The Soga district of Odawara City, Kanagawa Prefecture, is renowned as a prime plum-growing region. Its “Juro Ume” plums, particularly prized for their thick, tender flesh, are considered the highest grade variety for umeboshi pickling. Mr. and Mrs. Saito Tokutaro continue to uphold the traditional craft of waiting until these plums are fully ripe before harvesting them, pickling them solely in salt, and drying them while exposing them to the night dew. Their proven skills, backed by numerous awards, and their sincere approach attract many devoted fans.

The History of Plums Rooted in Odawara

Odawara City in Kanagawa Prefecture has long been renowned as a prime plum-growing region. During the Warring States period, Hojo Soun utilized umeboshi as military provisions, supporting his soldiers with this long-lasting food source. The plums’ medicinal properties and ability to prevent spoilage also made them indispensable on the battlefield.By the Edo period, umeboshi had spread among the common people for medicinal and culinary use, becoming a staple souvenir for travelers passing through Odawara-juku. Umeboshi, useful for preserving lunch boxes and maintaining health, gained enduring popularity as an indispensable preserved food in daily life.

The Soga Plum Grove and the Bustle of the Plum Festival

Against this historical backdrop, vast plum groves formed in the Soga district of Odawara. The three groves of Soga Bessho, Hara, and Nakagawara are collectively called the “Soga Plum Grove,” now home to approximately 35,000 white plum trees.Plums include ornamental varieties like the deciduous Chinese flowering plum (Hanaume) and edible/medicinal varieties like the fruit plum (Miume). Most trees in this area are cultivated for edible plums, producing fruit processed into umeboshi pickles and plum wine for local distribution.

However, Soga Plum Grove aims to leverage not only the harvest but also the beauty and fragrance of the blossoms as a tourist attraction, hosting a “Plum Festival.” The plum trees in full bloom across the landscape from February to March captivate visitors, linking with local specialty sales and tourism to generate regional vibrancy. This scenery, where plum production and tourism are integrated, truly symbolizes Odawara’s plum culture.

The Odawara-born Juro Ume, recognized by the Agency for Cultural Affairs as a “100-Year Food”

While varieties like Shirokaga, Nanko, and Baigo are cultivated in Odawara, the Juro plum stands out as particularly special.Though not yet widely known nationwide, it is actually considered the pinnacle variety for umeboshi (pickled plums). Its thick, soft flesh and small seeds make it easy to eat, and when pickled, it develops a mellow acidity and deep umami flavor. Many who experience its melt-in-your-mouth texture for the first time are surprised, exclaiming, “There’s a plum like this?”

This plum originated in the 1950s. Selected from native seedlings in Ashigarakami District within Odawara City, it was named “Juro Ume” after Soga Juro, a character from the Soga Monogatari, a military tale from the Muromachi period.Perfectly suited to Odawara’s soil and climate, this plum is truly a regional brand to be proud of. Furthermore, to pass on the history and appeal of these “Soga Umeboshi” to the next generation and promote them widely, they were submitted to the Agency for Cultural Affairs’ “100-Year Food” initiative. They were recognized in the “Traditional 100-Year Food Category: Local Cuisine Continuing Since the Edo Period.”

A Producer’s Nightmare

On the other hand, the Juro plum is also notoriously difficult to handle, earning it the nickname “producer’s nightmare.” Its skin is extremely thin, prone to bruising even from slight contact with branches. Harvesting requires picking each plum by hand, and cushions must be placed in the harvest baskets. Furthermore, flipping them during sun-drying is a nerve-wracking task. Because they are fully ripe, the skin tears easily, demanding constant vigilance until the very end.

Furthermore, the fruit sets inconsistently, leading to years with wildly varying yields. This means producers must remain constantly vigilant, from cultivation through processing. Yet, they persist in cultivating Juro Ume because of its unique flavor profile, unmatched by any other plum. Those who have actually pickled Juro Ume plums are captivated by their tenderness and deep, complex flavor. It’s said that after experiencing this, they declare, “I can only use Juro Ume from now on.”

Proven Excellence, Recognized with Multiple Governor’s Awards

In the Bessho district of Soga Ume Forest, Tokutaro Saito dedicates himself to umeboshi production. Together with his wife, they have preserved the traditional method of making umeboshi using Juro plums. Their reliable craftsmanship is widely recognized locally and has earned high praise over the years.

Saitō’s umeboshi have consistently placed at the Odawara Umeboshi Competition, winning awards in both 2023 and 2024. He has also previously received the Minister of Agriculture, Forestry and Fisheries Award and the Kanagawa Prefectural Governor’s Award. As a regular top-ranking entrant at the Odawara Umeboshi Competition, his skill and earnest approach are unquestionable.

Points Evaluated at the Competition

The Odawara Umeboshi Competition rigorously judges appearance, including size, uniformity of the plums, skin condition, and color. During tasting, the balance of softness, acidity, and saltiness is evaluated. Mr. Saito’s umeboshi are characterized by meltingly soft flesh and a mellow flavor where the saltiness is perfectly rounded. They are highly regarded not only by judges but also by consumers.

A commitment to refining technique

The competition is not just about results; it’s a stage reflecting the accumulation of daily effort. It demands meticulous attention to detail: how to achieve both softness and uniformity in size, how to harmonize acidity and saltiness. Mr. Saito states, “I’ve exhausted all possible innovations. Now it’s just about continuing without cutting corners.” While lacking flashiness, it is precisely this accumulated experience and sincere work that leads to recognition.

A Foundation Built Over 10 Years as a Plum Farmer

Saitō Tokuo’s family farm cultivated plums, mandarin oranges, and kiwis. A large soy sauce brewery stood next to their home, immersing him in food and fermentation culture from childhood.

After entering the workforce, he pursued a career as a chef. However, his father passed away early, leading him to decide to take over the family business in his late 40s. It was at this point he began seriously engaging in agriculture. In reality, he has only been fully dedicated to farming for about 10 years. Nevertheless, he shifted to a life centered around the fields, cultivating primarily plums, along with Kanagawa Prefecture’s “Harumi” rice and the “Hayward” kiwi, renowned for its excellent balance of sweetness and acidity, adapting to each season.

Family and Commitment Supporting the Farm

After his transition, he has continued his journey alongside his mother and wife, sharing the work and tending the fields together.There was a period when he worked as a chef during the week while helping with farm tasks, but since becoming a full-time farmer, his days revolve around checking the weather forecast and planning his work accordingly. He has a particular dedication to pruning, which improves sunlight exposure and airflow to prevent pests and diseases. He finds great satisfaction when his pruning yields good fruit. Though his history as a farmer is still short, his experience in the food industry and his family’s support form a strong foundation for Mr. Saito’s farming.

Capturing the moment of perfect ripeness: Drawing out the flavor of Juro plums with salt and sun

Saitō’s approach to making umeboshi begins with a unique dedication right from harvest. He meticulously gathers only plums that have ripened to the point of nearly falling from the tree naturally. The fruit, turning from yellow to orange and beginning to release its fragrance, has soft flesh that yields melt-in-your-mouth umeboshi. Judging this point is no easy task, requiring daily observation of the orchard.As they are highly susceptible to rain and wind, even the slightest timing discrepancy directly impacts quality. Mr. Saito’s approach is to never cut corners here.

Traditional flavor with 18% salt content and summer sun drying

After harvesting, the plums are carefully selected, coated in salt, and pickled under a weight.The salt content is kept at 18% as a standard, adhering to the traditional method that balances preservation and flavor. The “white umeboshi,” finished with salt alone, is a serious challenge with no room for compromise, unlike the mellow-tasting umeboshi made with added honey or other ingredients. Extracting the softness of the flesh and the mellow acidity requires judgment backed by experience.

After the rainy season ends, the next step is sun-drying. Saito-san places great importance on “Doyou-boshii” drying, where the plums are exposed to the night dew for three days and three nights.The repeated exposure to strong daytime sunlight and nighttime humidity softens the skin and concentrates the umami in the flesh. The drying process requires turning each plum over individually, a nerve-wracking task for the Juro plum, whose skin is prone to tearing. Still, Mr. Saito insists, “This extra effort determines the flavor,” and continues to uphold the traditional method.

Characteristics of the Finished Product

The finished umeboshi are characterized by a melt-in-your-mouth softness and uniformly large, plump plums. The acidity is mellow, the umami is richly pronounced, and the saltiness is rounded into a deep, complex flavor. It’s precisely this assured quality that leads many who taste them to agree: “Nothing but Juro plums will do.”

The Premium Brand ‘Unjou’ – Only a Few Kilograms Certified from 2 Tons

Mr. Saito’s umeboshi are also selected for the Odawara City-certified regional brand ‘Unjou’. The standards are so strict that even after pickling 2 tons, only a few kilograms from his family’s batch are certified, meaning only a very small portion of the umeboshi are chosen. The conditions are rigorously checked: the fruit must be at least 4L size (42mm diameter), have a uniform shape with a clean, taut skin, possess beautiful color, and deliver a reliable taste.Salt content is another key criterion. “Then there’s the salt content,” Mr. Saito explains. “We pickle them at 18%, and they must finish below 20%. They absolutely must be under 20%.” He strictly adheres to this standard. Ujō-certified umeboshi are sold individually packaged as a premium product, priced around 300 yen per plum. Being selected this way is also a badge of honor, an achievement only a limited number of farmers within the city can attain.

Pride Spreading with the Community

Once certified as ‘Unjō’, the umeboshi are sold as the city’s official brand in department stores and elsewhere, increasing consumer exposure. This isn’t merely sales promotion; it enhances trust in Odawara’s agricultural products and builds pride for the entire region. Mr. Saito himself strongly feels that “my umeboshi represent the region” and carries a sense of responsibility to pass this legacy on to the next generation.

A Future Built on Each Plum’s Dedication

Saito’s farming journey has been walked alongside his family’s support. The experience and ingenuity accumulated over the years have forged the reliable techniques that draw out the charm of the Juro plum. His traditional white umeboshi, pickled only in salt, delivers a finish that perfectly preserves the flesh’s softness and deep umami. Served alongside freshly steamed hot rice, it makes you unable to stop eating.”I can’t do anything flashy, but continuing earnestly is what matters,” says Saito, infusing each and every plum with sincerity. It is this quiet passion that will continue to be the driving force supporting Odawara’s plum culture.

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This glass studio was established in 1998 by two glass artisans, Ushio Konishi and Fujiko Enami, after training at
Chadam Glass Company in Massachusetts, USA.

The works are characterized by the strong individuality of each artist.

What is Venetian glass, a vivid and attractive glass?

When we visited the glass studio SILICA in the Ibaraki section of this trip, Ms. Fujiko Enami had just been invited as a guest artist. I heard that she and glass artist Ushio Konishi were working together at Ushio Studio in Kanagawa, so I paid a visit.

The Venetian glass that Ushio Studio makes is a craft that originated in Italy and is characterized by the fact that it is made by hand by craftsmen.

Mr. Enami specializes in a technique called ” murrine, ” which is a traditional technique of Venetian glass. First, a glass rod is made by trapping various colors and patterns in a single piece of glass. The glass rod is then cut into small pieces like Kintaro candy, which is the material used to make murrini. The glass pieces are then joined together like a mosaic, heated in a kiln, and blown into shape.

Many of Mr. Enami’s works are fashionable glasses with designs of flowers, hearts, bees flying over a hive, and other designs that would fit in well in today’s life. The colors and motifs are lovely, and the works are full of a unique world view.

I want to use the Venetian technique to create glassware that fits the Japanese lifestyle and touches the heartstrings,” he said.

Lace Glass” made with a more delicate technique

After graduating from university, Ushio Konishi trained at glass companies in Japan and abroad before returning to Japan from the United States. After returning to Japan from the U.S., he established the Ushio Studio with Mr. Enami.

He tells us that he is envious of the fact that the ocean is so close by here on the Miura Peninsula, and that he sometimes goes diving in the ocean after work.

Some of Konishi’s works are called “lace glass,” in which fine lines are folded over and over in layers to form beautiful patterns in the glass. As the name suggests, the delicate and intricate lines are drawn as if they are woven into lace. Like Mulline, the process of making lace glass begins with the creation of glass rods, which are used as the raw material. By combining multiple glass rods, a new lace pattern is created, allowing for the rich and colorful expression of Konishi’s work.

Our style of production is teamwork,” says Enami. Many of the tasks at Ushio Kobo cannot be done by one person. Observing the work, it is clear that the members of the studio must work together and breathe in unison to complete the work. However, even in the midst of collaborative work, each person has his or her own unique style. Thus, while helping each other, they create their works in such a way as to make the most of their individuality.

Nakata, too, had a hard time making it,

Nakada also had a hard time making a glass cup, so he decided to make a glass cup out of lace glass. First, we made glass rods as materials. The glass rods were melted by combining glass rods of seven different colors, and two people held the rods with lumps of glass on them and stretched them at both ends.

Mr. Konishi has Nakata hold one of the rods, and he himself holds the rod. The work begins with the words, “Well, let’s go,” but speed is especially important at this point. Nakata was impressed by the way the glass was stretching, but his face gradually became stern. As the glass grew, it became heavier and heavier. Yes, it’s okay. You can put it down. Nakata’s arms were so tight when he was told to put it down.

The glass rod was worth the effort, and the seven-colored lines were firmly spiraling on the glass rod.

The glass rod is then cut to the size of the cup and combined. The glass rods are then melted and blown to create the shape of the cup. After repeated minor modifications, a cup with beautiful rainbow-colored lace was completed.

The finished product is delicate and beautiful, but it takes a lot of strength to make. Nakata was sweating as he spoke, “It’ s so hot… Nakada was able to experience the difficulty and fun of glass making, something that can only be done at Ushio Kobo.

There are high expectations for Ushio Kobo, which will continue to hone its capabilities as a team to create unique glass pieces that will be used by many people in Japan.

While using the technique of Venetian glass, I make glass works that can be used in Japanese life. The delicate lines and beautiful patterns seen in the glass are unique and one-of-a-kind. Please enjoy them as a colorful addition to your daily life.

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Good old fashioned Japanese inn

Yugawara-machi is located on the border of Kanagawa and Shizuoka prefectures. Satsuma (mandarin orange) orchards spread out on the sunny hills and Chitose River slowly flows from the Hakone Mountains through the gentle slopes along the ”onsen” town out to Sagami Bay. The relaxed ambience of this region has long had a healing effect on people. Not only being mentioned in the ”tanka” recorded in the ancient ”Manyoshu”, but the ”onsen” has also been adored by numerous literary giants of modern Japanese literature, many of whom have written their literary work in Yugawara.
We visited ”Sekiyou,” an inn located halfway up a hill from town.
The inn is built on a vacation home and garden that has been in the owner family for three generations, giving it the atmosphere of a private home welcoming guests.
Art pieces by local artists are displayed, antiques and contemporary art matching the season adorn the interior. All nine guest rooms have sophisticated stylized beauty which compels the guests to take a deep breath and relax. Sekiyou is a popular destination as a ”ryokan” where you can experience an authentic Japanese inn.

Hospitality deeply rooted in the local community

One of the attractions of Sekiyou is the food, vegetable from local farms, fish caught in the local seas, edible wild plants in spring; horse mackerel, inshore fish and abalone in summer; lobster in autumn; and daikon radish from Odawara and other seasonal ingredients. The dishes are prepared by traditional methods to bring out the ingredient’s flavor to the fullest, to make each dish memorable for guests.
Breakfast is another delightful experience, unique to Japanese ”ryokan”. You can start the day with healthy food such as fresh juice made from locally grown citrus, seasonal ”himono” and boiled greens.
You can also enjoy the beautiful view of the mountains from the outdoor hot spring. Soak leisurely in the ”onsen,” get a massage to thoroughly relax. Hike in the nearby hills and enjoy a walk in nature. This is an inn that makes you want to stay at least two nights to fully immerse in its comfort.

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Overlooking Sagami Bay with Ichiyan Castle in the back

During the Sengoku period in Odawara, Kanagawa, Hideyoshi built Ishigakiyama Castle in order to capture the unassailable Odawara Castle. He built the castle in secret and made it to look like it was built overnight, therefore calling it ”Ichiyajo” or one night castle.
We visited the fields spread out on the hills where the ”one night castle” once stood. Here, pastry chef Toshihiko Yoroizuka opened a farm and restaurant ”Ichiyajo Yoroizuka Farm” in 2011.
Yoroizuka trained in Europe where he became renowned as a pastry chef. Upon his return to Japan, he opened a succession of patisseries which were greatly successful and made him famous in Japan. What is the reason behind him starting his own farm.

Agriculture and chef

Yoroizuka had always travelled all over Japan in search of ingredients. During his travels, he discovered great tasting ingredients and found out about the ”current condition of farms” in Japan. Labor shortage, lack of successors were some of the issues. In addition, the market framework was not producer friendly.
”For example, Satsuma oranges,” commented Yoroizuka, ”just a little scratch on the orange peel makes it difficult to be shipped. The scratch doesn’t affect the taste. But farmers must make other products like jam with the sour ones, or they wouldn’t be able to stay in business.”
He worried about the situation but thinking about it did not provide a solution. You have to tackle the problem and see where it takes you. This is why he started this farm.

Together with local farmers

The farm was not built in a day. The staff, including Yoroizuka were amateurs when it came to farming. It was impossible for them to farm by themselves, so they had local farmers teach and assist them on a regular basis.
”Nurturing human resources is also important. There are about 100 pastry chefs that work for us. Being a ”pastry chef” is only a part of who we are. Working with the local farmers will develop us as people.”
There is more work to be done in the fields, but Yoroizuka talked passionately about what he wanted to grow on the farm.
With a restaurant on the premise, many people visit the farm daily. He also opened ”Yoroizuka Farm Tokyo” in Shibuya Hikarie and sells seasonal crops harvested from the farm, continuing his efforts to stimulate agriculture together with delicious cuisine.

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Transformation like magic

Glasswork artist Yoshihiko Takahashi is currently a professor at Tama Art University. He is a world renowned artist who has experience working at a glasswork studio in Germany, and presents his works through exhibitions abroad. We were able to watch him work at his studio which he opened in 1985.
He explained to Nakata as he kept on working on the lump of glass. It transformed before our eyes. The only time he blew into the glass was to make the glass round. ”The glass stretches with its own weight,” Takahashi explained as he swung the blowpipe downward, the molten glass elongating. He used just the centrifugal force, without using any other tools to open the mouth of the vessel. He senses the temperature of the glass, ductility, gravity, and centrifugal force to form his pieces. The glass transformed like magic, and was quite impressive. ”Nowadays, you can use various tools in glasswork. They are very convenient, but I couldn’t find a satisfying reason to use these tools so I made my own rules.” The first rule was to use blowpipes to melt the glass. The second rule was to create the glasswork within the first rule. ”For example, the bottom of the glass are often shaven as a finishing touch. I prefer not to do that, so I quit doing it.” Just as Takahashi said, the pieces he created had the soft curves and smooth surface that was made them beautiful.

Experiencing glasswork

Next was Nakata’s turn. Nakata was given a blowpipe which he put into the fire. Takahashi then pulled it out of the fire saying, ”Let’s blow the glass when the time is right.” ”When is that?” asked Nakata hesitantly. ”Right now,” Takahashi replied. ”Okay, that’s good. Now, swing it like a pendulum.” As Nakata swung the blowpipe, the glass bubble elongated and the shape of a drinking glass appeared. Nakata kept turning the blowpipe as Takahashi carefully monitored the temperature of the glass. Nakata enjoyed the unique movement of the glass material. It is something you cannot truly appreciate by just watching someone else do the work. Nakata’s work became a large drinking glass. It turns out that Takahashi has been focusing on making drinking glasses.

Making glass cups

”I had the opportunity to work with Shigesato Itoi’s office the other day, and we decided to do an exhibition of every day drinking glasses which was also introduced on the web. Drinking glasses reveal a lot, since you come into direct contact with them using your hands and mouth. In a way, they have a very high standard. This is why I have been making only drinking glasses these days.”
His words were quite unexpected. ”High standards” ”Very revealing” Its true that when you place a glass against your mouth, the thickness of the rim can be bothersome.
Being able to see something about your work that isn’t visible when its a piece of art, may actually help better your understanding of that item.
”Everyone has their own preference when it comes to the type of drinking glass they like to use, so it’s best to make each glass, one by one. Like a local baker, the relationship with the customer is important.”
”You mean you want to make each piece to order?”
”Yes. Like architects. I think vessel makers are like that.”
Takahashi has long been making art objects and unique shapes. Now he creates drinking glasses as he draws out one of the key characteristics and features of the material, ”glass.”

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Yokohama – Center stage of opening Japan to the world!

Yokohama, Kanagawa is a port city which started the opening of Japan subsequent to the Treaty of Amity and Commerce with the United States. In an era where every aspect of culture, such as ice cream, jazz, and fashion was modernizing at great speed, Yokohama was at the center of the movement. The art world was also changing greatly. Many foreign engineers and artists came to Japan on merchant vessels from abroad and introduced new ways of expression.
Yokohama Art Museum, which opened in 1989, features the historic background of the city. Its permanent collection consisting of both western and Japanese art from the late 19th century and contemporary pieces are displayed at this museum. We interviewed Eriko Osaka, Director as we took a tour through the exhibition.
”The portraits currently on display are influenced by western oil paintings. The perspective method also came from abroad. It was a mode of expression that did not exist in Japanese paintings.” You can see how Japanese artists learned from western art while western artists were also influenced by Japanese art. The museum’s permanent exhibit is changed 3 times a year. There are also four special exhibitions each year. The museum introduces new artists when they hold large scale contemporary art exhibitions. (*1: We visited in mid March 2012. For the latest information on exhibits, please refer to the museum’s website.*2: left picture by Yasuyuki Kasagi)

Observing the development of photography

Yokohama has close ties with photography. Photographic techniques were introduced to Japan by Dutch merchant vessels through Nagasaki’s Dejima at the end of the Edo era, but Yokohama is the location of the first photo studio. Yokohama Art Museum focuses on the development and artistic quality of photographic culture, and continues to add to its collection of photographs. Having an exhibition room solely for photographs is quite unique. At the time of our interview, the exhibit was made up of photographs taken 100 years ago at scenic sites within Kanagawa by foreign photographers. They were not just photographs, but pigment was applied on black and white photographs to make them look like colored photographs. Perhaps the photographer wanted to retain the colors of the scenery at time when colored photographs did not exist. The museum retains and exhibits photographs since the founding period of photography to contemporary photographic art pieces, and introduces the appeal of photography to the public.

A comfortable room, an atelier for children

Yokohama Art Museum has another aspect. Nakata had the chance to visit ”Citizen’s Atelier” and ”Children’s Atelier.” Citizens are able to engage in creative activity in ”Citizen’s Atelier,” a comfortable spacious work space surrounded by a high ceiling and white walls. Here, a work facility which would otherwise be difficult to privately own is open for citizens to use for various genres of art, such as print making, painting, sculpture, and ceramics. Assistance from the atelier’s instructors is offered as well as workshops by various artists. ”Children’s Atelier” has a multipurpose space where children can move around energetically, and is also used for various workshops for children.
Junichi Seki, the leader of the Creative Assistance Group told us, ”We opened 23 years ago so people who participated as children now bring their children.” It is important to see art pieces not just passively, but to actually experience art. Yokohama Art Museum is adored by many people as a museum that actively fosters cultural experience.

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An introduction to artist, Taro Okamoto

”Art is explosion.” is a phrase by Taro Okamoto, a world renowned artist and a familiar face to TV viewers. Taro Okamoto was born in 1911, in Kawasaki, Kanagawa where his mother’s family lived. Okamoto was born to an artistic family, his father Ippei Okamoto was a renowned cartoonist, his mother Kanoko was a poet and a novelist. He entered Tokyo Fine Arts School and for 10 years from the age 18 lived in France. He was influenced by the surrealism movement and avant-garde arts in Europe, and actively exhibited his works in his twenties. He returned to Japan and was sent to the front during World War II. During the turbulent period after the war, he produced numerous works.
For example, the symbol of Expo ’70 in Osaka, ”The Tower of the Sun”, and ”Myth of Tomorrow” which was created at the same time as ”The Tower of the Sun”, is currently placed at Shibuya Station, and many other large structures and paintings are displayed everywhere. He published his thoughts on ”Jomon” Earthenware in which he emphasized the innate life force and creativity of mankind, and continued to challenge himself in expressing himself. He appeared on commercials on television, and his unique way of thinking impressed viewers all over Japan. Nakata visited the museum displaying art pieces by this artist who passed away in 1996.

The Taro Okamoto Museum of Art

Ikuta-Ryokuchi is a vast city park with numerous cultural facilities on its premise. The Taro Okamoto Museum of Art was opened in 1999 and it displays and retains artwork by the artist Taro Okamoto. When the artist turned 80, he donated his works to Kawasaki City, and it was decided that a museum would be built to preserve and show his artwork to future generation. There are over 1700 pieces of paintings, sculptures, and photographs by Okamoto. The museums exhibition of its permanent collection is changed 4 times a year.
Nakata listened to the commentary given to each piece by the docent. ”Okamoto did not like ’wabi-sabi.’ Japan had Jomon era long before that!’ he would say.” Nakata was drawn in by the energy of Okamoto’s work.
You can actually sit on the sculpture titled ”Chair Refusing to Sit Anyone” but, ”The seat is a face.” ”Yes, Taro used to say ’chairs shaped for people to sit comfortably are merely flattering people’ and he made this chair.” The chair has eyes and mouth-like features that are somewhat humorous. You can see numerous creations by Okamoto, including the symbol of this museum, ”Tower of Mother.”

Toward future art

The Temporary Exhibition Gallery not only exhibits Okamoto’s pieces but also art work by many other artists. The Taro Okamoto Award for Contemporary Art is a major annual event of the museum. The ”Taro Award” seeks to find ”those who will make history” as mentioned in his book. Based on this concept, the contest is open to all creators, professional and amateur. This exhibition for artists who are free thinking and unconventional is known as the gateway to success for contemporary artists. The pieces by these artist of the next generation were all truly original.
Why not visit ”The Taro Okamoto Museum of Art”, a museum surrounded by rich nature and a place where you can discover Okamoto’s artwork as well as artwork by various other artists.

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Bingata-zome, originated and passed on in Okinawa

Are you familiar with a textile dyeing method called ”Bingata-zoｍe?” Using colors that remind you of the Okinawa environment such as yellow, light blue, and red, this traditional stencil dyeing method originating in Okinawa was used to dye garments for royalty and aristocrats of the ”Ryukyu Dynasty.”
”Bingata-zome” was made by the ”samurai” class that served the ”Ryukyu Dynasty” for generations, but following the invasion of ”Ryukyu” by ”Satsuma-han” and Meiji government’s abolition of the ”han” system, Okinawa went through drastic changes. ”Bingata-zome” slowly declined. In addition, the stencils for dyeing which are integral in passing on ”Bingata” patterns were burned during the war.
”Bingata” was rescued by the late Yoshitaro Kamakura who was also instrumental in rebuilding Okinawa Shurijo Castle, later recognized as Important Intangible Cultural Property. Kamakura was an art historian who collected stencils for ”Bingata-zome” and had stored them at an art school in Tokyo. As a result, the stencils had escaped being damaged by war.

Passing on the very rare “Oborogata-zome”

We interviewed Akiyo Shinohara who studied under Kamakura.
After the war, the stencil patterns were brought back to Okinawa by Kamakura where a very important technique of ”Bingata-zome” called ”Oborogata-zome” was revived. Akiyo became involved in ”Bingata-zome” under Kamakura, and there she succeeded the technique that is passed on to this day.
”Oborogata-zome” is a method where the fabric is dyed several times on top of each other using two or three stencils. It is a laborious, time consuming method as you need to repeat the same process several times, but the resulting patterns and the coloring become complex.
”Oborogata is called ”Uburu” in Okinawa” says Akiyo. She does not produce as much ”Oborogata-zome” these days, but you can sense her passion towards ”Oborogata-zome” in her words.

Softness in “Oborogata-zome”

Akiyo-san works with her daughter-in-law, Yuko-san at their home studio. Because of her interest in art history and tea ceremony, Yuko-san often wore kimono which sparked her interest in textile dyeing. After marrying into to the family, she learned ”Bingata-zome” from Akiyo-san and started to work with her.
Nowadays, Yuko-san herself produces ”Oborogata-zome” cloth in Akiyo-san’s place. Using ”Oborogata-zome” method, she dyes numerous colors in patterns, but the ”kimono” carries a soft, refreshing atmosphere. ”Oborogata-zome” is a very old technique from Okinawa which was preserved by Kamakura, and Akiyo-san who studied under Kamakura. Now the technique is passed on from Akiyo-san to Yuko-san.

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In search of his own style of ceramics

Katsudo Nakajima first aspired to become a ceramist when he was in high school. He felt a warm nostalgia when he saw Korean Ly Dynasty ceramics at a folkcraft museum in Meguro-ku, Tokyo.

In Japan, Hagi in Yamaguchi Prefecture produced ceramics by using Korean type ascending kiln. ”If that’s the case, I should learn ’Hagi-yaki.’” he decided, but on his way to Hagi, he traveled to other parts of western Japan. He traveled around Japan in his car. From Seto to Shiga, Kyoto, then to Kyushu, then finally to his final destination, Hagi.

After actually studying the method under a master, he felt that the current ”Hagi-yaki” differed from that of the Ly Dynasty, so he decided to learn old Japanese pottery techniques, and head for ”Shigaraki-yaki” kiln in Shiga.

Owning his own kiln

”In Shigaraki, they used to make pottery for everyday life. They also made pottery for tea ceremonies. But that didn’t really suite me either. I wanted to make something that is enjoyed by all five senses, as it is being used.” Realizing that everyday kitchenware fit this ideal, he decided to relocate to the Iga region to train further. The journey was long but everything he learned makes up who he is now. When he turned 30 in 1984, he moved to Kanagawa and built an ascending kiln.
”In the end, I wanted to create something not from Ly Dynasty, not Hagi, nor Iga, but my own style of ceramics. But my start was the Ly Dynasty style, so I decided to start with the ascending kiln.” Nakajima still produces ceramics with the Korean style ascending kiln.

Ascending kiln and glaze

The characteristics of the pottery baked in an ascending kiln is the rich coloring on the pieces brought on by this type of kiln. The ashes from the pine tree blends with glaze and fuses into glass of many colors in the 1200℃ blaze.
”For me, the greatest appeal of ceramics is the glaze.” He showed us a large plate as he explained. On the plate, we see multiple layers of circles with a gradation of a deep caramel color in the center.
”When I’m molding the pottery, the surface is bumpy then I apply glaze on these bumps. As the pottery is baked, the pool of glaze gathers in the dents and make these colorings appear.” The pieces with the pool of glaze evolved over time, and he now experiments with the amount and blend of the glaze.
”The translucency of the ash glaze makes it possible for the warmth of the clay to appear.” Nakajima told us. He still aspires to recreate the ceramics he encountered as a high school student, pottery with warmth.

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Candy-like ceramics

”I’ve never seen ceramics like this. It looks like sugar candy,” Nakata commented. The pieces were in various shapes, such as utensils, lampshades and objects, but the one common factor was that many were made in pastel colors such as pink. Another characteristic was that the decorations on the pieces were small and delicate, the patterns stamped on the pieces called seal flowers were fancy. Pop and unique features of the pieces have captured public interest making her a popular artist.
There was another reason Nakata described the pieces as resembling ”sugar candy”, and it is the translucency. The artist blends glass powder to the clay to increase the translucency of the surface. The lucent light on the pieces are indescribably beautiful and charming./p>

Switching from working in an office to an ceramic artist

Otsuki did not study ceramics at an arts college or in school.
She was an office worker before she became a ceramist. She saved money from the office job, attended ceramics classes for a year. At the end of that year, she asked for an apprenticeship but was declined, ”Quit while you still can.” She was turned down because of her lack of formal training, as it would be more difficult to pursue the path of ceramics.
She kept on trying saying, ”I don’t need to be paid, I will do anything. Please let me work here.” In the end, she was allowed to work there. It was the moment her passion moved another person.
From there she kept challenging the ”difficult” path to become the respected ceramist that she is today.

The origin of her fancy motif

Perhaps she is able to create her special fancy pieces because she did not take the standard path as a ceramic artist. ”Where do these motifs come from?” asked Nakata, and her surprising answer was, ”Photographs.”
”I like pictures of cakes. They give me inspiration. I also like to see pictures of trees and flowers. This is where I get my ideas.” From photographs of cakes to ceramics. This is what makes Otsuki’s pieces so interesting.

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