Reiko Fukushima - Inheritor of the beautiful red-painting technique

Fine red painting expressed in one color red
Gorgeous, fine and beautiful

Akae Sai-byo (赤絵細描) is one of the most popular techniques in Kutani-ware at the moment, and its works are also very popular. In this article, we visit the studio of Reiko Fukushima, a painter who has inherited the technique of akae sai-byo, and explore akae saiboku together with her works.

Attraction of fine red painting

The charm of fine red-painting is the series of patterns drawn with fine lines. The lines are as fine as a hair. The excellent technique involves drawing multiple layers of lines at intervals of a few millimetres to bring the pattern to life. This is one of the traditional techniques of Kutani ware from the Edo period.

The density of the pattern and the strength of the lines create a gradation of red. Even areas that appear to be painted in pale red can actually be a collection of fine lines if you look closely.
Another attraction of fine red-painting is that it can be used to create a wide range of designs, from classic to modern.

This work features fine red-painting of phoenixes, which have been used in Kutani ware since ancient times. The wings of the phoenix are also painted with precision using different lines and shades.

The cup and saucer has a beautiful series of patterns, strong accents in solid red, and a modern finish with a loose feel, with the addition of painting around the edges.

Individuality of only red among the five Kutani colors

Of the five Kutani colors, only red is able to draw particularly fine lines," says Reiko. Kutani Gosai refers to the five colors of green, yellow, purple, dark blue, and red that are representative of Kutani ware. Green, yellow, purple, and navy blue can be painted thickly, and when fired, they become glassy and transparent like colored glass. However, due to their nature, it is difficult to draw thin, delicate lines with these four colors. Red, on the other hand, is not as thick as the other four colors and does not change to glassy quality. However, it is capable of drawing thin and beautiful lines.

The technique of fine red-painting is one that makes the most of the characteristics of the red color and brings it to life with artistic appeal.

Technique depends on the color tone

Red paint is made by mixing a pigment called bengara with a collagen-like substance called akifu and water. Bengalla has rough particles, and as it is, it does not slide well, making it difficult to draw fine lines.

Therefore, it takes time to carefully and meticulously rub and refine the particles of bengara to create paint in good condition.

Reiko runs her freehand brush smoothly over the underpainting. However, she says that even after years of honing her fine painting skills, she cannot paint well if the paint is not in the right tone.

"It took me many years to figure out what kind of painting conditions I was comfortable with. It took me many years to understand that. And even when I figured it out, the temperature and humidity of the day also had an effect, so it's not like I could always get the best painting conditions (laughs). That is actually one of the difficulties of fine red-painting.

Whether to utilize or fill in the margins

In addition to the paint, it is the design that Reiko is concerned about. She sometimes uses gold or other colors as accents, but red-painting is basically fine red-painting. Within the confines of one color, how to express it... it is a very difficult task, she says.

One of the most important characteristics of fine red-painting is the degree to which the fine patterns are painted in.

How much of the white space should be used?
The impression of the work changes greatly depending on how much space is used, so it takes time to think about design and composition.

The personality of the artist appears in the work!

Even within the same fine red-painting, each artist has a different view of the world. Reiko says, “It is precisely because the expression is so detailed that the personality of the artist may be more apparent in the work”. And also Reiko explains, “There are those who draw precisely and precisely how many lines to put in at how many millimeters apart. Some people combine several different patterns to create a captivating effect. I draw patterns as well, but I also value the picture".

It is interesting to enjoy fine red-painting with a sense of the artist's individuality.

A cup created by Reiko. The combination of delicate patterns and elephant paintings is somehow warm and lovely.
Reiko says, “I'm honestly happy when people say that about my paintings.

It is very encouraging when a customer says, 'I love the 'karakos' that you draw,'” she says.

Traditional Techniques - Decline and Revival of Fine Red-Painting

The technique of fine red-painting was first developed in the late Edo period (1603-1868) at the Miyamoto-ya kiln.

The photo shows a deep bowl from the Miyamotooya Kiln in the collection of the Gosaikan, a Kutani ware museum in Nomi City. The intricately drawn patterns are overwhelming.

This piece is also from the collection of Gosaikan, the Nomi City Kutaniyaki Art Museum, and is a work by Saida Michiaki, who is known as the founder of Sano akae (red painting). Sano is where Reiko's studio is located, and Sano is known for its akae.

Such traditional akae sai-byo has been discontinued for a while, and there are no longer any craftsmen who make akae sai-byo. This was during the bubble period when Kutani ware was selling well. The mainstream of the industry was to "make quickly and sell in large quantities," and craftsmen left the art of akae sai-byo because it was too time-consuming to make a profit. Reiko says, "As far as akae sai-byo is concerned, it did not benefit from the bubble economy.

Sano Aka-e revived in the present day - Buzan Fukushima

Buzan Fukushima is Reiko's father and master. He is the inheritor of Sano akae and the leading artist of akae fine painting.

Incense burner by Buzan Fukushima.

"My father continued to create works in fine red-painting even when no one else was doing it. He believed in akae sai-byo, faced it with an unbreakable heart, and protected it," said Reiko. Buzan not only revived akae sai-byo, but also took on many apprentices and devoted himself to training future generations of fine red-painting artists. Nowadays, each of his disciples is active in his own right, and the Fukushima family is attracting a great deal of attention for its akae sai-byo.

Buzan Fukushima is still active at the forefront as a painter of fine red- painting. We asked Reiko, a disciple of Mr. Buzan and one of the inheritors of Sano akae, what kind of work she would like to do in the future.

Making Akae sai-byo more accessible!

"I have always wanted to make Kutani-yaki more known through akae sai-byo. I hope to participate in events in my hometown of Nomi City and in Ishikawa Prefecture to make people more familiar with fine red-painting Kutani, which is a different approach from that of pottery.

An accessory created in collaboration with Nomi City. The fine red-painting technique makes it possible to draw intricate patterns on even the smallest accessories, and they are cute at the same time.

Kutani Nail" is the result of utilizing the fine drawing technique of akae sai-byo. She had a Kutani nail art experience at an event in Ishikawa Prefecture.

She would like to try her hand at making tableware with akae sai-byo, which can be used on a daily basis. Reiko says, "I think that if it becomes a tableware for daily use, many people will be able to enjoy akae sai-byo tableware more easily. However, the bottleneck in realizing this ideal is the price and production volume". Reiko says that the problem at hand is how to overcome the time and effort required to produce fine red-painting. "We are still looking for a way to make it happen," she answered emphatically. We are looking forward to it!