The variegated colors of the Lin japan series seem to come alive, depending on the viewing angle. The style defies definition; not connected to any Japanese lineage or tradition, these tumblers hew closer to their hardier, hand-friendly European counterparts, while the renge-type soup spoons, the familiar ramen and xiaolongbao dumpling sidearms, make for the perfect presentation of amuse-bouches.
An odd thing happens wherever Lin japan porcelain appears. People draw closer, hands reach out, and surprise is audible: “Is it metal, is it heavy, why does it glimmer so?”
Though they strike the eye like a metallic chord, tinged with feathery ephemerality, the pieces are light as air, and their powdery appearance gives way to stout solidity. In the end, we awe at how completely Kinshodo has thought their visage through.
Not surprising, in light of this studio’s accomplishment. From its founding in the mid-seventies, the house’s master artisans produced traditional work known for the highest level of technical excellence, complementing orthodox form without aping it.
Lin, meant to evoke the sound of striking metal, heralds the studio’s radical 2011 rethinking of its mission, with a statement as bold and unfettered by convention as it was capable of.