Kogei Dining


Kanazawa venue Kinjohro, Kanazawa City, Ishikawa Prefecture

Established in 1890, the traditional restaurant and inn Kinjohro has been regarded for 130 years as the Guest House of Kanazawa, presenting the luxury and classic splendor of the Kaga fiefdom’s historic culture through Kaga cuisine.
For this event, traditional Kaga cuisine is served with specially selected matching sake offered in vessels made by kōgei artists representative of Kanazawa.
Please enjoy these precious moments savoring old-time Japan to your heart’s content.


Period October 31st, 2020
Venues Kinjohro(2-23 Hashibacho, Kanazawa City, Ishikawa Prefecture
Program [ Talks ]
- Toshiaki Takegoshi, Member of Japan Art Academy; Professor, Kanazawa Gakuin University
- Mamoru Nakagawa, Ko¯gei artist,Holder of Important Intangible Cultural Property (Chasing), (Living National Treasure)

-Kazumi Murose, Lacquerware Artist, Holder of Important Intangible Cultural Property (Maki-e), (Living National Treasure)

[ Lunch ]
Traditional Kaga provincial cuisine accompanied with sake

[ Ko¯gei works viewing ]
Display and appreciation of works by 11 artists representative of Kanazawa

[ Display and visits at National Crafts Museum/Ishikawa Prefectural Museum of Art ]
Fee Participation fee: 20,000 yen per person (tax included)
The fee includes:
(1) Meal (lunch)
(2) Drinks(sake or soft drink served during the meal)
(3) National Crafts Museum and Ishikawa Prefectural Museum of Art entrance fee
Free shuttle bus service from Kinjohro to National Craft Museum and from National Craft Museum to Kanazawa station.
Kōgei works viewing Kōgei works display and appreciation session
– Displayed items are available for purchase.
– Purchased items can be mailed to you.

Speaker Profiles

※The work image is a part of the reference work.

中川 衛

Mamoru Nakagawa

Born in Ishikawa Prefecture in 1947, Nakagawa studied design at Kanazawa College of Art, then was employed as a product designer at an electrical appliance maker. At the age of 29 he encountered Kaga zōgan (Kaga inlay), a traditional art of Ishikawa Prefecture, and entered an apprenticeship under Kaishu Takahashi. Taking inspiration from scenery and other sights seen when travelling, he sublimates the Kasane Zōgan [multi-layer inlay] technique into unique designs. In recognition of the innovative and lyrical quality of his work, in 2004 he was designated as a Holder of Important Intangible Cultural Property (Chasing). Currently, he is also focusing his efforts on disseminating the traditional technique, and nurturing the rising generation of artisans at Kanazawa College of Art.

中川 衛 作品
武腰 敏昭

Toshiaki Takegoshi

Born in Ishikawa Prefecture in 1940, Takegoshi is the third-generation head of the renowned Kutani Ware Taizan Kiln, in operation since the late Edo period. Since completing his studies in industrial design at Kanazawa College of Art, Takegoshi has been creating porcelain objects, ceramic murals and environmental works applying his own pottery-making and glazing methods. While the traditional colors used in Kutani ware contain 50% lead, after many years of effort Takegoshi developed a lead-free glaze. He advocates the use of this glaze in lectures around the country as a representative of the Japan Lead-free Glaze Promotion Committee. He became a member of the Japan Art Academy in 2010, and since 2011 has been serving as Executive Managing Director of the Japan Fine Arts Exhibition (Nitten).

武腰 敏昭 作品
鎧塚 俊彦

Kazumi Murose

Urushi artist and designated a Holder of Important Intangible Cultural Property for Maki-e, Murose graduated from the Graduate School of Tokyo University of the Arts (Lacquer Art major). His works have won many awards,including the Governor of Tokyo Award at the Japan Traditional Crafts Exhibition, and are held in many collections including those of the Agency for Cultural Affairs, Tokyo University of the Arts,Victoria and Albert Museum, The Metropolitan Museum of Art, British Museum and others. In 2008 he received the designation of Living National Treasure, and the same year was awarded the Medal of Honor with Purple Ribbon. Currently he serves as Deputy Managing Director of the Japan Kōgei Association. In addition to his creative activities, he also engages in cultural property preservation activities, and actively participates in exhibitions and lectures both in Japan and overseas in order to convey the beauty and splendor of Urushi.

室瀬 和美 作品


※The work image is a part of the reference work.

  • 荒川 文彦

    Fumihiko Arakawa

    The distant universe and a variety of natural phenomena have long been the motifs for Arakawaʼs works. In recent years, he has taken up the challenge of making works using the kanshitsu (dry lacquer) technique, freely employing a variety of shapes to express geometrically concepts drawn from his love of the cosmos and other sources. He spends his days creating works that fully utilize the natural texture of lacquer and the silver inlay technique, while persevering with the nuritate coating method.

  • 市島 桜魚

    Ougyo Ichishima

    Ichishima studied a wide range of lacquer art, including decorative technics such as maki-e, hyōmon (metal sheet inlay) and raden (mother-of-pearl inlay) as well as lacquer coating techniques including honkataji-nuri (undercoating) under Living National Treasure, Shōgyo Ōba.

    蒔絵 刻 盤
    蒔絵 輪々椀
  • 大樋 年雄

    Photo:2020 Hungary Workshop at University Pécs

    Toshio Ōhi

    Born in Kanazawa in 1958, Ōhi completed an MFA at Boston University in 1984. He has been actively exhibiting his works centered around ceramics and kōgei art, while also working in interior design applying plastering techniques, exhibiting furniture designs at Salone Internazionale del Mobile di Milano (Milan Furniture Fair), and launching the brand ʻSi Ji Fang Tuʼ in China. When the Hokuriku Shinkansen line began its operation, Ōhi supervised the design of the interior of Kanazawa Station and the interior and exterior design of the tour buses. While continuing the tradition of Ōhi Ware, as a contemporary artist he is involved in a diverse range of activities both at home and abroad.

  • 川北 浩彦

    Hirohiko Kawakita

    Kawakita produces his work in the environment of the Yamanaka hot spring resort and the Yamanaka lacquerware production site in Kaga City, Ishikawa Prefecture. It is some 38 years since he joined his father, Ryōzo Kawakita, a designated Holder of Important Intangible Cultural Property, in his wood turning studio and, after 10 years, formed the desire to make woodwork his profession. With “making the most of the material” his fundamental concept, he spends his days creating works in a rich natural environment pursuing the capacities of wood turning techniques.

  • 高名 秀人光

    Hidemitsu Takana

    Vermilion and black are the predominant colors of lacquerware utensils that have been used from olden times as sacred vessels for offerings to divine beings. Vermilion represents the power of life and the Sun, while black is the color for the sky, symbolizing the world of complete darkness, or outer space. It is the artistʼs hope that viewers are able to feel the beat of life in the humble lacquerware utensils made using methods passed down in Wajima.


    ※It is a part of the work exhibited during production.

  • 武腰 一憲

    Kazunori Takegoshi

    Encountering civilizations different to that of Japan when he visited the oasis cities along the Silk Road, the pottery maker was greatly moved by his encounter with the grandness of time and space. His observation that the colors of the folk-clothes the local people were dressed in vividly reminded him of Gosai, the Five Colors, of Kutani porcelain, provided a strong impetus to express the moving experience through the making of Kutani ware. He is now dedicated to this as his lifework.

  • 武腰 敏昭

    Toshiaki Takegoshi

    Takegoshi has for some time been producing a wide range of items from objects as small as a guinomi sake cup, to environmental works such as porcelain walls and monuments. Since about 15 years ago, he has been researching and developing environment-friendly lead-free on-glaze colors, which he uses in all of his glazed works.

  • 中田 博士

    Hiroshi Nakada

    Nakata works on the premise that you develop yourself through the act of creating, and that fulfilment comes when one of your pieces means something to someone.

  • 山岸 大成

    Taisei Yamagishi

    These incense holders are made using the tatara slab-building technique with porcelain clay from Kutani. A seasonal flower is painted onto the surface of the bluish-white clay, characteristic of Kutani porcelain, with a traditional Kutani glaze noted for its sense of transparency. The theme of the piece is the fusion of the hard and linear form with a natural object in a deep color tone produced naturally by the climate of the Hokuriku region.

  • 吉田 幸央

    Yukio Yoshita

    Unexpectedly drawn to the delicate yet dense beauty of Kutani Ware that had been treasured and nurtured by his predecessors, Yoshita sought to establish his own style trying various modifications to the method called kinran-de, a technique which uses gold powder and foils for artistic expression, which has been passed down from generation to generation in the studio. He hopes to have this complex and time-consuming intricate method of applying gold find a place as a new form of expression in the modern style of life.

    金襴手彩色 小筥
    金襴手彩色 陶筥
  • 四ツ井 健

    Ken Yotsui

    Born in Kanazawa in 1962, after finishing high school Yotsui worked for a yuzen-dying studio in Kanazawa for ten years before becoming independent. Since then he has been able to engage freely in both production and sales activities. He performs his daily production work against an underlying thought process of what yuzen production can contribute to society. The motifs in his recent works are based on themes from nature encountered during his hobby of mountain climbing.




※This photo is a simulation.

Hors dʼoeuvres Tray: Kombu-wrapped Kanazawa Sweet Shrimp, Anglerfish with liver sauce, Japanese Ivory Shellfish, Grilled Taro and Gingko Nut on pine needle skewers, Red Turnip with Rice Bran Pickled Mackerel filling, Pressed Barracuda Sushi
Clear Soup: Sea Bream, Kaga lotus root dumpling, Matsutake in White Miso served in silver-rimmed Wajima Urushi bowl
Sashimi Course: Tuna, White meat fish, Tiger Prawn served on Ōhi Ware
Steamed Course: Steamed Turnip, with Tile Fish, Sea Urchin and Lily Bulbs
Grill Course: Wind-dried Noto Silver Pufferfish Served on Ikkanjin round Kutani Ware plate
Jibu Stew: Wagyu Beef served in Wajima Spring/Autumn Urushi Jibuni bowl
Rice Course: Hanamizuki Rice, freshly harvested Premium Noto Hikari rice with fragrant mushroomsserved with Japanese pickles and miso soup
Dessert: Pumpkin pudding, with Shusei Apple, Monbei Persimmon, and Kaga Roasted Tea Jelly

※Please note that the menu contents may change depending on product availability.


Applications for the event this year are closed.