22. KATSURA Morihito
1944 Born in Tokyo
When Katsura Morihito was designated a holder of an Important Intangible Cultural Property (Living National Treasure) for chokin (metal engraving), the decorative metal fittings he created were particularly highly regarded. This exhibition includes Umbreon-shaped “metal fittings” with shakudo body. Shakudo is a copper and gold, amalgam, when simmered in a chemical solution, a chemical reaction occurs, and the metal acquires a glossy blackish hue. For Umbreon, Katsura Morihito said that the gold content would be “Five percent, absolutely!” The blackish-purple tones that the shakudo copper amalgam produces result from the action of light on the gold particles in the layer formed on its surface during the chemical reaction. With five percent gold, “Purple joins the black, and that purple is significantly brighter, for a striking effect.” Now he just attached the silver backplate and the obidome (sash clasp) is complete. The silver, only slightly visible, has become a contour line pulling together the rounded form. “When someone notices that, rays of light might be racing along the perimeter, which is so exciting. Creating that effect is the last task.” Here we find the essence of the Japanese sense of beauty, handed down by his father, Katsura Moriyuki, who carried on the tradition of the Yanagawa school of metalwork for sword decoration.
When Katsura Morihito was designated a holder of an Important Intangible Cultural Property (Living National Treasure) for chokin (metal engraving), the decorative metal fittings he created were particularly highly regarded. This exhibition includes Umbreon-shaped “metal fittings” with shakudo body. Shakudo is a copper and gold, amalgam, when simmered in a chemical solution, a chemical reaction occurs, and the metal acquires a glossy blackish hue. For Umbreon, Katsura Morihito said that the gold content would be “Five percent, absolutely!” The blackish-purple tones that the shakudo copper amalgam produces result from the action of light on the gold particles in the layer formed on its surface during the chemical reaction. With five percent gold, “Purple joins the black, and that purple is significantly brighter, for a striking effect.” Now he just attached the silver backplate and the obidome (sash clasp) is complete. The silver, only slightly visible, has become a contour line pulling together the rounded form. “When someone notices that, rays of light might be racing along the perimeter, which is so exciting. Creating that effect is the last task.” Here we find the essence of the Japanese sense of beauty, handed down by his father, Katsura Moriyuki, who carried on the tradition of the Yanagawa school of metalwork for sword decoration.