Keiko
The Story
Keikō is the third generation of a Kyoto family specializing in the art of Japanese lacquer. His grandfather Heiichi came to Kyoto from Yonago, Tottori, in order to apprentice to the lacquerware master Koūnsai Tanaka, who was a descendant of Sōtetsu Nakamura. Heiichi learnt the technique of overcoating and went on to specialize in the top-coating of bowls and other tableware. Keiko’s father Isao found further specialization in painting the finishing coat of tea ceremony utensils.
Born in 1966, Keikō, graduated from Kyoto Dōda Senior High School of Art, and became an apprentice to renowned lacquerware specialist Hyōsaku Suzuki III before continuing his studies under his father, Isao. In 1994, Keikō inherited the family business, and a decade later was certified as a “Traditional Craftsman” by the Association for the Promotion of Traditional Craft Industries.
His works range from bentwood lacquerware, tea ceremony utensils and tableware, to more artistic pieces. Keikō’s father was greatly influenced by the works of Mutsumi Suzuki, and his own bentwood works are the fruits of this influence.
His skills have been inherited from his predecessors, and as such, he feels it important to preserve them. Though old tea utensils are an inspiration, as he pursues the traditional forms he attempts to make use of newly developed techniques, in order to produce innovative works. It is important to adapt them so that they can be used in the current era. In this spirit, his lacquerware is not something shown or communicated to him by others, but rather something that he himself discovers and makes his own through dialogue with nature.
Rather than focusing on what he wants to create, he devotes himself to creating works based on an item’s relationship with the individual user, assuming the other party’s needs. In this case, it is best to eliminate individuality. Artists put their own ideas into their work, but they also create works based on the materials at hand. They should ask the wood where it should be bent. The final outcome may not necessarily coincide with the form that existed at the beginning.
Keikō still identifies as a craftsman, but has also become active as a writer. His mission is to preserve and promote lacquer, which is made entirely of natural materials, in an age when chemical products abound. His workshop takes on apprentices in order to improve on painting skills and technique. One of these is his own daughter. Keikō has also planted urushi (lacquer) trees in Keihoku and Ohara, imparting to future generations not only lacquerware but also the very trees that are its source.
The Tour
Technical introduction and historical explanation, Q&A in the gallery (with tea ceremony)
The tour will begin at the gallery, where detailed explanations of the craftsmen’s techniques, history, and artwork will be given. After a detailed explanation of the background of traditional crafts, the thoughts behind their creation, and technical elements, participants will have the opportunity to ask questions. The tour will also include an enjoyable tea ceremony.
Workshop tour and explanation of the production environment
Visitors will move to the workshop to see how the works are actually made. The workshop is divided into a painting department and a woodworking department, and Mr. Nishimura believes that only when both woodworking and lacquer work are involved can it be called “Kyo-nuri. The craftsmen work side by side in the same space, and a spirit of unity and cooperation takes root throughout the workshop.
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The Craft
The workshop has two divisions, the lacquering department and the woodwork department. They believe that only in producing both the wood and the lacquer in their Kyoto studio can they call their products Kyo-nuri (Kyoto lacquer). All the craftspeople work side-by-side in the same space which creates a sense of unity.
They initially took on work that would provide apprentices with a chance to refine their skills, but have since expanded to create a range of tableware designed for modern living. Other projects include a revival of a type of dish known as Asahi-wan, once made in Kyoto during the Edo period. This Asagi-wan restoration project allows them to reconnect the practice of craft and nature, by planting urushi and other trees used in the work, in acknowledgment that human beings are also part of nature.
At the gallery, the artist will introduce visitors to the technique and talk about the history of the craftsman. An explanation of the artwork will be followed by a visit to the workshop for a demonstration of technique.
Selected works
