Shugu 白盛唐草丸紋 平盃

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Shugu 白盛唐草丸紋 平盃
プロダクトデザイナーの吉田守孝を迎え、うつわそのもののかたちにこだわり製作した酒具シリーズです。柳宗理のもとで長年学んだその手法は、模型を作ってひとつひとつのかたちを実物大で検証し、使いやすい造形の美しさを追求。何度も素地師と打ち合わせながら作り上げていきました。

All the items of this Shugu series are produced with particular focus on forms of wares, inviting a product designer Moritaka Yoshita. He had worked under Sori Yanagi for a long time and acquired the style to make a mock-up first and examine each form by hand. Talking with craftsmen patiently, we have approached an ideal form.
MATERIAL
Porcelain
SIZE
小:φ7cm×H2.5cm
中:φ8.5cm×H3cm
大:φ10cm×H3.5cm
こちらの商品は同梱できません。

※手作業で製作している為、画像と多少の違いがございます
※電子レンジ使用不可
※大変繊細なつくりとなっておりますので食洗機のご使用はお控えください
※海外への発送をご希望の場合は下記のアドレスまでお問い合わせください
 <mail> info@kinzangama.com



※ As it is made by hand, there are some differences from the picture.
※ Cannot be used in microwave oven
※ Please refrain from using the dishwasher as it is very delicate construction.
※ If you would like to ship overseas, please contact the following address.
<mail> info@kinzangama.com

'Currency Exchange' is just for your reference.
Every transaction will be made in JP yen, and its rate will change a little according to the settlement rate of each credit company. We assume no responsibility whatsoever for the indemnity from the use of those settlement rates.
  • Domestic Shipment Only
  • About delivery date
    • Stock
      The order products will be send out within 7 days
    • Made-to-Order
      The order products will be send out within 90 days

STORY

  • 職人とデザイナーが一緒に古作を掘り起こしアーカイブ制作を行いながら、その作業過程で継承したい技法や表現について意見交換を行い、多様な伝統技法と意匠の中から上絵を選定しました。
    これらのアイテムは、近年使われなくなった「テレピン叩き」という手法に取り組んだ朱地草花文シリーズ、錦山窯の特徴である金彩を盛り上げる「金盛」の技法を使ったシリーズなど、九谷らしさが色濃く出たものとなりました。


    All the items of this Shugu series are produced with particular focus on forms of wares, inviting a product designer Moritaka Yoshita. He had worked under Sori Yanagi for a long time and acquired the style to make a mock-up first and examine each form by hand. Talking with craftsmen patiently, we have approached an ideal form. In addition, the study group of overglaze paintings was launched, and there craftsmen and a designer cooperated in cleaning up and organizing past works. Through these procedures, they changed opinions which techniques or expression should be succeeded. Then design of overglaze paintings was selected from various traditional techniques and designs.
    These items have a strong air of Kutani-style; botanical series on vermillion red ground with a tere-pin (turpentine oil) tapping technique, which is rather rare recently, and kinmori series with gold painted convexly, which is one of characteristics of Kinzangama Kiln.

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