21. TAGUCHI Yoshiaki
1958 Born in Tokyo
This exhibition is the place where the visions of 20 artists bursts forth as they each uniquely express their style for the subject of Pokémon.
But this exciting mission made Taguchi Yoshiaki deeply consider this. “What direction should I go with this subject?” says Taguchi Yoshiaki, wondering how he could capture the humor of a Pokémon Battle.
His art medium (or type, to use the Pokémon term), is urushi lacquer. The techniques that make the most effective use of urushi’s fascination are kyushitsu, applying lacquer to a vessel, and maki-e and raden inlay. The word kyu by itself can mean applying lacquer. Maki-e is a decoration technique in which a design is drawn in urushi on the surface of a vessel or other work and metallic powder is placed in a tube and sprinkled on it, it was Moltres that was chosen as the motif for the natsume or jujube-shaped tea container. Taguchi scattered gold powder on the main color of the body and aluminum powder, fixed with vermillion, to the head and the flames rising from the wings. so that it attaches to the still-moist urushi. The lines painted with the maki-e brush are not visible directly; it is “a fight in earnest, line by line.” That is a phrase Taguchi learned from his father, Taguchi Yoshikuni, who was a holder of an Important Intangible Cultural Property (“Living National Treasure”) for maki-e. He will never forget.
This exhibition is the place where the visions of 20 artists bursts forth as they each uniquely express their style for the subject of Pokémon.
But this exciting mission made Taguchi Yoshiaki deeply consider this. “What direction should I go with this subject?” says Taguchi Yoshiaki, wondering how he could capture the humor of a Pokémon Battle.
His art medium (or type, to use the Pokémon term), is urushi lacquer. The techniques that make the most effective use of urushi’s fascination are kyushitsu, applying lacquer to a vessel, and maki-e and raden inlay. The word kyu by itself can mean applying lacquer. Maki-e is a decoration technique in which a design is drawn in urushi on the surface of a vessel or other work and metallic powder is placed in a tube and sprinkled on it, it was Moltres that was chosen as the motif for the natsume or jujube-shaped tea container. Taguchi scattered gold powder on the main color of the body and aluminum powder, fixed with vermillion, to the head and the flames rising from the wings. so that it attaches to the still-moist urushi. The lines painted with the maki-e brush are not visible directly; it is “a fight in earnest, line by line.” That is a phrase Taguchi learned from his father, Taguchi Yoshikuni, who was a holder of an Important Intangible Cultural Property (“Living National Treasure”) for maki-e. He will never forget.