YAMAMOTO Akane (kirikane artist)

 Written by TOMIKAWA Kyōko

　

　

　

　

The kirikane (截金) of YAMAMOTO Akane (山本 茜) shone brilliantly within the akane-coloured (茜色 crimson red) glass.
Simply gazing at it became a kind of radiant meditation.
How on earth is the lid of this glass incense container (香合 kōgō) made?
I could not take my eyes off this piece.
In 2017, I was invited by TSUCHIYA Yoshinori (土屋 順紀), a Living National Treasure of Monsha-weaving (紋紗 a fine gauze weaving technique that features intricate patterns), to visit an exhibition entitled “Hibikiau Bi (響き合う美 Resonating Beauty) – TSUCHIYA Yoshinori, MITSUKE Masayasu (見附 正康), YAMAMOTO Akane”.
It was here that I first encountered YAMAMOTO Akane.

　

Kirikane is an ancient art form that YAMAMOTO reimagined. In a technically brilliant feat of ingenuity, she found a way, for the first time in history, to encapsulate kirikane in glass, making it float in space and time. 
Delicate patterns of gold and platinum floating within transparent glass.
Kirikane, changing its expression like a kaleidoscope on the fine polished glass surface, dances an infinite diagonal twill pattern of light and brilliance.
Such is kirikane glass.

　

Originally, “kirikane” was referred to as “kashoku-shōgon (加飾荘厳)”, a decorative technique where thin, thread-like strips of gold or platinum leaf were used to adorn flat or three-dimensional representations of Buddha.
Although YAMAMOTO uses the same technique, she makes kirikane float within three-dimensional spaces. Inside solid glass, her kirikane patterns sparkle and dance.

　

I very much wanted to hear this person’s story, and my wish finally came true in the summer of 2024.

“It’s hot, isn’t it? Please, come in, come in.”
I was greeted by YAMAMOTO’s youthful voice.

The place I was invited into was a modern wooden house. I was surprised. It was immaculate and entirely free of dust.
“I’ve always loved animals, and I thought about keeping a cat. But since I work with kirikane glass, even the tiniest bit of fur is unacceptable. I wipe and clean the atelier every day.”

The studio is nestled in the mountains. The cicadas buzzed loudly, and the sun blazed down, but when I looked up, there was the green of the forest.
It is here that YAMAMOTO Akane engages with kirikane glass every day.

　

”Kiritsubo (桐壺 The Paulownia Pavilion)”, Chapter 1 of The Tale of Genji (φ14.2cm, 2013, deposit at Yoshizawa Memorial Museum of Art, Sano)
In gold coloured glass, the kirikane shines brilliantly. In the first chapter of The Tale of Genji, the protagonist, who was born as the Second Prince, is called “Hikaru Kimi” (光る君 The Shining Prince) due to his unparalleled beauty. From the original text, “玉の男御子さへ生まれたまいぬ (which can be interpreted as “A breathtakingly beautiful baby boy has been born”)”, the image of a radiant sphere descended.　

　

　

Following The Tale of Genji upon YAMAMOTO

YAMAMOTO, who attended a high school known for its excellence in science and math, originally planned to apply to Kyoto University. However, having been familiar with The Tale of Genji since childhood, when the time came to submit her final career counselling form in high school, she changed her preferred school to “Kyoto City University of Arts”.

“At that time, the ‘120th Anniversary of the Birth of UEMURA Shōen (上村 松園) Exhibition’ was being held. I was drawn to the beautiful poster and went to see it. The beautiful portrait of the woman in the twelve-layered ceremonial kimono (十二単 jūnihitoe) that I had often seen in my Contemporary Japanese Language textbooks―was painted by UEMURA Shōen! I was so captivated by her works that I changed my application to Kyoto City University of Arts, thinking, “I’m going to become like Shōen.””

YAMAMOTO entered Kyoto City University of Arts and majored in Japanese painting. However, during the mid-1990s, the Kyoto art scene was dominated by avant-garde Japanese painting.
For YAMAMOTO Akane, who aspired to the “the beautiful style of Shōen”, it was a difficult time. She took a leave of absence for a while, then changed her major to art reproduction.

　

“Utsusemi (空蝉 The Cicada Shell)”, Chapter 3 of The Tale of Genji　(H19.0×W44.0×D24.0 cm, 2019, private collection)
Genji, infatuated with a woman called Utsusemi, sneaks into her sleeping quarters. Realising this, Utsusemi leaves behind her garments as she departs. This work is inspired by the important item in Chapter 3 of The Tale of Genji―the kouchigi*1 garment. The folds of the garment are expressed through kirikane surfaces that form mountains and valleys. The kirikane patterns of saiwai-bishi*2 and fusenryō-mon*3 evoke the designs woven into the garment.
*1 Kouchigi (小袿) : Outerwear of high-ranking court ladies.
*2 Saiwai-bishi(幸菱) : A design that combines large and small four-petal floral diamond shapes (花菱 hanabishi) with smaller hanabishi shapes inserted in between, which are arranged in an alternating pattern.
*3 Fusenryō-mon (浮線綾文) : A twill weaving pattern that features “karahana (唐花 a Chinese-style flower)” arranged within a circle.

　

　

Kirikane Should be Made of the Same Material　　

From a young age, YAMAMOTO loved The Tale of Genji and believed that the culture of Japan during the Heian period (794 – 1185) was the pinnacle of beauty. She constantly sought to immerse herself in the spirit of that era. For her, transferring to the art reproduction department was undoubtedly a guiding force of destiny.
She continued her studies in art reproduction and eventually reached Heian Butsuga (平安仏画), Buddhist paintings from the Heian period.
“In these paintings, I noticed some incredibly beautiful patterns. That’s when I first learned about kirikane.”

In general, kindei (金泥 gold powder dissolved in gelatine-glue (膠 nikawa)) is used for reproducing kirikane, but YAMAMOTO thought,
“The artisans who made kirikane during the time these Buddhist paintings were created, would place their hands together chanting a prayer as they adhered each individual gold line. Their reverence for Buddha was deeply embedded in their work. As someone living in the present day, I can’t disregard that devotion.”
With this mindset, YAMAMOTO Akane decided to apply the same material used in the Heian period—gold leaf—and reproduce kirikane in the traditional way, feeling she had to preserve not only the artwork itself, but also the prayers of the artists from that time.

Thus, YAMAMOTO Akane approached the art of kirikane.

It was inevitable that she would eventually knock on the door of ERI Sayoko (江里 佐代子), a Living National Treasure of kirikane.

“Since I was born in Kanazawa, where gold leaf is produced, I had some basic knowledge. But, as it had been passed down in Kyoto, I had zero understanding of kirikane. Using books written by Ms. ERI, I taught myself the basics of kirikane, from making tools to the process of applying the leaf. I created my own works and sent them along with a letter asking Ms. ERI to teach me kirikane. In her reply, she told me to bring my tools and visit her atelier. That was the first time I met her.”

The moment they met, ERI Sayoko took YAMAMOTO Akane’s hand and said,
“Your hands are perfect for kirikane.”

From a young age, YAMAMOTO had enjoyed making things with her hands. Her slender hands had a slight gap between her index and middle fingers, a sign of dexterity, according to ERI.
Thus began the mentorship of this ‘destined newcomer’, who was said to have hands “perfect for kirikane”, by the Living National Treasure of KIRIKANE.
“From Ms. ERI, I learned more about crucial artistic sensibilities, such as where to place platinum to enhance the work, rather than just specific techniques,” YAMAMOTO recalled.

　

1. With a bamboo knife (竹刀 chikutō), she cuts out gold leaf. “Sometimes I cut lines thinner than 0.1 mm.” She carves out freehand lines even finer than a human hair.
2. Using Ise-katagami as tools (伊勢型紙 paper stencils for dyeing textiles), she carves intricate pieces of gold leaf  to create kirikane patterns.
3. In the serene atmosphere of her atelier, YAMAMOTO engages with kirikane every day. Due to the extreme sensitivity of kirikane to dust contamination, thorough cleaning on a daily basis is essential.

　

From Decoration to Expression of One’s Inner Landscape

Although YAMAMOTO Akane eventually embarked on the path of becoming a craft artist specialising in kirikane, she soon hit another wall. She came to realise that the fundamental nature of kirikane, in its limited decorative role, had always restricted artistic expression potential.

Could she create something entirely from scratch with her own hands?
Could she create an expressive world where her sensitivity permeates every aspect, without inconsistency?

YAMAMOTO became driven by the desire to liberate kirikane from its purely decorative role and turn it into the central focus of her artwork.
Filling her with a sense of impatience, this desire was overwhelming.
The dictionary defines decoration as something added to the surface of an object at the end, but for YAMAMOTO, kirikane became something more―it was both the beginning and the end, both surface and essence, both object and spirit, an entirety of everything unto itself. Gradually, a flame ignited within her, driving her to create kirikane that encompassed all these dimensions.

　

Kirikane Glass Incense container “Konpeito” (H5.5×W5.6×D6.5cm, 2022, collection of Kanazawa Nakamura Memorial Museum)
A lidded glass container shimmering in seven colours. The pattern, inspired by the “Sugar Plum Fairy” costume from the ballet The Nutcracker, is rendered in kirikane with gold and platinum. The high transparency of the glass and the effect of the cut surfaces cause the intricate kirikane to appear reduced and more detailed, reflecting on various surfaces like a kaleidoscope.

　

　

To Make Kirikane ‘Float’

How could she shape her “self-expression” in a way that allowed the beauty, strength, and delicacy of kirikane to coexist?

“At first, I wanted to make kirikane float in midair.”

“I thought about separating kirikane from the surface of the objects it decorated. If I could make kirikane float, it would become the main focus.”

What she arrived at was the idea of encapsulating kirikane inside a three-dimensional, transparent material―glass.

After her term as a part-time lecturer at Kyoto University of the Arts ended, YAMAMOTO enrolled in the Toyama Institute of Glass Art, determined to fully master the material of glass.

“My professor laughed and said it would be difficult and almost impossible.”

She experimented with various techniques, including hotwork (glassblowing ), kilnwork (glass melted in an electric furnace), coldwork (polishing, decorating, and engraving), flamework, and stained glass, integrating kirikane into each.
Eventually, she discovered the casting technique, which made kirikane shine most beautifully.

　

In a separate atelier dedicated to glass polishing and fusion, six polishing machines are lined up. Each piece undergoes an astonishing number of polishing processes to achieve its final shine. “Accurate flat surfaces are required, so I fine-tune the machines every time they are used,” says YAMAMOTO. This meticulous attention to detail results in the ultimate transparency.

　

　

As an Artist and a Scientist: A Seeker on Two Paths

The remarkable aspect of YAMAMOTO’s work lies in her ability to make what was once considered impossible, possible.

She fuses two pieces of glass, one of which is adorned with kirikane.
How incredibly difficult this is.

Let us think about it.

To fuse another piece of glass to the surface where kirikane has been applied, the glass must first be liquified. When glass becomes liquid, it expands and causes convection, which distorts the kirikane patterns on the bonding surface.
Additionally, as the melting point of glass varies depending on its colour, precise calculations are required according to the colour of the glass being fused.

The three-dimensional form is also a key element of YAMAMOTO Akane’s work.

To ensure the kirikane appears to float no matter the viewing angle, she cuts the surface of the glass at various angles.

While flat surfaces create a prism-like optical effect, curved surfaces produce a lens effect.
Furthermore, to make the embedded kirikane shine brilliantly, an extreme level of polishing is required.

YAMAMOTO Akane has kept detailed records of every single piece she has created, including prototypes.
“Unless I make prototypes that are the same size as the actual piece, I can’t collect accurate data. Even a slight difference in weight or a tiny miscalculation can result in air bubbles. It’s been about 14 years since I started making kirikane glass, but I still encounter a lot of failures,” she says modestly, with a laugh.

Yet this rigorous seeker of perfection has, in just over ten years, reached an unprecedented frontier that humanity has never before achieved.

　

In creating kirikane glass, which sometimes involves handling several tens of kilograms of glass, YAMAMOTO chuckles, “I was advised by Ms. ERI not to carry heavy objects due to the delicate touch needed to create kirikane. It is only here that I might not always follow her advice.” It must be hard work for a slender body like hers.
The various sizes of electric kilns she has are necessary to match the size of the work she wishes to create. She spares no expense in investing in equipment to bring new beauty into the world.

　

　

The Beginning of The Tale of Genji Series

Having mastered the technique of kirikane glass, YAMAMOTO Akane decided from the very beginning that the main theme of her work would be The Tale of Genji.
“If I were to create something, it had to be Genji. As soon as I thought that, the images just popped into my mind one after another.”

“For each chapter, I have a clear and solid image in mind. I want to stay true to that image when I create. However, there are still some pieces I can’t yet start because I lack the necessary technical skills and preparation. I’m not creating the chapters in order from first to last.”

With each new piece, the technical difficulties have increased, and the works have evolved into more complex and challenging creations.
“I think the last one will probably be ‘Yume no Ukihashi (夢浮橋 The Floating Bridge of Dreams)’. I imagine I’ll need a kiln big enough for me to fit inside to create it,” she says with a playful smile.

　

1. In the separate atelier where kirikane work is done, there is a bookshelf lined with books related to The Tale of Genji. “When applying kirikane to glass, it takes time to dry. During that time, I revisit one of the chapters from Genji to expand my imagination anew.”
2. On the handmade shelves, boxes containing gold leaf pieces cut into various patterns are lined up. In addition to cone-shaped and spindle-shaped pieces, there are also petal-shaped and crescent-shaped gold leaf fragments.
3. There is a tropical fish aquarium in the atelier. “I become so absorbed in kirikane work that I lose track of time. When I work intensively, my eyes get tired and start to blur. At such times, I watch the guppies or feed them to give my eyes a rest.”

　

Currently, Yamamoto is working on a piece for her Tale of Genji series, Chapter 18, titled Matsukaze (松風 Wind in the Pines).
She melts glass with various colours, such as blue and green, and cuts it into pieces that represent undulating ocean waves.
Applying kirikane to each surface, she deliberately varies the thickness of the lines to create a sense of rippling waves. Using a much thinner gelatine-glue than that used on wood or silk, she applies kirikane to the smooth glass surface.




“In Chapter 18, Matsukaze, there is a scene where Akashi no Kimi leaves her familiar home in Akashi and heads towards Kyoto by boat. The wavering kirikane represents her anxious heart. After all the glass pieces are fused together, I will carve the final shape to evoke images of a floating log or a boat.”

She has already spent a year and a half on this piece.
The boat carrying Akashi no Kimi has been rocking on the water for 18 months, but has still not reached Kyoto.

“I’ve completed 22 works out of the 54 chapters of The Tale of Genji. I am focused on completing all 54 chapters.”

There are 32 chapters left to go.

“Even if I make one piece per year, it will take 32 more years. I can’t afford to waste a single moment, so I put all my energy into my work.”

　

In the working scene of her new piece, The Tale of Genji Chapter 18, “Matsukaze (松風 Wind in the Pines),” YAMAMOTO created a full-scale model from Styrofoam based on her initial sketches. From this, she developed a detailed blueprint. The effects of the cut surfaces are meticulously calculated, including refraction indices, light extension ratios, and incident angles. This is where YAMAMOTO’s scientific knowledge comes into play. Kirikane is applied to the mirror-polished glass surfaces using extremely thin gelatine-glue. The process is breathtakingly delicate.

　

In the autumn, deer call out in the mountains of Kyoto where YAMAMOTO’s atelier is located. Fostering the continuous creative evolution of kirikane glass this place filters out the modern world appropriately, preserving the flow of time from the Heian period. In this land, in this atmosphere, YAMAMOTO Akane breathes the spirit of kirikane into glass.

After listening to her for a long time, I glanced at the guppies swimming in their aquarium, realising that these charming tropical fish were like living kirikane. In the water they danced, kaleidoscopic light and brilliance, infinite patterns embodying living kirikane.

Perhaps one day, YAMAMOTO might even attempt to make kirikane swim within fluid glass, or she may master the art of making kirikane float in midair.

This vivid and graceful vision lodged itself within me.

　

　

Profile of YAMAMOTO Akane:

1977　Born in Kanazawa City, Ishikawa Prefecture, Japan
2000-07　Studied kirikane under ERI Sayoko (江里 佐代子), holder of the title of Important Intangible Cultural Property for her kirikane work
2001　Graduated from the Nihonga (Traditional Japanese Painting) Course at the Department of Fine Arts, Faculty of Fine Arts, Kyoto City University of Arts
2002-08　Lecturer at Kyoto University of the Arts
2008　Selected at The 55th Japan Traditional Art Crafts Exhibition (the artwork “Amanogawa (天の川 Milky Way)” was purchased by Imperial Household Agency)
2009　Awarded the New Comer Prize at The 38th Japan Traditional Art Crafts Kinki Region Exhibition
2010　Kyoto Art Craft Biennale (as guest artist)
2011　Graduated from the Glass Certification Studies Program, Toyama City Institute of Glass Art. Received the Grand Prize at the graduation exhibition.
　　　Awarded the Japan Traditional Art Crafts Kinki Region Director Prize at The 40th Japan Traditional Art Crafts Kinki Region Exhibition
　　　Awarded the Asahi Newspaper Prize at The 23rd Japan Traditional Art Crafts -Shokougei Bukai- Exhibition
　　　Awarded the Gold Prize at The 6th Snow Design Competition
　　　Solo Exhibitions (Gallery NOW (Toyama), Takashimaya Kyoto Store (Kyoto), and Matsuya Ginza Department Store (Tokyo))
2013　Awarded the Kyoto City New Artist Award
　　　Awarded the Honourable Mention at The International Exhibition of Glass Kanazawa 2013
　　　Solo Exhibitions (Gallery Ginza ARTONE (Tokyo), Takashimaya Osaka Store (Osaka) and Daiwa Kohrinbo (Ishikawa))
2014　Awarded the NHK Chairman Prize at The 61st Japan Traditional Art Crafts Exhibition
　　　Held a kirikane workshop in Ishikawa Prefectural Museum of Art
　　　“Nihon Kaoku ni Miru Shihō no Kyōen: Shitsurae no bi (Treasures in Japanese Houses: the Beauty of Installations)” exhibition at Rakusuitei Museum
　　　“Coalescent Kōgei: Future of Tradition through Encounters” exhibition at Wako Hall, Tokyo
　　　TEFAF Maastricht (Netherlands)
　　　Pavilion of Art & Design London (UK)
　　　Masterpiece London Art Fair (~2021, UK)
　　　The Salon: Art + Design (USA）
2015　Awarded the Special Award at the 35th Traditional Japanese Culture Pola Award ceremony
　　　Held a kirikane workshop at Panasonic Shiodome Museum of Art
　　　“Bijutsu de Tadoru Monogatari (A Tale Told through Art)” exhibition at Takasaki Tower Museum of Art
　　　“Gendai Kōgei no Suki ― Wabi/Chabi (Contemporary Artistic Crafts: the Aesthetics of Japan and Tea)” exhibition at Somé Seiryukan, Kyoto
　　　“Rūtsu wa Yamato-e (Yamato-e as the Origin)” exhibition at Yoshizawa Memorial Museum of Art, Sano
　　　Solo Exhibitions (Gallery NOW (Toyama) and Art Gallery in Takashimaya Osaka Store (Osaka))
2016　Awarded the Honourable Mention of The 34th Kyoto Prefecture Cultural Award ceremony
　　　Awarded the Excellence Award at the 400-year Commemoration of Rimpa Art ceremony: Selected Works at The New Artists, Rimpa Forever Exhibition
　　　Awarded the Kyoto Prefecture Akebono Award
　　　IKI・SUI Exhibition at Somé Seiryukan, Kyoto
　　　The Tale of Genji Exhibition: The DNA of Elegance at Kochi Literary Museum
　　　“Contemporary Japanese Crafts: The Kikuchi Kanjitsu PrizeⅡ” exhibition at Musee Tomo, Tokyo
　　　Solo Exhibition (“Saio no Tabi (Trip of Saio)” at Art Gallery of Takashimaya Nihonbashi Store, Tokyo)
2017　“Original×Real 2017: Contemporary Japanese Fine & Crafts” exhibition by five Art Clubs (Tokyo, Osaka, Kyoto, Nagoya and Kanazawa)
　　　“Hibikiau Bi (Resonating Beauty)” exhibition at Gallery NOW, Toyama
2018　“Glittering Crafts, Shining Nihonga” exhibition at Yoshizawa Memorial Museum of Art, Sano
2019　The 21st MOA Okada Mokichi Award exhibition at MOA Museum of Art (Shizuoka)
　　　The art fair Masterpiece London 2019 (the artwork “Leaf Boat” was purchased by the British Museum)
2020　Awarded the 33rd Kyoto Fine Arts Culture Award
　　　“Special planed Contemporary Japanese Crafts: Reinterpretation, Exquisite Craftsmanship, and Aesthetic Exploration” exhibition at Panasonic Shiodome Museum of Art
　　　“Elegant luster of gold -Decoration of Kirikane technique-” exhibition at Ishikawa Prefectural Museum of Traditional Art
2021　“The 33rd Kyoto Fine Art Culture Award Memorial Exhibition” at The Museum of Kyoto
　　　“Special planed Contemporary Japanese Crafts: Reinterpretation, Exquisite Craftsmanship, and Aesthetic Exploration” at Miyazaki Art Center (Miyazaki) and at Asahi Group Oyamazaki Villa Museum of Art (Kyoto)
　　　Solo Exhibition (“Akane Yamamoto－the decade of the Kirikane Glass－” at Art Gallery in Sogo Yokohama (Kanagawa) and in TAKANAWA-KAI (an exclusive sales event by Sogo & Seibu))
　　　“MIYABI” exhibition at Yoshizawa Memorial Museum of Art, Sano
　　　Awarded the 1st Classics Day Prize
　　　“GAMEN NO MONDAI” exhibition at Yoshizawa Memorial Museum of Art, Sano
　　　“Thirty Years of Toyama Institute of Glass Art: Forms for the Future” exhibition at Toyama Glass Art Museum
　　　Contemporary Women Artists of Japan: Six Stories Exhibition at the British Museum
2022　“Special planed Contemporary Japanese Crafts: Reinterpretation, Exquisite Craftsmanship, and Aesthetic Exploration” traveling exhibition at Matsuzakaya Art Museum in Nagoya, Aichi
　　　Harmonious Glass Art of East and West exhibition at Hakone Venetian Glass Museum
　　　Kōgei and the Future: The 22nd MOA Okada Mokichi Award exhibition , MOA Museum of Art
2023　Agency for Cultural Affairs’ Cross-Disciplinary Exchange Project: “Dialogue Across Different Fields of Traditional Crafts“
　　　Kissako -Passage of the Seasons through the Art of Tea- exhibition at Kanazawa Nakamura Memorial Museum
　　　Heroes & Heroines exhibition at Yoshizawa Memorial Museum of Art, Sano (Tochigi)
　　　“Japan-China-Korea Craft Exhibition – Harmony amid Diversity” in Jeonju, Korea
            The Ishikawa Hyakumangoku Cultural Festival 2023 “Kanazawa Nakamura Memorial Museum Special Exhibition Kanazawa’s Aesthetic Sense ~ Masterpieces related to Kanazawa ~” at Kanazawa Nakamura Memorial Museum (Ishikawa)
2024　“THE TALE OF GENJI: Unfolding Narrative of Art and Culture from the Past to Modernity” exhibition at the Tokyo Fuji Art Museum
　　　“Mastering the Art: Exploring the Cultural Messages Connoted in Japanese Works” exhibition at the former headquarters of the Imperial Guards, Tokyo

　　

Public Collections of major artworks

Imperial Household Agency, Toyama Glass Art Museum, Nakaya Ukichiro Museum of Snow and Ice, Yoshizawa Memorial Museum of Art, Sano, British Museum, Kanazawa Nakamura Memorial Museum

　

LINK:

https://akane-glass.com/
 　

　
Photographed by TODOROKI Azusa

　

　

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