Since its founding in 1896, Gakubuchi no Yamamoto has been loved for over a century by many artists and art enthusiasts. The shop not only sells the picture frames lining its shelves, but also creates custom‑made frames on commission from artists, framing countless masterpieces over the years.
For this interview, we spoke with Mr. Yamamoto (hereafter, “Mr. Yamamoto”), the representative of Gakubuchi no Yamamoto, whom we have invited as a lecturer for the “Gold Leaf Day (Haku no Hi) Workshop” to be held at Shizendo. Ahead of the workshop, he shares the fascinating history of picture frames, their cultivated appeal, and the unique values that shape his work.
History and Role of Frames
What kind of history do picture frames have, and what role do they play in the first place?
“In my view, frames emerged when European religious paintings and interior murals stepped out from fixed architectural decorations and became objects that could be detached and carried around.”
Mr. Yamamoto describes frames as “a kind of device that draws a boundary between what we believe in or hold dear and everything else.” Mr. Yamamoto describes frames as “a kind of device that draws a boundary between what we believe in or hold dear and everything else.”
In Japan, from the Meiji period onward, as society embraced elements such as reception rooms and cabriole‑leg furniture, frames also evolved with the times.
Some frames emerged as a development from traditional mounting techniques, incorporating brocades or embroidery, and over time evolved into a wide variety of designs.
Yamamoto’s Commitment to Framing
A recent trend is for frames to be as unobtrusive as possible or designed so that the artwork appears to float. Even as trends change, there are things Mr. Yamamoto continues to value.
“A frame job is to properly enhance what it is meant to highlight. We try not to assert ourselves too strongly.”
We casually use words like “cool” or “simple,” yet people’s sensibilities differ vastly.
“As we draw out each customer’s aesthetic sense, we blend in our own techniques and touches to create the final piece—watching our staff at work, I feel that is exactly what this job is about.”
According to Mr. Yamamoto, Gakubuchi no Yamamoto’s frames have three characteristic strengths.
- A finishing method that intentionally scratches or scorches the paint and gold leaf to physically distress the surface, giving it an antique feel. A finishing method that intentionally scratches or scorches the paint and gold leaf to physically distress the surface, giving it an antique feel.
- Techniques that make use of the natural grain of solid wood, combined with inlays of patterned cottons such as sarasa and damask fabrics. Techniques that make use of the natural grain of solid wood, combined with inlays of patterned cottons such as sarasa and damask fabrics.
- The ability to produce completely bespoke frames—from shaving the wood to final finishing—even for a single piece, including reproductions of existing frames. The ability to produce completely bespoke frames—from shaving the wood to final finishing—even for a single piece, including reproductions of existing frames.
At first glance, the frames appear simple, yet they possess a slightly weathered calmness, with subtle waviness in the wood and a gentle softness in the corners. In Mr. Yamamoto’s frames, one can feel a human warmth permeating every detail.
Affinity Between Frames and Gold Leaf
Frames by Gakubuchi no Yamamoto also make use of Shizendo’s gold leaf. By deliberately scraping or peeling off the leaf, they achieve a deep, genuine vintage character that only real gold can provide.
Mr. Yamamoto describes the role and value of gold leaf in frames as follows:
“Gold is a form of value that is recognized in every country, and I think it has continued to be used as a symbol of wealth—something people look at and immediately associate with richness.”
Frames serve as boundaries. Gold leaf is seen as a material that can lift the work within another dimension, making it stand out even more.
“Right now, the price of gold is soaring, but in a way, this may be an opportunity to draw a clear line between imitations and the real thing.”
Future Vision: Craft for the “1% Maniacs”
“I always want to explore new materials and modes of expression.” Mr. Yamamoto sometimes experiments with ideas inspired by techniques from the nail and fashion industries, and drawers in his workshop are filled with nail products he has collected.
“The market size of the framing industry is shrinking year by year, but I actually think it is fine if this becomes a world known only to those who truly love its niche and ‘maniac’ aspects. A world known to the few who care. If we pursue that kind of mania and it resonates with just 1% of people, that is enough, isn’t it?”
When asked about the path he wishes to follow from here, he replies:
“If you push what everyone calls ‘simple’ to the ultimate extreme, you end up with a conclusion that frames are unnecessary. Precisely for that reason, I want to deliver and pass on frames to those who love the human handwork that wraps a piece of art.”
Frames born from such passionate dedication.
The frames of Gakubuchi no Yamamoto, moving forward together with art and with people, possess a generous depth that will keep them loved even as times change.
On August 7, at the ‘Gold Leaf Day’ event, Mr. Yamamoto will join us as a lecturer for a workshop where participants can handle gold leaf and experience the profound world of picture frames. We invite you to feel his passion for framing and enjoy creating your own unique gold‑leaf‑adorned frame.
Framing Yamamoto
