Cherry bark craft (Kabazaiku) is a 250-year-old tradition
from Akita in northern Japan, made from the bark
of the yamazakura (mountain cherry). Introduced
in the late 18th century, it grew into a respected local
industry and was later recognized as a traditional
Japanese craft.
Its natural, silk-like luster and deep color give each
piece quiet elegance. The bark is harvested only in
early summer without harming the tree, then dried,
softened, and polished by hand.
Kabazaiku is valued for its durability and excellent
humidity control—ideal for keeping tea fresh.
Yatsuyanagi, founded in 1876 in Kakunodate, is one
of the studios preserving this craft. They minimize
waste, repurpose offcuts, and support sustainability
by replanting mountain cherry trees. Despite
climate shifts and fewer artisans, they remain
committed to carrying this tradition forward.

Tsuiki, meaning “to raise by hammering,” is
a metalworking technique that shapes a single sheet
of metal—often copper—into a vessel through repeated
hammering. Using specialized hammers and anvils,
artisans form a flat plate into a hollow shape, even
creating curves and spouts without molds. Because
the metal hardens as it’s worked, it is periodically
softened by heating. Surfaces are finished with engraving,
hammered textures, and patination using rokusho
and copper sulfate. The craft developed in 18th-century
Niigata, where copper production supported
skilled metalwork.
Seigado carries this heritage forward, producing copper
and tin pieces shaped and finished by hand. Tin, prized
in Japan for its purity and resistance to decay, is used
to make sake cups that soften the flavor of sake.
In copperware, Seigado is known for its nuanced
coloration—indigo blue, golden brown, red, purple,
and warm gold—each adjusted by hand according
to daily conditions. With use, their metalware gains
a deeper patina and character.

Painting style,” skillfully blends raised gold patterns
with blue and white dot techniques passed down
through his family.
Traditionally, these motifs covered the surface entirely,
but he introduces a contemporary sensibility by
leaving intentional space, creating a quiet resonance
and elegant contrast.
Inspired by the compositional sensibilities of Rimpa
painting, he brings its expressive use of space
into porcelain.
His Turquoise Morikin Shirochibu Grape Pattern Vase
unites a serene turquoise base with delicate dots
and platinum-gold leaves, showcasing both tradition
and innovation.

USUKIYAKI – Reviving a Lost Porcelain Tradition

In the tranquil city of Usuki, Oita Prefecture, a porcelain tradition once flourished for only a brief moment during the Edo period (1603–1868) — and then disappeared for centuries. USUKIYAKI is the poetic revival of this “phantom porcelain,” brought back to life by craftsman Hiroyuki Usami, who reinterprets its legacy through a contemporary lens.

Each piece, born from Usuki’s lush natural surroundings and historic townscape, embodies quiet strength and refined simplicity. Its soft matte texture and delicate petal-like rims evoke the memory of flowers — framing dishes like an artwork within a gentle porcelain frame.

Beyond function, USUKIYAKI invites a sense of story and emotion. It connects the hand of the maker and the heart of the user, blending tradition and modernity in a design language that feels both timeless and visionary.

USUKIYAKI is not merely tableware — it is a cultural dialogue in porcelain, where the past and present coexist, offering a renewed sense of optimism through the art of the handmade.

Cherry bark craft (Kabazaiku) is a 250-year-old tradition
from Akita in northern Japan, made from the bark
of the yamazakura (mountain cherry). Introduced
in the late 18th century, it grew into a respected local
industry and was later recognized as a traditional
Japanese craft.
Its natural, silk-like luster and deep color give each
piece quiet elegance. The bark is harvested only in
early summer without harming the tree, then dried,
softened, and polished by hand.
Kabazaiku is valued for its durability and excellent
humidity control—ideal for keeping tea fresh.
Yatsuyanagi, founded in 1876 in Kakunodate, is one
of the studios preserving this craft. They minimize
waste, repurpose offcuts, and support sustainability
by replanting mountain cherry trees. Despite
climate shifts and fewer artisans, they remain
committed to carrying this tradition forward.

Tsuiki, meaning “to raise by hammering,” is
a metalworking technique that shapes a single sheet
of metal—often copper—into a vessel through repeated
hammering. Using specialized hammers and anvils,
artisans form a flat plate into a hollow shape, even
creating curves and spouts without molds. Because
the metal hardens as it’s worked, it is periodically
softened by heating. Surfaces are finished with engraving,
hammered textures, and patination using rokusho
and copper sulfate. The craft developed in 18th-century
Niigata, where copper production supported
skilled metalwork.
Seigado carries this heritage forward, producing copper
and tin pieces shaped and finished by hand. Tin, prized
in Japan for its purity and resistance to decay, is used
to make sake cups that soften the flavor of sake.
In copperware, Seigado is known for its nuanced
coloration—indigo blue, golden brown, red, purple,
and warm gold—each adjusted by hand according
to daily conditions. With use, their metalware gains
a deeper patina and character.

Painting style,” skillfully blends raised gold patterns
with blue and white dot techniques passed down
through his family.
Traditionally, these motifs covered the surface entirely,
but he introduces a contemporary sensibility by
leaving intentional space, creating a quiet resonance
and elegant contrast.
Inspired by the compositional sensibilities of Rimpa
painting, he brings its expressive use of space
into porcelain.
His Turquoise Morikin Shirochibu Grape Pattern Vase
unites a serene turquoise base with delicate dots
and platinum-gold leaves, showcasing both tradition
and innovation.