樋渡 賢　

"Three Sparrows" Makie Sake Cup

In winter, sparrows puff out their feathers and look so cute and round—we call them 'Fuyu-suzume' (winter sparrows) or 'Fukura-suzume' (puffed sparrows) in Japan, don't we? The sparrows on this sake cup are from autumn, before winter arrives, so they aren't plump just yet. Since the bountiful autumn is a very active time for them, I tried to realistically capture that lively sense of movement.

Even when you observe them closely, sparrows move so fast that it’s hard to tell exactly how they’re moving, isn't it? While I'm working with the makie, I find myself imagining things like, 'I bet they spread their legs wide and dig their claws in to stay steady when they land.

Actually, out of all birds, the sparrow is my absolute favorite. Their colors—brown, white, and black—are simple, but they’re so beautiful, and those dark patches on their cheeks are just so cute. They have a very Japanese feel to them, and since they’re everywhere, they feel close and familiar.
I’ve depicted them using only lacquer, gold, and silver. I don’t use any colored lacquers. Instead, I carefully choose different metals to place side by side, vary the size of the metal powders, and balance them with the lacquer. By doing this, the way the light reflects and the way the silver naturally tarnishes creates subtle changes—sometimes the feathers look a bit bluish, and other times they take on a warm skin tone.

"Flocking Sparrows" Makie Tea Caddy

I imagined a scene where sparrows have come to the rice fields to peck at grain after the autumn harvest.
There are still plenty of fallen ears of rice on the ground, which tells us it was a bountiful year, doesn't it? Since sparrows have always moved in flocks, they are seen as symbols of prosperity and good harvests—very lucky charms.

For this tea caddy, I used the same makie techniques as the "Three Sparrows Makie Sake Cup" to depict them realistically. I draw them based on the impressions I get from observing them, so I adjust the balance as I go—maybe making the wings a bit longer or the heads a little larger.

On the lid, I’ve depicted sparrows spreading their wings as if dancing with joy over the harvest. On the lower part of the caddy, you can see them flocking together to peck at the golden fallen ears of rice.

When you open the lid, you’ll find gold hirame-fun (flat-grained powder) scattered across the inside of both the caddy and the lid. This represents the joy that comes with a great harvest.

If you place the caddy on a gold-leafed board, the light reflects upward as if it's glowing from below, making the fine gold powder—meant to look like fallen rice—shimmer beautifully. On the other hand, if you use a black board, the shine of the gold rice becomes more subdued, and the fine patterns of the sparrows stand out.

In a tea room, the tatami mats are close to a golden color, so the caddy might look like it’s glowing. During the appreciation of the utensils in the tea ceremony, you’ll be holding it in your hands; depending on the angle, the sparrows may appear to rise to the surface.

"Flocking Sparrows" Makie Grand Tea Caddy

For this grand tea caddy, I’ve depicted the sparrows as stylized patterns rather than realistic figures. I created three or four different poses for the birds and arranged them in a repeating sequence.
The background pattern is called Heijin (one of the techniques of makie). I was inspired by the makie styles often seen in the Heian period—I really love that kind of atmosphere. After the autumn harvest, the air in the fields feels a bit dusty, doesn't it? When the sunlight hits that dust, it sparkles. I wanted to express that specific scene using the Heijin technique.
My hometown is Akita, surrounded by rice fields. For me, autumn always brings back memories of the scent of harvest and that dusty air. Seeing flocks of sparrows gather in such a place is a symbol of a bountiful harvest and good fortune.

There are many ways to express things in makie. While realism stays close to natural forms, stylizing a design makes it feel a bit more charming and creates a sense of rhythm through repetition.
Since stylized patterns aren't too "raw" or lifelike, I think they offer a sense of comfort. Considering how a large tea caddy is used—especially at a tea gathering with many guests—a realistic depiction can sometimes feel too intense.If it's a pattern, everyone can simply enjoy it, thinking, "Oh, look, sparrows."
It also makes it easier to harmonize with other tea utensils.

I made the interior of the caddy pure black. The black of lacquer has a depth that seems to draw you in—the Japanese word shikkoku (jet black) truly describes that world. I think it will look beautiful when the green mound of matcha is placed inside this deep blackness.
The design allows you to close the lid in any position without worrying about the pattern.

As with this caddy, my personal taste leans toward a sense of refined tranquility and calm. To me, something flashy feels like it’s already reached the "finish line."

As with this caddy, my personal taste leans toward a sense of refined tranquility and calm. To me, something flashy feels like it’s already reached the 'finish line.' On the other hand, things that possess a subdued, refined depth have a certain breadth to them. They allow the viewer to let their mind wander back and forth. I believe that kind of expression offers a deeper sense of enjoyment."
Sometimes, there aren't enough words to perfectly describe what’s right in front of us, so we try different words just to get a little closer to it. I feel that very process is where true "depth" lies.