PRODUCT DETAILSDark Color, Cut Open by LightKorohana: Blue Ink turns a crystal-glass vessel into a concentrated study of darkness, transparency, and cut light. Dark color frames clear, intricately cut passages that change as the piece is lifted, turned, and viewed from different...
PRODUCT DETAILS
Dark Color, Cut Open by Light
Korohana: Blue Ink turns a crystal-glass vessel into a concentrated study of darkness, transparency, and cut light. Dark color frames clear, intricately cut passages that change as the piece is lifted, turned, and viewed from different angles. Its compact 75 mm diameter and 100 mm height bring a substantial presence to hand and table.
USE & APPRECIATION
Watch the Pattern Wake in Daylight
Set KOROHANA where daylight can pass through its cuts before your first sip. Dark color frames the clear patterned areas, making a familiar drink an opportunity to watch light change across the crystal.
Set a Distinct Place for a Guest
Give a guest one distinctive glass beside plain tableware. The contrast of dark color and intricate clear cuts adds interest to the place setting, offering a detail to notice as conversation begins.
A Quiet Sip by the Window
Pause beside the window with a drink held close. As the glass tilts, its cut surfaces catch different light, adding a visual pleasure to the simple rhythm of sipping and setting it down.
A Moment to Present the Cut
Share a closer look at the glass during an unhurried conversation. Its compact form brings the detailed cuts within easy view, making the vessel itself part of the occasion.
Held Close to Read the Cut
Before pouring, support the glass in both hands and explore the pattern at close range. The substantial crystal body and fine clear cuts offer interest through both weight and light.
A Small Presence on the Table
Keep the glass within reach on a small table between sips. Against warm wood, its dark and clear surfaces remain engaging, allowing one piece to give a quiet setting a distinct focus.
OBJECT PASSPORT / CARE & USE
Care & Handling
Follow the care precautions shown here. Refrigeration and induction use are not permitted; outdoor use is permitted. Avoid detergent containing abrasives and avoid scrubbers.
OBJECT PASSPORT
Product details
Dimensions
75Φ×100Ｈ mm
Material
Crystal glass
Product weight
465 g
Origin
Japan
Craft Heritage
CRAFT HERITAGE
Craft Heritage
Edo Kiriko traces its origins to 1834, when Kyubei Kagaya, a glass merchant in Edo’s Odenmacho district, is said to have engraved the surface of glass after studying British cut glass. An account from the closing years of the Edo period relates that Commodore Perry admired a finely cut glass bottle presented by Kagaya.
During the Meiji period, Western cutting and engraving methods were introduced under British technical guidance, laying the foundation for many of the precise techniques still practiced today. Early Edo Kiriko was cut into clear glass.
Today, most pieces are made with iro-kise glass, which layers colored glass over a clear body.
How It’s Made
TRADITIONAL CRAFT PROCESS
How It’s Made
About the Making Process
Kiriko is a glass-cutting technique in which patterns are carved into the surface with rotating metal and whetstone wheels. Edo Kiriko is cut without a full drawing on the glass; the craftsperson relies on only a few lines and dots to create its intricate traditional patterns. The craft includes clear-glass pieces known as suki and colored-overlay pieces known as iro-kise. The following process describes the making of iro-kise Edo Kiriko.
1. Waridashi and Sumitsuke (Layout and Marking)
The design is arranged to suit the shape of the vessel. Small guide marks are applied in bengara pigment with a bamboo stick or brush.
Using these marks as a reference, the craftsperson lightly scores the main lines of the pattern with a whetstone.
2. Arazuri and Sanbangake (Rough Cutting and Refinement)
During arazuri, wet kongosha abrasive is placed on a rotating iron wheel called a kanaban, and the marked grooves are widened.
The coarsest grade of abrasive is used to cut to roughly three-quarters of the intended width and depth, leaving room for later adjustment. The principal lines of the design are established at this stage.
During sanbangake, a finer abrasive is used to refine the rough-cut grooves. Wheels of different diameters and thicknesses are selected to suit the vessel and pattern.
3. Ishikake (Whetstone Finishing)
Rotating whetstones refine the shape of the cuts and smooth their surfaces.
Fine motifs that cannot be produced with the iron wheel are cut at this stage, and the remaining abrasive texture is carefully removed.
4. Migaki (Polishing)
Water and polishing compound are used to restore clarity and luster to the frosted cut surfaces.
Wooden wheels made from paulownia or willow, as well as felt and bristle wheels, are selected according to the piece.
Meet the Maker
MEET THE MAKER
Meet the Maker
MAKER · OTA, TOKYO
Glass That Changes with Every Moment
Nabetani Glass Crafts creates Edo Kiriko whose appearance changes with the light and the angle of view. Deep hand-cut patterns and layered colors interact with light, revealing the many expressions of glass.
Kaito Nabetani, Fourth Generation
Kaito Nabetani did not grow up assuming that he would inherit the family workshop. What changed him was watching his father, Junichi, work: the concentration at the cutting wheel, the control required to guide glass by hand, and the way years of practice became visible in a finished surface.
After gaining experience at Kagami Crystal, Kaito joined Nabetani Glass Crafts in 2018 and began training under his father. He carries the fourth generation of the workshop, but his aim is not simply to repeat what came before. He studies inherited patterns and methods closely, then looks for forms, cuts, and compositions that can create a new encounter with light.
A Workshop Founded in 1949
Founded in Ota, Tokyo, in 1949, Nabetani Glass Crafts has passed its practice through four generations. The workshop selects crystal glass and cuts each piece by hand, pursuing work that feels both substantial and finely resolved.
Under third-generation craftsperson Junichi Nabetani, the studio developed a visual language of deeper, sharper cutting, greater physical presence, and a broader use of color. Kaito inherits that foundation while developing his own designs. The result is continuity understood as a living discipline: preserve the knowledge, raise its level, and make room for the next expression.
Precision Has a Rhythm
The cutting wheel removes material; it does not allow an easy correction. Yet accuracy is not achieved by moving as slowly as possible. One of the lessons Kaito learned from his father is that an overly hesitant pass can leave steps and irregularities in the cut surface. The maker must balance pressure, angle, speed, and timing in a single controlled movement.
This is where the hand remains essential. A drawn line may establish the plan, but the final character comes from repeated decisions made against the rotating wheel—how far to cut, where two lines should meet, and when to stop. The quality of the cuts reflects these repeated judgments.
Kaito received gold awards in the tableware category of the Edo Kiriko New Works Exhibition in 2021, 2022, and 2023. The record recognizes his work as a maker and forms part of the workshop’s continuing development across generations.
Shipping Information
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