For chefs, choosing tableware might be the next most important consideration after the cooking itself.
The various sizes of tableware, cutlery, glasses, napkins, and more, each carefully chosen item collectively expresses the individuality of the establishment and creates a comfortable space.
The quality of tableware cannot be judged in a simple way. There is also the compatibility with the cuisine and the space.
Sometimes simple mass-produced commercial items can enhance the appeal of casual dishes, while an antique Imari plate can elevate raw fish or grilled vegetables, making the ingredients themselves seem like a special occasion dish. And sometimes, a rustic onigiri suits an unadorned bowl better than an elaborately prepared dish.
Just like good ingredients, "A RESTAURANT FOODS" also proposes tableware and posters that enhance the appeal of restaurants.
This time, we introduce "LAPIN ART GALLERY," which selects modern crafts, as well as antique art and paintings that blend into daily life. Brothers Dai and Kei Sakamoto, the owners, have roots in an old kiln in Karatsu and have each trained at a modern art gallery and an antique dealer specializing in high-quality items. Their inventory ranges widely, from traditional Japanese antiques like ukiyo-e and Buddhist art to Western antiques, modern crafts, and contemporary art.
"In this industry, trust is everything. We have observed long-term fluctuations in the prices of international art and antiques, as well as market trends. There are many auctions in Japan, and I've been attending them since I was 18, so having many connections to source products is a strength. Also, since my brother and I each have our own areas of expertise, we have many channels, and we are often asked to direct interiors, from coordinating tableware, paintings, and furniture to interior design."
One person who influenced the Sakamoto brothers was Hideo Hata. He was the manager of Hoshigaoka Saryo, a high-end restaurant where Rosanjin Kitaoji served as an advisor, and was trusted by "legendary connoisseurs" such as Muneyoshi Yanagi, a proponent of the Mingei movement, art critic Jiro Aoyama, literary critic Hideo Kobayashi, and Masako Shirasu.
"He was a well-known figure in the antique world, and I owe a great deal to his two sons, Yoichi Hata. Thanks to that connection, last year we held an exhibition and sale of dead stock from Kutani Seiyo, which Yoichi Hata presided over. Through the exhibition, we were able to convey the importance of tableware with a story and small details."
Early test pieces from Kutani Seiyo (closed in 2024), which Yoichi Hata, son of Hideo Hata, started in 1975 to produce high-quality everyday tableware at affordable prices.
"Kutani Seiyo is often associated with white porcelain and sometsuke (blue and white ware), but these are large bowls with a straw-wicker pattern that were experimentally produced in the 1970s. Kutani Seiyo received orders and supplied large quantities, so they probably stopped making earthenware pieces where the size and firing were unstable. I found these stored away when I visited the site and acquired them."
What the tableware handled by "LAPIN ART GALLERY" has in common is a "beauty with a reason." This doesn't mean it's limited to elaborate, high-end items; it also includes folk crafts that feel unpretentious, vintage Baccarat, and ceramics by modern artists.
White, clean-lined vessels by Hiroyuki Fujiwara from Fukuoka.
The true charm of tableware is only revealed through use. To select tableware that enhances the food, Dai Sakamoto always puts it to his mouth. This is because many Japanese dishes are eaten by holding the vessel in hand and bringing it to the mouth. The feel in the palm and the mouthfeel are also related to the taste.
"Tableware made by skilled artisans often has a mouth rim that causes no stress (in its shaping and finishing). It's not simply about whether it's thin or thick, so when I buy, I ask to try putting it to my mouth. However, for example, Korean cuisine is traditionally eaten with the bowl placed on the table, so the mouthfeel of the bowl might be poor. In that case, I avoid casually using such bowls for other purposes."
That is why it is important to know the background and culture, and one should buy from such connoisseurs. This also leads to honing one's own aesthetic eye.
"There is indeed meaning in learning the traditional path first. The standard size for a rice bowl has always been around 4 sun (approx. 12 cm), which is sized to fit the hands of Japanese people. Old meal trays were designed to perfectly fit three items: a rice bowl, a soup bowl, and a main dish bowl. The size of that tray was also such that two people carrying trays could pass each other in the hallway of an old building. In other words, it was a size determined by the human dimensions of Japanese people.
Le Corbusier, the French architect, also determined the height of windows and ceilings based on the concept of human dimensions called Modulor, and I believe such 'reasons' contribute to comfort."
When choosing tableware, we often focus on design and size, but knowing these theories can change your perspective.
A small Aizu Hongo-yaki sometsuke (blue and white ware) lidded bowl from Fukushima.
"Though it's a small rice bowl, it's also lovely for serving simmered dishes. It's probably from around the late Edo period to the Meiji era, with a rustic and powerful texture from the local Aizu clay. Aizu Hongo-yaki is one of the oldest kiln sites in the Tohoku region, and while Arita techniques were introduced, this piece has an elegant, symmetrical feel that is unique and not typically found in Arita ware."
"One reason why folk crafts are called 'beauty in utility' is, I believe, the dimensioning based on purpose. For both tableware and interiors, the 'why' or reason is important, but often things are disjointed. When they fit perfectly, the level of satisfaction is different."
Shoji Hamada continued potting in Mashiko, Tochigi Prefecture, while promoting the Mingei movement with Muneyoshi Yanagi and others.
"Hamada, along with Bernard Leach, researched and recreated ancient British pottery, slipware, at the time. This design combines patterns resembling traditional Japanese family crests, and it feels more artistic than typical folk craft. Thanks to this mix, it should be easy to use for both Japanese and Western styles."
Bernard Leach, a British potter who frequently visited Japan and was deeply involved in the Mingei movement. When he returned to England from Japan in 1920, he established the Leach Pottery, the first climbing kiln in the West, with Shoji Hamada. These are small bowls convenient for serving dishes or desserts.
"Both are small bowls from the Leach Pottery, around the 1960s, with a St. Ives potter's mark on the side bottom."
Sakamoto says he loves the scenery of daily life. A photo of his dining table, featured in a magazine once, showed minimalist Baccarat glasses, soft-textured white plates, well-used wooden spoons, and rustic American butter knives.
"I like a slightly nostalgic, vintage feel. I appreciate the scene created when unpretentious, ordinary objects are combined with champagne labels or French butter packaging. I find a personal mix of contemporary art and dignified antiques comfortable, so I also like the feeling of Kuniko Mukoda's dining table."
The antique items and artisanal tableware at "LAPIN ART" are chance encounters, but they are not necessarily good simply because they are old, rare, or one-of-a-kind.
"Old items that have been carefully maintained, and the wheelwork of artisans who have honed their skills over many pieces, are comfortable to use. This value is backed by solid technical skill, the history behind them, and the affection of the people who have used them. After organizing these segments, we want to propose items that match the user's style."
