The famous Tsumami-zaiku artist will talk about their thoughts about Tsumami-zaiku.
The third Iemoto of “Sata Tsumami-e ” (Tsumami painting).
*”Iemoto” is a system of licensing the teaching of Japanese traditional art.
Head of the Museum of Tsumami-e Art Kichijoji, Repair and replication of old works of Tsumami zaiku.
Director of Japan Handicraft Guidance Association.
Q1. How did you start working on Tsumami-zaiku? (Or did you get involved?)
Studied under my mother, Akira Sata (2nd generation), and started helping her at the age of 13.
1994- Succession to the third generation of Sata Tsumami-e
Q2. What are your commitments to your work and what do you care about?
If it is completed, the only thing that remains is decadence, so I am constantly exploring and valuing the freedom of ideas and ever-evolving changes in design.
Q3. What is the attractiveness of Tsumami-zaiku for you?
Pictorial expression that combines the traditional Japanese sensibilities of flowers, birds, and landscapes with the texture of silk and the unique denseness of tsumami zaiku.
Q4. What do you think about the future possibilities of Tsumami-zaiku?
Handicraft is not something that can be learned by just listening or by word of mouth. Handing down skills from hand to hand preserves the techniques for sure, and in this process, excellent works of art can be created. I would like to move on to new creations without keeping the tradition behind me while observing the changes of the times.
Q5. What do you want to make in the future?
Bird of prey which is my speciality.