[Yamanaka Lacquerware] RIN Bowl M Mimosa
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PRODUCT DETAILSA warm lacquered form with a gently rising rimRIN Bowl M Mimosa brings Yamanaka lacquerware into a light, hand-scale object. Made from natural kobushi wood with a lacquer-coated surface, its 120-millimeter breadth and 60-millimeter height frame a softly asymmetrical rim. Warm...
PRODUCT DETAILS
RIN Bowl M Mimosa brings Yamanaka lacquerware into a light, hand-scale object. Made from natural kobushi wood with a lacquer-coated surface, its 120-millimeter breadth and 60-millimeter height frame a softly asymmetrical rim. Warm tonal variation and visible grain invite close looking, while the 40-gram body remains notably light.
USE & APPRECIATION
Set the empty bowl on a stable table and let its outline become the first point of interest. The rim rises gently at opposing corners, so a slight turn changes the profile without changing the object. At 120 millimeters across, it creates presence while keeping the setting visually open.

Place the bowl beside a folded napkin or wooden spoon to create a small, deliberate interval in the day. The warm Mimosa name and lacquered grain bring depth without relying on ornament. Keep the setting at room temperature; microwave, oven, induction, refrigeration, and freezing are all marked as not permitted.

On an open shelf or side table, the bowl can remain an object of attention between uses. View it from slightly above to see the changing rim and interior grain together. Choose a dry indoor position away from direct sunlight, and do not leave moisture collecting on the lacquered surface.

Held close to the camera, the empty bowl reveals the gentle rise and fall of its rim, the curved wall, and the grain visible beneath the lacquered surface. A wooden spoon hovers above without implying a particular food, while the adult model's hands make the 120-millimeter breadth easy to understand.

A wider portrait shows the bowl supported from below as the model holds a wooden spoon near the opening. The pale wall and white clothing leave visual space around the warm lacquered wood. The person is used only as a scale reference and is not identified as the maker or workshop representative.

The model pauses with the empty bowl close to the body, keeping its full silhouette and softly uneven rim visible. The photograph gives the object a calm human context without assigning a serving purpose. Subtle highlights across the lacquer help the wood grain read clearly against the restrained interior background.

Near a window, both hands support the empty bowl while natural light traces its asymmetrical outline and warm, grain-led surface. The closer crop keeps attention on the object rather than the person. This supplied view shows the named Mimosa piece at human scale without making claims about capacity or performance.

OBJECT PASSPORT / CARE & USE

After use, clean the bowl promptly by hand with a soft cloth or sponge, then dry it before indoor storage. Do not use a dishwasher, microwave, oven, induction cooktop, refrigerator, or freezer. Outdoor use is permitted only with care; keep it in shade, away from direct sunlight, and do not leave it submerged.
OBJECT PASSPORT
CRAFT HERITAGE
Yamanaka Lacquerware dates to the late 16th century, when a group of woodturners moved into the area in search of suitable timber and began shaping wood on lathes. The craft became established around Yamanaka Onsen.
By the middle of the Edo period, artisans were making everyday objects such as bowls and trays, as well as souvenirs for visitors to the hot-spring town. Lacquering and maki-e techniques were introduced in the early 19th century, laying the foundation for the raised Yamanaka taka-maki-e practiced today.
HOW IT’S MADE
Yamanaka Lacquerware is made through four principal stages: forming the wooden body, preparing the foundation, applying the final lacquer coat, and adding maki-e decoration.
Properly dried wood and precise turning help prevent distortion.
Although the foundation is hidden in the finished piece, it supports both the vessel's strength and the quality of the final lacquer surface.
The lacquer is built up through repeated coating and sanding, with curing carefully managed in response to humidity and weather.
MEET THE MAKER
MAKER · YAMANAKA, ISHIKAWA
YUIYU brings together the perspective of floral design and the accumulated skills of Yamanaka lacquerware. Its official concept describes organic forms learned from nature and new experiments in color, expressed as wooden lacquerware for contemporary interiors and daily life.

Naoko Tanabe is the floral designer behind YUIYU. She developed the brand to connect the traditions of Yamanaka with contemporary life, and to bring attention to the people whose work is often present in an object but absent from its story.
During the brand's development, Tanabe traveled repeatedly between Tokyo and Yamanaka Onsen. Color and form were not settled on paper alone. They were refined through prototypes and conversations with the craftspeople who understood how different woods, tools, and layers of lacquer would respond. When a color appeared uneven or brighter than intended, or a shape needed to work better in the hand, the design returned to the workshop for another round of judgment.
Yamanaka lacquerware is built through specialized work. One person may turn the wooden form on a lathe; others may refine lacquer, prepare the ground, or apply and wipe successive layers. YUIYU makes that collaboration part of the story rather than hiding it behind a single name.
Rokuro-biki, or lathe turning, gives the wood its balanced form. Fine sensuji lines may be cut into a rotating surface, creating rhythm through minute, repeated grooves. With fuki-urushi, lacquer is applied and carefully wiped back in repeated stages, allowing the grain of the wood to remain visible. The apparent simplicity of the finished object rests on a sequence of specialized decisions.
The name YUIYU repeats the Japanese character *yui*—to bind or connect. It expresses a wish to connect people, nature, culture, and the skills held in Yamanaka Onsen. The aim is not to make tradition appear modern by removing its history. It is to create a new reason for that history to remain in use: at the table, in a room, and in the rituals of everyday life.
Distance becomes smaller when the collaboration remains visible. Portraits and workshop photographs show the people and place behind YUIYU, while views of turning, sensuji carving, and fuki-urushi explain how specialist skills meet in one object. Together they make the brand’s division of labor visible without reducing the work to a single name.
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