彫桃 “龍”




Due to the nature of hand poking, it is easy for bokashi (shading) to be uneven, but Horimomo continues to improve his technique to overcome this problem. Even in the case of usu-bokashi (light shading) where this tendency is particularly pronounced, we can see that his work has an extremely smooth finish.

Of course, some may argue that the roughness of the needle marks is the beauty of hand poking. However his technique is worthy of special mention, as it is the culmination of practice for a few decades.



The origin of the dragon figure, which has been represented in many paintings and sculptures and has formed an almost fixed image, dates back to the time of the Later Han dynasty of China. Each part of the body was said to resemble various animals, “The horns are a deer, the ears are a cow, the head is a camel, the eyes are a rabbit, the scales are a carp, the claws are a hawk, the palms are a tiger, the belly is a shin (imaginary creature), and nape is a snake.”

However it goes without saying that the image has gradually changed with the passage of time and what we envision today is not like the above.

※See Horimomo’s interview here
And see more of his work on Instagram

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