Large sōsaku kokeshi pair with tsubaki camellia and kimono, Usaburo studio by Yuji Okamoto, Shōwa period

€290.00

The zelkova grain runs through the entire body of this kokeshi like a landscape, visible beneath the painted camellia flowers and the yakie-burned fan and lattice decoration of the kimono. The dark upper section of the body, a deep burgundy against the warm honey of the wood below, is not paint covering the material. It is the material, treated and turned until it reached that colour. The proportions are generous: broad at the shoulder, tapering at the base, heavier in the hand than you expect.

Usaburo Kokeshi was founded in 1950 in Shinto Village, Gunma Prefecture, by Okamoto Usaburo, the craftsman who introduced the yakie burning technique to sōsaku kokeshi and worked with zelkova and chestnut at a time when most makers dismissed these woods as unsuitable. His studio went on to win the Minister of International Trade and Industry Award at the All-Japan Kokeshi Competition, one of the most significant government recognitions in Japanese craft.

The sticker on the larger of these two pieces carries exactly that award. The zelkova grain visible beneath the kimono decoration is central to what Usaburo built his reputation on: the wood is not hidden, it is part of the design.

The zelkova grain runs through the entire body of this kokeshi like a landscape, visible beneath the painted camellia flowers and the yakie-burned fan and lattice decoration of the kimono. The dark upper section of the body, a deep burgundy against the warm honey of the wood below, is not paint covering the material. It is the material, treated and turned until it reached that colour. The proportions are generous: broad at the shoulder, tapering at the base, heavier in the hand than you expect.

Usaburo Kokeshi was founded in 1950 in Shinto Village, Gunma Prefecture, by Okamoto Usaburo, the craftsman who introduced the yakie burning technique to sōsaku kokeshi and worked with zelkova and chestnut at a time when most makers dismissed these woods as unsuitable. His studio went on to win the Minister of International Trade and Industry Award at the All-Japan Kokeshi Competition, one of the most significant government recognitions in Japanese craft.

The sticker on the larger of these two pieces carries exactly that award. The zelkova grain visible beneath the kimono decoration is central to what Usaburo built his reputation on: the wood is not hidden, it is part of the design.


What makes this kokeshi special

The look and feel up close

The zelkova grain moves across the body in long, sweeping lines, warm amber where the wood is exposed and a deep mahogany-red where the upper kimono section has been treated. The camellia flowers are painted in opaque red with green leaves, placed against the grain rather than following it. The yakie lines, the lattice, the fan ribs, they are burned into the surface and catch the light differently from the paint: matte and deep where the wire pressed, glossy where the brush followed. Heavy in the hand, solid and still.

Charming details

The award sticker reads 全日本こけしコンクール 通産大臣賞受賞, the Minister of International Trade and Industry Award from the All-Japan Kokeshi Competition. This is a government prize, one step below the Prime Minister's Award, awarded at Japan's most significant national kokeshi competition. The sticker has stayed on the base since it was placed there, decades ago, undisturbed.

*Decorative items such as the whisk and plank are for styling
and scale purposes only and not included in the sale

Meet our other kokeshi

Hannah, founder of KAIKO&CO, in a Japanese garden in Japan

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