{"id":7572,"date":"2026-08-29T07:10:08","date_gmt":"2026-08-28T22:10:08","guid":{"rendered":"https:\/\/en.kogei-japonica.com\/media\/?p=7572"},"modified":"2026-08-29T07:11:49","modified_gmt":"2026-08-28T22:11:49","slug":"ningenkokuho-bsasahi","status":"publish","type":"post","link":"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/","title":{"rendered":"When Living National Treasures Meet | BS Asahi Series"},"content":{"rendered":"<p>Works by Living National Treasures can be seen in museums and exhibitions. Opportunities to hear these artists speak directly with one another about their practice, however, are far less common.<\/p>\n<p>Beginning Wednesday, September 2, 2026, BS Asahi will broadcast the four-part documentary series <b><i>Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d<\/i><\/b>\u2014translated here as <b>\u201cLiving National Treasure \u00d7 Living National Treasure\u201d<\/b>\u2014on four consecutive Wednesdays. Each 30-minute episode airs from 11:30 p.m. to midnight JST.<\/p>\n<p>The series brings together eight individually recognized holders of Important Intangible Cultural Properties in four pairings. Their fields span maki-e lacquer decoration, overglaze-enamel porcelain, indigo stencil dyeing, woodwork, metal hammering, lacquer coating and underglaze decoration.<\/p>\n<p>ARTerrace states that it provided comprehensive support for the program\u2019s planning, production and filming. Its initiatives in the field of traditional craft are also scheduled to be featured in each episode.<\/p>\n<p>This guide covers the broadcast schedule and featured artists, while also considering a broader question: what becomes visible when masters of different materials and techniques enter into conversation?<br \/>\n(Reference: <a href=\"https:\/\/www.bs-asahi.co.jp\/ningenkokuho\/\" rel=\"noopener nofollow\" target=\"_blank\"><i>Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d<\/i>\uff5cBS Asahi<\/a>)<br \/>\n(Reference: <a href=\"https:\/\/arterrace.jp\/jp\/news\/detail?id=1161\" rel=\"noopener nofollow\" target=\"_blank\">BS Asahi Documentary <i>Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d<\/i>\uff5cARTerrace<\/a>)<\/p>\n<p class=\"wp-caption-text\">Disclosure: This article was independently structured and written by the Kogei Japonica editorial team based on information provided by ARTerrace.<\/p>\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_73 ez-toc-wrap-center counter-hierarchy ez-toc-counter ez-toc-white ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/#Why_Pair_Living_National_Treasures_Across_Disciplines\" title=\"Why Pair Living National Treasures Across Disciplines?\">Why Pair Living National Treasures Across Disciplines?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/#Four_Episodes_Four_Cross-Disciplinary_Pairings\" title=\"Four Episodes, Four Cross-Disciplinary Pairings\">Four Episodes, Four Cross-Disciplinary Pairings<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/#Episode_1_Maki-e_%C3%97_Iroe_Jiki_Murose_Kazumi_Imaizumi_Imaemon_XIV\" title=\"Episode 1: Maki-e \u00d7 Iroe Jiki (Murose Kazumi \/ Imaizumi Imaemon XIV)\">Episode 1: Maki-e \u00d7 Iroe Jiki (Murose Kazumi \/ Imaizumi Imaemon XIV)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/#Episode_2_Nagaita_Chugata_%C3%97_Woodwork_Matsubara_Nobuo_Watanabe_Akio\" title=\"Episode 2: Nagaita Ch\u016bgata \u00d7 Woodwork (Matsubara Nobuo \/ Watanabe Akio)\">Episode 2: Nagaita Ch\u016bgata \u00d7 Woodwork (Matsubara Nobuo \/ Watanabe Akio)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/#Episode_3_Tankin_%C3%97_Woodwork_Osumi_Yukie_Suda_Kenji\" title=\"Episode 3: Tankin \u00d7 Woodwork (\u014csumi Yukie \/ Suda Kenji)\">Episode 3: Tankin \u00d7 Woodwork (\u014csumi Yukie \/ Suda Kenji)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/#Episode_4_Kyushitsu_%C3%97_Yukasai_Komori_Kunie_Nakada_Kazuo\" title=\"Episode 4: Ky\u016bshitsu \u00d7 Y\u016bkasai (Komori Kunie \/ Nakada Kazuo)\">Episode 4: Ky\u016bshitsu \u00d7 Y\u016bkasai (Komori Kunie \/ Nakada Kazuo)<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/#Behind_the_Scenes_The_Stillness_of_Maki-e\" title=\"Behind the Scenes: The Stillness of Maki-e\">Behind the Scenes: The Stillness of Maki-e<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/#What_Is_a_Living_National_Treasure\" title=\"What Is a Living National Treasure?\">What Is a Living National Treasure?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/#Broadcast_Information\" title=\"Broadcast Information\">Broadcast Information<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/ningenkokuho-bsasahi\/#Where_to_Experience_the_Works_in_Person\" title=\"Where to Experience the Works in Person\">Where to Experience the Works in Person<\/a><\/li><\/ul><\/nav><\/div>\n<h2><span class=\"ez-toc-section\" id=\"Why_Pair_Living_National_Treasures_Across_Disciplines\"><\/span>Why Pair Living National Treasures Across Disciplines?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<figure id=\"attachment_11342\" aria-describedby=\"caption-attachment-11342\" style=\"width: 2560px\" class=\"wp-caption aligncenter\"><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/vn50txo3hqvzszmuf5-scaled.webp\" alt=\"Living National Treasures Imaizumi Imaemon XIV and Murose Kazumi in conversation\" width=\"2560\" height=\"1595\" class=\"size-full wp-image-11342\" \/><figcaption id=\"caption-attachment-11342\" class=\"wp-caption-text\">Living National Treasures Imaizumi Imaemon XIV (left) and Murose Kazumi (right)<\/figcaption><\/figure>\n<p><b>The significance of this series lies not simply in its celebrated participants, but in its decision to bring masters of different materials and techniques face to face.<\/b><\/p>\n<p>A documentary devoted to one artist can explore that person\u2019s career, techniques and major works in depth. A dialogue operates differently. It creates space for ideas that emerge only in response to another maker\u2019s words\u2014and for reactions prompted by encountering a practice unlike one\u2019s own.<\/p>\n<p>Lacquer, clay, cloth, wood and metal behave in fundamentally different ways. One process depends on drying; another on firing. Some materials are hammered, others carved, dyed or coated. The point at which an error can still be corrected varies, as does the judgment that a work is complete.<\/p>\n<p>Yet when artists speak across disciplines, they often arrive at questions that transcend technique. How should a maker respond to the material? How far can an inherited practice be changed? How can technical knowledge be passed to the next generation without reducing tradition to repetition? This is where the dialogue format becomes especially revealing.<\/p>\n<div class=\"box3\">\n<p><b>Editor\u2019s Note<\/b><br \/>\nThe longer one follows craft, the more compelling the decisions behind a finished work become: what the maker preserved, what they transformed and where they recognized the work as complete. Individuality resides not only in visible form and pattern, but also in the many judgments accumulated throughout the making process. By responding to another master\u2019s work, each artist is prompted to reconsider\u2014and articulate\u2014the principles behind their own practice. That exchange is a central reason to watch this series.<\/p>\n<\/div>\n<p>According to BS Asahi, the first episode brings together Murose Kazumi and Imaizumi Imaemon XIV to discuss the meaning of tradition and creative practice through their experience of working with different materials and techniques.<\/p>\n<p>Listening for what each artist seeks to preserve\u2014and what each is willing to renew\u2014offers a richer way to approach the program than simply observing an encounter between two Living National Treasures.<br \/>\n(Reference: <a href=\"https:\/\/www.bs-asahi.co.jp\/ningenkokuho\/\" rel=\"noopener nofollow\" target=\"_blank\"><i>Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d<\/i>\uff5cBS Asahi<\/a>)<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Four_Episodes_Four_Cross-Disciplinary_Pairings\"><\/span>Four Episodes, Four Cross-Disciplinary Pairings<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>The four pairings offer a way to consider what different forms of Japanese craft share precisely because their materials and processes are so different.<\/b><\/p>\n<p>The editorial perspectives in the final column below are based on the announced participants and their recognized fields. They are intended as viewing prompts and do not claim to predict what will be discussed in each episode.<\/p>\n<div class=\"scroll_table\">\n<table>\n<thead>\n<tr>\n<th scope=\"col\">Broadcast date<\/th>\n<th scope=\"col\">Participants<\/th>\n<th scope=\"col\">Recognized fields<\/th>\n<th scope=\"col\">A perspective to consider<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>Sep. 2 (Wed.)<\/td>\n<td>Murose Kazumi<br \/>\u00d7<br \/>Imaizumi Imaemon XIV<\/td>\n<td>Maki-e<br \/>\u00d7<br \/>Iroe jiki<br \/>(overglaze-enamel porcelain)<\/td>\n<td>How light and color are embedded in the surfaces of lacquer and porcelain<\/td>\n<\/tr>\n<tr>\n<td>Sep. 9 (Wed.)<\/td>\n<td>Matsubara Nobuo<br \/>\u00d7<br \/>Watanabe Akio<\/td>\n<td>Nagaita ch\u016bgata<br \/>(indigo stencil dyeing)<br \/>\u00d7<br \/>Woodwork<\/td>\n<td>How makers negotiate precision, pattern and the individual character of natural materials<\/td>\n<\/tr>\n<tr>\n<td>Sep. 16 (Wed.)<\/td>\n<td>\u014csumi Yukie<br \/>\u00d7<br \/>Suda Kenji<\/td>\n<td>Tankin<br \/>(metal hammering)<br \/>\u00d7<br \/>Woodwork<\/td>\n<td>The decisions involved in shaping metal and wood through tools and controlled force<\/td>\n<\/tr>\n<tr>\n<td>Sep. 23 (Wed.)<\/td>\n<td>Komori Kunie<br \/>\u00d7<br \/>Nakada Kazuo<\/td>\n<td>Ky\u016bshitsu<br \/>(lacquer coating)<br \/>\u00d7<br \/>Y\u016bkasai<br \/>(underglaze decoration)<\/td>\n<td>How unseen layers and processes create visible depth, color and sheen<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>Each episode airs from 11:30 p.m. to midnight JST. Broadcast dates and content are subject to change, so viewers should check the official program page for the latest information.<br \/>\n(Reference: <a href=\"https:\/\/arterrace.jp\/jp\/news\/detail?id=1161\" rel=\"noopener nofollow\" target=\"_blank\">BS Asahi Documentary <i>Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d<\/i>\uff5cARTerrace<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Episode_1_Maki-e_%C3%97_Iroe_Jiki_Murose_Kazumi_Imaizumi_Imaemon_XIV\"><\/span>Episode 1: Maki-e \u00d7 Iroe Jiki (Murose Kazumi \/ Imaizumi Imaemon XIV)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p><b>The first episode considers how an inherited technique can remain intact while continuing to produce expression that belongs to the present.<\/b><\/p>\n<p>Appearing on September 2 are Murose Kazumi, an individually recognized holder of the Important Intangible Cultural Property \u201cmaki-e,\u201d and Imaizumi Imaemon XIV, an individually recognized holder in \u201ciroe jiki,\u201d or overglaze-enamel porcelain.<\/p>\n<p>Maki-e is a decorative lacquer technique in which gold, silver or other fine powders are sprinkled onto designs drawn in wet lacquer. Its principal forms include togidashi maki-e, hira maki-e and taka maki-e. Variations in the way powder is applied, lacquer is layered and the surface is finished produce an extensive range of visual effects.<\/p>\n<p>Iroe jiki involves applying colored overglaze enamels to glazed and previously fired porcelain, followed by a further firing that fixes the decoration. Reds, yellows, greens, purples and other colors can be combined to create intricate pictorial and abstract designs.<\/p>\n<p>One practice sets metallic powder into lacquer; the other fixes colored enamel onto porcelain through heat. Their materials and processes differ, yet both ask how the surface of an object can carry light, color and the maker\u2019s aesthetic judgment.<\/p>\n<p>BS Asahi describes the episode as a discussion of tradition and creation grounded in the artists\u2019 respective experiences. Its central question is not simply how a technique is preserved, but how it can be inherited without allowing contemporary expression to become imitation.<br \/>\n(Reference: <a href=\"https:\/\/kunishitei.bunka.go.jp\/heritage\/detail\/303\/74\" rel=\"noopener nofollow\" target=\"_blank\">Important Intangible Cultural Property \u201cMaki-e\u201d\uff5cDatabase of National Cultural Properties<\/a>)<br \/>\n(Reference: <a href=\"https:\/\/kunishitei.bunka.go.jp\/heritage\/detail\/303\/40\" rel=\"noopener nofollow\" target=\"_blank\">Important Intangible Cultural Property \u201cIroe Jiki\u201d\uff5cDatabase of National Cultural Properties<\/a>)<\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/crafts\/maki-e\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/01\/maki-e1-2-150x150.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">The Charm and History of Maki-e: Exploring Its Origins, Techniques, and Creat...<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/crafts\/maki-e\/\">https:\/\/en.kogei-japonica.com\/media\/crafts\/maki-e\/<\/div><div class=\"lkc-excerpt\">Maki-e is one of the most artistically sophisticated techniques in Japanese lacquer craft. With its origins dating back to the Heian period, this art form involves sprinkling gold or silver metal powders onto lacquered designs, creating vibrant and delicate beauty.This article delves into the origins and historical background of Maki-e, explores various techniques, and provides an in-depth look at the production process undertaken by skilled artisans.What is Maki-e? The Foundational Tradition...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<h3><span class=\"ez-toc-section\" id=\"Episode_2_Nagaita_Chugata_%C3%97_Woodwork_Matsubara_Nobuo_Watanabe_Akio\"><\/span>Episode 2: Nagaita Ch\u016bgata \u00d7 Woodwork (Matsubara Nobuo \/ Watanabe Akio)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p><b>The second episode brings together a textile practice defined by exact alignment and repeated pattern with a woodworker\u2019s response to the unique character of each piece of timber.<\/b><\/p>\n<p>Appearing on September 9 are Matsubara Nobuo, an individually recognized holder of the Important Intangible Cultural Property of nagaita ch\u016bgata, and Watanabe Akio, an individually recognized holder of woodwork, or mokk\u014dgei.<\/p>\n<p>Nagaita ch\u016bgata is an indigo-dyeing technique in which cloth is stretched across a long board and resist paste is applied through a stencil. The pattern must be carefully aligned on both sides of the fabric before it is dyed, demanding exceptional precision from the maker.<\/p>\n<p>Japanese woodwork encompasses techniques including sashimono joinery, kurimono carving, hikimono turning and magemono bentwood work. The maker selects, cuts, shapes and assembles the material while accounting for the species, grain, moisture and movement of the wood.<\/p>\n<p>One practice establishes pattern through the controlled repetition of stencil and resist paste; the other responds to a material whose grain and behavior vary from one piece to the next. They may initially appear opposed, but neither relies on imposing form without negotiation. In both, the process must be adapted to the conditions of the material.<\/p>\n<p>Where does the maker\u2019s intention enter that negotiation? The episode offers an opportunity to listen for how the two artists describe the boundary between technical control and responsiveness to material.<br \/>\n(Reference: <a href=\"https:\/\/kunishitei.bunka.go.jp\/bsys\/maindetails\/303\/65\" rel=\"noopener nofollow\" target=\"_blank\">Important Intangible Cultural Property \u201cNagaita Ch\u016bgata\u201d\uff5cDatabase of National Cultural Properties<\/a>)<br \/>\n(Reference: <a href=\"https:\/\/kunishitei.bunka.go.jp\/heritage\/detail\/303\/89\" rel=\"noopener nofollow\" target=\"_blank\">Important Intangible Cultural Property \u201cWoodwork\u201d\uff5cDatabase of National Cultural Properties<\/a>)<\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/wood-grain\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/wood-grain.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">How to Read Japanese Wood Grain: Masame, Itame &amp; Moku<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/wood-grain\/\">https:\/\/en.kogei-japonica.com\/media\/introduction\/wood-grain\/<\/div><div class=\"lkc-excerpt\">Many people have looked at a piece of wooden furniture or a wooden vessel and thought, &quot;what beautiful grain.&quot; Yet if you were asked whether that grain is masame (straight grain), itame (flat-sawn grain), or a distinctive moku (figure), you might suddenly find yourself unsure.When you look at wood grain, the basics are to check not only the surface pattern but also the direction of the growth rings, the end grain (koguchi), and how the board was cut from the log. Once you can tell m...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<h3><span class=\"ez-toc-section\" id=\"Episode_3_Tankin_%C3%97_Woodwork_Osumi_Yukie_Suda_Kenji\"><\/span>Episode 3: Tankin \u00d7 Woodwork (\u014csumi Yukie \/ Suda Kenji)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p><b>The third episode focuses on two very different materials\u2014metal and wood\u2014and the judgment required to shape each without working against its nature.<\/b><\/p>\n<p>Appearing on September 16 are \u014csumi Yukie, an individually recognized holder of the Important Intangible Cultural Property of tankin, or metal hammering, and Suda Kenji, an individually recognized holder of woodwork.<\/p>\n<p>Tankin is a metalworking technique in which sheet metal is repeatedly hammered into vessels and three-dimensional forms. Metal hammers and wooden mallets are used in combination with annealing and other heat treatments, allowing the material to be shaped without cracking or becoming excessively brittle.<\/p>\n<p>In woodwork, shaping begins long before the first cut. The maker considers the species, grain, moisture and future movement of the timber, determines how each component should be taken from the larger piece and then joins multiple elements into a coherent form.<\/p>\n<p>Metal and wood respond differently to pressure, heat and tools. What the two practices share is the need to judge whether to make one more intervention or to stop. The finished object conceals that sequence of decisions, but the dialogue may reveal how each maker balances the limits of the material with artistic intention.<br \/>\n(Reference: <a href=\"https:\/\/kunishitei.bunka.go.jp\/bsys\/maindetails\/303\/85\" rel=\"noopener nofollow\" target=\"_blank\">Important Intangible Cultural Property \u201cTankin\u201d\uff5cDatabase of National Cultural Properties<\/a>)<br \/>\n(Reference: <a href=\"https:\/\/kunishitei.bunka.go.jp\/heritage\/detail\/303\/89\" rel=\"noopener nofollow\" target=\"_blank\">Important Intangible Cultural Property \u201cWoodwork\u201d\uff5cDatabase of National Cultural Properties<\/a>)<\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/yukie-osumi\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/10\/yukie-osumi.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">Who is Yukie Osumi? Japan&#039;s First Female Living National Treasure in &amp;qu...<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/lnt\/yukie-osumi\/\">https:\/\/en.kogei-japonica.com\/media\/lnt\/yukie-osumi\/<\/div><div class=\"lkc-excerpt\">Yukie Osumi is the first woman in Japan&#039;s metal craft field to be designated as a Living National Treasure for &quot;tankin&quot; (forging metal).In the world of tankin, where metals such as copper and silver are hammered and shaped, she has established a unique style that combines both softness and strength.Behind this achievement lies her lineage and educational journey, and through numerous masterpieces, she has opened new horizons in Japanese metalwork.However, to properly understand...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<h3><span class=\"ez-toc-section\" id=\"Episode_4_Kyushitsu_%C3%97_Yukasai_Komori_Kunie_Nakada_Kazuo\"><\/span>Episode 4: Ky\u016bshitsu \u00d7 Y\u016bkasai (Komori Kunie \/ Nakada Kazuo)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p><b>The final episode draws attention to the layers and processes that remain largely invisible beneath a finished surface.<\/b><\/p>\n<p>Appearing on September 23 are Komori Kunie, an individually recognized holder of the Important Intangible Cultural Property of ky\u016bshitsu, and Nakada Kazuo, an individually recognized holder of y\u016bkasai.<\/p>\n<p>Ky\u016bshitsu centers on the application and finishing of lacquer. It encompasses the selection and preparation of the substrate, the building of foundation layers, successive coats of lacquer and the final treatment of the surface. Much of what gives the finished work its depth lies beneath what the viewer can see.<\/p>\n<p>Y\u016bkasai is a form of underglaze decoration in which color is applied to the ceramic or porcelain body before it is covered with glaze and fired. The relationship between the decoration and the translucent glaze above it gives the color a distinctive sense of depth.<\/p>\n<p>One practice builds a surface through successive layers of lacquer; the other preserves color beneath a glasslike layer of glaze. In both, an accumulation of largely unseen processes determines what ultimately becomes visible.<\/p>\n<p>The final episode invites viewers to listen for how the two artists articulate the time and labor embedded beneath color, depth and sheen.<br \/>\n(Reference: <a href=\"https:\/\/kunishitei.bunka.go.jp\/heritage\/detail\/303\/78\" rel=\"noopener nofollow\" target=\"_blank\">Important Intangible Cultural Property \u201cKy\u016bshitsu\u201d\uff5cDatabase of National Cultural Properties<\/a>)<br \/>\n(Reference: <a href=\"https:\/\/kunishitei.bunka.go.jp\/bsys\/maindetails\/303\/00000387\" rel=\"noopener nofollow\" target=\"_blank\">Important Intangible Cultural Property \u201cY\u016bkasai\u201d\uff5cDatabase of National Cultural Properties<\/a>)<\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/skills\/kyushitsu\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/07\/kyushitsu.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">What is Kyushitsu (Japanese Lacquerware)? A Complete Guide to the Traditional...<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/skills\/kyushitsu\/\">https:\/\/en.kogei-japonica.com\/media\/skills\/kyushitsu\/<\/div><div class=\"lkc-excerpt\">Kyushitsu (Japanese Lacquerware) is an advanced technique representing Japanese lacquer crafts, where lacquer is applied multiple times to wooden surfaces, repeatedly sanded and polished to achieve the final finish. Some pieces undergo over 30 cycles of coating and sanding, resulting in deep luster, smoothness, and durability that combines the strength of practical items with the beauty of artistic works.This article provides detailed explanations of Kyushitsu&#039;s historical background, co...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<h2><span class=\"ez-toc-section\" id=\"Behind_the_Scenes_The_Stillness_of_Maki-e\"><\/span>Behind the Scenes: The Stillness of Maki-e<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>An account from the filming of the first episode illustrates that maki-e depends not only on the movement of the artist\u2019s hands, but also on the careful control of the surrounding environment.<\/b><\/p>\n<p>According to ARTerrace, staff members filming in Murose Kazumi\u2019s studio described the workspace as \u201cas immaculate as a d\u014dj\u014d.\u201d They were instructed not to stir the air while he worked. In the resulting silence, the only sound was the steady tapping of the powder tube, or funzutsu, as fine gold powder was scattered across the lacquer.<\/p>\n<p>The point is not simply to romanticize the stillness of the workshop. The stillness is itself a technical requirement. Fine powders used in maki-e can be disturbed by unintended air movement, meaning that the cleanliness of the room, the movement of people and even their physical presence become part of the conditions of making.<\/p>\n<div class=\"box3\">\n<p><b>Editor\u2019s Note<\/b><br \/>\nWhen viewing a finished work, the eye is naturally drawn to the glow of the metal powder and the intricacy of the design. Yet that radiance also emerges from the attention devoted to keeping the environment still. One of the strengths of seeing craft on film is that it can reveal this relationship between the maker\u2019s body, the material and the surrounding space\u2014something a frontal photograph of the finished object cannot fully convey.<\/p>\n<\/div>\n<p>One ARTerrace staff member recalled feeling as though the gold powder itself were shimmering audibly as it was scattered. The quiet of the room brought forward a rhythm that would otherwise be almost impossible to notice.<br \/>\n(Reference: <a href=\"https:\/\/arterrace.jp\/jp\/news\/detail?id=1161\" rel=\"noopener nofollow\" target=\"_blank\">BS Asahi Documentary <i>Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d<\/i>\uff5cARTerrace<\/a>)<\/p>\n<h2><span class=\"ez-toc-section\" id=\"What_Is_a_Living_National_Treasure\"><\/span>What Is a Living National Treasure?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>\u201cLiving National Treasure\u201d is the commonly used term for a person individually recognized by the Japanese government as a holder of an Important Intangible Cultural Property.<\/b><\/p>\n<p>Japan\u2019s Agency for Cultural Affairs defines Intangible Cultural Properties as performing arts, music, craft techniques and other forms of human technical artistry that possess significant historical or artistic value. Particularly important examples are designated as Important Intangible Cultural Properties, while the individuals or groups who have achieved advanced mastery are recognized as their holders.<\/p>\n<p>Recognition takes three forms: individual recognition, collective recognition and group recognition. \u201cLiving National Treasure\u201d refers specifically to an individual who has received individual recognition.<\/p>\n<p>The system therefore does not simply declare a celebrated person to be a national \u201ctreasure.\u201d The skill comes first: a particular form of technical artistry is identified as worthy of protection and transmission, and a person who embodies that skill at the highest level is recognized as its holder.<\/p>\n<p>The eight artists in this series were not selected merely because they are prominent makers. Each is the recognized holder of a specific craft technique: maki-e, iroe jiki, nagaita ch\u016bgata, woodwork, tankin, ky\u016bshitsu or y\u016bkasai.<\/p>\n<p>The designation does not mean that a holder\u2019s task is to reproduce an unchanging form. Holders continue to make new work, refine their practice and contribute to the transmission of technical knowledge. This is why their thoughts on inheritance and creation matter: they reveal how tradition is maintained through active judgment rather than passive repetition.<br \/>\n(Reference: <a href=\"https:\/\/www.bunka.go.jp\/english\/policy\/cultural_properties\/introduction\/intangible\/\" rel=\"noopener nofollow\" target=\"_blank\">Intangible Cultural Properties\uff5cAgency for Cultural Affairs<\/a>)<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Broadcast_Information\"><\/span>Broadcast Information<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>BS Asahi\u2019s <i>Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d<\/i> is scheduled to air in four 30-minute episodes on consecutive Wednesdays from September 2 to September 23, 2026.<\/b><\/p>\n<div class=\"box3\">\n<p><b><i>Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d<\/i>: Program Overview<\/b><\/p>\n<ul>\n<li><b>Broadcaster:<\/b> BS Asahi<\/li>\n<li><b>Broadcast dates:<\/b> September 2, 9, 16 and 23, 2026<\/li>\n<li><b>Broadcast time:<\/b> 11:30 p.m.\u2013midnight JST<\/li>\n<li><b>Episodes:<\/b> 4<\/li>\n<li><b>Participants:<\/b> 8 individually recognized holders of Important Intangible Cultural Properties<\/li>\n<li><b>Production support:<\/b> ARTerrace<\/li>\n<\/ul>\n<\/div>\n<div class=\"linkcard\"><div class=\"lkc-external-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/www.bs-asahi.co.jp\/ningenkokuho\/\" target=\"_blank\" rel=\"external noopener\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/www.google.com\/s2\/favicons?domain=www.bs-asahi.co.jp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">www.bs-asahi.co.jp<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/pz-linkcard\/cache\/3c854c980c037654a748de469949a928fcf59da8e3e81a47bf006415c542c795.jpeg\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">\u4eba\u9593\u56fd\u5b9d\u00d7\u4eba\u9593\u56fd\u5b9d | BS\u671d\u65e5<\/div><div class=\"lkc-url\" title=\"https:\/\/www.bs-asahi.co.jp\/ningenkokuho\/\">https:\/\/www.bs-asahi.co.jp\/ningenkokuho\/<\/div><div class=\"lkc-excerpt\">BS\u671d\u65e5\u300c\u4eba\u9593\u56fd\u5b9d\u00d7\u4eba\u9593\u56fd\u5b9d\u300d\u306e\u756a\u7d44\u30b5\u30a4\u30c8\u3002\u65e5\u672c\u306e\u4f1d\u7d71\u6587\u5316\u3092\u6975\u3081\u3001\u305d\u306e\u6280\u3068\u7cbe\u795e\u3092\u6b21\u4e16\u4ee3\u3078\u53d7\u3051\u7d99\u3050\u300c\u4eba\u9593\u56fd\u5b9d\u300d\u3002\u756a\u7d44\u3067\u306f\u3001\u4e8c\u4eba\u306e\u4eba\u9593\u56fd\u5b9d\u304c\u5206\u91ce\u306e\u57a3\u6839\u3092\u8d8a\u3048\u3066\u8a9e\u308a\u5408\u3046\u5bfe\u8ac7\u30924\u9031\u306b\u6e21\u3063\u3066\u7d39\u4ecb\u3002\u300c\u4eba\u9593\u56fd\u5b9d\u300d\u3068\u3044\u3046\u4e00\u3064\u306e\u9802\u70b9\u3092\u6975\u3081\u305f\u4e8c\u4eba\u3060\u304b\u3089\u3053\u305d\u751f\u307e\u308c\u308b\u5171\u611f\u3084\u767a\u898b\u3001\u305d\u3057\u3066\u65e5\u672c\u6587\u5316\u306e\u5965\u6df1\u3055\u3092\u3001\u5bfe\u8a71\u3092\u901a\u3057\u3066\u304a\u5c4a\u3051\u3057\u307e\u3059\u3002<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<p>Broadcast dates and content are subject to change. Please consult the official BS Asahi program page for the latest information before watching.<br \/>\n(Reference: <a href=\"https:\/\/www.bs-asahi.co.jp\/ningenkokuho\/\" rel=\"noopener nofollow\" target=\"_blank\"><i>Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d<\/i>\uff5cBS Asahi<\/a>)<br \/>\n(Reference: <a href=\"https:\/\/arterrace.jp\/jp\/news\/detail?id=1161\" rel=\"noopener nofollow\" target=\"_blank\">BS Asahi Documentary <i>Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d<\/i>\uff5cARTerrace<\/a>)<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Where_to_Experience_the_Works_in_Person\"><\/span>Where to Experience the Works in Person<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>If the program sparks an interest in the works themselves, the next step is to encounter them through exhibitions, museum collections and carefully documented artist profiles.<\/b><\/p>\n<p>ARTerrace provides online introductions to Murose Kazumi, Imaizumi Imaemon XIV, \u014csumi Yukie and Komori Kunie, offering one route from the conversations presented on screen to the forms and surfaces of the artists\u2019 work.<\/p>\n<p>ARTerrace describes itself as the cultural-promotion initiative of a corporate group that has entered into a partnership agreement with the Japan K\u014dgei Association. Its activities include circulating works and sharing information about traditional-craft artists, including Living National Treasures.<br \/>\n(Reference: <a href=\"https:\/\/arterrace.jp\/jp\/artists\" rel=\"noopener nofollow\" target=\"_blank\">Artists\uff5cARTerrace<\/a>)<\/p>\n<p>The four episodes bring together lacquer and porcelain, cloth and wood, metal and wood, and lacquer and ceramics. Simply cataloguing those differences, however, does not fully explain the value of the conversations.<\/p>\n<p>Tradition in craft is not the passive preservation of past forms. It involves observing the material, understanding the logic of an inherited technique and deciding what form that knowledge should take in the present.<\/p>\n<p>What is most worth hearing in these dialogues is not a set of definitive answers, but the judgment of artists who have continued asking difficult questions throughout long careers. In responding to another master\u2019s work, each artist is invited to reconsider and articulate their own practice. The opportunity to witness that process is what makes BS Asahi\u2019s four-part series especially valuable.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Works by Living National Treasures can be seen in museums and exhibitions. Opportunities to hear these artists speak directly with one another about their practice, however, are far less common. Beginning Wednesday, September 2, 2026, BS Asahi will broadcast the four-part documentary series Ningen Kokuh\u014d \u00d7 Ningen Kokuh\u014d\u2014translated here as \u201cLiving National Treasure \u00d7 Living<\/p>\n","protected":false},"author":2,"featured_media":7574,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[102,171],"tags":[],"class_list":["post-7572","post","type-post","status-publish","format-standard","has-post-thumbnail","category-lnt","category-recommended"],"acf":[],"aioseo_notices":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7572","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/comments?post=7572"}],"version-history":[{"count":4,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7572\/revisions"}],"predecessor-version":[{"id":7577,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7572\/revisions\/7577"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/media\/7574"}],"wp:attachment":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/media?parent=7572"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/categories?post=7572"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/tags?post=7572"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}