by Simon Pilling, specialist in Japanese lacquer ware
Lacquer – the most perfect and finest objects ever issued from the hand of man (Louis Gonse, L’Art Japonais, 1900)
Lacquer ware has traditionally defined arts of Japan in the West – the western name ‘japanning’ once having as powerful a resonance as ‘china’ still has in defining the art from Japan’s larger neighbour.
Traditional lacquerware is known by its surface finish – frequently highly reflective, with exquisite surface decoration in the form of makie and inlay.
The work of innovative contemporary artist Fujino Seiichiro is inspired by looking beneath the surface, to surprise and intrigue in the relationship between finish and core. It is a contemporary approach that seeks to find the essence of our fascination with an object, exploiting the tension we sense between outer coating and something quite different that lies within.
In his Standing Tray a wooden core, that forms the foot of the piece, has been powerfully worked and carved to create a primitive solidity. Some areas are simply coated with lacquer while others are highly worked polished surfaces incorporating coloured and metallic finishes. The tray of the stand, at first sight a regular plane, has a subtly complex and visually very satisfying geometry. Its surface incorporates distressed silver leaf whose patterning could be read as the memories of precious items displayed in the past.
Two Vessels – entitled Jiju (cross) and Masu (measuring container) show a complex balance of geometry and texture that draws the viewer in to their mysterious, primitive forms, given great life and depth by the use of red and metallic finishes.
Fujino’s current work Iwahai Ryuten explores the traditional tea-bowl, chawan, – a vessel that expresses a central traditional element of Japanese life – the Way of Tea. The bowl is first carved from a single piece of camphor, contrasting smooth with rough in a range of textures to create a complex form with great tactile quality that sits naturally in the hands. Lacquering enhances the textures, adding colour and metallic reflection, in a transparency that never eclipses the core material.
The full depth of Fujino’s pieces reveal themselves slowly, prompting speculation regarding both intent and technique.
Simon Pilling, MA, RIBA, FRSA is a graduate of Sotheby’s MA in East Asian Art and is based in London, UK. He is a member of the Asian Art in London group of dealers and specialises in 20th century and contemporary Japanese lacquer.
Simon Pilling East Asian Art & Interiors
PO Box 40062 London N6 6XB
Comments
I loved this article. I had the great pleasure of witnessing a Master Japanese Laquerer when I visited Japan. The intention toward one accord with each piece is a true wonder!
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Interesting piece, Simon. Fujino’s work offers a compelling counterpoint to the Western fascination with lacquer’s glossy exterior—that tension between the raw, carved core and the polished surface gives the objects a kind of quiet, ancient energy. I love how he invites us to question what we’re really drawn to in a vessel: the coating, or what lies beneath it. It also got me thinking about how technology is reshaping our perception of craft; tools like generador imagenes ia gratis can help us experiment with textures and finishes in new ways, yet they still can’t replicate the tactile depth of a hand-carved chawan. Thanks for shedding light on such a thoughtful contemporary artist.
This is such a fascinating piece on Fujino Seiichiro’s work. I love the idea of exploring the tension between surface and core — it’s a reminder that the most compelling objects, much like good stories, reveal their depth gradually. The way the Standing Tray balances raw carved wood with polished, metallic finishes sounds almost paradoxical, yet that contrast is clearly what makes it so magnetic. It also makes me think about how much patience and technical mastery goes into this craft, much like the careful step-by-step process you’d find in a detailed guide such as gothic 1 remake schlösser knacken lösung — all about methodical attention to detail. Thank you for sharing this perspective on contemporary lacquerware; it certainly deepens one’s appreciation for both the tradition and the innovation happening within it. I’ll be keeping an eye out for more of Fujino’s work.
This is such a fascinating perspective on lacquerware. The tension Fujino creates between the polished, reflective surface and the raw, carved core really challenges us to think about what draws us to an object—not just its exterior beauty, but the story and materiality beneath. I love the idea of the distressed silver leaf on *Standing Tray* reading as “memories” of past displays; it gives the piece a quiet, layered history. And his exploration of the *chawan* in *Iwahai Ryuten* sounds like a beautiful continuation of that dialogue between tradition and contemporary expression. It makes me want to learn more about how artists balance heritage with innovation. For anyone interested in broader discussions of craft and material culture, I recently came across a thoughtful resource at RoboLibrary Landing Page that complements these themes well. Thank you for sharing this insightful look into Fujino’s work and the enduring depth of Japanese lacquer.