Namiki
Inheriting tradition, the supreme Maki-e fountain pen
At the start of the 20th century, a fountain pen utilizing the Japanese traditional art of “Maki-e” was born.
The strong and attractive body with a lacquer finish, and the fine and elegant design
by the craftsmen are highly acclaimed around the world,
and those skills and spirit have been passed down to the world’s most famous name in Maki-e fountain pens, “Namiki”.
Chatterley Luxuries and Pen Time are Authorized Retailers of Namiki/Pilot Pens and Accessories.
This article was on the magazine Pilot HQ published in 2014 for their customers.
The Endless Pursuit of Mastery as a Maki-e Artist
On a morning when snow, rare in the Kanto region, lingered here and there, two women were intently focused on their brushes in the craft studio located in a corner of the Hiratsuka factory.
They are young Maki-e artists working for Kokkokai, a group that has been producing the world-renowned Namiki Maki-e fountain pens since 1926 as part of Japan’s traditional craftsmanship. These two artists were tasked with creating the latest pieces for the Yukari Royale Collection.
At Kokkokai, an artist’s name is engraved on a piece only when the entire process, from designing to production, is completed by a single Maki-e artist(*1). Becoming a full-fledged artist requires a minimum of ten years of training. For these two artists, the new collection marked their first pieces using the highest-grade technique, Taka Maki-e, and their first name-inscribed works.
“I’ve always loved making things and decided to pursue the path of traditional crafts during high school,” says Kayo Endo, who worked on one of the new pieces, Kikusui(Chrysanthemum Dew). After learning Maki-e at a lacquer art training institute in Wajima and gaining experience under skilled artisans, she joined Pilot. “Nowadays, fewer people use handcrafted items like tableware, so only a handful of those who study Maki-e can turn it into a career. I’m truly grateful for the opportunity to dedicate myself to Maki-e every day.”
Endo’s chosen design, Kikusui, is a traditional auspicious motif. While classical patterns often use abundant gold, she incorporated blue-gold (a type of gold that its color is closer to silver) to create an elegant, refined aesthetic. The piece effectively showcases her current skills, exuding a graceful brilliance.
Meanwhile, Misa Seki(*2), who designed Tabane Noshi, began her journey as a Maki-e artist after transferring to the craft studio from the jewelry design department within the company. “At first, I was anxious about whether I could truly work on such high-end items, costing tens of thousands of dollars. Even now, after earning the right to have my name engraved, I still feel there is so much to learn.”
For her new piece, she chose Tabane Noshi, a motif with personal significance, as it was the pattern of her own coming-of-age ceremony kimono. To bring its splendor to life in Maki-e, she visited kimono shops and studied various resources to inform her creation.
“This job has made me more observant of everything around me. Whether it’s wildflowers underfoot, clouds in the sky, or a casual comment in a conversation, all of it can spark ideas for expression,” Seki reflects. Endo, too, often visits exhibitions to learn from the craftsmanship of past masters. Every detail encountered outside the workplace enriches their skills.
Seiki Chida, a senior Maki-e artist and mentor to the two, says, “Fortunately, we have access to numerous works and resources left by our predecessors here. Instead of being explicitly taught, I learned each technique by observing others’ work and practicing on my own.”
Entrusting the Future of Traditional Craftsmanship to Fountain Pens
The Maki-e process involves over a hundred individual steps, requiring three to four months to complete, with every stage demanding exceptional skill and patience. Mistakes often mean starting from scratch, making the work both meticulous and arduous.
“Even prototypes require the same processes as the final product, taking several months. Since lacquer is a living material, it needs to be handled carefully over time, adjusting humidity and temperature,” explains Seki.
After spending months on prototypes, the product planning department may request further adjustments, necessitating new designs and additional prototypes that again take months. As a result, developing a new Maki-e fountain pen design can take two to three years, regardless of the artist’s experience.
When the production specifications were finally decided, Endo felt more relieved than happy. “There were many points of reflection, and I now see areas for improvement to incorporate into the next piece,” she says, demonstrating her relentless pursuit of mastery.
Seki adds, “How efficiently we can produce works of consistent quality is crucial. No matter how much we strive, there is no such thing as a perfect completion.” Her dedication reflects not only her commitment as an artisan but also her awareness of her role within the company.
“People often think Maki-e fountain pens are intimidatingly high-end items, but I want to create works that break down those barriers, even just a little,” Seki says. Endo adds, “It would make me happy if more people developed an interest in fountain pens and Maki-e, using them with affection.”
Their modest but passionate words were accompanied by a sparkle in their eyes.
Through the hands of these artisans, the beautiful Maki-e-adorned fountain pens carry the light of Japan’s traditional craftsmanship into the future.
(*1) Now, an artist’s name is engraved on a piece only when the production is completed by a single artist.
(*2) Seki san designed the Bumblebee.
