Editorial Title
A minimal approach to storytelling
In the hands of a master glass cutter, Soichiro Sekibae, Edo Kiriko becomes more than tradition, it becomes transformation.
Where centuries-old Japanese glasscutting meets contemporary imagination, an artist redefines its craft and philosophy. With quiet humility and razor-sharp precision, he breathes new life into historic motifs, merging regional techniques with modern expression. What emerges is not just cut glass, but a meditation on light, patience, and the enduring dialogue between past and present. There is a moment in every Edo Kiriko glass when light stops behaving like itself. It fractures. It dances. It reveals lines that are both ornamental and elemental—etched with a precision that seems almost impossible by hand.
Prologue
Edo Kiriko is a meticulous craft born from centuries of refinement and restraint. Emerging during the Edo period, this art form fuses precision with poetry, transforming utilitarian glass into faceted prisms of light and shadow. Artisans carve intricate patterns by hand, each incision a meditation on impermanence, symmetry, and stillness. Far from decorative excess, Edo Kiriko embraces negative space and tactile subtlety, elevating everyday vessels into quiet expressions of discipline, tradition, and ephemeral beauty.
In the storied tradition of Edo Kiriko, that moment of transformation is the beginning of everything.
The Craft of Edo Kiriko: 19th-Century Tokyo & the Precision of Cut Glass
Edo Kiriko, a technique born in 19th-century Tokyo, is defined by its intricate geometric patterns cut into colored glass. It is a craft of exactitude, requiring steady hands, trained eyes, and years of repetition. But for this artist, it is not about merely continuing tradition—it’s about bringing it forward.
“The process is actually quite simple,” Sekiba states with modesty that belies the complexity of his work. “We don’t blow the glass ourselves. We begin with the blank vessel. And then, using hand tools and old machinery... we begin to cut."
His approach draws not only from Edo Kiriko, but from other regional styles like Satsuma Kiriko and the lesser-known traditions of Osaka’s Tenma glassmaking. This layered lineage, he says, is essential. “We can’t separate Edo Kiriko from the full history of Japanese glass. The tradition is not static. It evolves through inheritance.”
Satsuma Kiriko, originating in the Satsuma region of southern Japan during the late 19th century, presents a striking contrast to Edo Kiriko with its bold, colorful overlays and intricate cut patterns. Unlike the typically clear or lightly tinted Edo style, Satsuma Kiriko often features deep reds, blues, and purples, creating a vivid interplay of color and light when cut.
The technique involves layering colored glass over a clear base and then carefully carving geometric or floral patterns to reveal the underlying transparency, producing a jewel-like effect. This vibrant approach sits alongside the more understated but equally meticulous Tenma glass tradition of Osaka, where artisans focus on precision, delicate textures, and subtle forms, highlighting the diverse regional expressions that together shape the full tapestry of Japanese glassmaking.
PATTERNS IN TIME
Exploring Kiriko’s Craft and Symbolism
Kiriko patterns ripple through space and time, geometric whispers etched into fabric, glass, and form. Each line and angle hums with hidden meaning—nature, fortune, protection—casting shadows and light in a silent, enduring dialogue between past and present. Motifs like Asanoha and Seigaiha breathe across centuries, folding the essence of hemp leaves and ocean waves into everyday objects, into the gleam of Edo glass, where cuts reveal both structure and brilliance. Born in the Edo period, these patterns are not relics but living echoes, shaping the modern while carrying the heartbeat of artisans long gone.
Across the spectrum of Japanese glass, Kiriko finds new expression in the bold overlays of Satsuma Kiriko and the subtle textures of Tenma. In Satsuma, color dances through carved geometry, a jewel-like interplay that expands the language of line and form, while Tenma’s delicate precision distills patterns into quiet, almost imperceptible textures. Together with Edo Kiriko, these regional forms form a continuum—a layered dialogue of shadow, light, and history—where tradition is refracted and renewed through every cut and curve.
Yet Kiriko patterns do not exist in isolation. Their geometry converses with the brushstrokes of ukiyo-e, the curves of lacquerware, and the folds of kimono textiles, reflecting the same pursuit of balance, rhythm, and intention. Across glass, cloth, and wood, these patterns echo a disciplined elegance, a language of refinement that whispers through every corner of Edo-era craftsmanship, uniting disparate mediums under a shared pulse of artistry, imagination, and legacy.
The Art of Kiriko
Edo Kiriko
Edo Region (Tokyo)
During the Edo Period (1603–1868), Edo Kiriko emerged, featuring intricate geometric patterns cut into clear or colored glass, known for its precision and elegance. Symmetrical starburst and diamond motifs showcase delicate craftsmanship, with sparkling light refraction and refined, timeless beauty.
Satsuma Kiriko
Satsuma Region (Kagoshima)
In the 1850s, Satsuma Kiriko was created, a luxurious style with layered colored glass and deep cuts revealing gradations. Celebrated for its vibrant colors and royal heritage, it includes bold, layered cuts with vivid overlays, emphasizing luxury, dramatic contrast, and tactile visual impact.
Tenma Kiriko
Osaka Region (Osaka)
Between 1850 and 1880, in Osaka, Tenma Kiriko developed by blending traditional cutting techniques with merchant-class aesthetics. Vertical geometric cuts with optional crosshatching highlight height, elegance, and light refraction, creating a structured, architectural feel with refined sophistication.
Kiriko Patterns
Asanoha
Botan
Hishi
Kagome
Kikko
Nanako
Seigaiha
Shippo
Yarai
Asanoha
Growth, strength, and protection define the essence of Asanoha. A traditional Japanese geometric pattern inspired by the hemp leaf. Long associated with vitality and rapid, healthy development, the motif became especially popular in textiles. Its bold symmetry lends itself well to both minimalist and ornate designs. Asanoha remains a timeless emblem in Japanese craftsmanship
麻の葉
Botan
A decorative motif based on the peony flower. It represents prosperity, honor, and good fortune in Japanese design. Historically, the peony was regarded as the “King of Flowers,” admired for its lush, full petals. The pattern conveys a sense of elegance and auspiciousness, often used in celebratory garments. Botan motifs continue to symbolize beauty and abundance in both traditional and modern contexts.
牡丹
Hishi
A diamond-shaped geometric pattern found in textiles, crafts, and architecture. It often conveys balance, harmony, and refinement. The clean, repetitive structure of Hishi makes it a versatile foundation for countless variations. It is frequently layered or combined with floral motifs to create more complex expressions. Hishi’s crisp geometry contributes a sense of order and understated sophistication to any composition.
菱
Kagome
A lattice pattern resembling interwoven bamboo strips. It symbolizes protection and is often associated with warding off misfortune. The design’s interlocking structure echoes traditional basketry and fencing techniques. Kagome motifs are also linked to spiritual symbolism, believed to prevent negative energies from entering a space. The pattern’s rhythmic weave gives it both aesthetic and protective significance.
籠目
Kikko
A hexagonal pattern modeled after a tortoise shell. It symbolizes longevity, stability, and resilience. The tortoise has long been revered in Japan as a creature of endurance and good fortune. Kikko patterns often appear in armor, textiles, and ceremonial objects to evoke strength and continuity. Its geometric precision makes it a favorite in both classical and modern design work.
亀甲
Nanako
A fine dotted texture resembling rows of evenly spaced fish eggs. It is commonly used in metalwork to create subtle depth and elegance. The delicate stippling technique requires exceptional craftsmanship and precision. Nanako surfaces catch light beautifully, giving jewelry and decorative objects a refined, shimmering finish. This understated pattern highlights the artisan’s skill while adding quiet visual richness.
七宝
Seigaiha
A wave-like pattern composed of layered concentric arches. It represents peace, good fortune, and the ebb and flow of life. The motif reflects Japan’s deep cultural relationship with the sea and its natural rhythms. Its repeating curves create a soothing, meditative visual effect. Seigaiha remains a symbol of calm perseverance and the blessings carried by each new tide.
青海波
Shippo
An interlocking circular motif symbolizing the Seven Treasures of Buddhism. It signifies harmony, connection, and infinite continuity. The intersecting circles form a repeating geometry that suggests unity among all beings. Shippo designs are often associated with prosperity and spiritual completeness. Its elegant symmetry makes it a beloved motif in ceramics, textiles, and architectural ornamentation.
七宝
Yarai
A diagonal lattice pattern often used in bamboo fences and architectural screens. It conveys protection, strength, and structured beauty. The pattern’s angled lines create a sense of direction and movement while maintaining stability. Yarai motifs evoke the craftsmanship of traditional bamboo work, bringing an organic yet ordered aesthetic. The design continues to inspire contemporary interiors and product design for its balance of function and form.
矢来
Inheritance & Evolution: How Edo, Satsuma, and Tenma Traditions Intertwine
Satsuma Kiriko’s popularity in the late 19th and early 20th centuries was closely tied to Japan’s growing engagement with Western markets, as the intricate and colorful designs appealed to collectors abroad. Artisans often drew inspiration from both traditional Japanese aesthetics and Western tastes, experimenting with new color combinations and more elaborate cut patterns. Today, Satsuma Kiriko pieces are highly prized for their craftsmanship and historical significance, with contemporary glassmakers continuing to study and revive these techniques, blending innovation with centuries-old traditions. This ongoing dialogue between past and present ensures that Satsuma Kiriko remains a vibrant and evolving art form within the broader legacy of Japanese glassmaking.
Edo Kiriko, emerging earlier in 19th-century Tokyo, offers a contrasting yet complementary expression of Japanese glass artistry. Characterized by precise, intricate geometric cuts, Edo Kiriko emphasizes clarity, symmetry, and refined elegance. While Satsuma dazzles with color and complexity, Edo Kiriko is a study in restraint and meticulous craftsmanship, reflecting the disciplined sensibilities of Edo-period artisans. Together, these two styles demonstrate how regional techniques can diverge yet remain connected through shared values of patience, precision, and cultural symbolism.
The lesser-known Tenma glass of Osaka further enriches this continuum, highlighting subtler textures and delicate forms that invite quiet contemplation. Where Edo Kiriko structures the pattern with sharp clarity and Satsuma Kiriko revels in vibrant overlays, Tenma emphasizes understated refinement and tactile nuance. By studying these three traditions side by side, one sees not only the diversity of Japanese glassmaking but also a living conversation across time and region, where each approach informs and invigorates the others, sustaining a legacy of innovation rooted in deep cultural heritage.
“We don’t blow the glass ourselves. We begin with the blank vessel. And then, using hand tools and old machinery... we begin to cut.”
“We can’t separate Edo Kiriko from the full history of Japanese glass. The tradition is not static. It evolves through inheritance.”
Reinterpreting Tradition: Where Precision Meets Poetry
What makes his work distinct is the way he reinterprets hanakiriko—a floral motif popular during the Taishō era—infusing it with contemporary sensibilities. Rather than treating the design as fixed, he uses it as a foundation for invention, rearranging the cuts with a sense of rhythm and individuality. “Design is still where the craftsman can show originality,” he says. “Even when using traditional patterns, the placement, the scale, the balance—those choices are ours.”
And that choice, that subtle rebalancing of past and present, is what keeps the work alive. The process begins with marking—called wari-dashi—a method of dividing the surface with pencil lines to establish symmetry. From there, the artist cuts vertical and horizontal lines using specialized wheels, each with a different edge, like a calligrapher choosing from a drawer of brushes. The room is filled with the fine hum of machinery and the sound of glass surrendering to edge. Dust settles like mist. Nothing about the work is rushed.
Each cut deepens the dialogue between light and form, revealing hidden patterns that shift with every angle, every movement. Color refracts and folds into itself, teasing the eye with glimpses of depth and brilliance, while the surface carries the memory of hands that have shaped it for generations. There is a rhythm to the work, a quiet cadence that mirrors the pulse of time itself—both disciplined and meditative, a conversation between patience, precision, and the fleeting sparkle of a single moment captured in glass.
“Design is where the craftsman can show originality, even when using traditional patterns, the placement, the scale, the balance; those choices are ours.”
“Precision isn't about speed, it's about care."
This devotion to care, patience, and humility is what bridges the past and present, connecting Edo, Satsuma, and Tenma traditions through a single, thoughtful hand. By honoring the rules of precision while gently bending them with personal vision, Sekibae transforms centuries-old motifs into living forms that speak anew.
His care is evident not only in the pattern, but in the way the finished glass feels in the hand. The weight is deliberate. The edges never too sharp, never too soft. Light finds its way through every groove. The object—whether a tumbler, a bowl, or a vase—becomes a quiet spectacle.
Each piece becomes a testament not only to the enduring beauty of Kiriko patterns but also to the persistence required to keep a tradition vital—an intimate dialogue in which innovation emerges naturally from respect, observation, and relentless dedication.
In this quiet yet radical practice, we see the essence of craftsmanship: a balance of reverence and creativity, of heritage and invention, perfectly embodied in every groove, every cut, every play of light. What’s most striking, though, is the artist’s insistence on humility. He doesn’t frame his work in terms of mastery or genius. “This isn’t innovation for innovation’s sake,” he says. “It’s about deepening the conversation with tradition.”
In an era when craftsmanship is often marketed as novelty, his approach feels radical in its restraint. His glasses do not scream for attention. They wait. They reward intimacy. And in that intimacy, they remind us that the beauty of Edo Kiriko lies not only in its precision, but in its patience. In the way each cut catches light—not to dazzle, but to invite us to look a little closer.
