Biography

Hidetoshi Namiki | Kirikane Artist and Traditional Japanese Painter

Born in 1979 in Sakura City, Chiba Prefecture. He studied Traditional Japanese Painting (Nihonga) at Tokyo University of the Arts, where he learned the traditional technique of Kirikane under Living National Treasure Sayoko Eri during his studies. In his master’s program, he further deepened his mastery of the technique through the reproduction of Kamakura-period Buddhist paintings.

He has since established a distinctive artistic practice that fuses Traditional Japanese Painting with Kirikane. After earning a PhD in Cultural Properties from the Graduate School of Tokyo University of the Arts, he served as an assistant professor and specially appointed associate professor at the same institution. He is also a member of the Japan Art Institute.

In addition, he lectures on gold leaf techniques at art universities across Japan, dedicating himself to the education of the next generation and to research on Kirikane. While respecting tradition, he continues to create works that carry a distinctly contemporary sensibility.

Education

2003
  • Graduated from the Department of Painting (Japanese Painting), Faculty of Fine Arts, Tokyo University of the Arts
2005
  • Master of Fine Arts in Conservation and Restoration (Japanese Painting), Tokyo University of the Arts
2008
  • Ph.D., Conservation and Restoration (Japanese Painting), Tokyo University of the Arts
  • Ph.D. in Cultural Property
2011
  • Assistant Professor, Department of Conservation, Graduate School of Fine Arts, Tokyo University of the Arts (–2014)
2018
  • Project Associate Professor, Tokyo University of the Arts COI Site (arts & science LAB.) (–2022)
  • Appointed as a Special Member of the Japan Art Institute

Awards

2005
  • University Purchase Award for Graduation Work
2008
  • Nomura Art Award
2010
  • The 16th Tenshin Memorial Ibaraki Award
  • Encouragement Prize, The 65th Spring Exhibition of the Japan Art Institute (Also awarded at the 66th, 67th, 69th, and 74th exhibitions)
  • Encouragement Prize, The 95th Re-established Exhibition of the Japan Art Institute (Also awarded at the 97th, 101st, and 103rd exhibitions)
2011
  • Minister for Foreign Affairs Award, The 66th Spring Exhibition of the Japan Art Institute
2012
  • Recipient of the FY2009 Research Grant and Award for Conservation of Cultural Property (Japanese Painting), Hosen Cultural Foundation
  • Minister of Justice Award, The 27th "Ume-no-Kai" Exhibition
2014
  • FY2013 Fine Arts Research Incentive Award, Kao Foundation for Arts and Sciences
2017
  • The 6th Nakamura Award, Maeda Seison Memorial Nakamura Scholarship Foundation

Research

2009 - 2010
  • Research Grant, Hosen Cultural Foundation
2013 - 2015
  • Grant-in-Aid for Challenging Exploratory Research (Project No. 25580031), Principal Investigator
2013
  • Co-author, exhibition catalogue, "Ancient Glass: A Feast of Color" (MIHO MUSEUM, Okayama Orient Museum)
2014
  • Academic Consultant and Contributor, exhibition catalogue, "Glistening Gold and Silver: From Rinpa to Kayama Matazo" (Yamatane Museum of Art)
2018 - 2022
  • Grant-in-Aid for Scientific Research (C) (Project No. 18K00228), Principal Investigator
2018
  • Invited Speaker, "Rome, Dunhuang, and Nara: Cultural and Artistic Exchange between Asia, Europe, and the Silk Road," Dunhuang Academy
2019 - 2022
  • Research Grant, Moriya Foundation
2023
  • Joint Lecture, "Gold, Silver, and Glass: From the Middle East to the Eurasian Steppe," The British Museum (Co-presented with Yasuko Fujii)

Research on Kirikane Techniques in Gold Sandwich Glass Bowls

After completing my doctoral program at the Graduate School, I began a reconstruction project of the pre-Christian glass bowl known as the “Sandwich Gold-Glass Bowl,” held in the British Museum.

The project was inspired by a lecture given during my student years by my mentor, Sayoko Eri. I was deeply intrigued to learn that kirikane—previously understood as a uniquely Japanese technique—had in fact existed outside Japan in earlier times.

This type of vessel, collectively referred to as “gold sandwich glass,” features a structure in which gold leaf decoration is embedded between two layers of transparent glass, and examples have been excavated across various regions of Western Europe.

Although the decorative techniques of these objects had not been sufficiently analyzed or reconstructed in detail, my own practical reconstruction research made it possible to clarify the differences in foil techniques found among the many surviving gold sandwich glass works.

Furthermore, in collaboration with Dr. Yasuko Fujii, a historian specializing in Roman-period glass decoration, I undertook research exploring the origins of kirikane—an endeavor that had not previously been achieved.

These achievements were highly regarded, and in June 2023 I was invited by the British Museum to give a lecture.

Research on Kirikane Techniques in Gold Sandwich Glass Bowls

Reconstructed replica of the Sandwich Gold-Glass Bowl in the collection of the British Museum

  • 12.5 × 23.0 cm (diameter)
  • Glass by Takeomi Sakoda
  • Kirikane by Hidetoshi Namiki

GOLD THREAD WITH SEVEN SHADES

Hidetoshi Namiki Kirikane Art Works

In addition to 61 works by Hidetoshi Namiki, this publication introduces the history of kirikane as well as its techniques and materials. It also includes a dialogue with Taeko Yamazaki, Director of the Yamatane Museum of Art, and Hiroshi Yokoyama, President of Ginza Fugetsudo.

For those who wish to explore the world of kirikane artist and Nihonga painter Hidetoshi Namiki in greater depth, we invite you to enjoy this volume.

  • Japan Federation of Printing Industries President's Award for Printing and Binding Technology, The 57th Book Design and Production Award
  • Executive Committee Encouragement Award (Exhibition Catalogue Category), The 65th National Catalogue Exhibition