{"id":2866,"date":"2018-02-28T19:37:44","date_gmt":"2018-02-28T10:37:44","guid":{"rendered":"http:\/\/kinzangama.com\/news\/?page_id=2866"},"modified":"2018-03-13T02:26:12","modified_gmt":"2018-03-12T17:26:12","slug":"works-modern","status":"publish","type":"page","link":"https:\/\/kinzangama.com\/en\/works-modern\/","title":{"rendered":"Works modern"},"content":{"rendered":"

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\n\t\t\t\t\tClassic<\/span><\/a><\/p>\n
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\n\t\t\t\t\tModern<\/span><\/a><\/p>\n
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R<\/span>i<\/span>m<\/span><\/h2>\n
\u30ea<\/span>\u30e0<\/span><\/div>\n<\/p><\/div>\n
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With plates and bowls of this collection, you can enjoy collaboration with rim decorations of Kinzangama Kiln and foods in your daily life. Light grey color grounds of Kutani-style are kept inside so that you could enjoy meals with a folk and knife. Three choices of rim patterns are ready for you.<\/p>\n<\/p><\/div>\n

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\u30db\u30ef\u30a4\u30c8\u30d6\u30ec\u30b9
White Bless<\/h3>\n

Kinzangama Kiln is located in the middle of Kaga Plain, spreading from Sacred Mount Haku to Sea of Japan. In this \u201cWhite Bless\u201d collection, a pure and sacred light of the morning sun rising from mountains is drawn. Patterns drawn in white are typical in rim decorations of our plates with design of peacocks. Here only white and gold are adopted newly. Patterns in a pure white pigment on a light grey Kutani ground, having a slight contrast between light and shadow, give an elegant and sophisticated impression.<\/p>\n

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\u30a6\u30a9\u30fc\u30bf\u30fc\u30a2\u30a4
Water Eye<\/h3>\n

This is a plate \u201cFlying Carp\u201d, and it shows strength of life in the figure of a flying carp. Kinzangama Kiln has often used a carp as a motif like a carp swimming up a fall or a carp jumping up from a pond. Each plate has a rim decoration of water motif. It expresses ripples on a surface of water, small swirls, or reflection of light. Inherited the spirit in the pattern, we represent the beauty and brightness of the nature. This series have an elegant dark combination of colors, ripples and swirls in gold and blue silhouetted against black.<\/p>\n

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\u30ec\u30c3\u30c9\u30a2\u30e9\u30d9\u30b9\u30af
Red Arabesque<\/h3>\n

An arabesque pattern, which was originated in Ancient Greek, was introduced to Japan via the Silk Road, and it had been changed under the influence of various cultures. Kinzangama Kiln has also applied an arabesque pattern to many products such as sake utencils, incense burners, and vases. The red-enamel as if wet is one of the important features of Kinzangama Kiln, and we draw a floral arabesque pattern on the red ground in gold wishing for an eternal brilliance of life. This series of red and gold are especially gorgeous.<\/p>\n

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F<\/span>a<\/span>l<\/span>l<\/span>i<\/span>n<\/span>g <\/span>F<\/span>l<\/span>o<\/span>w<\/span>e<\/span>r<\/span><\/h2>\n
\u30d5<\/span>\u30a9<\/span>\u30fc<\/span>\u30ea<\/span>\u30f3<\/span>\u30b0<\/span>\u30d5<\/span>\u30e9<\/span>\u30ef<\/span>\u30fc<\/span><\/div>\n<\/p><\/div>\n
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An ornamented plate with overglaze flower patterns is one of the excellent works that have been passed down in Kinzangama Kiln. It is a gorgeous large plate with all sorts of seasonal flowers blooming in gold decoration. The plate allows you to feel a gentle breeze, a good smell, and dancing butterflies. It might be longings of craftsmen who have been waiting for a warm spring during a severely cold and long winter in Hokuriku district. Roses, magnolias, hydrangeas, and azaleas are selected in this collection, and they are arranged as if falling down from the heaven. As for the ground color, we use a technique called terepin turpentine oil tapping which is rarely seen today, and you could select from three colors; apricot, turquoise, and cocoa.<\/p>\n

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\u9152<\/span>\u5177<\/span><\/h2>\n
S<\/span>h<\/span>u<\/span>g<\/span>u<\/span><\/div>\n<\/p><\/div>\n
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All the items of this Shugu (sake wares) 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.<\/p>\n

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\u9152<\/span>\u5177<\/span><\/h2>\n
S<\/span>h<\/span>u<\/span>g<\/span>u<\/span><\/div>\n<\/p><\/div>\n
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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 (turpentie oil) tapping technique, which is rather rare recently, and kinmori series with gold painted convexly, which is one of characteristics of Kinzangama Kiln.<\/p>\n

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\u30df<\/span>\u30ed<\/span>\u30af<\/span><\/h2>\n
M<\/span>I<\/span>R<\/span>O<\/span>K<\/span>U<\/span><\/div>\n<\/p><\/div>\n
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Miroku-Bosatsu, Maitreya, is said to save the people in the world. This collection was named MIROKU in the hope that the fragrance of this small jar would save people, that is, make people happy. Here we would like to present you a new style MIRO KU, combining Japanese traditional incense with a small jar. Using a traditional technique called’tere-pin patting’, which is not so popular recently, we are expanding five-color variations. Besides, the technique called kinrande, paisting gold leaf, is applied to express delicate patterns. We make the best use of characteristics of Kinzangama Kiln, and enclose a sweet smell in the small world. <\/p>\n

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