When the lid is opened,
the first impression is density of color.
Green, vermilion, deep blue, and gold —
each tone stands boldly,
yet everything is precisely arranged within the circle.
This small surface feels less like decoration
and more like a carefully composed stage.
The peacock does not exist in strict realism;
it belongs to an ornamental world.
The peony functions both as a flower and as pattern.
What feels distinctly Kutani
is the layering of strong color.
Clear outlines,
rich pigments applied in planes,
and gold that quietly unifies the composition.
The brilliance usually found on porcelain vessels
is condensed into something that fits in the palm.
When ceramic painting becomes the lid of a mirror,
utility and ornament meet naturally.
This is not merely porcelain applied to an object.
It is a portable density of Kutani craft.
Even now,
the peacock remains vivid.
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