ERI Tomoko (Kirikane artist)

　

Written by TOMIKAWA Kyōko

　

Kirikane (截金).
This technique was brought to Japan around the 6th century with the spread of Buddhism. The method, known at the time as “kashoku-shōgon (加飾荘厳)”, was developed to present the world of Buddha. It involves decorating the robes, lotus pedestals, and halos of Buddha statues with patterns made of finely cut gold or platinum leaf. Designs vary widely and include Shippō (七宝文 cloisonné) and Karakusa patterns (唐草文 arabesque) characterised by curves, and geometric patterns featuring straight lines. The aim is to express the majestic world of the Buddha.

After reaching its peak between the 12th and 13th centuries with the spread of Buddhism, Kirikane gradually faded along with the decline of Buddhist art. However, it regained attention in the 20th century. This resurgence was largely due to individuals such as SAITA Baitei (齋田 梅亭, 1900 – 1981), NISHIDE Daizō (西出 大三, 1913 – 1995), and ERI Sayoko (江里 佐代子, 1945 – 2007), who were designated as Important Intangible Cultural Assets (Living National Treasures) for their development of Kirikane in tea ceremony utensils and craftworks.

Artwork adorned with Kirikane on hinoki cypress, cedar, paulownia wood, or silk range from small items like palm-sized incense containers (香合 kōgō) to boxes of various size, framed artwork pieces, and even large panels or wall decorations exceeding 8 meters in width.

　

1.Inner sanctuary wall of the main hall (Kyōtokuji Temple, Ibaraki Prefecture)　　2.The Sakyamuni Triad (inner sanctuary of the main hall, Kyōtokuji Temple, Ibaraki Prefecture)　　3.Coffered ceiling (inner sanctuary of the main hall, Kyōtokuji Temple, Ibaraki Prefecture)

　 

　

ERI Tomoko, Bridging the Technique of Kirikane to The Present Day

ERI Tomoko (江里 朋子) inherited the technique from her late mother, the Living National Treasure, ERI Sayoko. “I started assisting my mother when I was 19 years old. Since I majored in Japanese painting in college, my mother suggested that I try colouring.” Gradually Tomoko transitioned from the task of laying gold leaf to learning Kirikane. “At first I didn’t think I could handle meticulous work like my mother’s, but as I gradually became able to do it, I found myself getting more and more absorbed in it.” As time went on she began to be involved in the production of pieces as her mother’s right-hand woman.

After marriage and childbirth, Tomoko participated in “The 58th Japan Traditional Art Crafts Exhibition”* , which was a public exhibition held by the Japan Kōgei Association in 2011. Her Kirikane adorned box, Kōge (皓華), won her the New Artist Award. It was her first exhibition in over 15 years of practicing Kirikane. “I actually wanted to exhibit the previous year, but I lacked the confidence to present a piece under my own name. However, in the end I exhibited a year later,” she remarked in her typically modest way.

One of Eri’s representative works are palm-sized incense containers (香合 kōgō). Delicate metalwork is applied to kōgō shaped in traditional Japanese forms such as hand-written knotted-letters (結び文 musubibumi), thread spools (糸巻き itomaki), arrow feathers (矢羽 yabane), and folding fans (扇 ōgi). When held in one’s hand, the charm of each piece evokes a smile. However, the appeal of Tomoko’s work is not limited to small items. In recent years, she has been involved in decorating the entire inner sanctuary of the main hall of Kyōtokuji Temple in Ibaraki Prefecture. At the same time, she has also been actively producing framed works of various size. She says, “I hope to widely spread awareness of Kirikane through artwork that fits contemporary lifestyles.”

In addition, Tomoko expresses a desire to challenge herself with the interior decoration of chapels in the future. She says, “While Kirikane has its origins in Buddhism, the aim of every religion is the pursuit of truth. I hope that through my artwork, you can feel the beauty of that world.”

　

1.Kōge (皓華), Tomoko’s Kirikane adorned box that won her the New Artist Award at The 58th Japan Traditional Art Crafts Exhibition　　2.Various small incense containers (kōgō (香合). All approximately 8cm in size)　　3.A framed Kirikane Artwork (Kōin (煌韻) 114.2×35 cm)

 　

 　

Kirikane Is an Art of Harmony. Do Not Let Your Ego Show

“Kirikane is a technique handed down by people who originally revered Buddhism. The true significance of Kirikane lies in enhancing the dignity of Buddha by embellishing the statues and paintings of Buddha. The harmony of the whole is crucial,” remarks Tomoko, who received guidance from her father, a Buddhist sculptor, ERI Kōkei (江里 康慧). “I have been taught not to let my ego come out nor to be in my own way.” She was told repeatedly that broadening one’s skills may expand the scope of production, but that the harmony of materials, patterns, and colour coordination is paramount.

Tomoko’s artwork begins with roughly sketching the desired shape on paper. “From these drawings, Kyoto’s highly skilled cabinet makers (指物師 sashimono-shi) cleverly interpret my intention and create three-dimensional shapes, which brings my designs to life. I am truly grateful for their cooperation.” Her soft Kyoto dialect seems to mirror her quietly beautiful artistic style.

 

Kirikane adorned box (Madoka no Sora (まどかの宙) D17.5×W17.5×H15 cm)

　

　

“The Beauty” Found in Everyday Life Serves as Inspiration

ERI Tomoko, who was born and raised in Kyoto, a city where many artists and craftspeople reside, recalls the unforgettable words she heard from the Living National Treasure in doll making, HAYASHI Komao (林 駒夫):

Lotus flowers bloom from mud.

The process of creation can be challenging at times, and there are moments when she laments her own lack of ability. “I am always thinking in the midst of chaos… But suddenly, the image of the artwork comes into view,” says Tomoko. She expresses her desire to maintain a fresh feeling of admiration and appreciation for beauty in everyday life.

At her atelier, located in a house in a residential area by the seaside in Hakata Ward, Fukuoka Prefecture, she can faintly hear the voices of students exercising in the nearby girl’s school grounds.

Quietly, steadily.

Tomoko adeptly applies gold leaf thinner than a length of thread, and today, delicate work continues as usual.

 　

　

　

　

Process of Kirikane

　

　

　　

　　

　

　

　

　

　

④ When decorating coloured wood, Kirikane is applied after the colour.

　

　

　

*Japan Traditional Art Crafts Exhibition… The largest and only exhibition in the field of crafts sponsored by the Japanese government.

　

　

LINK:
https://kirikane.net/

　

　

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