[No. 5 (Final Episode)] To Nurture, Challenge, & Surpass—The Endless Pursuit of Living National Treasure Mamoru Nakagawa

2025.07.03

Location

Ishikawa

Mamoru Nakagawa

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Mamoru Nakagawa

Mamoru Nakagawa, Living National Treasure (Chokin metal carving) and leading figure of Kaga Zogan. He creates Kaga Zogan works by inlaying gold and silver into metal, earning recognition both in Japan and internationally.

Craft

Kaga Zogan

The process involves carving grooves into a metal surface and inlaying gold or silver into those grooves to form patterns. Materials include metals such as iron or copper combined with precious metals like gold and silver. It is used for decorative objects and craft pieces, characterized by highly detailed designs.

This interview explores the career and philosophy of Living National Treasure Mamoru Nakagawa. It focuses on his metalworking practice, his approach to innovation within tradition, and his efforts to pass on his craft.

In the previous feature, we saw Living National Treasure Mamoru Nakagawa, a leading figure in "Kaga Zogan," reveal his true self without pretense—a truly striking impression. He talked openly about the importance of sketchbooks and the secrets behind his style, including the fusion of geometric patterns and nature, to the point where you can't help but wonder if it's alright to share so much. But there’s no need for such concern.

If you've been following along so far with all four installments, you understand the tremendous effort behind Nakagawa's words and his sincere approach to "Kaga Zogan." That’s why you can also imagine what drives him to speak so candidly about his life.

In this final part, we asked Nakagawa—who once embarked on the path of traditional crafts alone and ultimately rose to become a Living National Treasure—about his views on training his apprentices and the future of traditional crafts. What emerges is Nakagawa’s resolute commitment to always leading the way as an inheritor of these skills.

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The Joy of Gaining More Apprentices

Just as Nakagawa himself once trained under Professor Kaishu Takahashi, students are now inheriting Nakagawa's teachings. He says he never imagined a time when so many people would be engaged in traditional crafts.

"When I talk about apprentices, I mean not only the students I taught at the university but also those I instructed at the Kanazawa Utatsuyama Kogei Kobo, run by Professor Nobuhisa Kawamoto. Even now, I teach at the Kanazawa Artisan College. Knowing that people from these places go on to become artisans—it's a great joy."

Nakagawa’s voice is filled with emotion, likely because he remembers the loneliness when he first started as a craftsman.

"When I started working in crafts, there were only two Zogan artists in Kanazawa. I genuinely worried that Zogan work might disappear from Kanazawa altogether. Even so, my teachers were delighted that I chose to pursue this path.

"That’s why, looking at the current situation where more people are involved in these crafts, it’s something unimaginable back then."

Traditional Crafts Rivaling Contemporary Art

Nakagawa actively passes down what he learned from Professor Takahashi—the importance of seeking out "new designs suited to today’s era." He also shares his perspective on creating works with a view toward exhibiting overseas, drawing from his own experiences.

"It wasn’t until I was in my sixties that I first exhibited at an art fair in New York. One of the pieces from that show was purchased by the Metropolitan Museum of Art.

"After that, inquiries started coming into the gallery—people asking, ‘Where can I buy these works?’ I was taken aback by how influential that was."

This became a turning point and led to exhibitions of his work in New York, Taiwan, Paris, London, and more. Nakagawa discovered that the reception varies greatly between Japan and overseas.

"Most people overseas aren’t familiar with the Zogan technique. When they ask what it is, and I explain it’s Zogan, they respond, ‘beautiful!’ and go on to purchase the work. It seems there's a custom to keep art that moves the soul close at hand.

"Perhaps my biggest surprise was when my work was displayed beside contemporary art in Taiwan. I was amazed—and delighted—by this approach to exhibiting."

52nd Annual Nihon Dento Kogeiten<br>象嵌朧銀花器「夕霽」

52nd Annual Nihon Dento Kogeiten
象嵌朧銀花器「夕霽」

Creating Works that Move People's Hearts in Any Field

Nakagawa, who is also deeply knowledgeable about contemporary art, says he pays special attention to the ever-evolving techniques and methods of presentation. When his own works were displayed alongside contemporary art—which pursues new avenues of expression without being confined by the past—it prompted him to reexamine the craft itself.

“There are times I wonder, what exactly is a 'work'? Whether or not the technique is superior comes second. If the piece can’t offer healing to those who look at or touch it, or if it doesn’t bring joy to those who use it, then it fails. Traditional crafts simply express those qualities using age-old techniques.”

Nowadays, many people simply display traditional craftworks without actually using them. That is why, Nakagawa says, it’s crucial to expand the appeal of works to the dimension of visual enjoyment—and he keeps his senses attuned to this purpose.

This philosophy is something he shares with his apprentices as well, but it doesn’t apply to traditional crafts alone.

“I chose the path of traditional crafts, but I never tell young people that everyone should go into this field.

"Everyone has a different area of interest. Some may make jewelry, others work with architecture. No matter the field, I hope each person continues to create outstanding works within their own path. That is what forms the foundation of industry.”

To Become a Living National Treasure from Here

Having led a whirlwind half-life filled with encounters with many people, experiences overseas, and embracing diverse perspectives on traditional crafts, Nakagawa has lived dynamically. Now, having become a Living National Treasure himself, we asked how he views traditional crafts and Kaga Zogan at this stage. His response was truly surprising.

“You know, I have the mindset that I am going to become a Living National Treasure from here on out. If I didn’t feel that way, I don’t think I could grow any further as a person. I can’t stay idle, just resting on my laurels.”

Nakagawa was first recognized as a Living National Treasure at age 57. Even now, at 77, his drive for continual improvement hasn’t waned.

“Anyone engaged in craftwork probably aspires to become a Living National Treasure, and continues making works with that in mind. But you can’t become a Living National Treasure just by preserving the techniques of traditional crafts. Your design also has to be truly superior—and that, too, is something that continues to evolve daily.

"That’s why all I think about is, what kind of design should I try next? For the next traditional craft exhibition, I want to create a piece with such a bold design that people will say, ‘Is this really traditional craft?’ Even if it gets rejected, I want to push the boundaries.”

Even after being honored as a Living National Treasure, Nakagawa never stops aiming to surpass himself. When you understand the journey he’s taken, you can truly appreciate why he continues to pave new paths for the future of traditional crafts. It’s this unwavering conviction and flexible style that make Nakagawa a truly singular presence.

#Artisan #Living National Treasure #Ishikawa #Traditional Crafts #Kaga Zogan #History #Japanese Culture #Technique #Metalwork

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