Catalog: Artists: Lacquer (36)

A tribute to classical literature and design, the zig-zagging eight bridges march through a wetland of blossoming iris on the black lacquer ground of this two panel screen by Okada Yuji. Lead, mother of pearl and Jewel beetle wing inlay on black lacquer with gold maki-e design. Each panel is 61.5 x 120 cm (24 x 47-1/4 inches) or roughly 120 cm (four feet) square. It is in excellent condition, directly from the Okada family.
Due to size the cost of shipping will be accrued separately.
The Eight Bridges originates from "The Tales of Ise" - a collection of episodes, attributed to the poet Ariwara no Narihara (825-880), about the life of a man on a journey from the capital into Eastern Japan. In Mikawa, the man and his companions stop to rest beside the Eight Bridges which ford eight channels that run through a marsh filled with irises.
"They arrived a place called Yatsuhashi (Eight Bridges), in the land of Mikawa, so named from the eight bridges spanning the streams that flowed out in all directions like the legs of a spider. They dismounted in the shade of a tree beside this marsh to eat their dried rice cakes. Irises were blooming beautifully in the marsh, and someone suggested they compose a poem on the theme of Travel, with the first syllable of each line to spell the word for iris, ka.ki.tsu.ba.ta. He composed this:
Karakomono, kitsutsu narenishi, tsuma shi areba, harubaru kinuru, tabi o shi zo omou
My wife, dear to me as a long-worn robe, swathing my thoughts with love, through these long distances
Subsequently the theme became a readily recognizable reference through many aspects of Japanese art and culture. Perhaps most famously the 18th century ‘Irises at Yatsuhashi’ pair of six-panel folding screens, by Ogata Kōrin depicts the Eight Bridges design running diagonally across the screens, between clumps of blue irises against a background of gold leaf.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A Kanshitsu Jikiro (Dried Lacquer box) by Okada Yuji covered in dark lacquer decorated with Kanshitsu-ko (powdered dried lacquer) and gleaming strips of mother of pearl and polished suzu-ita metal over billowing clouds of mother of pearl enclosed in the original signed wooden box titled Seifu (Blue Wind). On top a ring of fine mother of pearl flakes studded with solid discs of hirame gold indicate the sun. The box is 30 x 18 x 22 cm (12 x 7 x 9 inches) and is in perfect condition, created in 2012, directly from the artist.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A Kanshitsu Jikiro (Dried Lacquer box) by Okada Yuji covered in dark lacquer decorated with Kanshitsu-ko (powdered dried lacquer) and gleaming strips of mother of pearl and polished suzu-ita metal over billowing clouds of mother of pearl enclosed in the original signed wooden box titled Seifu (Blue Wind). On top a ring of fine mother of pearl flakes studded with solid discs of hirame gold indicate the sun. The box is 40 x 22 x 30 cm (16 x 9 x 12 inches) and is in perfect condition, created in 2012, directly from the artist.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

Gold flecks twinkle like stars in the night sky inside this free form dry lacquer sake cup by female lacquer artist Arai Etsuko enclosed in the original signed wooden box. It is made of multiple layers of cloth, paper and lacquer with the final layer dusted with mother of pearl and gold flakes, polished down to a dull sheen. It is the cup 7 cm (2-1/2 inches) diameter, new from the artist in perfect condition.
Arai Etsuko (born in Kanagawa in 1980) apprenticed under Hiroshi Okada after Graduating the Kyoto School of Traditional Arts in 2003. For seven years she learned the arts of maki-e and kanshitsu, nunobari and inlay, working both on new pieces, as well as in the restoration of antique items, giving her a deep understanding of the various processes of lacquer over the centuries. In 2010 she moved out on her own. Her work is characterized by the exquisite mixture of traditional lacquer ware manufacturing methods and the delicate and gentle style unique to a woman. Her work has been exhibited at various venues throughout Japan, including the Asahi Craft exhibition and Kyoten. She was designated a Traditional Craftsperson (Dento Kogeishi) of Kyoto in 2014, Nationally in 2015. In a recent conversation she said she was drawn to the world of Lacquer by its glitter and sheen. Unlike drawing or pottery, the creation of lacquer art has no immediate sense of gratification, the imagery is brought out through layers over weeks or months, often invisible until the final stages. A most demanding medium, patience and diligence are paramount, but the result is unlike any other artform, and with proper care, can be passed through the generations, an heirloom to span the centuries.

There is something deeply elegant and feminine about the work of the female Maki-e artist Arai Etsuko, clearly evident here in this glass sake set decorated with olives in colored lacquer and precious gold powder enclosed in a compartmentalized and signed wooden box. Inside, the simple black silhouette, outside, various shades of green connected by gold branches from which hang fruit in various stages of ripeness. The Tokkuri is 17 cm (6-3/4 inches) tall, the cups 5 cm (2 inches) diameter. All are in new condition, directly from the artist this year.
Arai Etsuko (born in Kanagawa in 1980) apprenticed under Hiroshi Okada after Graduating the Kyoto School of Traditional Arts in 2003. For seven years she learned the arts of maki-e and kanshitsu, nunobari and inlay, working both on new pieces, as well as in the restoration of antique items, giving her a deep understanding of the various processes of lacquer over the centuries. In 2010 she moved out on her own. Her work is characterized by the exquisite mixture of traditional lacquer ware manufacturing methods and the delicate and gentle style unique to a woman. Her work has been exhibited at various venues throughout Japan, including the Asahi Craft exhibition and Kyoten. She was designated a Traditional Craftsperson (Dento Kogeishi)of Kyoto in 2014, Nationally in 2015. In a recent conversation She said she was drawn to the world of Lacquer by its glitter and sheen. Unlike drawing or pottery, the creation of lacquer art has no immediate sense of gratification, the imagery is brought out through layers over weeks or months, often invisible until the final stages. A most demanding medium, patience and diligence are paramount, but the result is unlike any other artform, and with proper care, can be passed through the generations, an heirloom to span the centuries.

A strange phenomenon occurs when walking past this piece. From head on it appears to be highly textured gold veined with blue mother of pearl. Move a little and the Ke-uchi designs laid out on chevrons overlapping the gold design stand out strongly, move a little more and the brilliant red disc in center comes into view for the first time. This piece shows the true mastery of lacquer craft Okada Yuji possessed. The ability to make something change, the phantom of a sun, is both mesmerizing and mysterious This elevated tray was featured in the Rimpa 400 Year Exhibition in 2015 and is published in the catalog (included). It is 60 x 30 cm (24 x 12 inches) and is in excellent condition, enclosed in the original signed wooden box directly from the artist.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A small wall hanging in Togidashi maki-e surrounded by a checkerboard pattern of polished Suzu-ita metal squares by Okada Yuji dating from the mid 1970s. The Togidashi technique requires the artist to create a design in Maki-e, then cover the design entirely in a layer of lacquer, polishing the lacquer through to reveal the image below. A labor intensive and time-consuming practice. In addition to this Yuji has here then applied variously polished panels of metal to the panel creating a stark contrast between the matt metal surfaces and the highly reflective lacquer. Finally he has inlayed Mother of Pearl disks into the surface. The panel is 41 x 31.5 cm (16 x 12-1/2 inches) and is in excellent condition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A striking work of lacquer art in unusual blue by the ever-challenging Okada Yuji dating from early in his career, circa 1975. The work is performed on a panel with built up mounds over which has been applied colored lacquer and gold foil. Down the center a zigzag line of mother of pearl is inlaid. To this design has been added extruded lacquer decoration bordered in burnished Suzu-ita metal overlay. The panel is 80.5 x 145 cm, about 2.5 cm thick, in excellent condition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

Seed pods cluster beneath the glimmering white flowers clinging to the silver tinged gold vines decorating the exquisite marbled grain of this large tray from Okada Yuji. The vines and leaves are in gold and silver taka-maki-e, the flowers inlaid carved and polished shell, and the beans are inlaid lead. The tray has been enhanced with wiped on lacquer accentuating the natural wood grain. Turned from a tree dried for over ten years in 1995, it was decorated by Okada in 2008. The tray is 46 cm diameter, and comes in the original signed wooden box.
A very interesting story about this tray, it was a (return) gift from his first apprentice Oda Rei on occasion of his visiting her in the woodworking town of Inami where she lived after her marriage. She shared the tale with me in the gallery expressing how honored she felt that her mentor had chosen to embark on such an elaborate decorative journey with this gift from her hometown.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A large modernist Sculpture covered in lacquer, polished metal and mother of pearl by Okada Yuji exhibited at the 1990 Gendai Kogeiten. Suzu-ita, Mother of Pearl and colored lacquers on Wood and Acrylic panel it is 80 x 42 x 18 cm (31-1/2 x 16-1/2 x 7 inches) and is in excellent condition. It comes with a wooden placard titled and signed by the artist.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

An intriguing architectural sculpture by lacquer artist Okada Yuji exhibited at the 25th Gendai Kogeiten National Contemporary Crafts Exhibition in 1984. The wooden structure is edged with strips of pewter, the sculpted wings covered in red and black lacquer surrounding a field straight off the deep ocean floor or some alien landscape. The center is made of shitaji, a combination of powders and lacquer, carved and covered in Suzu-fun metalic dust. It is 60 cm square and in perfect condition and comes with the original exhibition catalog.
Due to size the cost of shipping will be accrued separately.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A unique waterfall-like architectural lacquered sculpture by Okada Yuji presented at the 33rd National Modern Crafts Exhibition (Nihon Gendai Kogeiten) in 1994. It is created in a contemporary version of the centuries old technique known as Datsu-Kanshitsu. Datsu Kanshitsu is a type of dry lacquer technique wherein cloth or some other pliable material is laid over a wooden structure to create a form. Ofter many layers, creating a solid form, the framework is removed leaving the piece hollow. After creating the wave-like form, the structure is covered in a stone textured mixture of foundation material, Sekkai and bonding agent over which has been applied layers of highly polished black lacquer inlaid with Mother of Pearl and Hirame gold disks polished down in the Togidashi fashion. An incredible work of art. It is 87 x 35 cm x 14 cm thick (34 x 14 x 5-1/2 inches) and is in excellent condition. It comes with a signed wooden placard directly from the artist as well as a copy of the original catalog page from the exhbition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

Perhaps because of its proximity (or lack thereof) to central Japan, the beautiful lacquer wares of Akita may be lesser known than other regions. Here is an exquisite sake cup and katakuchi serer of turned wood covered in multiple layers of soft, black lacquer by Sato Fumiyuki of the Kawatsura lacquer tradition. A belt of gilded binding wrapping the body is the only decoration. This lack of distraction, in fact, accentuates the form and allows us to focus on the pure elegance of the lacquer itself. This sake set, initially matte in affect, will attain a soft sheen with use over the years.
Kawatsura has an 800 year history of consistent lacquer production, although burial mounds and excavations of Jomon artifacts have yielded lacquer ware thousands of years old in the area. Kawatsura lacquerware is characterized by its durable practicality due to its smoke-drying, thick wood, and robust foundation. Sato Fumiyuki is a third generation lacquer artist very proud of his trade and the intense processes which give birth to the beautiful objects he creates. He has been designated a Dento Kogeishi Traditional Craftsman by the Japan Kogei Association.

A splendid antique cut glass cup selected and decorated by contemporary female lacquer artist Arai Etsuko enclosed in the original signed wooden box titled Glass Maki-e Hai, Yoake (Glass Sake Cup named Breaking Dawn). She said that when she first saw the glass in a street market, she instantly envisioned how the engraved patterns could be accentuated by colors and powdered precious metals. Here an interesting comparison of techniques is possible. The bowl is decorated outside, first with layers of color, then powdered gold applied over top. The rim is covered in dark blue lacquer sprinkled with gold, with red and blue diamonds alternating with clear glass connected to the stem by strands of gold. The base on the other hand, has been decorated in the opposite order, with powdered gold first, then a red sunrise in the center overtop of which is applied the colored lacquer. Allowing the pattern to be visible through the glass, but not from the decorated underside. It is 10.5 cm (4 inches) tall and in excellent condition, directly from the artist this year.
Arai Etsuko (born in Kanagawa in 1980) apprenticed under Hiroshi Okada after Graduating the Kyoto School of Traditional Arts in 2003. For seven years she learned the arts of maki-e and kanshitsu, nunobari and inlay, working both on new pieces, as well as in the restoration of antique items, giving her a deep understanding of the various processes of lacquer over the centuries. In 2010 she moved out on her own. Her work is characterized by the exquisite mixture of traditional lacquer ware manufacturing methods and the delicate and gentle style unique to a woman. Her work has been exhibited at various venues throughout Japan, including the Asahi Craft exhibition and Kyoten. She was designated a Traditional Craftsperson (Dento Kogeishi) of Kyoto in 2014, Nationally in 2015. In a recent conversation she said she was drawn to the world of Lacquer by its glitter and sheen. Unlike drawing or pottery, the creation of lacquer art has no immediate sense of gratification, the imagery is brought out through layers over weeks or months, often invisible until the final stages. A most demanding medium, patience and diligence are paramount, but the result is unlike any other artform, and with proper care, can be passed through the generations, an heirloom to span the centuries.

The spider crosses a glimmering golden web wet with dewdrops of solid gold Hirame and inlayed mother of pearl, a stellar work by Okada Yuji enclosed in the original signed wooden box. The interior and base are glittering with gold Nashiji. Known for his depictions of small creatures, this is a perfect example of his work. It is 8 cm (just over 3 inches) diameter and in excellent condition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

Gold disks like suns gleam in a shimmering blue cloud of mother of pearl stars on this dry lacquer vase by Okada Yuji dating from 2011. In the center, a golden spout rises up from a deep pool, like a digitized map of the event horizon of a black hole. An incredible shape and incredible work of art by this important post-war dreamer. Each golden spot visible on teh surface is hirame, not a tissue thin gold overlay, but a solid gold disc embedded into the surface the surface then ground down to reveal the most amount of gold. The vase is 34 cm (13-1/2 inches) diameter and in perfect condition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

Thick hirame polished gold disks glimmer on the surface of this peach-shaped container by Okada Yuji enclosed in the original signed wooden box titled Toju. The peak is tinged pink, while a green leaves embedded with kiri-gane gold wrapping up the sides. A striking work of kanshitsu (dried lacquer art) from the pinnacle of the artists career. It is 7.5 cm (3 inches) tall, the same diameter and is in excellent condition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

To use the term Museum quality would be an understatement. This piece, I always had the impression, wat the artwork for which Okada Sensei was most proud. A dry lacquer base covered in layer upon layer of iro-urushi colored lacquer to which has been added hira-maki-e, taka-maki-e, toidashi-maki-e, inlays of mother of pearl, and the entire carved through revealing the layers of color beneath. It was created in 2002 and comes enclosed in the original signed wooden box. Quite large, it is 66 x 54 cm (26 x 21 inches) and is in perfect condition, directly from the artist.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.