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Maeda Kôin was a master of traditional [[Ryukyuan lacquerware]]. He was one of the primary artisans who reproduced the royal throne, calligraphic plaques, decorated pillars, and other lacquerware objects for the restoration of [[Shuri castle]] in the 1980s through its opening in 1992, and for display and use in reenactments at the castle in the years since then. He was designated by [[Okinawa prefecture]] as a holder of Intangible Cultural Heritage, and served as an advisor to the prefecture on traditional arts.

Maeda Kôin was a master of traditional [[Ryukyuan lacquerware]]. He was one of the primary artisans who reproduced the royal throne, calligraphic plaques, decorated pillars, and other lacquerware objects for the restoration of [[Shuri castle]] in the 1980s through its opening in 1992, and for display and use in reenactments at the castle in the years since then. He was designated by [[Okinawa prefecture]] as a holder of Intangible Cultural Heritage, and served as an advisor to the prefecture on traditional arts.

Originally from [[Ogimi|Ôgimi]] village in northern [[Okinawa Island|Okinawa]], Maeda graduated from the [[University of the Ryukyus]], and was then introduced by painter [[Adaniya Masayoshi]] to a job as a designer at the lacquerware company [[Benbo|Benbô]], the leading producer of contemporary lacquerware designs in Okinawa at the time.<ref name=feenukaji9>"Shurijô Seiden ha sekai saidaikyû no urushi no ki. Shurijô no shûfuku, fukugen ga dekiru shokunin o sodatete moraitai"「首里城正殿は世界最大級の漆の器。首里城の修復、復元ができる職人を育ててもらいたい。」、''Fee nu kaji'' 南ぬ風 9 (2008/10-12), 3.</ref> He began showing his own work at exhibitions five years later. In 1968, he quit that job and opened his own "Maeda Lacquerware Atelier."

Originally from the Janagusuku neighborhood of [[Ogimi|Ôgimi]] village in northern [[Okinawa Island|Okinawa]], Maeda attended the [[University of the Ryukyus]], and in his fourth year was introduced by painter [[Adaniya Masayoshi]] to a part-time job at the lacquerware company [[Benbo|Benbô]], the leading producer of contemporary lacquerware designs in Okinawa at the time.<ref name=feenukaji9>"Shurijô Seiden ha sekai saidaikyû no urushi no ki. Shurijô no shûfuku, fukugen ga dekiru shokunin o sodatete moraitai"「首里城正殿は世界最大級の漆の器。首里城の修復、復元ができる職人を育ててもらいたい。」、''Fee nu kaji'' 南ぬ風 9 (2008/10-12), 3.; Kinjô Satoko 金城聡子, et al, "Maeda Kôin shi o itamu" 「前田孝允氏を悼む」, ''Shurijô kenkyû'' 首里城研究 23 (March 2021), 96.</ref> He graduated university in 1959 and immediately afterward was given a full-time job as a designer for the company.<ref>Kinjô, 96.</ref> He began showing his own work at exhibitions five years later. In 1968, he quit that job and opened his own "Maeda Lacquerware Atelier."

Maeda played a key role in the 1990 establishment of the [[Urasoe City Museum of Art]], working with Urasoe City mayor Higa Noboru to convince a number of other government officials to support a plan for the city to purchase some 180 lacquerware objects displayed in a ''Ryûkyû shikki no bi'' ("The Beauty of Ryukyu Lacquerware") exhibit in 1983, to serve as the core of the collection for this new museum. When invited to serve as assistant director of the new museum, however, Maeda declined.<ref>Asato Susumu 安里進, et al, "Maeda Kôin shi o itamu" 「前田孝允氏を悼む」, ''Shurijô kenkyû'' 首里城研究 23 (March 2021), 95.</ref>

Maeda played a key role in the 1990 establishment of the [[Urasoe City Museum of Art]], working with Urasoe City mayor Higa Noboru to convince a number of other government officials to support a plan for the city to purchase some 180 lacquerware objects displayed in a ''Ryûkyû shikki no bi'' ("The Beauty of Ryukyu Lacquerware") exhibit in 1983, to serve as the core of the collection for this new museum. When invited to serve as assistant director of the new museum, however, Maeda declined.<ref>Asato Susumu 安里進, et al, "Maeda Kôin shi o itamu" 「前田孝允氏を悼む」, ''Shurijô kenkyû'' 首里城研究 23 (March 2021), 95.</ref>