Born and raised in Takayama, a town renowned for metalworking in Toyama Prefecture, the roots of this family trace back to a foundry artisan who served the Kaga feudal lord Maeda Toshinaga. As the third-generation Hata Shunsai, he creates tea kettles with a modern interpretation. While preserving tradition, he deliberately breaks away from conventional norms to propose tea kettles that harmonize with contemporary lifestyles. At the core of his work is the simple desire to “share the joy of tea with as many people as possible.”

Preserving tradition. The courage to challenge without fear.

About a 30-minute walk from the ruins of Takayama Castle lies Kanaya-machi, a town that has flourished as the center of Takayama’s copperware industry. The area is home to numerous shops specializing in “casting”—the process of pouring molten metal into molds to create shapes—and “metalwork,” the craft of creating decorative items from metal.

In this town, Mr. Hata was born into a family that manufactures tea kettles used in the tea ceremony. From a young age, he grew up watching his grandfather and father at work. His family traces its roots back to Kamaya Hiko-bee, a foundry artisan who moved to Kanaya-machi when Maeda Toshinao, the second lord of the Kaga domain, established his castle in Takayama. In 2010, Mr. Hata inherited the family name “Hata Shun-sai,” which had been passed down through generations.

The only material used is iron, where sensitivity and aesthetic sense come to life in the tea kettles.

In the world of tea ceremony, which values tradition, various materials such as stainless steel and ceramic have been used for tea kettles in recent years. Among them, Mr. Hata uses only iron. With a background in casting as a family business for generations, he deliberately limits his materials to iron, pursuing expressions that can only be achieved with this metal. “I want to highlight the unique presence of iron in the tea room,” he says with conviction.

This bold choice drives new challenges. Constraints are the source of innovation. He continues to face iron with unwavering dedication, never stopping his journey as the third-generation Hata Harusai.

His recent works combine a smooth texture, approachability, and a touch of sleek sophistication. They seem to effortlessly bring out the diverse expressions of iron.

See, touch, feel. Constantly refining his sense of style.

What he values most in his work is seeing and touching various things to cultivate his sensibilities. Needless to say, he draws inspiration from tea kettles, tea ceremony utensils, and other art and craft items on a daily basis, constantly updating his values. Sometimes he travels to distant places to learn more by talking with the makers themselves.

Another important practice is revisiting the works of his grandfather and father. He compares them with his own creations, constantly questioning the differences. By engaging with a wide range of works across eras and genres, he gradually incorporates these influences into his own creations. With the pride of a kettle maker in his heart, every day is a continuous process of trial and error.

Expanding with Collaboration

The tea ceremony embodies the Japanese spirit and sense of beauty. Among its various forms, tea gatherings have long been cherished as occasions to enrich time spent with loved ones. However, according to a survey by the Agency for Cultural Affairs, the number of people practicing tea ceremony peaked at 6 million in the 1990s and has since declined to less than 1.8 million today.

In response to this situation, Mr. Hata has been actively promoting the appeal of tea ceremony while continuing his work as a kettle maker. To dispel the image that tea ceremony is “formal and difficult,” he collaborates with other artisans to organize various events. His target audience is young people who have grown distant from tea ceremony, and he is exploring ways to spark their interest. His motivation is simply his desire for more people to enjoy tea.

The charm of tea ceremony lies not only in savoring tea but also in the unique exchange of experiences. At a tea ceremony, one can admire hanging scrolls and crafts, enjoy the scenery outside the tea room, and feel a sense of fulfillment through shared moments.

Recently, we have collaborated with Shimoo Design, a popular woodworker from Toyama, and Miyake Mai, a contemporary artist and sculptor. We propose arrangements that respect tradition while adapting it to the modern era. We strive to create works that are not valued simply because they are traditional, but because they are inherently appealing.

Making tea ceremonies more appealing. Never flashy, but expressing a unique worldview.

The unique presence of Mr. Hata’s teakettle. It is born from a deep understanding of the “role” of the teakettle as a tool, in addition to its beautiful shape. At a tea ceremony, the host arranges the furnishings according to the guests. Each piece must be balanced so that the host can offer a sincere welcome. If one piece stands out too much, it can completely change the atmosphere.

“I think of the tea kettle as the pillar of a house. It’s not something that seeks to be unusual, but it still demands a noble presence.”
The tea kettle stands at the center of the tea ceremony, supporting the worldview. Mr. Hata, who creates tea kettles that embody individuality while maintaining a presence as part of the tea ceremony, receives a steady stream of requests for his work.

Transcending traditional boundaries, creating a free and approachable tea ceremony.

Throughout the generations, the Hata Harusai family has adapted their craftsmanship to the times. The first generation, inspired by his wartime experiences, dedicated himself to creating tea kettles with the belief that “while I am alive, I want to leave something good behind.” The second generation built upon the first’s teachings, infusing innovative ideas to bring a fresh perspective. The third generation, in turn, added modern elements to highlight the tea kettle’s newfound charm.

“While the material we use is iron, we aim for works that are not just heavy and solid,” says Mr. Hatake with a gentle smile. The smooth texture that highlights the refined design evokes a sense of warmth. Even those unfamiliar with tea ceremony might find themselves reaching out to touch it, drawn by its approachable charm.

Iron, often perceived as heavy and rigid, actually combines strength and flexibility, transforming freely when heated. Mr. Hata’s work fully utilizes these characteristics. By adding new pieces to the world that values tradition, he may spark interest in tea ceremony among those who have never had the opportunity to experience it before.

Tradition continues to evolve. Enjoying tea in a casual way.

Every aspect of tea ceremony etiquette has a meaning. However, just as tea ceremony, which was once considered a pastime of samurai, became popular among the common people, it has continued to change with the times.

The era of mass production and mass consumption is over, and now we live in a time where it is important to cater to the needs of each individual. Flexibly adapting to changes in lifestyles and values is what leads to the preservation of tradition. Mr. Hata’s work is deeply rooted in this craftsmanship.

Tea ceremony was originally intended to be enjoyed with cherished people. While etiquette is important, the essence lies in the heartfelt desire to care for and entertain others. Mr. Hata’s ongoing efforts aim to capture the true spirit of tea ceremony and make it more accessible to younger generations. We look forward to seeing what innovative works he will create in the future.

The post Innovation to tradition.Kettle Master Shunsai Hatake, 3rd generation, aims for a new tea ceremony / Takaoka City, Toyama Prefecture first appeared on NIHONMONO.

Rikie Shojiguchi is a glass artist with a studio in Toyama Prefecture.
Under the concept of “gentle, soft, and comfortable.
, she continues to create attractive vessels with a delicate whiteness expressed by cutting glass and a unique touch that is comfortable to the skin.

Why is Toyama glass famous?

Toyama is famous for its “Toyama no kusuri (medicine seller), ” and in order to support Toyama’s pharmaceutical culture, which has a history of over 300 years, the manufacture of glass bottles to hold medicines flourished in and around Toyama City during the Meiji and Taisho eras, with the city boasting the largest share in the nation’s market. Such historical background has created rich resources and developed Toyama into a city of glass. Toyama is said to be one of the world’s leading glass cities, with a favorable environment that includes research institutes that foster glass artists and ateliers that support their production. In such a glass town of Toyama City, there is a studio called “Shojiguchiya” run by Rikie Kojiguchi. Shojiguchi-ya is a glass studio in Toyama City, a town known for its glass . Ms. Shojiguchi-ya creates glass works that fit the skin and are comfortable to wear. Ms. Kojiguchi is a glass artist who has received many awards in Toyama and other parts of Japan, as well as internationally. The unique and gentle look of the glass works she creates will surely convince anyone of the concept behind her work.

The Road to Becoming a Glass Artist

Ms. Kojiguchi says that she enjoyed watching glass artisans blowing glass and their work processes. His admiration for glass was accelerated when the Toyama Glass Art Institute was established while he was still in high school. However, at the time, he did not have the knowledge or skills to take the entrance exam for the Toyama Institute of Glass Art, so he decided to go to an art school first, and enrolled in Toyama College of Art and Craft. Around the time he graduated from the school, his longing for glass, which he had felt in his high school days, was rekindled when he stopped by the Toyama Glass Studio. As soon as I saw the glass-making process, I thought to myself , “I want to do this! At that moment, he decided to take the entrance exam for the Toyama Glass Art Institute. After a year of intense study, he successfully fulfilled his high school dream and received a ticket to the Toyama City Institute of Glass Art. Looking back, he says he could not forget the feeling of “the texture of filing wood” when he made a chair in one of his classes at the institute. This experience may have influenced his choice of glass as a material to create by touching and looking with his hands.

The Appeal of Kojiguchi’s Glass Works

The appeal of Kojiguchi’s glass is its gentle white color and unique texture. At first, Mr. Kojiguchi made colored glass works because of the tendency to sell only colored glass. However, he found that this did not allow him to show his playfulness with shapes. She then began to make works without color, as she does now, and the reputation of her work at solo exhibitions and other venues was unexpectedly high. And more than anything else, the works were comfortable and satisfying for her to make.

In creating her works, Ms. Kojiguchi places importance on the five senses of “sight,” “touch,” and “hearing. The glass that Mr. Kojiguchi finishes with his unique senses, not only by blowing glass but also by shaving and polishing, seems to embody the key to his creation, “Seeing with the hands. The glass seems to embody the key concept of his work, “to see with the hands”. This is how the glass has a smooth feel that cannot be felt with other types of glass.

When you pour sake, whiskey, or other alcoholic beverages into the carefully crafted “Hatsuri” glass, you will enjoy not only the taste but also the feel of the glass. The warmth of the glass is sure to be useful as a gift for anniversaries such as wedding gifts and kanreki (60th birthday).

In this way, Kojiguchi’s glass works add warmth to our lives. We are sure that she will continue to provide us with ” gentle, soft, and comfortable ” space with her unique touch and gentle colors. She will continue to give us a space that is “gentle, soft, and comfortable” with her unique touch and gentle colors.

I aim to create works that warm the hearts of those who use them, valuing not only the sense of sight but also the feeling of touch. Glassware comes alive only when people use it in their daily lives. We would be happy if you could use them a lot without putting them away and bring smiles and happy moments to your life.

The post Glass works that feel warm to the touch by Rikie Kojiguchiya, Kojiguchiya /Toyama City, Toyama Prefecture first appeared on NIHONMONO.

Seto-yaki in Echigo

Echizen Seto-yaki refers to pottery produced in the Shin-Seto district of Tateyama Town, Toyama Prefecture.
It originated when Maeda Toshimasa, the lord of the Kaga domain, invited potters from Seto in Owari Province to this area in the late 1590s to produce pottery.
Later, it became the official kiln of the domain and the leading production area in Echizen. As a result, the surrounding area came to be called Seto Village, and the pottery produced here was named Echizen Seto-yaki.

Echizen Seto-yaki, centered on pottery

Echizen Seto-yaki is characterized by bold use of glazes, such as applying and flowing them in various ways to create patterns.
The vessels are simple yet delicate in design.
Incidentally, while the famous Seto-yaki of Owari, which gave rise to the term “Seto-mono,” is now primarily porcelain, Echizen Seto-yaki refers to pottery, despite sharing the same name

Continuing pottery production in this region

At its peak, there were said to be 120 kilns, but now only four remain. The Shōraku Kiln we visited is one of them. In the Meiji era, when many kilns were closing down, Shōryō Shōjirō launched a revival movement and opened this kiln. Today, Shōryō Yukio and his eldest daughter, Yō, continue to create pottery here.
“Why can this become a tea bowl? The Japanese sense of perception divides a tea bowl into two parts: one for rice and one for tea. We see things with various divisions in our minds. I think that is a cultural characteristic,” explains Shikinyo Yukio.
The tradition of ‘Echizen Seto-yaki,’ which has continued for over 400 years, is carried on with passion for the works, and the flames in the kiln continue to burn brightly even today.

The post Seto-yaki that is different from Seto-yaki “Echigo Seto-yaki” Shoraku Kiln / Tateyama Town, Toyama Prefecture first appeared on NIHONMONO.

Yukako Kojima is a glass artist living in Toyama City, Toyama Prefecture. Her unique style of work has attracted attention both in Japan and overseas, and she says that this is because she lives in Toyama. She loves the local culture of Toyama and makes things, but she was born in Ishikawa Prefecture and spent her first five years in Aichi Prefecture before moving to Chiba Prefecture. She says that there were many encounters that led her to work in Toyama after growing up outside the prefecture.

“Making things is fun” was the starting point for me as an artist.

In front of his own work, Kojima-san smiles and says, “I often get asked by customers who have seen my work, ‘How is this made? It’s certainly a strange piece of work. After being captivated by its beauty, you want to touch it and hold it up to the light. Is the surface smooth or uneven? What would it look like if you looked at it from that direction?

The more you look at it, the more you are drawn into the charm of this glass art. These are works made from laminated glass. Laminated glass is a technique that involves layering sheets of glass used in construction, such as window glass, and then showing the cross-section of the glass. By devising ways of layering and cutting the materials, it is possible to create patterns and express the unique texture of glass. This technique is used in objects that decorate apartments and hotels.

The person who uses this technique to create her work is Yukako Kojima. She was born in Ishikawa Prefecture and grew up with a mother who had graduated from an art college. Although her mother never became an artist, she continued to make things as a hobby, and so Yukako has always been surrounded by the creative process. In addition, the high school she attended was unusual in that, as part of the elective subjects, she could choose to take classes in “crafts” as well as “art”, “music” and “calligraphy”.

This class was the catalyst that made him realize the appeal of crafts, and he decided to go on to an art university with a faculty of crafts. However, at that point, he had no idea that he would end up pursuing a career in glass crafts. The reason he ended up going into glass was a simple choice he made when taking his university entrance exams, so it makes you realize that chance encounters can hold great potential.

My encounter with glass at Tama Art University

When he was preparing to take the entrance exam for Tama Art University, Kojima was unsure which department to apply for. He was interested in all aspects of making things, and wanted to learn about a variety of materials before deciding, so he didn’t have a clear idea of what he wanted to do. At the time, if you wanted to study crafts at Tama Art University, you had to apply to the Craft Design Department, which was part of the 3D Design Course. If you wanted to study ceramics, you had to go into the oil painting department, and it was more art-oriented than craft, so it was a little different from what Kojima-san had expected. So he decided to apply to the Craft Design Department, but he could choose between metal and glass, and after hesitating over which one he should choose, he decided that glass looked more fun, and he circled the word “glass” on the application form, thinking “if I have to say one or the other”. That was his first encounter with glass.

It wasn’t a decision made with a strong sense of purpose, but rather a path that led to glass. She says that during the first half of her university life, she didn’t really know what she was doing and felt a bit lost, but by the second half of her third year, she finally started to feel that she was enjoying herself.

Then, finally, she reached her fourth year. With the sole aim of continuing to create works, Kojima applied for a trainee position at the Kanazawa Utatsuyama Craft Workshop, a glass studio in Kanazawa, the hometown of her mother. It was the place where she was born and the workshop she had dreamed of working at, but unfortunately she was not accepted. “Even my friends were surprised that I wasn’t accepted, and all I could think about was continuing to work at that workshop,” says Kojima, who was stunned by the result. While she tried to come to terms with the situation, she chose to work as a part-time worker to save money and think about what to do next. During that time, she worked hard away from glass, but her desire to be involved in glass never disappeared.

In order to satisfy this desire, I started attending a glass-blowing course in Tokyo, and this turned out to be a turning point. The owner of the studio where I was taking the course was an alumnus of the Toyama City Institute of Glass Art in Toyama Prefecture, and he recommended that I enroll there if I wanted to continue working with glass.

Supported by the environment of “Toyama, the City of Glass”, I naturally found myself on the path to becoming an artist.

After entering the Toyama City Institute of Glass Art, Kojima became absorbed in his studies like a fish in water, and learned all there is to know about glass. However, the problem was what to do after graduation. How would an ordinary person make a living from glass? Looking back on those days, Kojima’s words reveal no trace of the hardships he faced.

“I knew I could continue working with glass in Toyama. I wanted to continue working with glass, even if it meant doing part-time work.”

The reason he can say this so easily is because of the support he receives from the “City of Glass, Toyama”. For example, the Toyama Glass Studio in Toyama City not only has facilities where visitors can experience glass culture, but also provides artists with exhibition spaces and handles the sale of their works through an online store, so there is a support system in place to help artists make a living. You can also rent studios and tools at low prices. It is not an exaggeration to say that almost everything you need for your creative work is available here. It is no wonder that Kojima thought he could work as an artist here. As a result, he has lived in Toyama City for over 20 years, even though he only planned to stay for the two years he would be attending the institute. He has even set up his own studio in the city.

The works are created by repeatedly pasting, cutting, and polishing.

“I think that the fact that there were not many competitors was a big factor in my being able to work as an artist up to this point,” says Kojima. Certainly, when people hear the word ‘glass craft’, they tend to imagine blown glass. However, as mentioned at the beginning of this article, Kojima’s works are made from laminated glass. How are these unique works made?

The glass used is flat glass that is used as a building material. They are used in combination, choosing from among several types of color and thickness for industrial use. They are attached together using a special adhesive. Care must be taken not to let air bubbles or dust get in, as this would spoil the beauty of the work. However, because the material is glass, it is heavy. It is not the same as layering drawing paper. Layers are formed on the inside of the work, creating an artistic pattern. When the work is finished, it weighs several tens of kilograms, but this is shaved down using a grinder. The material is strong and hard, and is used as a building material, so it takes a long time to grind it down. After roughly cutting out the shape, the polishing process begins. A little sand and water is dripped onto a steel disc, and the glass itself is also covered in water and polished. The water protects the glass, and the sand acts as an abrasive. The final shape is adjusted while measuring the size to the nearest millimeter, and the surface is polished. All works, regardless of size, from large objects to accessories such as earrings and pendant tops, go through this process to be completed. It is said that the weight of the finished work is reduced to about one-third to one-quarter of its original weight after being laminated. That’s how much is shaved off. It’s a process that makes you feel faint just thinking about it, but Kojima-san laughs nonchalantly, saying, “Thanks to this, my arms and fingers have gotten thicker.”

The reason he has been able to win so many awards is that he has been honest about his feelings of enjoyment.

As mentioned above, making works using laminated glass is time-consuming and labor-intensive. Compared to blown glass, you can’t decide on the color or shape freely either. However, for Kojima, who couldn’t find any enjoyment in the fluid, quick process of blown glass, the process of slowly and gradually chipping away at the shape was like raising a child, and the sense of achievement when it was finished was even greater.

At university and at the Toyama research institute, he was taught both blown glass and laminated glass. However, Mr. Kojima chose his current path because he felt that the process of making objects by hand, measuring out the size and angle in centimeters and degrees, suited his personality better than blowing glass. He humbly says that the fact that there were few competitors was just a coincidence, but it was probably because he was able to pursue his own interests purely that he was able to forge a connection with Toyama and refine his individuality, leading to him winning various art prizes.

The year after graduating from the Toyama City Institute of Glass Art, he won the 10th Anniversary Special Prize at the ‘International Exhibition of Glass Kanazawa 2007′, and since then he has continued to receive high praise both in Japan and overseas for his outstanding technique and unique works, including the Takamatsu-no-miya Memorial Prize at the ’54th Japan Traditional Crafts Exhibition’ and the Grand Prize at the ‘4th Contemporary Glass Triennial in Toyama 2011’.

Spreading the appeal of glass from Toyama to the world

From the outside, it might seem like a challenge to compete with extraordinary “works” like Kojima-san’s, rather than with more conventional products like glasses and containers. However, Toyama has a culture that recognizes and appreciates this as art. For example, the Toyama City Institute of Glass Art, which was established with the backing of the Toyama City government, attracts talent from all over the world, and people work hard every day to improve their glass-making skills. There are also many people in Toyama City who are interested in art, including the Gallery NOW, which opened in 1989 and has unearthed many artists of value who will be remembered in future generations while looking at the past and the present. Mr. Kojima believes that putting down roots in Toyama and playing a part in communicating the appeal of Toyama’s glass culture is a way of repaying the debt he feels to this place that has helped him to become a glass artist.

Recently, Kojima’s works have been in demand for decorating hotel and apartment entrances, and as objects to display in shops. Their unique presence, which emits a mysterious light, instantly captivates the viewer. Kojima says of these works, “I think they were born because they are from Toyama”.

Indeed, you can feel the soft texture and warmth created by natural light in Kojima’s works, which are inspired by the nature that surrounds him. “I want to make something that will make people gasp when they see it. I had a Czech teacher at the Toyama City Institute of Glass Art, so I’d like to be able to exhibit my work in the Czech Republic too,” he says, his gaze now fixed firmly on the world.

The post The sparkle that is unique to you, which you have pursued and finally reached. Glass artist Yukako Kojima / Toyama City, Toyama Prefecture first appeared on NIHONMONO.

Toyama Prefecture is famous for its magnificent mountains, including Kurobe-dake, the beautiful Toyama Bay, and the glass art that has been nurtured by the culture of medicine sales. However, it is probably not widely known that the prefecture has the third largest number of temples in Japan. Even in a city where Buddhism is deeply rooted, many people from all over the country visit the popular power spot of Oiwasan Nissekiji in the town of Kamishiro, Shinkawa-gun.

Oiwasan Nissekiji, the head temple of the Shingon Mikkyo sect, which boasts a history of 1,300 years.

The Daiwa-san Hiei-ji temple, a Shingon esoteric Buddhist temple, was founded in 725, about 1,300 years ago, and enshrines Fudo Myo-o as its principal deity. The town of Kamiichi, in the Nakasugawa district of Toyama Prefecture, where the temple is located, is a town where nature and culture coexist, with the peaks of the Northern Alps, including the main peak of Tsurugidake (2,999 meters above sea level), visible in the southeast. Tsurugidake has long been a mountain of mountain worship, with temples and shrines nearby, and Hieizan is also a popular power spot with the locals.

The charm of the temple, which has been called “Oiwa no Fudo-san” (Fudo of Oiwa) and is well-known

One of the reasons it is considered a power spot is probably the great variety of Buddhist statues and buildings that can be found within Nisseiji Temple. One of these, the nationally designated historic site and important cultural property “Daiganzan Nisseiji Magai Butsu (Buddhist statues carved into the rock) Fudō Myōō Zō (image of Fudō Myōō)” is a stone Buddha statue that boasts the largest scale in Hokuriku. The 313cm high statue of Fudo Myo-o and the 214cm high statues of the two attendants, carved into a huge tuff wall, are works from the late Heian period and are known as relics of mountain Buddhism. The huge Fudo Myo-o statue, which is carved at a slight angle, has a powerful presence, as if it is about to speak to you.

In addition, there are many other buildings at Nisseiji Temple that are said to bring good fortune, such as the oldest three-storied pagoda in Toyama Prefecture, the Aizen-do Hall, which is said to bring good fortune in love and fertility, the Agaku-kutsu Cave, which is said to ward off evil, the Jizo-do Hall, which is said to bring good fortune in life and longevity, and the Meoto-iwa (Husband and Wife Rocks), which are said to bring good fortune in marriage. Perhaps this is why Nisseiji Temple is considered a power spot, as it is able to accommodate the wide-ranging wishes of its visitors in one place.

To the left of the main hall is the sacred water “Fujimizu”, which has been selected as one of the “66 Famous Waters of Toyama” . It is called Fujimizu because it gushes forth from a wisteria tree, and it is also famous as a sacred water that is beneficial for the eyes. About 300 years ago, a peasant who was blind received a dream telling him that “washing your eyes with the water that gushes forth from the roots of the wisteria tree at Hieizan Temple will help you see”.

With anecdotes like this, it is said that the Kaga clan has many famous doctors but no eye doctors, because the great doctor of the Oiwa Fudōsan shrine cures eyes. Fujimizu water can be collected for free, and many people visit every day. By the way, it is said that chanting the mantra of Fudō Myōō is even better when collecting this water, so please give it a try.

A genuine “waterfall training” experience that purifies the body and mind with the five senses

Nisshō-ji Temple is famous for its various ascetic practices, including waterfall training, Buddhist statue painting, and visits to the 88 sacred sites of the Shikoku pilgrimage, as well as for its connection to mountain worship and the Shugendō mountain asceticism tradition. At the Roppon Waterfall, which is located right next to the main hall, you can cleanse your body and mind by washing away the “six desires” that arise from the six roots of perception (the eyes, ears, nose, tongue, body, and mind) as taught by Buddha, by dressing in white and immersing yourself in the water. The solemn and extraordinary waterfall experience that can only be had here will surely enhance the power spot effect. Incidentally, the six dragon heads from which the waterfall flows are said to represent earth, water, fire, wind, space and consciousness, and are said to have the meaning of purifying people’s six roots.

Nisseiji Temple has a long history of around 1300 years, but of course it has also faced various difficulties, such as fires, over the years. However, the head priest, Kojo Nakata, says that the reason why the Fudo Myo-o Magai-butsu has remained in perfect condition to this day is because the temple has adopted new knowledge and technology in each era.

“Temples must learn about new things, compare them with the techniques of their predecessors, and not be fixated on one idea, but instead consider a variety of things. From now on, we will continue to make the temple suitable for the times, without excluding such ways of thinking.” Nisseiji Temple is a popular power spot for modern people, where both body and mind can be purified. The term “power spot” itself is not something that has been around for a long time, but was created by trends and the media. Visitors to Nisseiji Temple in search of such a place are unlikely to be of a particular sect or even to have any religious bias. However, if this is the standard for modern-day worship, then that is fine. Of course, it is also fine to visit for waterfall training in the style of Shugendo. In this day and age, when diversity is being touted, becoming a place that welcomes people with diversity is probably what the chief priest means by “a temple suited to the times”. Why not leave the hustle and bustle behind and recharge your batteries here, spending some time in a peaceful place?

The post A place of mountain worship that has been popular for a long time. “Oiwasan Nissekiji” is the most powerful spot in Toyama Prefecture. first appeared on NIHONMONO.

River Retreat Garaku Club

Do you know that there is a beautiful valley created by the Jinzu River in the south of Toyama City, near the border with Gifu Prefecture? The valley is one of the most scenic spots in Toyama Prefecture, and is designated as a Toyama Prefectural Park for its clear river flow and mountain ranges. River Retreat Garaku Club” is quietly located on the banks of the river, where you can enjoy a panoramic view of this rich natural environment from every corner.
It was originally opened in May 2000 with the concept of a “healing inn by the river. The main lobby was renovated in 2005 with the aim of creating a place where one can enjoy art, baths, and meals. The hotel was designed by architect Hiroshi Naito, who also designed the famous Japanese confectionery store Toraya Café in the Tokyo Station City Hotel and the Takata Matsubara Tsunami Reconstruction Memorial Park, which was partially completed in Rikuzentakata City, Iwate Prefecture in 2019. In March 2021, a new “Garden Terrace” will be built along the shoreline, providing a relaxing space where guests can enjoy the seasonal scenery while feeling the flow of the river more closely. The new terrace is a relaxing space where visitors can enjoy the seasonal scenery while feeling the flow of the river more up close. Furthermore, it is the only ryokan in Toyama Prefecture to be featured in the “Michelin Guide Hokuriku 2021” as a 4 Red Pavilion ryokan.

There are 23 guest rooms in total. Each room has a different concept. The rooms are decorated with works by contemporary artists, making guests feel as if they are at an art exhibition. The suites with private saunas are also very attractive. The rooms are decorated with artwork that can only be seen in that particular room, so you can enjoy staying in a different room during each stay to find the one you like the best. The hotel also pays special attention to bedding. Horsehair bed pads and mattresses, which are considered the highest quality bedding material, are used in all guest rooms. A good night’s sleep in an art space and waking up refreshed the next morning will be a special experience that can only be had here.

A healing moment even at mealtime

Another attraction of River Retreat Garaku Club is the food, which can be enjoyed at two restaurants. At “Wasai Zensho Rakuumi,” the chef’s carefully selected local vegetables and seafood from Toyama, including firefly squid and white shrimp, are popular in kaiseki cuisine. Just the thought of having these dishes with Toyama’s locally brewed sake is enough to make one’s cheeks loose a little weight. The other is the French restaurant “Trezonier. The chef himself goes to the mountains and fishing ports to select the best seasonal ingredients. Both restaurants also use carefully selected contemporary artisanal tableware, allowing diners to enjoy the dishes while appreciating the tableware.

The baths are also a pleasure, and River Retreat Garaku Club has two large baths. The view of the Jinzu Gorge while soaking in the baths will be one of the most memorable parts of your trip. After soaking, it is recommended to further refresh yourself at the spa. Treatments using Chinese herbal oils and 100% natural essential oils are tailored to your physical condition and mood, and are a welcome treat that only Toyama, also known as the “Medicine Capital,” can offer. An inn like a museum in the midst of nature. The combination of art and nature creates an exquisite experience that can only be experienced here.

NIHONMONO – 「にほん」の「ほんも…

美男の大仏「大佛寺 高岡大仏」／富山県高岡市 – NIHONMONO 日本三大大仏のひとつ「高岡大仏」 奈良、鎌倉とともに、日本三大大仏に数えられている高岡大仏。現在ある大仏は19

NIHONMONO – 「にほん」の「ほんも…

古くから親しまれる山岳信仰の地。富山県随一のパワースポット「大岩山 日石寺」 – NIHONMONO 黒部館山の雄大な山々と美しい富山湾、そして薬売りの文化によって育まれたというガラスのアートが有名。しかし、寺院数が日本で3番目に多いというのは意外と知られていな…

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Patisserie La Girafe with a focus on chocolate

A 5-minute drive from JR Toyama Station. What emerges is a classic building with a hint of Western elegance. Located on a back road along the Jinzu River is the popular patisserie “Patisserie La Girafe,” where local customers are always waiting in line.
At first glance, it is hard to tell what kind of store it is, as there are no show windows and the interior cannot be seen from the outside. The atmosphere of the store is like a hideout, and when you enter the store, you will find a classic and high quality space that is a fusion of East and West, with soft but slightly dim lighting and an antique interior that creates a calm impression.
Owner-chef Junichiro Hongo says, “I aim to create something that can only be tasted here by taking tradition and inheritance and adding my originality to them.
The ingredients include fruit purees, chocolates, dried fruits, spices, and delicious local fruits, eggs, and herbs from all over the world. The showcase is filled with sweets that can only be found at Patisserie La Girafe.

The shop is particularly particular about chocolate. Almost all of the chocolate confections in the store are made with bean-to-bar chocolate. This is a type of chocolate in which the chocolate maker handles the entire processing process from the cacao bean to the chocolate itself. The company uses only cacao beans harvested in specific regions or farms, or combines several types of cacao beans in its original chocolates, depending on the direction of the confectionery.

Excellent chocolate, both fresh and baked

Among the fresh confections made with their special chocolate, we recommend the Pieger, which has an impressive “G” mark at the beginning of the store’s name. The “crispy, sticky” texture and rich cacao flavor spread at once, and the aroma of liqueur lingers in the nose at the end, creating a gem with a mature atmosphere. The combination of the ganache with vintage port, the sticky chocolate dough made from cacao beans, and the compote of dried figs simmered until crumbly, creates a calculated complexity of flavor. It is a specialty of the store that makes you want to linger forever.
Another must-try among the baked goods is the galette cacao. This thick baked sablet, made mainly from bean-to-bar chocolate, has a deep, lingering taste of cacao beans and a light, addictive texture. Chocolate that looks like it has been coarsely crushed is kneaded into the dough, making this a very satisfying piece with a crispy texture and a strong chocolate presence. The baked goods are also sold online, so you can keep them down as gifts for your loved ones.

In pursuit of a unique taste, Mr. Hongo insists on chocolate as an ingredient. Each confection created by Mr. Hongo is beautifully decorated with artistic forms, and is full of charm that will make you want to come back again and again. Why not come by and taste the “real chocolate” made by Toyama’s hideaway patisserie?

NIHONMONO – 「にほん」の「ほんも…

美味しい牛の秘訣は“水”「氷見牛専門店 たなか」／富山県氷見市 – NIHONMONO 湧き水は氷見牛にも嬉しい 富山県氷見市は、能登半島の東側の付け根に位置する町。海岸線から振り返れば、海と山とい

NIHONMONO – 「にほん」の「ほんも…

豪商の米蔵でクラフトビールが味わえる「KOBO Brew Pub」／富山県富山市 – NIHONMONO 米蔵で味わう絶品のクラフトビール 富山市の北部、富山湾と神通川や富岩運河が交わる岩瀬エリアは江戸初期から北前船

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Excellent craft beer at the rice warehouse

The Iwase area in the northern part of Toyama City, where Toyama Bay meets the Jinzu River and the Tomiwa Canal, has prospered since the early Edo period as a port town for Kitamaebune ships. Many houses built in the Meiji period still remain, and the area is known for its quiet, retro townscape that retains a strong atmosphere of those days. In March 2020, KOBO Brew Pub opened in a renovated rice warehouse of the Baba family, a wealthy merchant who ran a shipping business in Iwase. The imposing exterior of the spacious premises, which was once the rice warehouse of a wealthy merchant, is overwhelming, but a peek inside the restaurant will give you the strange sensation of visiting an exotic brewery, with an atmosphere that is like stepping back in time. The artwork on the walls and brewing equipment standing inside the store are large and impactful, yet the atmosphere of a rice cellar has been carefully preserved, and the interior is warm and inviting with the warmth of wood. The brewer is Kotinek Jiri, who has a career in breweries in the Czech Republic, the country with the world’s highest per capita beer consumption. He and his longtime friend, Briel Boris from Slovakia, founded the brewery together.

Kotinek was invited to the Ishikawa brewery in 2005 as a Brown Meister and was so good that he won a silver award at the 2014 “International Beer Cup”. Brielle was working as an interpreter at an event Kotinek attended in Toyama City, where they met. They are both beer lovers, and since their wives are both from Toyama, they hit it off. When Kotinek told Brielle that he wanted to make such valuable beer, she said, “I don’t want awards, I want to see people enjoying it and wanting more,” and they decided to set up their own brewery together.

With snacks that go well with craft beer.

We carry a total of nine types of craft beer. Three of them are particularly recommended: “Seiz Lager” made with grape pomace from a winery representing Toyama (Seiz Farm), “Baba Weizen” made with Toyama’s famous pears, and “Dragon Ale” made with sake lees from Manjusen (Masuda Sake Brewery), which handles Toyama’s locally brewed sake. All of the beers are local craft beers, and the lineup is definitely worth trying when you visit. If you are not sure which craft beer to order but want to try a variety of flavors, try the tasting set that allows you to compare four different kinds. There is also another rare beer that you should not forget to try. It is Jolokia Ale, an extremely spicy beer made with jolokia, one of the world’s top class chili peppers. The fact that it is extremely hot is intriguing enough, but this beer is said to be irresistible to those who love spicy food, and there are many repeat customers. It has a very rich aroma and goes very well with sausages and other food items.
Although the variety of food is limited, the restaurant offers a variety of specialties that can only be enjoyed here. The 20-cm-long “Big Sausage” was made using a recipe from the Slovakian-born manager’s family, and is a must-try with craft beer. Also, the special jerky made from Toyama Wagyu beef, smoked nuts actually smoked in the store, and homemade ham based on a Czech brewer’s family recipe are all offered in an arrangement that is unique to Kobo Brew Pub, even though they may seem common at first glance.

Kobo Brew Pub is definitely worth a visit as part of your sightseeing tour, but it also offers craft beer by mail order. The products available by mail order are those that are not available at the store, but why not enjoy craft beer at home? The three types of bottled beer available through mail order are “Premirent Pilsner,” “3A Lager,” and “Pale Ale. The stylish packaging design will make you feel good just by having it in your refrigerator, and it is sure to raise the quality of your “home drinking” experience.

NIHONMONO – 「にほん」の「ほんも…

能登杜氏を受け継ぐ四天王「桝田酒造店」／富山県富山市 – NIHONMONO 能登杜氏という酒の匠 江戸時代後期に生まれ、もっとも酒造技術に卓越しているともいわれる、能登杜氏（のととうじ）

NIHONMONO – 「にほん」の「ほんも…

古きよき蔵で造る日本酒“勝駒”「清都酒造場」／富山県高岡市 – NIHONMONO 勝駒という銘酒を造る 創業は1906年、100年以上もの歴史を持つ酒蔵。 古くから残る蔵は、国から有形文化財の

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Hirudani, Asahi Town, Toyama Prefecture, is a small village by a creek that originates from Mt. There is only one washi craftsman who has inherited the “Birudani washi” that was born here about 400 years ago. He is Mr. Takakuni Kawahara of Kawahara Seisakusho. Mr. Kawahara handles everything from growing the raw materials to making the paper by himself. His unique ideas and sense of style are now attracting attention not only in Japan but also from around the world.

Traditional Japanese paper making, taught orally by a master in his 80s

The origin of Hirutani washi paper dates back to about 400 years ago. People from Hiru Valley in Higashiomi City, Shiga Prefecture, moved to Asahi-cho, Toyama Prefecture, near the border with Niigata Prefecture, and named the area Hiru Valley after their hometown, where they worked in the mountains in summer and at home in winter. One of their winter domestic jobs was making washi paper. In the early Showa period (1926-1989), about 120 households made washi, and it was a major production center. Hirutani washi, carefully made from natural materials, is strong yet soft, and is said to be durable enough to be preserved for 1,000 years. Together with Yatsuo washi and Gokayama washi, also from Toyama, it is collectively known as “Ecchu washi” and is recognized as a traditional national craft.

However, Hirutani washi, which was often used for shoji paper, lost its luster as demand declined with the changing times. One day, a woman wanted to preserve Hiruya washi, so she learned washi making from a papermaker and revived it. After falling ill, her husband, who was over 60 years old at the time, learned the art of papermaking orally from his sick wife, who had been making the paper for over 20 years. Just as the light of Hirutani washi, which the couple had been preserving for more than half a century, was dying out, they met a young, 23-year-old Mr. Kawahara.

Torakichi Yoneoka was 83 years old at the time. However, Mr. Kawahara was moved by Torakichi’s way of life before, during, and after World War II, as well as his sincere approach to washi making, and decided that he would like to carry on Mr. Yoneoka’s ism.

He was so moved by Yoneoka’s life and his sincere approach to washi making that he wanted to carry on Yoneoka’s ism. “I was determined not to let my hometown culture die out,” he said. Despite repeated failures, Kawahara diligently learned the traditional Hirutani Washi manufacturing method and papermaking techniques with his body.

There is no future in simply preserving tradition. We need to create products that do not depend on the place of production.

At the time, however, traditional crafts were tapering off, Kawahara says. When I was working alone, I suddenly realized that it was not a matter of preserving traditional culture. It was not a question of preserving traditional culture. Washi itself is a declining industry. Older people have pensions and can continue to do it as a hobby, but younger people can’t do it. If you look at the history of washi making, it was something that people did only during the winter months while making a living. It was impossible for them to make a living with just washi.

For a while, he worked part-time at a zoo in Toyama City and at a local office, while still being involved in washi making. But he was able to continue because of his conviction: “Don’t just fall in love with washi. It is okay to do various things while making washi,” his teacher told him.

One of the answers that Mr. Kawahara came up with in the face of washi was to venture out of the production area. One of the answers he came up with was to go out of the production area. However, the time has come when people no longer choose washi because it is made in a particular place. It would be great if washi could be made in a variety of places and craftspeople could play an active role, regardless of where the paper is made. I thought it would be interesting to see people making washi that is not bound by tradition.

As long as you have the technology, you can make paper anywhere. The era of “one-man production centers” will surely come in the future. As a pioneer, I would like to try various things. With this in mind, Mr. Kawahara left Asahi-machi and moved to Tateyama-machi after his master passed away.

In a peaceful village, he grows his own raw materials and makes washi paper from scratch.

I want to do it from scratch in as small a place as possible. I wanted to put aside the title of “traditional” in order to make washi in my own style,” he said. Mr. Kawahara chose the Mushitani area of Tateyama Town, a small community with only 14 private homes.

First, he cleared the mountain and planted 700 kozo (paper mulberry) plants, the raw material for washi, on a gentle slope. They then rented a nearby field and grew tororoaoi, a mallow tree that is essential for making washi, or “neri. He took over a vacant house that used to be a farmer’s barn, renovated it, and turned it into his workshop. At the same location, his wife, ceramicist Sakae Nagayo, also has a studio where she makes ceramics.

From April to November, he works in the mountains and fields. In the spring, he sows seeds of tororoaoi, and in the summer, when the flowers bloom, he picks them one by one to nourish the roots, which will be used as a mucilage. In the fall, they go into the mountains to cut off the branches of straight-growing mulberry trees and steam them in the workshop to soften them before peeling off their skins. The temperature and time of steaming are adjusted according to the condition of the branches and based on past experience. Once the skin is removed, the surface is scraped off, leaving only the inner white part, which is then dried in the sun.

By the way, it is said that there are only a few washi makers in Japan who grow their own kozo and tororoaoi, but Kawahara’s involvement in cultivation is both characteristic of Hirutani washi and a reflection of his concern for the future of washi.

I read an article in the newspaper once that farmers in Ibaraki Prefecture are going to stop growing tororoaoi, and I heard that if the five tororoaoi farmers disappear, there will be a shortage of 80-90% of the raw material for handmade washi in Japan. This is a crisis for the washi industry. If we depend on someone else, if that person goes bankrupt, we will also go bankrupt. There are cheap Kozo paper from overseas, and many craftsmen rely on imported products. However, it is better to procure one’s own kozo from the mountains near one’s home,” says Mr. Kawahara.

With the arrival of winter, the papermaking process finally begins. The process of making washi from kozo (paper mulberry) and tororoaoi (Japanese mallow), which are grown with great effort and care, makes the process even more intense.

In the workshop, a large kiln inherited from his master is heaving with steam.

The process of making washi involves boiling kozo (paper mulberry) in a kiln, washing it in water, beating it with a mallet, making the paper, weighing it down to drain off the water, and drying it (……). In most cases, these processes are carried out under the division of labor, but here Mr. Kawahara carries out the entire process by himself. For this reason, he changes the work he performs each day.

When boiling kozo in a kiln to remove the lye, he uses firewood. It is a time-consuming process, so we start boiling in the evening and boil it in the morning. The firewood keeps the fire hot for a long time, and the fire source is safe even if you are not near the fire. It’s more rational than sticking to the old-fashioned style.

While every step of the process requires careful attention, what is especially important is the process of pounding the paper mulberry with a mallet. If the paper is beaten well, it becomes fine-grained washi, and if it is beaten roughly, the fibers become more prominent. Because the texture of the paper becomes so different in this process, it is important to have a clear image of what kind of washi you want to make and what the finished product will look like.

Full customization to create the washi required by the customer.

Mr. Kawahara does not sell what he makes, but makes washi completely on a made-to-order basis. When he had mastered the art of papermaking, he once went to paper wholesalers and specialty stores to sell his products. But he realized that the washi he made himself, which he made by gathering kozo (paper mulberry trees) from the mountains, getting covered in mud, and putting his own hands and salt to it, was very precious to him and was not something he could sell with his head held low.

What do you think makes good washi? It is not something that was made in a particular place or by a traditional method. Good washi is what is easy to use and what the person is looking for.

In this way, Mr. Kawahara pursues what sticks in people’s minds and focuses on making washi not as stationery, sundries, or folk art, but as a craft and art. He has established a unique technique and method of expression by layering ultra-thin sheets of washi to make designs and patterns appear through the layers.

After receiving numerous awards, including the Silver Prize in the Toyama Traditional Crafts Competition, the company began to receive orders from various fields, such as the entrance exhibit at the Japan Expo in Paris, the presentation of a city emblem made of washi to the mayor of Florence, the interior of the Kurobe Unazuki Onsen station of the Hokuriku Shinkansen Line, and the walls of the TOYAMA Kirari, designed by Kengo Kuma The Toyama Prefectural Citizen’s Hall lobby interior.

For the order of washi paper for the lobby interior of the Toyama Prefectural Citizens Hall, he mixed mulberry bark with Tateyama cedar bark and combined it with glass, another Toyama specialty, to create a beautiful ooze of Tateyama-like hues.

In 2017, he won the Grand Prize at the U-50 International Hokuriku Awards. The following year, he was invited to an event at the Musée des Arts Décoratifs at the Louvre in Paris, where he exhibited a fantastic washi paper work on the theme of the phases of the moon. The transparent thinness and unique texture of washi, not found in any other material, fascinated people around the world.

On the other hand, “Tateyama Goyou (talisman for Mt. Tateyama),” which is given at New Year’s at the Oyama Shrine in Ashikuraji, which is rooted in the Tateyama faith, is also something that Kawahara-san makes every year. The design is based on the Edo period woodblock prints and is hand printed one by one on handmade Japanese paper. It is sure to be a memorable and appreciated piece of paper for the local people.

The Potential of Washi Expands through Encounters with Expressionists

One of his recent masterpieces is the wall artwork in Tokyo’s Toranomon Global Square. Kawahara’s washi work decorates the entire wall of the escalator directly connected to the subway station, and the permanent installation of this large-scale washi, covering more than 200 square meters, is an unprecedented attempt in the world. The light-permeating washi paper gives the inside of the paper the appearance of being softly illuminated like a paper lantern.

At the reception desk of the main entrance is a magnificent piece of washi paper with contour lines of the Toranomon area made of 12 colors of colored threads. The paper was made using a special mold frame to create a single sheet of paper measuring 3.5 meters in length by 10 meters in width. The work required not only the creation of something large, but also a great deal of technical ingenuity. I had a lot of discussions with the building’s designers to see what kind of thing we could create, and I thought it would be interesting to create contour lines that were unique to the area. Eriko Horiki, a Japanese paper artist, was also involved in the direction of the design, and we worked together on the colors and other aspects.

Kawahara says that what he would like to do in the future is to team up with a chef, such as a French master. It would be nice to use carrots, spinach, or other ingredients to make washi paper,” he says. I want to be the kind of person who people think, ‘If you ask this person to create an interesting space,'” he says with a twinkle in his eye. He will continue to meet designers, architects, and chefs (……) and multiply their ideas. He will continue to meet with a variety of people and multiply their ideas. He will incorporate new ideas that cannot be found anywhere else into the essence of Hirutani washi, which he has single-handedly inherited from his master. From Toyama to the rest of Japan and to the world, traditional washi will spread its wings. The challenges to achieve this goal are endless.

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Tateyama Town in Toyama Prefecture, where the Tateyama Mountain range of the Northern Alps rises high above the city and a peaceful rural landscape spreads out. Born and raised in this town as the youngest daughter of a family of potters, we interviewed Ms. Yui Shakunaga, who creates one-of-a-kind pieces using copper, brass, tin, and other materials, about her thoughts behind her work.

Fascinated by the tarnished look of antique spoons, he started his career in metal modeling.

Hers father is Yukio Saketsunaga, a representative artist of Etchu Seto ware with a history of over 430 years, and his sister and brother are both ceramic artists. Born into a family of traditional potters, Mr. Wei studied metal crafts at university and worked as a prototype maker at MIKIMOTO, a jeweler. After leaving the company, he worked at the Kanazawa Utatsuyama Craft Workshop before becoming an independent metal modeling artist.

I first became interested in metals when I was in the early grades of elementary school. One of my father’s friends had a rather unusual uncle. He was a collector of medieval European spoons. He told me that the beauty of metal is amazing, and that the charm of metal is that it gets scratched and changes color,” says Wei. The site of his great-grandfather’s tile factory, where he used to play every day as a child, and how the exposed steel-frame buildings blended in with the rusting nature, also left a strong impression on his mind.

At MIKIMOTO, a jewelry company, Ms. Wei was involved in the production of prototypes using metal and mastered the art of metal engraving. When she was making the base for the gemstone, she said, “I thought this base was beautiful. Even without the diamonds, it is beautiful on its own. I wondered why I felt it played a supporting role. I felt that it could be expressed with metal alone. It was this feeling that led Mr. Wei to metal modeling after he retired from the company. He laughs, “Manufacturing is a tough job, and my parents wanted me to continue working at a stable company, but I came back to this side of the industry after all.

The studio in his hometown of Tateyama was once the site of his great-grandfather’s tile factory. A steel-frame tile yard was renovated and used as his studio. The neighboring area, also a former factory site, is empty of residents, allowing Wei to devote himself to his work regardless of the time of day. The sound of Wei tapping the copper plates with a hammer echoes through the studio to this day.

Brass and copper objects with a sense of softness and fragility

YUI creates objects and vessels made by bending and shaping metal plates using the tan-kin technique. Although metal has an image of being hard and heavy, Wei’s works are so delicate and flexible that they seem to move softly at first glance.

Hers debut work was the “Enkan Lidded Tableware”. When he was wondering what to make after becoming independent, he decided to make a lid rest for tea ceremony utensils, which he learned at the Utatsuyama Craft Workshop in Kanazawa. Inspired by his own name, “Yui,” which was given to him by his parents, meaning “to connect,” he connected and twisted many brass rings to form a circle. The loveliness of the shape and the luster of the texture leave a lasting impression.

The object, formed three-dimensionally by drilling countless holes in a copper plate about 1 mm thick, is as light as the wind with its supple curves. Heated over a burner to soften them, they were twisted as desired to express free movement. The lace-patterned vase is also somewhat mysterious and breathtakingly beautiful. The vase looks like a piece of dyed bamboo instead of metal.

She says, “If you create something with the latent image of metal being hard and heavy, it will really look like that, but I keep working on it while capturing the supple part. That is why I am happy when people say it looks like light bamboo,” says Wei.

Copper colored in its natural state by sulfidation reaction

The coloring technique is also distinctive. Tin is applied to the surface of a thin copper sheet and melted, creating a gradation of black to white using a technique called sulfurization coloring. Sulfurization causes only the copper to react and turn black, while the tin does not react and remains white.

Depending on the timing of when the sulfurization reaction is stopped, the color can change from a bright copper color to a deep hue. Mr. Wei values the hue of the material as an extension of nature.

Tin is applied like a glaze.

The reason he uses tin is because when he combines it with copper, an unexpectedly beautiful hue is created.

YUI says, “When I worked for a jeweler, precious metals were polished to a shine, but I wanted to bring out the characteristics of the metal and give my pieces a tasteful look.

Copper is softer than other metals, so it is easier to give shape to one’s thoughts. There was a time when I was practicing to draw tin evenly and thoroughly on the surface of copper, but it just didn’t seem right. I tried melting the tin as it naturally flowed and sulfurizing it to create a coloring, which produced an interesting look.

I have a longing for glaze because I was familiar with ceramics,” he said. Tin is too soft to handle at room temperature, and when it is put on fire, it melts and does not move the way I want it to. So I thought, “Let’s try to make the tin stay where it will naturally settle when it is placed on the copper. I felt that this was a little like the process of “letting nature take its course,” as in the case of ceramics, where the glaze is melted by the flames in the kiln.

The idea of circulation, as if becoming one with nature, is used in the work.

YUI’s goal is to create works that blend in with their surroundings when placed in nature. Although it is possible to draw the eye with color, I want to create something that is an extension of nature,” says Wei. Although often described as “plain,” even the gradation from black to white is a color that is truly versatile.

The unevenness created during the burning process is also left as is. YUI says that accepting the happenings she encounters during the production process is also her way of expressing herself.

When I first started out in this field, I used the standards I had acquired at university and at work as a guide, but I was also constrained by them,” she says. She was so concerned with dimensions and neatness that he could not accept any distortion.

But while maintaining this base, she has created new techniques and combinations of materials, and has come to see everything as “proof that it was made by my own hands.

YUI’s three-dimensional works and vessels, which seem to reflect his heart, are also used at Chef Eiji Taniguchi’s auberge “Revo,” which offers a unique dining experience in the pristine natural environment of Toga Village in Toyama Prefecture. Chef Taniguchi pursues true local production for local consumption and sublimates Toyama ingredients into avant-garde regional cuisine with endless ideas. He has created his ideal dining space with original tableware, cutlery, and interior design fully ordered from artists and craftsmen. He received two stars in the “Michelin Guide Hokuriku 2021” and was awarded “Chef of the Year” for the second time in “Gault et Millau 2022. Wei’s work, which is inspired by the cycles of nature, is an integral part of Chef Taniguchi’s worldview.

In addition to “Revo,” the giant lace-patterned objet d’art also shines dully and beautifully in the chocolate and pastry store on the 45th floor of the world-famous luxury hotel “The Ritz-Carlton, Tokyo. Wei’s attention as a metal sculptor is only increasing.

Every time I have a solo show or an exhibition, I always have a clear idea of what I want to try next. The joy of having someone who shares my senses is unique. It is also fun to look down and see when my work resonates with people and when it does not. I am happy if I can push forward in the direction I want to go and expand my world through my work.

The suppleness of metal, its fragility as it decays in nature, and its fragility and transience. Finding beauty in these qualities, Wei will continue to express herself freely and lightly with her unique sensibility and techniques.

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