable durability and longevity. Historically, Japanese craftsmen relied on joinery because originally iron was not readily available in Japan. Hozo grooves are carved into the wood to join two pieces with perfect slots (mortises) in a way that is not visible. Though often thought of as simple, the wood joints can be highly complex, such as with tsunagi that incorporates highly refined geometric patterns. There are dozens of joint types, ranging in complexity from very simple to highly complicated.
@hyodo.zepp
This paulonia chabako box was made to hold a tea bowl and simple implements. The calligraphic carving is a lovely poem from the 1000-year-old Tales of Ise, of Japanese classic literature, giving voice to a young couple exchanging their mutual love from afar, where they recall their youth and reflect on how they have since grown.
—
Sashimino 指物 is wood crafting at its highest level. Produced without nails, sashimono includes fitted boxes for especially fine masterworks of craft such as ceramics, metal, bamboo, figurative art, lacquerware, kimono and more. Sashimono also includes various stands and furniture and the intricate parts of fine scrolls. This craft is based on a reverence for wood, working in cooperation with nature rather than fighting it.
Precise joinery construction results in remarkable durability and longevity. Historically, Japanese craftsmen relied on joinery because originally iron was not readily available in Japan. Hozo grooves are carved into the wood to join two pieces with perfect slots (mortises) in a way that is not visible. Though often thought of as simple, the wood joints can be highly complex, such as with tsunagi that incorporates highly refined geometric patterns. There are dozens of joint types, ranging in complexity from very simple to highly complicated.
Sashimono boxes are known for their precision closing lids. Unlike hardwoods that lock out air, paulownia wood boxes allow the air to flow through into the box; it is also heat and moisture resistant. On very humid days the paulownia wood absorbs the moisture but does not allow it to enter the box. When humidity drops the wood dries allowing air to flow through into the box again. This is important for reducing mold or mildew inside the boxes.
@hyodo.zepp
【Craft Leader】Kenta HIRAI
Wood Furniture / Nara
Kenta HIRAI combines exceptional design sensibility with high-level designer skills to produce contemporary wooden furniture using local Yoshino cedar* from Nara Prefecture. Almost knot-free, this wood is known for its fine and uniform annual rings and exceptional color, luster, and fragrance.
“I've always had a strong interest in design and am especially passionate about making things by hand.” Years ago as an art university student, “I was obsessed with questioning conventions and stereotypes, and longed to make furniture that changes our mindsets” — furniture that has not been seen before. Using free-form lamination, an evolving methodology, Hirai can make furniture in unprecedented shapes. Because his process does not use molds, it allows for a more flexible forming methods that exceeds the limitations of molds.
Japanese cedar is generally considered unsuitable for furniture because of its light weight and softness. Taking inspiration from his love of Yoshino cedar, Hirai has successfully employed the technique of layering and crimping many thin veneers of the wood with an adhesive and is able to achieve the strength required in furniture. Finally, he applies “tatara,” a water-repellent ceramic coating developed by fellow JapanCraft21 Craft Leader, Tokunaga Furniture Studio (see 2022 Craft Leaders), which penetrates deep into the wood fibers, and allows the natural expression and beauty of the cedar wood to be preserved, while adding further strength to ordinarily soft cedar.
* There are many varieties of Japanese cedar (Cryptomeria Japonica) that grow throughout the archipelago.
@studiojig
A floor chair made of Yoshino cedar and free-form lamination. The curves allow a natural place for hands when getting up from and sitting down on the chair, as well as gentle back support.
—
Free Form Lamination is a technique developed by Irish furniture designer Joseph Walsh. The wood is formed by thinly slicing (1.5mm) 120-180 year old Yoshino cedar, stacking 10-18 pieces, bending them and gluing them together, without using molds.
Each composition is created by manipulating and reconstructing thin layers of wood, each layer naturally follows the next, coming from the same tree and following the same path.
@studiojig
This work can either be a stand-alone, purely decorative piece or a functional stand for an ikebana (flower arrangement) vase. It is crafted by a free-form lamination process using distinctively beautiful Yoshino cedar.
—
Free Form Lamination is a technique developed by Irish furniture designer Joseph Walsh. The wood is formed by thinly slicing (1.5mm) 120-180 year old Yoshino cedar, stacking 10-18 pieces, bending them and gluing them together, without using molds.
Each composition is created by manipulating and reconstructing thin layers of wood, each layer naturally follows the next, coming from the same tree and following the same path.
@studiojig
【Craft Leader】Ryuta FUKUDA
Kumihimo / Braided Cords / Tokyo
Ryuta FUKUDA is a weaver of silk kumihimo cords, a traditional braiding technique practiced in Japan for more than 1,400 years. He was born and raised in the same Tokyo downtown Nihonbashi district where his family has been weaving since 1889.
Up until recently, the family business focused on obijime chords for kimono obi, both functional and decorative accessories. For the past 10 years, his family have been actively developing new uses for woven cords. Their high-quality work has attracted the patronage of the Imperial family as well as icons of Japanese traditional culture, such as stars of Kubuki theater and sumo wrestlers.
International collaborations include the creation of large-scale window treatments for Hermès boutiques in both Osaka and Tokyo. Other uses for kumihimo are interior partitions for high-end residences, furniture cushions and lanyards for the 2020 Tokyo Olympic medals. Their recent work aims to develop more innovative products by experimenting with new materials, thereby revitalizing the image of their traditional craft.
Fukuda works with a collaborative of 50 young people who are involved in all areas of kumihimo production, including the revitalization of domestic silk cultivation, yarn dyeing, weaving, and related production components. After planting silk mulberry trees at local schools, the family began an educational program where they teach neighborhood children how to grow silkworms, harvest silk, and turn it into yarn. Less than one percent of the silk used in Japan is domestically grown and the Fukuda family is actively working towards its revitalization.
@ryukobotokyo
Window treatment at prestigious boutique in Tokyo consisting of kumihimo cords of numerous color combinations and braiding styles.
—
Kumihimo 組紐 Chords. The Japanese have been making Kumihimo chords since the process was introduced from Korea around 700 A.D. It is a traditional technique of braiding strands of silk to create intricately colored chords that have a multitude of uses.
Kumihimo are woven by a complicated process involving a crisscross diagonal braiding of bundles of yarn. This braiding, ranging from round chords to highly complex square or flat cords, requires exceptional skill.
By changing the color of just one thread, the artist can greatly alter its appearance and feel. Cords can be shaped into intricate knot patterns. There are about 800 knot styles in the Japanese culture, not including nautical knots.
Kumihimo were originally used to adorn Buddhist articles of worship and hanging art scrolls. Even today, they are used on formal Buddhist vestments worn by priests, on traditional processional Shinto floats, samurai swords and armor, interior furnishings, tying finely crafted boxes and pouches, and securing the kimono obiage (sash) among others. Today, kumihimo are incorporated into contemporary fashion and design.
@ryukobotokyo
Obijime cords used for tying obi (kimono sashes); complex gradation dye process.
—
Kumihimo 組紐 Chords. The Japanese have been making Kumihimo chords since the process was introduced from Korea around 700 A.D. It is a traditional technique of braiding strands of silk to create intricately colored chords that have a multitude of uses.
Kumihimo are woven by a complicated process involving a crisscross diagonal braiding of bundles of yarn. This braiding, ranging from round chords to highly complex square or flat cords, requires exceptional skill.
By changing the color of just one thread, the artist can greatly alter its appearance and feel. Cords can be shaped into intricate knot patterns. There are about 800 knot styles in the Japanese culture, not including nautical knots.
Kumihimo were originally used to adorn Buddhist articles of worship and hanging art scrolls. Even today, they are used on formal Buddhist vestments worn by priests, on traditional processional Shinto floats, samurai swords and armor, interior furnishings, tying finely crafted boxes and pouches, and securing the kimono obiage (sash) among others. Today, kumihimo are incorporated into contemporary fashion and design.
@ryukobotokyo
【見学会が始まりました】
町家の改修はもちろん
新築の町家を建てるための
技術を習得するための
大工の塾「心町家塾」。
現在、第3期生が
学んでいる姿を
見学していただけます！
気になる方は、この
JC21のアカウントの
プロフィールのリンクより
お申し込みください。
暑い日々が続きますが
大工のたまごたちも
一生懸命、学んでいます。
ぜひ、見学にお越しください。
#大工塾
#伝統構法
#伝統工法
#町家を建てる
#京町家を保存したい
#京町家を建てる
#新築で町家を建てる
#町家を建てる大工
#大工の学校
#大工の学校に行きたい🇩🇪
https://forms.gle/ByxmmU7y7m827chu5
ONLINE Presentation: The Best and the Brightest
A new generation of master craftspeople
Stories of innovation and tradition from Japan’s brightest new talents. Works in metal, wood, textiles, paper, and urushi lacquer.
ーNorth America West Coast: Wednesday, July 23, 5 pm
ーNorth America East Coast: Wednesday, July 23, 8 pm
ーJapan: Thursday, July 24, 9 am
Free-of-charge
Register now at https://forms.gle/ByxmmU7y7m827chu5
Register now at https://forms.gle/ByxmmU7y7m827chu5
ONLINE Presentation: The Best and the Brightest
A new generation of master craftspeople
Stories of innovation and tradition from Japan’s brightest new talents. Works in metal, wood, textiles, paper, and urushi lacquer.
ーNorth America West Coast: Wednesday, July 23, 5 pm
ーNorth America East Coast: Wednesday, July 23, 8 pm
ーJapan: Thursday, July 24, 9 am
Free-of-charge
Register now at https://forms.gle/ByxmmU7y7m827chu5
The future of Japanese craft has begun. Experience it now!
Join me for a one-hour, free-of-charge online Zoom presentation spotlighting Japan’s Up and Coming Craft Leaders—exceptional artisans selected over four years from 400 applicants in the annual JapanCraft21 contest.
A curated showcase of works in metal, wood, textiles, paper, and urushi lacquer. Stories of innovation and tradition from Japan’s brightest new talents. Insights into the evolving world of Japanese craftsmanship, the core of our work at JapanCraft21
ーNorth America West Coast: Wednesday, July 23, 5 pm
ーNorth America East Coast: Wednesday, July 23, 8 pm
ーJapan: Thursday, July 24, 9 am
・Registration: https://forms.gle/ByxmmU7y7m827chu5
約90年ぶりの
本格的な町家の新築。
この丸太町通沿いの
新築現場の見学ができるのは
最後となります。
町家ファンの方
ぜひ、最後の見学に
お越しくださいね。
2回目の方は
途中参加（11時集合）も
可能です。
お申し込みは、
「見て学べる京町家ツアー」「6月」
で検索！
観光naviが出てくるので
そこからお申し込みページに
アクセスしていただけます。
#町家
#町家の新築
#町家改修
#町家リフォーム
#京町家
#京町家リノベーション
#京町家改修
#京町家リノベ
#京町家新築
#京町家ツアー
#見て学べる京町家ツアー
Kenkichi TOMIMOTO �富本憲吉
Images for this ceramics series have been provided by
Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of
London, and Ippodo Gallery of Tokyo and NYC
Kenkichi TOMIMOTO �富本憲吉
Images for this ceramics series have been provided by
Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of
London, and Ippodo Gallery of Tokyo and NYC
Kenkichi TOMIMOTO �富本憲吉
Images for this ceramics series have been provided by
Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of
London, and Ippodo Gallery of Tokyo and NYC
Kenkichi TOMIMOTO �富本憲吉
Images for this ceramics series have been provided by
Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of
London, and Ippodo Gallery of Tokyo and NYC
JapanCraft21は日本の伝統工芸を再生させるプロジェクトアイデアのある工芸の作り手を募集します。
https://www.japancraft21.com/ja/contest-2025
ものづくりへの情熱とデザインセンスを持ち、より高いクオリティを目指しながら、自分が関わる工芸を発展させ継承しようとしている作家、職人など工芸の制作者（個人または団体）を募集します。
＊デザイナー、プロデューサー、ギャラリー経営者等が応募される場合は、作家や職人などと組んで制作者名でご応募ください。
毎月開催している
「見て学べる京町家ツアー」。
今回は、残席ございます。
以前に来られた方もぜひ
久しぶりに見にきて
みませんか？
今月か来月が
この新築現場の
最終ツアーとなります。
#京町家ツアー
#京町家を知る
#京町家を学ぶ
@gion_naitou.kyoto
@shishokai_gion
Greetings,
Announcing a live ZOOM presentation by JapanCraft21, Steve Beimel:
Everyday Wonders of Living in Japan, a personal account by Steve Beimel
Register here https://forms.gle/TD5FkpAgtsPwSo2x9
"It is March 19th, 1971, my first day in Japan. I descend the stairs from the Varig Airlines plane at Haneda Airport. I don’t know what to expect, and I don’t know what awaits me. Then, when my foot touches the tarmac, something happens to me. Something clicks, shifts, changes. It is as if everything I have done before was just a preparation for this moment as my foot touches the ground in Japan. Suddenly, I am in a parallel universe that I could not have imagined, that will touch, stimulate, excite, move, and energize me every day for the next 54 years.”
Join Steve for a look at the things that make up everyday life in his adopted home — his parallel universe.
Free-of-charge
ーNorth America West Coast: Friday, March 13th, 5 pm
ーNorth America East Coast: Friday, March 13th, 8 pm
ーJapan: Saturday, March 14th, 9 am
加藤 唐九郎
Tokuro KATO
Images for this ceramics series have been provided by
Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of
London, and Ippodo Gallery of Tokyo and NYC
加藤 唐九郎
Tokuro KATO
Images for this ceramics series have been provided by
Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of
London, and Ippodo Gallery of Tokyo and NYC
加藤 唐九郎
Tokuro KATO
Images for this ceramics series have been provided by
Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of
London, and Ippodo Gallery of Tokyo and NYC
加藤 唐九郎
Tokuro KATO
Images for this ceramics series have been provided by
Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of
London, and Ippodo Gallery of Tokyo and NYC
加藤 唐九郎
Tokuro KATO
Images for this ceramics series have been provided by
Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of
London, and Ippodo Gallery of Tokyo and NYC
加藤 唐九郎
Tokuro KATO
Images for this ceramics series have been provided by
Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of
London, and Ippodo Gallery of Tokyo and NYC
加藤 唐九郎
Tokuro KATO
Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC
Bowl by Nishinaka Yukito
西中千人作
Although glass is his primary medium, Nishinaka Yukito draws inspiration from a technique most commonly used in ceramics: kintsugi. Kintsugi is a repair technique that joins broken pieces of ceramic together with lacquer. Gold dust is applied to the lacquer before it fully hardens, thus highlighting the crack lines as objects of beauty. In his Yobitsugi series, Nishinaka intentionally breaks his glass into shards before joining them together in surprising and evocative forms.
Katie Jones Gallery, London, UK
@katiejones_japangallery
#nishinakayukito #yukitonishinaka #glass #japaneseglass #japanesecraft #glassart #teaceremony #kintsugi #craftsmanship #japancraft21
Vase by Nishinaka Yukito
西中千人作
Although glass is his primary medium, Nishinaka Yukito draws inspiration from a technique most commonly used in ceramics: kintsugi. Kintsugi is a repair technique that joins broken pieces of ceramic together with lacquer. Gold dust is applied to the lacquer before it fully hardens, thus highlighting the crack lines as objects of beauty. In his Yobitsugi series, Nishinaka intentionally breaks his glass into shards before joining them together in surprising and evocative forms.
Katie Jones Gallery, London, UK
@katiejones_japangallery
#nishinakayukito #yukitonishinaka #glass #japaneseglass #japanesecraft #glassart #teaceremony #kintsugi #craftsmanship #japancraft21
Teabowl by Nishinaka Yukito
西中千人作
Although glass is his primary medium, Nishinaka Yukito draws inspiration from a technique most commonly used in ceramics: kintsugi. Kintsugi is a repair technique that joins broken pieces of ceramic together with lacquer. Gold dust is applied to the lacquer before it fully hardens, thus highlighting the crack lines as objects of beauty. In his Yobitsugi series, Nishinaka intentionally breaks his glass into shards before joining them together in surprising and evocative forms.
Katie Jones Gallery, London, UK
@katiejones_japangallery
#nishinakayukito #yukitonishinaka #glass #japaneseglass #japanesecraft #glassart #teaceremony #kintsugi #craftsmanship #japancraft21
荒川 豊藏
ARAKAWA Toyozo
Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC
荒川 豊藏
ARAKAWA Toyozo
Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC
荒川 豊藏
ARAKAWA Toyozo
Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC
荒川 豊藏
ARAKAWA Toyozo
Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC
荒川 豊藏
ARAKAWA Toyozo
Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC
【見て学べる京町家ツアー 1/18開催】
町家のファンの方も町家のことを知らない方も、毎回とても楽しんでいただき、大好評を得ているツアーです！
町家の構造について大塀づくりの町家で学んでから、実際に内部を見学。その後、徒歩数分の新築の町家の建築現場にも足を運びます。
●参加したお客さまの声●
建築関係に携わっておりますが、なんとなく知っていることを、実際に実物を目の当たりにして、楽しませて頂きました。新築の町家の上棟時の見学会、町家の勉強会等、また、メールでご案内頂けると幸いです。
（I.Fさま）
有意義なツアーに参加させて頂きまして、ありがとうございました。同僚にも勧めたいと思います。町屋は、100年建築なので、長い目で見ると決して高くはない価格になると思いました。外国人が、祇園の町屋を借りて住んでると言う事も聞きますし、伝統建築に対する概念がより一層、現代と連なっていると実感した一日でした。また、機会があれば是非、参加させて頂きたく存じます。ありがとうございました。
（Y.Iさま）
＊申し込みフォームはこちら
https://forms.gle/XB3ynDqKhjPu1Fib8
※京都観光naviにも紹介されています。
https://ja.kyoto.travel/event/single.php?event_id=11253
#町家
#京町家
#町家が好き
#町家のこと
#町家のこと知りたい
#京町家ツアー
祗園内藤工務店
@gion_naitou.kyoto
Vessel by Fukumoto Fuku
福本双紅作
Fukumoto Fuku combines luscious glazes and brilliant gold and platinum leaf and dust with matte, unglazed porcelain to create vessels and teabowls that are both functional and sculptural. Oftentimes, her vessels are composed of multiple sections, which she forms separately before attaching them with glaze. In the kiln, the glaze liquifies and the sections of the body shift, finding their own equilibrium and balance. In this way, her vessels are truly the result of a collaboration between the artist and her materials.
Joan B Mirviss LTD, NYC
@joanbmirvissltd
#fukumotofuku #fukufukumoto #porcelain #japaneseceramics #japanesecraft #ceramicart #ceramics #craftsmanship #japancraft21
Teabowl by Fukumoto Fuku
福本双紅作
Fukumoto Fuku combines luscious glazes and brilliant gold and platinum leaf and dust with matte, unglazed porcelain to create vessels and teabowls that are both functional and sculptural. Oftentimes, her vessels are composed of multiple sections, which she forms separately before attaching them with glaze. In the kiln, the glaze liquifies and the sections of the body shift, finding their own equilibrium and balance. In this way, her vessels are truly the result of a collaboration between the artist and her materials.
Joan B Mirviss LTD, NYC
@joanbmirvissltd
#fukumotofuku #fukufukumoto #porcelain #japaneseceramics #japanesecraft #ceramicart #ceramics #craftsmanship #japancraft21
Vessel by Fukumoto Fuku
福本双紅作
Fukumoto Fuku combines luscious glazes and brilliant gold and platinum leaf and dust with matte, unglazed porcelain to create vessels and teabowls that are both functional and sculptural. Oftentimes, her vessels are composed of multiple sections, which she forms separately before attaching them with glaze. In the kiln, the glaze liquifies and the sections of the body shift, finding their own equilibrium and balance. In this way, her vessels are truly the result of a collaboration between the artist and her materials.
Joan B Mirviss LTD, NYC
@joanbmirvissltd
#fukumotofuku #fukufukumoto #porcelain #japaneseceramics #japanesecraft #ceramicart #ceramics #craftsmanship #japancraft21
Tomorrow!
Announcing a live ZOOM presentation by Steve Beimel:
10 Urushi Lacquer Superstars - Contemporary Masterpieces
(A repeat of our July 24th presentation)
If you missed it the first time or would like to see it again, please join us.
Free-of-charge
ーNorth America West Coast: Thursday, December 5, 5 pm
ーNorth America East Coast: Thursday, December 5, 8 pm
ーJapan: Friday, December 6, 10 am
Register here: https://forms.gle/awsJ9TynkfFSzCPQ7
Together we can ensure the survival of Japan's extraordinary master
craft culture for generations to come.
Consider supporting JapanCraft21.
http://www.japancraft21.com
Steve Beimel
Founding Director
JapanCraft21
Announcing a live ZOOM presentation by Steve Beimel:
10 Urushi Lacquer Superstars - Contemporary Masterpieces
(A repeat of our July 24th presentation)
If you missed it the first time or would like to see it again, please join us.
Free-of-charge
ーNorth America West Coast: Thursday, December 5, 5 pm
ーNorth America East Coast: Thursday, December 5, 8 pm
ーJapan: Friday, December 6, 10 am
Register here: https://forms.gle/awsJ9TynkfFSzCPQ7
Together we can ensure the survival of Japan's extraordinary master
craft culture for generations to come.
Consider supporting JapanCraft21.
http://www.japancraft21.com
Steve Beimel
Founding Director
JapanCraft21
Announcing a live ZOOM presentation by Steve Beimel:
10 Urushi Lacquer Superstars - Contemporary Masterpieces
(A repeat of our July 24th presentation)
If you missed it the first time or would like to see it again, please join us.
Free-of-charge
ーNorth America West Coast: Thursday, December 5, 5 pm
ーNorth America East Coast: Thursday, December 5, 8 pm
ーJapan: Friday, December 6, 10 am
Register here: https://forms.gle/awsJ9TynkfFSzCPQ7
Together we can ensure the survival of Japan's extraordinary master
craft culture for generations to come.
Consider supporting JapanCraft21.
http://www.japancraft21.com
Steve Beimel
Founding Director
JapanCraft21
Announcing a live ZOOM presentation by Steve Beimel:
10 Urushi Lacquer Superstars - Contemporary Masterpieces
(A repeat of our July 24th presentation)
If you missed it the first time or would like to see it again, please join us.
Free-of-charge
ーNorth America West Coast: Thursday, December 5, 5 pm
ーNorth America East Coast: Thursday, December 5, 8 pm
ーJapan: Friday, December 6, 10 am
Register here: https://forms.gle/awsJ9TynkfFSzCPQ7
Together we can ensure the survival of Japan's extraordinary master
craft culture for generations to come.
Consider supporting JapanCraft21.
http://www.japancraft21.com
Steve Beimel
Founding Director
JapanCraft21
Announcing a live ZOOM presentation by Steve Beimel:
10 Urushi Lacquer Superstars - Contemporary Masterpieces
(A repeat of our July 24th presentation)
If you missed it the first time or would like to see it again, please join us.
Free-of-charge
ーNorth America West Coast: Thursday, December 5, 5 pm
ーNorth America East Coast: Thursday, December 5, 8 pm
ーJapan: Friday, December 6, 10 am
Register here: https://forms.gle/awsJ9TynkfFSzCPQ7
Together we can ensure the survival of Japan's extraordinary master
craft culture for generations to come.
Consider supporting JapanCraft21.
http://www.japancraft21.com
Steve Beimel
Founding Director
JapanCraft21
Announcing a live ZOOM presentation by Steve Beimel:
10 Urushi Lacquer Superstars - Contemporary Masterpieces
(A repeat of our July 24th presentation)
If you missed it the first time or would like to see it again, please join us.
Free-of-charge
ーNorth America West Coast: Thursday, December 5, 5 pm
ーNorth America East Coast: Thursday, December 5, 8 pm
ーJapan: Friday, December 6, 10 am
Register here: https://forms.gle/awsJ9TynkfFSzCPQ7
Together we can ensure the survival of Japan's extraordinary master
craft culture for generations to come.
Consider supporting JapanCraft21.
http://www.japancraft21.com
Steve Beimel
Founding Director
JapanCraft21
On the JapanCraft21 website, the details of the monthly exhibitions are listed. Please be sure to check them out from the homepage or the link below.
https://irp.cdn-website.com/58ed2fb8/files/uploaded/Nov_Craft_Exhibits.pdf
Tomorrow!
ZOOM presentation: An Overview of Japanese Textiles Part II
Free-of-charge
ーNorth America West Coast: Friday, October 25, 5 pm
ーNorth America East Coast: Friday, October 25, 8 pm
ーJapan: Saturday, October 26, 9 am
Register here: https://forms.gle/Fx1h17MBgKdYqZPr7
ZOOM presentation: An Overview of Japanese Textiles Part II
Free-of-charge
ーNorth America West Coast: Friday, October 25, 5 pm
ーNorth America East Coast: Friday, October 25, 8 pm
ーJapan: Saturday, October 26, 9 am
Register here: https://forms.gle/Fx1h17MBgKdYqZPr7
New JapanCraft21 newsletter has been released.
Please take a look from the following link:
https://japanlivingarts.com/september-2024-newsletter/
ZOOM presentation: An Overview of Japanese Textiles Part II
Free-of-charge
ーNorth America West Coast: Friday, October 25, 5 pm
ーNorth America East Coast: Friday, October 25, 8 pm
ーJapan: Saturday, October 26, 9 am
Register here: https://forms.gle/Fx1h17MBgKdYqZPr7
ZOOM presentation: An Overview of Japanese Textiles Part II
Free-of-charge
ーNorth America West Coast: Friday, October 25, 5 pm
ーNorth America East Coast: Friday, October 25, 8 pm
ーJapan: Saturday, October 26, 9 am
Register here: https://forms.gle/Fx1h17MBgKdYqZPr7
【町家学講座（全５回）10月5日開講！】
※初回の日程が変更になりましたのご注意ください。
新築の町家の建築現場で工程を実際に見ながら、町家の①基礎（石組）・②軸組（木組）・③塗壁（土組）・④屋根（瓦）・⑤意匠（建具・表具・畳）について学ぶ、５回講座が始まります！ 京都市後援です。
初回は10月5日（土）は①基礎（石組）は、石場建で知られる元・梓工務店の伊東裕子氏による講義です。 みなさまのお申し込みをお待ちしています！
・『町家学講座』詳細・お申込み
https://forms.gle/9gi2uzonuVTh8U7V8
【藍のものがたり】
現在久留米市美術館で開催中の「藍のものがたり」
その様子がNHKの日曜美術館で取り上げられます。
放送日は9月15日（日）朝9：45〜（アートシーン）の予定です。
再放送は22日（日）夜8：45〜になります。
ぜひご覧ください。
Basket by Fukunisi Ryōsei
福西良笙作
Fukunishi Ryōsei began bamboo basketry at the age of 56. Since then, he has developed his craft for more than two decades and has won many awards both in Japan and internationally. He prepares all the bamboo he uses in his baskets himself, harvesting the bamboo from near his home before drying them and heating them over low flames to draw out their natural oil. Each basket takes him about 6 months to complete.
TAI Modern, Santa Fe
@TAIMODERN
#bamboo #basket #bamboobasket #basketweaving #taimodern #japanesebamboo #fukunishiryosei #ryoseifukunishi #bamboocraft #japaneseartisans #japanesecraft #craftsmanship #japaneseart #japancraft21
Basket by Fukunisi Ryōsei
福西良笙作
Fukunishi Ryōsei began bamboo basketry at the age of 56. Since then, he has developed his craft for more than two decades and has won many awards both in Japan and internationally. He prepares all the bamboo he uses in his baskets himself, harvesting the bamboo from near his home before drying them and heating them over low flames to draw out their natural oil. Each basket takes him about 6 months to complete.
TAI Modern, Santa Fe
@TAIMODERN
#bamboo #basket #bamboobasket #basketweaving #taimodern #japanesebamboo #fukunishiryosei #ryoseifukunishi #bamboocraft #japaneseartisans #japanesecraft #craftsmanship #japaneseart #japancraft21
Basket by Fukunisi Ryōsei
福西良笙作
Fukunishi Ryōsei began bamboo basketry at the age of 56. Since then, he has developed his craft for more than two decades and has won many awards both in Japan and internationally. He prepares all the bamboo he uses in his baskets himself, harvesting the bamboo from near his home before drying them and heating them over low flames to draw out their natural oil. Each basket takes him about 6 months to complete.
TAI Modern, Santa Fe
@TAIMODERN
#bamboo #basket #bamboobasket #basketweaving #taimodern #japanesebamboo #fukunishiryosei #ryoseifukunishi #bamboocraft #japaneseartisans #japanesecraft #craftsmanship #japaneseart #japancraft21
【心町家塾第三期生募集中】
すべて地球に還る自然の材料でできたサステナブルな住居「町家」には、日本が誇る伝統構法の技術が詰まっています。この先人たちの技術を一人でも多くの技術者へと残すべく「心町家塾」を開校しています。現役の職人が通えるように日曜日に開講。木組の基礎である墨付を徹底的に繰り返して実践的に学びます。JapanCraft21ではその受講料をサポートしています。
https://shishokaigion.wixsite.com/home/
【職人という言葉のイメージ】
あなたは、
伝統工芸職人
という言葉を聞くと
どんなイメージを
持ちますか？
@dentoukougei_kyujin
では、職人の求人情報を
紹介しています。
#伝統工芸
#伝統工芸職人
#日本の伝統工芸
#職人
#日本伝統工芸
#日本伝統工芸職人
#日本の伝統工芸
#日本伝統文化
#日本の職人
#匠
#伝統工芸職人
#職人になりたい
#職人になりたい人と繋がりたい
#職人になりたい人募集
Japanese Urushi --World-class treasures. JapanCraft21: one-hour Zoom presentation of Urushi Superstar Artists. Free-of-charge
ーNorth America West Coast: Wednesday, July 24, 5 pm
ーNorth America East Coast: Wednesday, July 24, 8 pm
ーJapan: Thursday, July 25, 9 am
Register here:
https://forms.gle/V6DAHu3h69ZhcLV2A
【見て学べる京町家ツアー 7/20開催】
今週末にも開催予定です！
いっしょに町家に
詳しくなってみませんか？
毎回とても楽しんでいただき
大好評を得ているツアーです！
●参加したお客さまの声●
建築関係に携わっておりますが、
なんとなく知っていることを、
実際に実物を目の当たりにして、
楽しませて頂きました。
新築の町家の上棟時の見学会、
町家の勉強会等、また、
メールでご案内頂けると幸いです。
（I.Fさま）
有意義なツアーに参加させて頂きまして、
ありがとうございました。
同僚にも勧めたいと思います。
町屋は、100年建築なので、
長い目で見ると決して高くはない
価格になると思いました。
外国人が、祇園の町屋を借りて
住んでると言う事も聞きますし、
伝統建築に対する概念がより一層
現代と連なっていると実感した一日でした。
また、機会があれば是非
参加させて頂きたく存じます。
ありがとうございました。
（Y.Iさま）
申し込み詳細は
「見て学べる京町家ツアー」
で検索してみてくださいね！
※京都観光naviにも紹介されています。
#町家
#京町家
#町家が好き
#町家のこと
#町家のこと知りたい
#京町家ツアー
Vase by Mizuno Takuzō
安藤日出武作
Shino wares, typically distinguished by thick, textured white glaze, originated in Mino Province in the 16th century. The glaze is composed of ground feldspar and a small amount of clay. The glaze technique was lost in the 19th century until the 1930s and 40s, when the ceramists Arakawa Toyozo and Katō Hajime recreated the glaze after careful study of historical examples. Today, many ceramic artists in Japan and abroad are drawn to the glaze’s satin luster.
Romang Collection, Raleigh, NC
@romangcollection
#shino #mino #teaceremony #ceramics #romangcollection #japaneseceramics #andohidetake #mizunotakuzo #kochihidetoshi #arakawatoyozo #katohajime #japanesecraft #craftsmanship #japaneseart #japancraft21
Vase by Kōchi Hidetoshi
河内秀利作
Shino wares, typically distinguished by thick, textured white glaze, originated in Mino Province in the 16th century. The glaze is composed of ground feldspar and a small amount of clay. The glaze technique was lost in the 19th century until the 1930s and 40s, when the ceramists Arakawa Toyozo and Katō Hajime recreated the glaze after careful study of historical examples. Today, many ceramic artists in Japan and abroad are drawn to the glaze’s satin luster.
Romang Collection, Raleigh, NC
@romangcollection
#shino #mino #teaceremony #ceramics #romangcollection #japaneseceramics #andohidetake #mizunotakuzo #kochihidetoshi #arakawatoyozo #katohajime #japanesecraft #craftsmanship #japaneseart #japancraft21
Platter by Mizuno Takuzō
水野澤三作
Shino wares, typically distinguished by thick, textured white glaze, originated in Mino Province in the 16th century. The glaze is composed of ground feldspar and a small amount of clay. The glaze technique was lost in the 19th century until the 1930s and 40s, when the ceramists Arakawa Toyozo and Katō Hajime recreated the glaze after careful study of historical examples. Today, many ceramic artists in Japan and abroad are drawn to the glaze’s satin luster.
Romang Collection, Raleigh, NC
@romangcollection
#shino #mino #teaceremony #ceramics #romangcollection #japaneseceramics #andohidetake #mizunotakuzo #hidetoshikouchi #arakawatoyozo #katohajime #japanesecraft #craftsmanship #japaneseart #japancraft21
Vase by Matsui Kōsei (1927–2003)
松井康成作
Having studied a variety of traditional East Asian ceramic styles, Matsui Kōsei was drawn to marbleized jiaotai wares of Tang and Song China. He created his works by folding multiple colors of clay together before shaping the clay into a vessel. This technique, known in Japanese as nerikomi, emerged out of thousands of years of experimentation. With their intricate patterns of marbleized clay, Matsui’s wares represent an epitome of the genre.
Joan B Mirviss LTD, NYC
@joanbmirvissltd
#nerikomi #layeredclay #jiaotai #tangceramics #songceramics #japaneseceramics #neriage #cermicart #matsuikosei #koseimatsui #japanesecraft #craftsmanship #japaneseart #japancraft21
Teabowl by Matsui Kōsei (1927–2003)
松井康成作
Having studied a variety of traditional East Asian ceramic styles, Matsui Kōsei was drawn to marbleized jiaotai wares of Tang and Song China. He created his works by folding multiple colors of clay together before shaping the clay into a vessel. This technique, known in Japanese as nerikomi, emerged out of thousands of years of experimentation. With their intricate patterns of marbleized clay, Matsui’s wares represent an epitome of the genre.
Joan B Mirviss LTD, NYC
@joanbmirvissltd
#nerikomi #layeredclay #jiaotai #tangceramics #songceramics #japaneseceramics #neriage #cermicart #matsuikosei #koseimatsui #japanesecraft #craftsmanship #japaneseart #japancraft21
Vase by Matsui Kōsei (1927–2003)
松井康成作
Having studied a variety of traditional East Asian ceramic styles, Matsui Kōsei was drawn to marbleized jiaotai wares of Tang and Song China. He created his works by folding multiple colors of clay together before shaping the clay into a vessel. This technique, known in Japanese as nerikomi, emerged out of thousands of years of experimentation. With their intricate patterns of marbleized clay, Matsui’s wares represent an epitome of the genre.
Joan B Mirviss LTD, NYC
@joanbmirvissltd
#nerikomi #layeredclay #jiaotai #tangceramics #songceramics #japaneseceramics #neriage #cermicart #matsuikosei #koseimatsui #japanesecraft #craftsmanship #japaneseart #japancraft21
棟梁が教える
「見て学べる京町家ツアー」
6月も開催します！
築100年の町家で、実際にその構造を見て知って、町家のことに詳しくなれる「見て学べる京町家ツアー」。4月に開催しましたが、好評につき6月も開催します！
伝統建築技法により京町家建築に特化した祗園内藤工務店（代表・内藤朋博）が、京都市の京町家賃貸事業として活用している「聚楽猪飼邸（じゅらくいかいてい）」にて、町家の構造や部位の名称について、実際に見ていただきながら解説をします。
その後、その近くにある祗園内藤工務店が建築中の本格的な町家の現場にも足を運び、本格的な町家の新築現場を見ることができます。現代風にリフォームされていない古来の町家を覗いてみたいという町家ファンの方から、同業者の方まで、たくさんの方のお越しをお待ちしています。
・詳細・お申し込みはこちらから
https://forms.gle/jZcWu17znghabioo9
#町家
#京町家
#見て学べる
#見て学べる京町家ツアー
#町家の新築
#町家を建てる
#町家を知る
#町家を楽しむ
#町家建築
見て学べる京町家ツアー 6/15開催！
・詳細・お申し込みはこちらから
https://forms.gle/jZcWu17znghabioo9
棟梁が教える
「見て学べる京町家ツアー」
6月も開催します！
築100年の町家で、実際にその構造を見て知って、町家のことに詳しくなれる「見て学べる京町家ツアー」。4月に開催しましたが、好評につき6月も開催します！
伝統建築技法により京町家建築に特化した祗園内藤工務店（代表・内藤朋博）が、京都市の京町家賃貸事業として活用している「聚楽猪飼邸（じゅらくいかいてい）」にて、町家の構造や部位の名称について、実際に見ていただきながら解説をします。
その後、その近くにある祗園内藤工務店が建築中の本格的な町家の現場にも足を運び、本格的な町家の新築現場を見ることができます。現代風にリフォームされていない古来の町家を覗いてみたいという町家ファンの方から、同業者の方まで、たくさんの方のお越しをお待ちしています。
・詳細・お申し込みはこちらから
https://forms.gle/jZcWu17znghabioo9
#町家
#京町家
#見て学べる
#見て学べる京町家ツアー
#町家の新築
#町家を建てる
#町家を知る
#町家を楽しむ
#町家建築
Tea Bowl by ARTIST
崎山隆之作
The tea bowl is perhaps the most quintessential form in Japanese ceramics. Used in chanoyu, the Japanese tea ceremony, to prepare and serve matcha, the tea bowl is an example of deeply functional beauty. Over their careers, most ceramic artists in Japan will create a tea bowl, expressing their unique approaches to clay via this enduring form.
Katie Jones Gallery, London
@katiejones_japangallery
#teabowl #chanoyu #teaceremony #ceramics #katiejones #japaneseceramics #matcha #cermicart #japanesecraft #craftsmanship #japaneseart #japancraft21
Tea Bowl by Ajiki Hiro
安食ひろ作
The tea bowl is perhaps the most quintessential form in Japanese ceramics. Used in chanoyu, the Japanese tea ceremony, to prepare and serve matcha, the tea bowl is an example of deeply functional beauty. Over their careers, most ceramic artists in Japan will create a tea bowl, expressing their unique approaches to clay via this enduring form.
Katie Jones Gallery, London
@katiejones_japangallery
#teabowl #chanoyu #teaceremony #ceramics #katiejones #japaneseceramics #matcha #cermicart #japanesecraft #craftsmanship #japaneseart #japancraft21
Tea Bowl by Hashimoto Tomonari @hashimoto_tomonari
橋本知成 作
The tea bowl is perhaps the most quintessential form in Japanese ceramics. Used in chanoyu, the Japanese tea ceremony, to prepare and serve matcha, the tea bowl is an example of deeply functional beauty. Over their careers, most ceramic artists in Japan will create a tea bowl, expressing their unique approaches to clay via this enduring form.
Katie Jones Gallery, London
@katiejones_japangallery
#teabowl #chanoyu #teaceremony #ceramics #katiejones #japaneseceramics #matcha #cermicart #japanesecraft #craftsmanship #japaneseart #japancraft21
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May 26, 2023 The Master Craft works of six JapanCraft21 Craft Leaders were on display at the 60th Anniversary Celebration of the Portland Japanese Garden, at Happo-en in Tokyo. The guest of honor, Her Imperial Highness Princess Hisako Takamado, and many other guests viewed the works and spoke enthusiastically with the Craft Leaders. Those selected to exhibit were Tomoya HYODO ( sashimono wood craft), Toshihiko INOUE (Kyoto-style art mounter, Inoue Koukundo), Asako TAKEMI ( Kimono : Isho Takemi), Yuriko TOKUNAGA (Tokunaga Furniture), Naruhito TOKUMARU (Hakusan Project, Oke) and Toru TSUJI (Lacquerware Kijian). Photos by Ken Katsurayama
Takemi-san and Steve will be on LONG LIFE DESIGN RADIO (FM Kyoto) 6pm on Jan 15 and 22, 2023
