20th Anniversary ExhibitionNakagawa Mamoru: Design and the Lustrous Beauty of MetalClosed

No reservation is required for the “Nakagawa Mamoru: Design and the Lustrous Beauty of Metal” exhibition.On busy days, you may be given an entry ticket for a specific time slot (one time slot every 15 minutes).

Exhibition overview

Nakagawa Mamoru (b.1947) is a former Panasonic designer and a metal artist based in Kanazawa, Ishikawa Prefecture. In 2004, he was recognized as a Living National Treasure for his mastery in metalworking. Through some 130 artworks and documents, this exhibition traces Nakagawa’s explorations of inlaying techniques from early in his career up to the present day. Displays include Nakagawa’s early work as a product designer; masterpieces of Kaga-style metal inlay, which were his introduction to the world of metalworking; and works by young artists influenced by him. Visitors will recognize the living and breathing spirit of design in his creations and learn about his extensive efforts to pass on traditional techniques.

Dates: July 15 Saturday - September 18 Monday, 2023

Hours: 10 a.m. - 6 p.m. (Open until 8 p.m. on August 4, September 1, September 15, and September 16.)
Admittance until 30 minutes before closing time.

Closed: Wednesdays (Except for September 13) and during August 13-17

Admission: Adults: ¥1,200
Visitors aged 65 or over with valid documentation: ¥1,100
Students (High school and college): ¥700
Admission is free for children in middle school or younger. Admission is free for disability passbook holders and up to one accompanying adult. Click here to access the discount voucher page.

Organizers: Panasonic Shiodome Museum of Art, Asahi Shimbun

Supporter: Japan Kōgei Association, Minato City Board of Education

Special cooperation: Pola Foundation of Japanese Culture, The Soukeikai Foundation

Click here for directions to the Museum

Exhibition highlights

1.This exhibition is the first to examine the oeuvre of Living National Treasure Nakagawa Mamoru through the lens of design.

Organized around the theme of design, the exhibition spans the career of metalsmith Nakagawa Mamoru (holder of Important Intangible Cultural Property for metal chasing and engraving) from his early works to his latest masterpieces. Visitors will see how Nakagawa’s origins as a designer went on to shape the foundations of his craft, including his process and approach to design.

2.The exhibition space bridges the gap between industrial design and traditional craft.

Nakagawa approaches metal inlay as a designer-craftsman, maintaining that “the creative process is the same for craft and industrial design.” This exhibition ambitiously highlights the continuity between Nakagawa’s sleek product designs and exquisite works of traditional craft by presenting both in the same exhibition space.

3.Visitors can rediscover the appeal of metalcraft through a collection of works that transcend generations, genres, and borders.

Nakagawa devotes significant energy to mentoring the next generation and passing on techniques. He is also active on the international stage and conducts overseas workshops. In addition to featuring works by Nakagawa, this exhibition introduces works by metalsmiths who have studied under Nakagawa, works by metalsmiths engaged in their own pursuit of metal inlay, collaborative works by Nakagawa and artists from other fields, and pieces from Nakagawa’s time overseas.

About Metal Inlay

Metal inlay, Nakagawa’s chosen technique, is a method for producing decorative motifs on metal surfaces. The technique is achieved by using engraving chisels to cut cavities in the surface of one metal, into which other metals may be embedded, creating a contrasting motif. The metal inlays are extraordinarily thin, with a depth of less than one millimeter; the technique requires painstaking care. Nakagawa is a master of multilayer inlays, a highly-advanced technique in which the artist creates designs composed of multiple, overlapping inlays of various metals. As his style matured, Nakagawa’s repertoire expanded beyond the simple geometric motifs of his early works to include naturalistic depictions based on personal observation. Maintaining that “the creative process is the same for craft and industrial design,” Nakagawa applies the production methods he learned as an in-house designer, producing iterative prototypes for each work. Nakagawa is known for his contemporary style of metal inlay, which incorporates physical forms inspired by everyday life and abstract motifs based on personal memories.

I. The Spirit of Industrial Design

After studying industrial design at the Kanazawa College of Art, Nakagawa Mamoru joined Matsushita Electric Works (now Panasonic), where he helped design personal care electric appliances. Later, he changed jobs to the Industrial Research Institute of Ishikawa, where he created designs for traditional craft products. Nakagawa’s foundations as a designer would go on to influence both his metalwork and his stance as an artist. This section introduces materials that present a picture of Nakagawa’s work as an in-house designer. It also draws on the collections of the Panasonic Museum and the Hikone Kizuna archive, which maintains an archive of Panasonic personal care electric appliances, to offer a look at the industrial design of the 1970s, when Nakagawa cut his teeth as a designer. This section explores the sources that shaped Nakagawa’s pursuit of “design” within traditional metalcraft.

Nakagawa Mamoru
Design for a Men’s Shaver
1970s Private collection

Crew Hair Dryer (EH623)
1974 Hikone Kizuna Archive

II. The Art of Metal Inlay

After leaving Matsushita Electric Works to return home to Kanazawa, Nakagawa found new work at the Industrial Research Institute of Ishikawa. A short time later, he attended an exhibition at the Ishikawa Prefectural Museum of Art featuring stirrups from the Edo period (1615–1868) and was captivated by the modernity of their designs. Nakagawa developed an interest in traditional Kaga metal inlay and apprenticed himself to the metalsmith Takahashi Kaishū, who was the technique’s foremost authority. He established himself at the prestigious Japanese Traditional Art Crafts Exhibition and in 2004 he was designated a Living National Treasure (holder of Important Intangible Cultural Property for metal chasing and engraving). This section situates Nakagawa within the lineage of Kaga metal inlay, examining both what he has inherited as a metalsmith and how he has contemporized the genre.

Inscription: “Made by Zenzaemon Nagakuni of Kanazawa”
Stirrups with “No-no-Ji” Looped Design in Metal Inlay
17th century Kaga-Honda Museum

Takahashi Kaishū
Haniwa-style Horse with Kaga Metal Inlay
20th century Soukeikai Foundation

Nakagawa Mamoru
Flower Vessel, “Check and Checkered”
2017 Kanazawa Yasue Gold Leaf Museum

Nakagawa Mamoru
Peacock-shaped Censer
ca. 2016 Private collection

III. Transcending Borders, Generations, Genres

The overseas survey Nakagawa undertook after winning the 6th Tansuiō Award marked a turning point that would expand the horizons of his career as an artist. He visited countries such as the United Kingdom and Turkey, where he encountered different ways of thinking about crafts and witnessed the universal beauty of metal inlay dating back to ancient times. The experience reinforced his appreciation of the importance of preserving technical knowledge. Today, Nakagawa continues to devote himself to the education of upcoming metalsmiths at institutions including his alma mater, the Kanazawa College of Art, while actively engaging with the international community through overseas workshops and events. This final section considers the present and future of metalcraft, showcasing works by metal artists who studied under Nakagawa, collaborations by Nakagawa with artists in other fields, and works from Nakagawa’s time abroad. By tracing the trajectory of designer and metal artist Nakagawa Mamoru, we invite you to enjoy a journey through metalcraft and inlay across cultures and time.

Primary Exhibition Content

Metal Inlay from Overseas: Silver inlay from ancient Turkey (photography, materials)
Contemporary Metalwork: Ueda Minoru, Kasamatsu Kayo, Kume Keiko, Huang Jaw-jin, Sakai Naoki, Nagai Miku, Hara Satoshi, Maeda Machiko, Mizushiro Satoshi, Miyazono Shirō, Murakami Kōdō(surnames first, random order)
Collaborative works with Tatehana Noritaka
Nakagawa’s large-scale work in Taiwan (video footage, photography)

Artists