Tatsuaki Kuroda (1904–1982) was a woodcraft artist born in Kyoto. Having mastered woodworking and lacquer techniques from a young age, he created a wide range of works—including furniture, trays, boxes and vessels—whilst maintaining close ties with figures of the Mingei Movement such as Sōetsu Yanagi and Kanjiro Kawai. A defining feature of his work is how he utilised the powerful grain of the wood itself—such as that of Japanese zelkova and chestnut—and, whilst employing techniques such as wiped lacquer and mother-of-pearl inlay, created dignified forms that did not rely excessively on ornamentation. In 1970, he was designated a Holder of Important Intangible Cultural Property in the field of woodcraft.

When viewing Tatsuaki Kuroda’s works, one’s attention is immediately drawn to the inherent beauty of the wood itself. Rather than concealing the substantial thickness of the planks or the vigorous grain, he utilises them as the very centrepiece of his designs; consequently, his furniture and vessels possess a sculptural presence. At the same time, they retain a sense of calm and warmth born of a conscious consideration for practical use. To me, Kuroda’s works feel like crafts that naturally transcend the boundary between objects meant to be used and those meant to be admired. His profound understanding of the material and the powerful beauty achieved by stripping away all that is superfluous are their greatest charms.