The First Master of Heaping Gold Painting and Aochibu Technique: The Third Generation, Kingyoku Nakada

In Kutani ware’s local area, the blue-grain is referred to as "aochibu." This decorative method involves densely applying tiny dots to create raised, intricate patterns as part of the overglaze technique. Besides blue, other variants like shirochibu (white dots) and kinchibu (gold dots) are also used.

The aochibu technique in Kutani ware is believed to have originated during the Taisho era. At that time, it was primarily used as part of decorative elements. For instance, in works created by the first-generation Kingyoku, who was the grandfather of the third-generation artist, this method featured in the detailed designs of kimono patterns on painted figures, often using shirochibu (white dots) to enhance the visual texture.

A piece from the mid-Showa period created by the first-generation Kingyoku.

The shirochibu (white dots) technique was used as part of kimono patterns.

It was the second-generation Kingyoku who elevated the aochibu technique to prominence. He devoted himself to perfecting both aochibu and the Heaping Gold Painting methods. While other artisans also used blue and gold dots, they typically aligned them in straight lines, a practice known as bou-uchi (line striking). The second-generation Kingyoku innovated by developing uzu-uchi (whirl striking), a style where densely placed dots form spiral patterns, creating a unique, dynamic visual effect.

The aochibu technique features precisely aligned dots that, while orderly, create the impression of swirling patterns.

The style of creating patterns with Heaping Gold Painting and surrounding them with swirling aochibu dots was established by the second-generation Kingyoku Nakada. This approach is characterized by intricate, dynamic compositions that combine gold relief with dense, spiral dot work. The third-generation artist, Kingyoku Nakada, has inherited and continues to uphold this distinguished artistic tradition.

How Does third-generation Kingyoku Nakada Create Aochibu?

How does the third-generation Kingyoku Nakada align the tiny dots so meticulously to achieve the beautiful spiral patterns of the aochibu technique? For dot placement, he uses a tool called "itchin", which has a hole at the tip. Mixed pigment is loaded into this tool, and each dot is precisely applied, resulting in intricate, flowing patterns that showcase his masterful skill.

The itchin tool, shaped like a pen, is used for the meticulous placement of dots in the aochibu technique.

One might imagine that the itchin tool is used like a piping bag filled with cream to decorate a cake, but that isn't the case. The process is more precise and involves carefully placing each dot to create the desired pattern.

"The paint isn't squeezed out," explained the third-generation Kingyoku Nakada in a gentle tone. "The liquid paint falls from the tip of the itchin." This illustrates the delicate nature of the process, where gravity and control play a significant role in creating each tiny, precise dot.

Keeping the tip of the itchin tool pointed downward allows the liquid paint to keep flowing. To control this, after applying a single, tiny dot, the artist raises the tool’s angle to stop the flow. This process is repeated rhythmically. 

The collection of these minuscule dots, each applied in a moment, forms patterns that are nearly uniform in size and spacing. The end result is a striking spiral pattern, showcasing an incredible level of precision and skill—truly a master’s touch.

I also asked another question that came to mind: does he use a draft or guidelines when creating the spiral patterns?

“I don’t use guidelines,” explained the third-generation Kingyoku Nakada. “Once I decide on the center point of the spiral, I place the dots continuously and complete the spiral in one go.”

No drafts are used. The spirals are drawn freehand.

By moving the itchin tool with a steady rhythm, it becomes possible to apply uniform dots at consistent intervals. However, this rhythm can change subtly each time. Therefore, no design is used; instead, the artist follows the natural rhythm of the moment to complete a single spiral. When you realize that each spiral intertwines to create a cohesive and unique artistic world, it's hard not to be deeply impressed.

What is the other star, the Heaping Gold painting technique?

Heaping Gold Painting is a method where the design is first built up with thick lines of bengara (red ochre pigment) to create a raised surface, which is then overlaid with gold. This base material, bengara, is challenging to handle; if not applied correctly, it can result in uneven lines or a bumpy surface, diminishing the beauty of the final gold layer. 

The gold itself is difficult to work with due to its poor glide, requiring advanced skill for a smooth finish. Even the third-generation Kingyoku Nakada acknowledges the significant difficulty of mastering this technique.

The gold itself is difficult to work with due to its poor glide, requiring advanced skill for a smooth finish. Even the third-generation Kingyoku Nakada acknowledges the significant difficulty of mastering this technique.

He sources 24-karat gold from Kanazawa and grinds it himself to create the gold pigment for his artwork.

“Both bengara and gold are difficult to handle. Additionally, when layering gold over a design drawn with bengara, maintaining the same brush pressure as with the bengara is essential for a clean finish, which makes it extremely challenging,” explained the third-generation Kingyoku Nakada.

The Heaping Gold Painting technique by the third-generation Kingyoku Nakada is highly regarded for its exceptional beauty.

He pays close attention to the base layer, ensuring the "painting" beneath is carefully prepared.

While it's easy to focus on the aochibu and Heaping Gold Painting techniques, the base layer also deserves attention.

"This base is a matte black, a color my father, the second-generation Kingyoku, meticulously developed. Though it uses Western-style pigments, it is also challenging to handle," explained the third-generation Kingyoku Nakada.

With the complexity of managing bengara, gold, and even the base paint, it's evident that each component demands exceptional skill.

A smooth, even base layer enhances the beauty of both the aochibu dots and the Heaping Gold Painting.

“If the base layer isn’t applied properly, unevenness can occur. If the base is uneven, the beauty of the aochibu dots and Heaping Gold Painting won’t stand out. That’s why I can’t afford to neglect the base painting process,” explained the third-generation Kingyoku Nakada.

Passing on the Craft and Striving Beyond

The third-generation Kingyoku Nakada took on the title after about seven years of apprenticing under the second generation. He mastered techniques such as aochibu, Heaping Gold Painting, and base coating, preserving and refining these inherited skills. 

Over ten years after assuming the title, he has reached a point where he can also explore his own artistic expressions. Let’s take a look at the new artistic challenges that Kingyoku Nakada has embarked on.

- Whirl Striking with Open Spaces -

Previously, whirl striking filled all available space, but the third-generation Kingyoku Nakada has created pieces that feature partial whirl striking, incorporating empty space.

“This approach is influenced by the Rimpa school (a decorative art style that flourished during the Edo period). I became a fan of Rimpa after encountering its art and wanted to incorporate its elements into Kutani ware. That led me to experiment with whirl striking that leaves space,” he shared.

The filled aochibu offers overwhelming beauty, while the open spaces create a captivating, subtle resonance.

- White Decoration -

White Decoration involves applying raised patterns using white pigments and surrounding them with shirochibu (white dots). This technique exudes a graceful elegance, distinct from the opulent brilliance of Heaping Gold Painting.

- Bengara Base -

The distinctive red base used in some of Kingyoku Nakada's works is created with bengara. Initially used for building up layers in Heaping Gold Painting, Nakada was drawn to its color and began incorporating it as a base. However, bengara is difficult to work with due to its quick drying properties, making it more challenging than the matte black base. This extra effort imbues the final piece with an impressive aura.

While the second-generation Kingyoku focused on aochibu and gold relief, the third-generation has expanded the potential of these techniques, delighting Kutani ware enthusiasts.

When asked what he currently finds most enjoyable to create, the third-generation Kingyoku Nakada answered, “figurines.” These are ornamental figures, much like maneki-neko (beckoning cat statues), which carry a symbolic and decorative charm.

Applying aochibu dots and Heaping Gold Painting on the uneven and complex surfaces of figurines demands a higher level of skill, which is where Kingyoku Nakada finds fascination. This challenge embodies his spirit of innovation and pursuit of mastery.

Thoughts on Creating Art

“I make sure not to become self-absorbed. It’s not enough for me alone to be satisfied; I strive to maintain an objective perspective,” says the third-generation Kingyoku Nakada. “Whether it’s aochibu or Heaping Gold Painting, I aim for balance—neither overly crowded nor too sparse—seeking the right touch for each piece.”

He adds, “The happiest moments are when those who buy my work feel joy or excitement when seeing it.”

About the Future of the Third-Generation Kingyoku Nakada

“As the third-generation Kingyoku Nakada, I feel that my journey in the world of Kutani ware has only just begun. While I cherish and preserve the spirit of the first generation and the techniques passed down from the second, I also want to pursue my own unique style. 

Through my distinctive dot work and Heaping Gold Painting creations, I hope to bring joy and enjoyment to as many people as possible.”