Izumo Taisha is known as the shrine of matchmaking. The massive shimenawa rope displayed in its Kagura Hall is an iconic sight that draws visitors’ eyes upward. The organization responsible for crafting this grand shimenawa is the Tonbara Branch of the Izumo Taisha Kan’no-kō Society, located in Iinan Town, Shimane Prefecture. The craft of shimenawa-making, which supports this land of myth, has been passed down as a source of pride for the town.

Giant Shimenawa Ropes Crafted in a Mountain Village Workshop

Iinan Town, located in Shimane Prefecture, is surrounded by the mountains of the Chugoku Range. It is a quiet place where snow falls in winter and is blessed with clear water and fertile fields. The “Izumo Taisha Kanno-kōsha Tonbara Branch” is responsible for crafting the large shimenawa (sacred straw ropes) at the “Oshimenawa Creation Hall” in the town. Mr. Wada serves as the branch’s representative, supporting the long-standing tradition of offering these ropes in this region.

The Tradition of Making Shimenawa Passed Down in the Mountains

The Tonbara Branch of the Izumo Taisha Agricultural Promotion Society is responsible for crafting one of the largest sacred straw ropes in Japan. Its destination is the Kagura-den Hall at Izumo Taisha, which attracts worshippers from all over the country. It measures approximately 13.6 meters in length and weighs about 5 tons. Its sheer scale is so impressive that first-time visitors instinctively stop in their tracks and look up in awe. However, the place where this magnificent shimenawa is created is a workshop located in a mountain village, far removed from the hustle and bustle of the tourist area.

The Connection Between the Giant Shimenawa and Iinan Town

The connection between Iinan Town and the giant shimenawa dates back to the 1950s. At that time, a branch of Izumo Taisha was located in the area. It is said that, as a result of this connection, local residents and worshippers began crafting shimenawa to dedicate to the shrine.

Later, in 1981, when the Izumo Taisha Kagura Hall was constructed, a request was made to create a new shimenawa. The result was a massive shimenawa measuring approximately 13.6 meters in length. To create a shimenawa of a size befitting the Kagura Hall, local residents joined forces to undertake the project. Work on the shimenawa continued, moving from the auditorium of Tonbara Elementary School to the gymnasium of the junior high school. Finally, in 2015, the “Great Shimenawa Creation Hall” was completed as a dedicated facility for shimenawa production.

The “Great Shimenawa Creation Hall,” which preserves the tradition of shimenawa to this day

Essentially, shimenawa serve as a “barrier” separating the realm where deities dwell from the world in which we live. Since ancient times, they have been displayed at shrines, household altars, and home entrances, becoming deeply ingrained in Japanese daily life. At the “Oshimenawa Creation Museum,” visitors can view photographs and materials that trace the history of shimenawa and learn about the local tradition of shimenawa-making that has been passed down through the generations.

Shimenawa woven with skilled craftsmanship

As you proceed further inside, a workshop opens up before you. There, artisans are busy weaving shimenawa ropes. Some weave, others prepare the core, and still others craft small components. The work progresses as each person fulfills their specific role. The scent of dried rice straw fills the air, and the soft sound of twisted straw bundles echoes quietly. The artisans take the straw in their hands and twist it with all their strength, shaping it into a single rope.

At first glance, making shimenawa may seem like a simple task, but creating ropes of uniform thickness requires skilled craftsmanship. How much force to apply when tightening the bundles of straw, and at what angle to twist them together—these nuances are acquired through years of experience.

Making a giant shimenawa to be hung at the Kagura Hall

While the creation of standard shimenawa ropes usually takes place in the back room of the Creative Center, the atmosphere inside changes dramatically when crafting the giant shimenawa to be hung at the Kagura Hall of Izumo Taisha. To create this massive rope, which measures approximately 13.6 meters, the entire building is utilized for the production process.

The giant shimenawa is not made from a single rope. It is completed by braiding multiple thick ropes and combining them. The process of bundling straw, twisting it together, and then assembling the structure requires a great deal of time and manpower.

Rice cultivation for rope-making also takes place in Iinan Town

The production of the giant shimenawa begins in the spring, with the rice planting. The basic principle is to use materials produced locally in Iinan Town, and there are rice paddies within the town specifically designated for shimenawa. The variety of glutinous rice grown here is called “Akaho Mochi.” It is stickier than ordinary glutinous rice and is characterized by its resistance to breaking when twisted into a rope. Such sturdy rice is essential for making massive ropes like the giant shimenawa.

Unlike rice grown for consumption, the rice used for shimenawa is harvested before the grains mature. This is because the stalks, while still green and with strong fibers, produce a stronger and more beautiful rope. The harvested rice is dried, bundled, and eventually twisted into rope. Freshly made shimenawa retains a faint hint of the rice’s green hue. Over time, the color fades, eventually transforming into the familiar, subdued brown seen at shrines.

The Kagura Hall will be renovated this summer

Toward the end of the production process, there is a stage known as “grand twisting.” This involves bundling together numerous thick ropes and twisting them into a single, massive rope. Since this is difficult to accomplish with machinery alone, it requires the combined strength of many people. In Iinan Town, volunteers are recruited to participate in this stage, and local residents and other willing helpers work together to complete the rope. It is said that a total of 800 people are involved in the creation of the giant shimenawa. The massive shimenawa is completed not only by the craftsmen but also through the efforts of the townspeople.

Shimenawa Making: From Iinan Town to the Whole Country

Once the craft center was established and the production process was opened to the public, the technique gained widespread recognition. Today, the center reportedly receives orders for shimenawa from shrines and facilities across Japan, as well as from overseas.

As a result, shimenawa production continues year-round at the center, even during periods when large shimenawa are not being made. The ropes come in a variety of sizes and serve various purposes; from those displayed at shrines to those used for decorating public facilities, the ropes woven in Izumo are shipped to locations all over the country.

Sharing our local pride with all of Japan and future generations

“Making shimenawa is a source of pride for this region,” says Mr. Wada. The shimenawa-making techniques developed here in Iinan Town have now spread throughout the country, becoming an integral part of places of worship across Japan.

At the same time, Iinan Town is facing an aging population. How to pass on the art of shimenawa-making to the next generation is a major challenge. Nevertheless, even today, straw is being bundled and ropes are being twisted in this town. This traditional craft, along with the pride of the community, is being passed down to all corners of Japan, overseas, and into the future.

The post The Tradition of Shimenawa Making Passed Down in Iinan Town, the Birthplace of Japan’s Largest Shimenawa—Izumo Taisha Kan’nōkōsha Tonbara Branch / Iinan Town, Shimane Prefecture first appeared on NIHONMONO.

Located on the main island of Okinawa, in Naha City, Shuri is a district known for its particularly historic, old-fashioned streetscape. Right in the heart of Shuri Castle, Tamanaha Miso Shoyu has been crafting miso for 170 years. Using the same methods as when the company was founded, they continue to produce their miso through natural fermentation in well-seasoned wooden barrels.

A miso brewery in Okinawa that makes its own miso from scratch using koji—a rarity even in Okinawa

Until about 120 years ago, Okinawa was a single kingdom known as Ryukyu. Shuri, home to Shuri Castle, served as the capital of the Ryukyu Kingdom. This area was once lined with samurai residences. In fact, it was here—on the site of a former samurai residence—that Tamanaha Miso & Soy Sauce began producing miso and soy sauce between 1855 and 1860, during the final years of the Ryukyu Kingdom.

The koji mold that survived the ravages of war

As you walk up the hill, you’ll come across an old stone wall that exudes a sense of history. This imposing, stately wall dates back to before the war. Although the building itself was destroyed during the Battle of Okinawa, the pillars that survived the fire were preserved in an air-raid shelter, and it is said that the koji mold that grew on them helped preserve the distinctive flavor of Tamana.

Even within Okinawa Prefecture, miso breweries that make miso from scratch using koji are rare. Although they used to brew soy sauce as well, production was suspended about 10 years ago due to aging equipment.

Even after the transition to U.S. military rule, there were reportedly quite a few breweries producing miso and soy sauce in Shuri alone. However, following the reversion to Japanese sovereignty in 1972, products from outside the prefecture flooded the market, causing most of these breweries to go out of business.

The “entirely handmade” miso-making tradition upheld by the fifth-generation master

The current head of Tamana Miso Shoyu is Yumi Oshiro, the sixth-generation head of the family. She is the eldest daughter of Arinori Tamana, the fifth-generation head, who passed away in April 2025.

Brewed in well-seasoned wooden barrels, with careful maintenance

We use traditional wooden barrels to make our miso. We mix steamed whole soybeans with rice koji and Okinawan sea salt, then allow the mixture to ferment and mature.

As he opened the door to the koji room, a wave of muggy air poured out. Inside the room, where the temperature hovered around 36°C due to the fermentation of the koji, the plant manager was intently studying the rows of koji boxes lined up before him.

The photo shows the starter culture prepared two days ago. The rice koji, made from domestic rice used in the company’s miso, turns yellowish about four days after the starter culture is added. As fermentation progresses further, the temperature inside the fermentation room reportedly reaches around 40°C.

In Okinawa’s hot and humid climate, microorganisms are highly active, making fermentation progress more easily than on the mainland. After fermenting and aging for about 3 to 4 months in the summer and 6 to 7 months in the winter, the miso is ready.

Our signature product, “Dyōcho Miso,” is made with soybeans from Kyushu. It has a mellow flavor with a subtle sweetness from the rice and soybeans. We also produce “Shuri Miso,” made with soybeans from overseas; “Uchin Miso,” which contains turmeric; and “Special Selection Miso,” a blend of rice and barley miso.

In addition to selling directly from their store, they have sold their products at local supermarkets and online. At one point, production couldn’t keep up with demand, and they had to stop accepting new online orders, but they have now resumed sales at a pace of once or twice a month.

“Our miso costs 1,000 yen, but there are people who are willing to pay 1,200 yen in shipping just to buy it from the mainland. We’re truly grateful,” says Yumi.

The ideal environment for bacteria

Okinawa, where temperature fluctuations are relatively mild throughout the year, provides an ideal environment for bacterial activity. Inside large barrels, lactic acid bacteria and yeast are actively at work as the miso matures. The rows of well-worn barrels may be misshapen or have leaks, but they are carefully repaired time and again to ensure they can be used for as long as possible. By minimizing the need to replace them, the shop has preserved the same flavor it has offered since its founding.

Although they could have opted for easier-to-maintain enamel or reinforced plastic tanks, they chose to keep the wooden one because wood provides excellent insulation and heat retention, allowing it to maintain a consistent temperature regardless of the weather. As a result, they have been carefully maintaining and using it for decades.

Even though production can’t keep up with demand, we never compromise on efficiency; we continue to follow the traditional methods that have been carefully preserved over the years.

Although Tamanaha Miso and Soy Sauce remains in short supply, we ensure a steady supply of our miso for the school lunches at a nearby daycare center. We support the daycare’s food education program and want the children to grow up eating local foods made right here in our community.

New wooden barrels for the first time in 80 years

In fact, in February 2026, we just acquired a brand-new wooden barrel for the first time in 80 years. Crafted by one of the few remaining traditional wooden barrel makers on the mainland—a profession that is becoming increasingly rare in Japan—it was assembled using no metal whatsoever, relying solely on cedar planks, bamboo nails, and a bamboo hoop. We are now beginning to brew miso in this brand-new wooden barrel, which is said to last for 100 years.

Miso is a fermented seasoning that represents Japan’s proud culture of fermentation. Nationwide, the number of miso breweries that make miso from scratch using koji has dwindled, and those that ferment it in wooden barrels can be counted on one hand.

The unique flavor of this miso is the result of a combination of traditional, unchanging handcrafted methods and the environment unique to this location. To preserve the flavor that has been carefully passed down through generations, the challenges of this small miso brewery continue.

The post Naturally brewed in wooden barrels since the days of the Ryukyu Kingdom: Tamanaha Miso Soy Sauce / Naha City, Okinawa Prefecture first appeared on NIHONMONO.

Hirosaki Park is known as one of the premier cherry blossom viewing spots in the Tohoku region, with many saying, “When it comes to Aomori Prefecture’s most famous cherry blossom spots, Hirosaki Park is the place to go.” The park is also known as Ouyouen and stands on the site of Hirosaki Castle, the seat of the Tsugaru clan, which ruled over a domain of 100,000 koku. Spanning a total area of approximately 50 hectares, the park features remnants of the castle, including the main keep, moats, watchtowers, and castle gates. During cherry blossom season, some 2,600 cherry trees bloom in spectacular fashion.

The History of Hirosaki Castle

The main keep of Hirosaki Castle is one of 12 keeps built during the Edo period and is the only surviving keep in the Tohoku and Hokkaido regions.

The castle ruins are designated as a National Historic Site, and the surviving main keep, turrets, and castle gates are also designated as Important Cultural Properties. Hirosaki Park is located in the center of Hirosaki City. It covers a vast area of approximately 600 meters east to west and 1,000 meters north to south, with a total area of about 50 hectares. Within the park, in addition to the castle keep (the Tatsumi Yagura in the Honmaru), six bailey areas surrounded by moats and earthen ramparts, three turrets, and five castle gates remain.

“I believe it’s rare even nationwide to find such a large-scale castle complex open to the public as a park while retaining its original appearance,” said Kokoro Shōji, Chief of the Hirosaki Castle Maintenance and Utilization Promotion Office in the Hirosaki City Parks and Green Spaces Division.

The History Leading Up to the Construction of Hirosaki Castle

By 1590, Tsugaru Tamenobu had secured confirmation of his lands in Tsugaru from Toyotomi Hideyoshi, and in 1603, he decided to build a new castle, selecting the site at Takaoka. However, progress on the project was slow, and Tsugaru Tamenobu died of illness in Kyoto in 1607 without ever seeing the castle completed. He was 58 years old. Subsequently, his third son, Nobuhira, who became the second lord of the domain, completed Takaoka Castle (now Hirosaki Castle) in 1611.

Why Hirosaki Castle Was Reduced from Five Stories to Three

“The castle tower originally had five stories and was located in the southwest corner of the inner bailey when the castle was first built, but it was destroyed by a lightning strike in 1627,” says Mr. Shōji. “After the castle tower burned down, there was a strong movement to rebuild it, but the plans stalled midway. Later, when the Hirosaki domain’s rice yield reached 100,000 koku, the 9th lord, Yasuchika, rebuilt it in 1810 under the pretext of constructing the Tatsumi Turret of the Honmaru; this structure remains as the castle tower today.” The town’s name was changed from “Takaoka” to the current “Hirosaki” the year after the fire, reportedly as a way to ward off misfortune.

From the turmoil of the Shogunate’s fall to a symbol of the people of Hirosaki

Eventually, the Meiji Restoration led to the dissolution of the Hirosaki Domain. Hirosaki Castle came under the control of the Ministry of the Army, and during the war, it was used as a branch of the Army Ordnance Depot—a regional office responsible for the supply, storage, and management of weapons and ammunition. Although some facilities, such as the Honmaru Palace and the Treasure House, were dismantled, the castle keep, gates, and turrets were preserved. Furthermore, because many of the ruins escaped damage during the Pacific War and remain in their original state, the site has been designated a valuable National Historic Site.

Amidst these developments, the area excluding the Sannomaru—which had been used as an Army powder magazine—was opened to the public as Hirosaki Park in 1895. The three-story main keep stands approximately 15 meters tall, offering a magnificent view that takes in the entire park and Mount Iwaki, known as “Tsugaru Fuji.”

This historic site has evolved from the “Kan’ōkai” cherry blossom viewing party to the “Hirosaki Cherry Blossom Festival”

Just as people begin to feel the weight of winter lift, some 2,600 cherry trees of 52 varieties—including Somei-Yoshino, double-flowered cherry, and weeping cherry—bloom beautifully across the park’s expansive 50-hectare grounds. Within the park, which offers views of snow-capped Mount Iwaki, countless circles of people gathered for drinking parties—those who have longed for spring—spread out, and the sounds of Tsugaru folk songs can be heard from all around. Even now, more than 400 years after its construction, Hirosaki Park, home to Hirosaki Castle, continues to be cherished by the citizens as the first place that comes to mind when they think of a place to relax.

The post “Hirosaki Park,” overlooking the ruins of Hirosaki Castle—the only surviving castle keep in the Tohoku region / Hirosaki City, Aomori Prefecture first appeared on NIHONMONO.

The creators of large-scale Nebuta floats, known as “Nebuta masters,” are the artisans who shape the face of the Aomori Nebuta Festival. Among them, Hiroo Takenami is one of only seven people ever to have been awarded the title of “Nebuta Master”—a distinction granted to creators who have contributed to the Aomori Nebuta Festival through their exceptional skills over many years. While preserving the centuries-old tradition of Nebuta as a folk festival, he is also an artist who pushes the boundaries of Nebuta as a sculptural art form.

One of Japan’s premier fire festivals, a source of pride for Aomori City 

The Aomori Nebuta Festival is a summer festival held annually in Aomori City, Aomori Prefecture, from August 2 to 7. More than 20 large Nebuta floats parade through the city streets, accompanied by dancers known as “Haneto” who perform wild dances to the chant of “Rassera,” as well as musicians playing flutes and drums. During the festival, the city attracts more than 1 million visitors.

From a Local Folk Event to a Major Festival

Although it is now one of Japan’s most iconic festivals, its origins lie in a folk tradition. Throughout Aomori Prefecture—excluding the Nanbu region—various local festivals known as “Nebuta” or “Neputa” are held. While the names and forms vary by region, they share the same roots and are believed to have evolved from Tanabata customs. While there are various theories, one suggests the influence of “nemuri-nagashi” (a ritual to dispel drowsiness that hinders farm work), and that the name evolved from “neputē” (meaning “sleepy” in the Tsugaru dialect) to “Nebuta” or “Neputa.”

As for records of the Nebuta in Aomori City, an ancient document remains indicating that Nebuta floats were paraded in Ohama (present-day Aburakawa, Aomori City) in 1730 (the 15th year of the Kyōhō era). While this is considered the first recorded appearance of “Aomori Nebuta,” it is believed that the festival had actually been held as an annual event long before that, even if it was not formally documented.

“The Nebuta festivals throughout the prefecture, including Aomori City, have been passed down for hundreds of years solely through the dedication of the townspeople. I believe it is a truly rare and precious festival,” says Mr. Takenami. Over the long course of time, even as social conditions and the shape of the town have changed, Nebuta has been passed down and has continued to evolve. Behind this must surely lie the passionate dedication of the people of this land.

In modern times, while each neighborhood created and paraded its own Nebuta floats, the trend toward commercialization led to increasingly larger floats. Although the traditions of local Nebuta remained, the focus of the festival shifted to the “Aomori Nebuta Festival,” which is organized by corporations. Regarding the float builders, while the floats were originally crafted by skilled, Nebuta-loving locals, the larger floats came to be created by specialized builders—known as Nebuta-shi—who had honed their technical skills.

“Nebuta masters,” the creators of large-scale Nebuta floats

In the past, Nebuta and Neputa floats were made of washi paper and bamboo, with candles lit inside. They came in both doll-shaped and fan-shaped varieties, with the Aomori Nebuta primarily featuring the doll-shaped design. After World War II, as national highways were widened, the floats gradually evolved into their current wide, horizontal shape, and the materials used also advanced. Today, washi paper is attached to a wire frame, and LED lights are used for illumination.

As of 2025, there are about a dozen “Nebuta masters” who create these floats, and Mr. Takenami is one of them. Mr. Takenami says he begins thinking about the theme for the following year even before the current festival ends. The themes are primarily drawn from Kabuki, history, and legends. He coordinates the theme with the sponsoring company, researches literature and historical materials, develops a concept, and then draws the original artwork. Mr. Takenami describes this process of creating the original artwork as “the most important part of a Nebuta master’s work.” “Even with the same subject or scene, the expression varies depending on the creator’s individuality. It requires sensitivity in turning a captured scene into a painting, as well as a sense of color,” he explains. He completes the pencil sketch of the original artwork by around New Year’s and prepares the details, such as the face and limbs, in advance. In May, he moves to the “Rasseland,” a workshop dedicated to Nebuta. They build a framework using square timber pillars as a base, install lighting, apply Japanese paper, and proceed to the “kakigiri” stage, where they draw the faces and outlines in ink. The kakigiri stage is also a crucial part of the process; Takemura says that drawing the facial expressions, which determine the character’s look, “makes me nervous no matter how many times I do it.” Once this is finished, they apply patterns with wax and then use a mixture of paints and dyes to color the float using brushes, paintbrushes, and spray cans to complete it.

The Nebuta master does not perform all the work alone; carpentry, paper application, and lighting installation are handled by specialists and staff, with the Nebuta master serving as the on-site supervisor during these phases. The moment when the Nebuta, completed through the efforts of so many people, is loaded onto a cart—known as “taage”—is said to be exceptionally moving. From conception to completion, it takes a full year to create a Nebuta. While Mr. Takenami is one such example, there are also masters who handle multiple floats, and being a Nebuta master demands that level of skill.

“I was born to make Nebuta floats.” A life captivated by Nebuta

Mr. Takenami is originally from the former town of Kizukuri (now Tsugaru City). That town also had its own small, community-based Nebuta Festival, and the neighborhood association where Mr. Takenami was born and raised would send a float every year. He was captivated by those Nebuta floats from a young age. “I think it started when I was three. Apparently, I was a child who talked about nothing but Nebuta, Nebuta. Eventually, my family took me to see the big Nebuta floats in Aomori. And that’s when I became completely obsessed.”

At the age of 19, he began visiting the nebutah workshop of Chiba Sakuryu (the fifth-generation master) and started helping out. “Among the many creators, Mr. Chiba’s nebutah floats looked very stylish and fresh. So, I wanted to try assisting him. When I knocked on his door, he accepted me.” From then on, he devoted himself entirely to the craft, making his debut with a large-scale Nebuta float in 1989 at the age of 30. Since then, in addition to creating floats for the Aomori Nebuta Festival every year, he has played a central role in the industry, including working on Nebuta floats for tours to Budapest in 1996, the Tokyo Dome in 1998, and Los Angeles in 2007. In 2010, he established the “Nebuta Research Institute” to facilitate year-round activities. In 2023, at the age of 63, he was certified as the seventh-generation Nebuta Master.

“The things that were as precious to me as toys when I was a child remain just as precious to me even as an adult,” says Takenami with a smile. “Perhaps my values haven’t changed since I was three or four years old.” He adds, “Now, I believe I was born to make Nebuta floats.”

The three-dimensionality and colors breathe life into the Nebuta floats

Mr. Takenami says he doesn’t particularly like to depict battle scenes. “Most of my work features guardian deities that ward off evil and drive away demons, such as Kongo Rikishi and Nio statues,” he explains. Even when he depicts figures holding swords, he says they are often held not so much as weapons but to ward off evil. This is Mr. Takenami’s unique style and artistic expression. “It’s really hard to decide on a theme every year,” as Takenami says. Since approximately 23 Nebuta floats are produced for the Aomori Nebuta Festival each year—amounting to about 230 over a decade—it’s inevitable that themes will overlap with past floats, and scenes may repeat. “In the world of creation, where everyone has idols and ideals, the challenge lies in how to express my own unique voice,” he confides.

Amidst this, Takenami’s “sense of self” lies in creating a sense of depth and three-dimensionality in the Nebuta floats. “How do I arrange and fit the characters’ body parts within a cube measuring 9 meters wide, 7 meters deep, and 5 meters high? The way they’re placed completely changes how they look, so I’m particularly meticulous about that aspect,” he explains. Furthermore, he notes that the arrangement of colors is crucial. Takenami explains that he uses a single primary color—such as his favorite red—as a core, then arranges other hues around it as if scattering them out from that point. He uses color to convey a sense of power so that, during the actual festival, the Nebuta floats appear vigorous as they sway slowly toward the spectators lining the streets from afar. “I also make a conscious effort to draw ink lines that have a strong presence,” he adds. While painting the colors is often a collaborative effort with my staff, I draw every single ink line myself. That’s because the ink lines are what give the design its distinctive character.” It can be said that the heroic grandeur of the approaching Nebuta floats is brought to life through the ingenuity and hard work of the Nebuta masters.

It’s better not to lose to yourself than to lose to others

At the 2025 Aomori Nebuta Festival, Mr. Takenami won the Nebuta Grand Prize and the Best Creator Award for the Aomori Ryoyukai’s float, “Kaiō.” “Kaiō” will be on display at the Aomori City Culture, Tourism, and Exchange Facility, Nebuta no Ie Wa-Rasse, until August 9, 2026, when it will be replaced by the next award-winning float.

The year 2025 marked the 400th anniversary of the opening of Aomori Port. With this theme in mind, the float depicted the majestic figure of Poseidon, the guardian deity of the sea, rendered in a traditional Japanese style, as a way to reflect on Aomori City’s history—a history shaped by the sea—and to express hopes for its continued prosperity. Surrounding Poseidon, dressed as a Japanese warrior, are shachi (mythical creatures with the body of a fish and the head of a tiger) and fish-bodied dragons. At the rear, dolphins—which inhabit the waters off Aomori—were placed to emphasize that the setting is the Sea of Aomori. “The contrast between the color of the waves and the yellow tones of the shachi creates a strong visual impact,” said Takenami. “Additionally, for the ink-wash sections, I deliberately drew the lines representing Poseidon’s arms and ribs to be strong and rough,” said Takenami. Upon receiving the award, he commented, “I was able to express something truly powerful and impactful—this is what Nebuta is all about.” The award was a testament to Takenami’s unique artistic vision.

The Grand Prize-winning Nebuta float is placed in the most prominent spot in Wa-Rasse’s “Nebuta Hall.” Standing in front of “Kaiō,” Mr. Takenami said, “Every time I come here, it motivates me to return to this spot again next year. I create a Nebuta float every year, and I really struggle with it every time, but that struggle is also part of the fun. It’s not like a sport where you get clear, numerical results, so rather than aiming to beat others, I set a goal for myself: not to lose to myself. I refuse to compromise on anything when it comes to what my intuition tells me I want to create. I don’t tell anyone this, but I hold that principle—not losing to myself—in high regard.”

Thinking of the future, we’re giving Nebuta a new look

When Mr. Takenami first entered this field, being a Nebuta artist was not yet established as a profession. Even if he spent a year on a single piece, he couldn’t make a living from it. However, Nebuta has continued to grow and has become something we can be proud of on the world stage. People even come to Mr. Takenami, willing to relocate just to make Nebuta. “The people who come to us are the ones who will support the future of Nebuta. To ensure Nebuta’s legacy lives on, we must establish it as a profession so that these people can make a living as Nebuta artisans. By recognizing Nebuta’s value not just as a festival prop but as a work of art, can’t we expand its possibilities?” It was this conviction that led him to establish the research institute.

However, he says the institute faced strong opposition when it was first established. Many argued, “Nebuta is not art; it is, after all, just a festival.”

Nevertheless, Mr. Takenami continued to explore new possibilities for Nebuta based on the concept of “sculptures of paper and light.” He launched “NEBUTA STYLE,” a brand featuring interior goods and apparel made using Nebuta techniques, and created decorative objects for restaurants and hotels. By embracing this role as a sculptor, he built a sustainable livelihood. Moreover, these new products help spread the appeal of Nebuta. Mr. Takenami feels that as his dreams gradually come true, the attitudes of those around him have also begun to change.

Mr. Takenami’s goal for the future is to promote Nebuta more widely around the world as a form of Japanese culture and as a work of art crafted from washi paper. “When I’ve taken Nebuta to places like the United States and Budapest, the crowd gasped in awe the moment the lanterns were lit. Everyone was truly amazed and delighted. I’d like to take it to other countries, such as Europe, where people aren’t yet familiar with Nebuta.” As he spoke, Mr. Takenami’s eyes shone brightly, as if the eyes of the young boy who had always admired Nebuta were still there.

The post Carrying on tradition while embracing creativity. Nebuta artist Hiroo Takenami / Aomori City, Aomori Prefecture first appeared on NIHONMONO.

Koganezaki Farm produces more than 30 varieties of vegetables—including leafy greens, potatoes for processing, and seed potatoes—on one of the largest plots of land in the country. Its client list includes major corporations, and in 2025, its cabbage became the first in Aomori Prefecture to receive JGAP certification. The farm continues to demonstrate the true potential of locally grown vegetables and support the next generation of farmers.

Agriculture that embodies the spirit of Aomori, making the most of its vast land and convenient location

Koganezaki Farm, which operates on 500 hectares of land (equivalent to 100 Tokyo Domes), supplies over 30 varieties of seed potatoes—as well as potatoes, cabbage, daikon radishes, and other crops—to customers across Japan. Its client base spans from Hokkaido to Okinawa and includes major companies such as Calbee and Koikeya, as the farm continues to cultivate crops that take full advantage of Aomori’s unique soil and climate.

Beyond its scale and quality, the farm boasts advantages unique to Aomori. It was these advantages that caught the attention of founder Kimio Sasaki and three other farmers. They aimed to establish a sustainable agricultural business by leveraging the climate, which resembles that of Hokkaido, and the convenience of the land.

Farmers earning salaries comparable to those of office workers

Mr. Sasaki founded the company in 1976, when he was in his twenties. Concerned about the instability of the weather and vegetable prices, he and four colleagues discussed the idea of “whether it was possible to run a farm with a stable income, like that of a salaried employee,” and established a corporate entity. They believed this would allow them to expand their operations and reduce costs, and that any profits generated would translate into salaries.

From the very beginning, they adopted land-intensive agriculture. Land-intensive agriculture is a farming method that utilizes vast tracts of land and incorporates large-scale machinery and smart farming to improve operational efficiency. It also aims to mitigate the effects of crop rotation problems—where continuous cultivation of the same crop in the same field leads to changes in the soil environment and poor growth—by rotating crops. Their goal was to create a large-scale farm modeled after those in Hokkaido. One reason they envisioned a scale similar to Hokkaido’s was the similarity in climate. Many potato varieties thrive in cool regions, and Aomori’s significant temperature difference between day and night is said to be ideal for producing high-quality potatoes.

Furthermore, Aomori’s greatest strength is the ability to distribute produce via land transport. Since it is crucial to deliver leafy vegetables as quickly as possible—even by a single day—this gives them an advantage over Hokkaido when dealing with clients in the Kanto region. They planned to leverage these climate and distribution strengths to establish large-scale farms unique to Aomori.

With the characteristic drive and speed of young entrepreneurs, Sasaki and his team quickly found a plot of land and immediately launched their corporate farming operation. The land they found was on the hills of Koganezaki Cape in Fukaura Town, facing the west coast. They spent their days clearing the land from morning to night while intensively studying cash flow management. Although the instability of farmers’ incomes has always been a challenge, they pressed forward with the goal of resolving this issue and fostering the next generation of young farmers.

From “Profitable Farming” to “Farming That Doesn’t Lose Money”

They cleared the land and grew a variety of vegetables—including potatoes, carrots, melons, and watermelons—which they took to market, but the income didn’t meet their expectations. Compounded by cold snaps and other setbacks, they found themselves in a situation where they could barely make ends meet. Faced with a critical decision, Mr. Sasaki and his team chose to stop shipping their produce to the market. Rather than being at the mercy of market prices, they decided to set their own prices and sell directly to consumers. This was about six years after they had started their business.

One of Japan’s highest-quality seed potatoes

Along with expanding their customer base, they also began producing high-quality seed potatoes. Seed potatoes are potatoes planted for propagation; initially, they had been producing potatoes for processing, but the quality of the seed potatoes they used was poor, and they reportedly couldn’t achieve satisfactory results. That’s when they decided to start growing their own seed potatoes from scratch. The quality of the seed potatoes is crucial for growing high-quality potatoes.

However, it is often said that “growing seed potatoes is even more difficult than growing potatoes,” as disease management is extremely strict, and preventing infection by viruses and bacteria is an absolute requirement. Furthermore, thorough quality control is essential, including selecting a cool location with a low risk of natural disasters and maintaining sufficient distance between different varieties to prevent cross-contamination. Although it was a challenge in a difficult field, they persisted through trial and error, driven by a desire to protect the quality of domestically grown potatoes.

Among their strengths, their vast land proved particularly valuable. It minimizes the risk of cross-contamination even when planting different varieties of seed potatoes and helps prevent crop rotation problems.

Those efforts gradually bore fruit, and today, Koganezaki Farm supplies seed potatoes to potato farmers across the country. Since there are very few farms that cultivate such a wide variety of seed potatoes, it may not be an exaggeration to say that they are supporting Japan’s potato production.

“Koganezaki Farm has become so well-established that some people now associate the name directly with potatoes,” says Masahiro Higashi, the current President and CEO. “However, we also need to understand the characteristics of each variety and have facilities capable of air-drying and cold storage.” He explains that they are continuing to build a system for stable supply by collaborating with corporate representatives and seeking their advice.

A Legacy for Future Generations

“Last year, our cabbage for processing obtained JGAP certification. I believe this will help build trust among both businesses and consumers,” says Kazunori Okura, Senior Managing Director. JGAP is a Japanese agricultural production process management certification system, an acronym for “Japan Good Agricultural Practice.” It is a set of standards designed to reduce risks in agriculture—such as pesticide management, foreign object contamination, and workplace accidents—and to ensure the stable production of safe and reliable agricultural products.

The cabbage the company primarily ships for cut vegetables is the “Okina” variety, which is also used in shredded cabbage commonly found in supermarkets. Its firm leaves retain volume even when finely chopped for dishes like coleslaw, offering a crisp texture and satisfying bite. It is reportedly also used in the gyoza served by nationwide chain restaurants.

“Soil preparation is crucial, but given the size of the fields, it takes a lot of time. With large fields of about 18 hectares each, we have to make numerous passes with the tractor, so I’m considering whether we can automate that process using AI or similar technologies,” says Mr. Okura. While there are cost considerations, he explains that precisely because of the large scale, he wants to actively adopt drones (delivered on May 7, 2026) and machinery to build systems suited to the times and improve the farming environment.

Furthermore, the vast expanse of land offers the advantage of allowing him to experiment with various crop varieties. Although the onions he tried growing last year did not turn out as well as he had hoped, Mr. Okura remains enthusiastic: “There’s always a reason for failure, and I believe that if we can solve it, we’ll succeed. Someday, this might even become a major production area.” It may be this attitude—one of learning from failure rather than fearing it—that has allowed Koganezaki Farm to grow to where it is today.

The Future of Agriculture, as Envisioned by Mr. Sasaki

In fact, Mr. Okura moved here from Ibaraki Prefecture and decided to join the company because he was drawn to Mr. Sasaki’s vision. “I used to work in sales for about 30 years. But I came here because I was attracted to Mr. Sasaki’s character and his passion.”

Mr. Sasaki’s long-standing dedication to securing the future of farming and his tireless efforts to build a bridge to the next generation seem to have touched the hearts of many people. Although Mr. Okura passed away shortly after joining the company, it is said that Mr. Sasaki entrusted him with his vision, hoping he would pass the baton on to the next generation.

“There may still be challenges facing agriculture, such as labor shortages and an aging population. Nevertheless, I want to contribute to the development of local agriculture to help support Japan’s food supply and highlight the importance of domestically grown vegetables.”

The dream of farming that Mr. Sasaki envisioned has been firmly passed down to the current generation. The creation of systems that allow those who support Japan’s food supply to continue their work looks set to expand even further in the future.

The post “Koganezaki Farm”: Looking Toward the Future of Farming and Aiming for Profitable Agriculture / Hirosaki City, Aomori Prefecture first appeared on NIHONMONO.

In the gallery of “Mifune Kiln,” nestled in the mountains, two types of pottery crafted by twin brothers are on display: “yakishime,” in which clay and fire create a powerful texture, and “seiji,” which captures light within its layered glazes. The younger brother, Hitomu Tsugane, chose the path of seiji, considered the most difficult form of pottery.

My Father’s Kiln: The Era of Everyday Tableware

The Mifune Kiln is located in a forest nestled in the mountains, a short distance from the city center. About 40 years ago, my father left his corporate job to study the techniques of Takada-yaki—a ceramic tradition with a history of some 400 years in Yatsushiro City, Kumamoto Prefecture—and eventually struck out on his own. That was the beginning of his journey, when he built his kiln here. While Takada-yaki is known for its celadon, my father did not pursue celadon. Instead, he focused on creating everyday tableware, such as ash-glazed pottery—using glazes made from plant ash derived from straw and wood—and powder-coated ware. It was an era when pottery studios were springing up everywhere amid a pottery boom, but my father’s pieces gained popularity, and on weekends, so many people visited the kiln that the parking lot could not accommodate them all.

From Pottery Studio to Artist: The Gamble of Celadon 

Raised in such an environment, Mr. Tsugane studied the fundamentals of ceramics at the nation’s only vocational school specializing in ceramics, located in Arita, Saga Prefecture, and returned to his hometown after graduation. Following graduation, he worked as his father’s right-hand man, producing dozens of tea bowls for daily use and receiving a lump-sum payment once the exhibition was over. It was a “craftsman”-like way of working, producing the required quantities in a predetermined form. However, the times had changed, and it had become difficult to sustain the kiln by simply making everyday tableware in a kiln nestled in the mountains and waiting for customers, as had been done before.

“We can’t go on like this.”

Realizing this, Tsugane began to consider a path focused not on quantity, but on engaging with the works themselves.

“If so, what should I do as an artist?”
When he asked himself this question, he arrived at celadon. It is considered one of the most difficult genres in the world of ceramics, and few potters attempt it. That is precisely why he wanted to master it. The origins of celadon date back to ancient China. When a transparent glaze is applied to the clay body and fired in an oxygen-deprived kiln, the iron in the glaze reacts to produce a blue hue. However, since glazes made from natural raw materials have unstable iron content, the final color varies depending on the clay body and the conditions of the fire. Producing the exact shade of blue one envisions is no easy task. Due to this difficulty, celadon was once said to be a craft that “ruins your livelihood if you try it.” With virtually no formal training available, Tsugane collected books and, supplementing his understanding of difficult concepts with other texts, pursued his research into celadon entirely on his own.
“I started working with celadon because I felt I couldn’t go on as I was, but once I began, I found myself becoming more and more engrossed in it.”

Thick Glaze, Thin Clay—The Art of Crafting Celadon 

At first, things went surprisingly smoothly. I even won an award at a regional exhibition. But when I entered the world of the Japan Craft Association, I was told, “That’s not celadon. Have you ever seen the real thing?”

In the world of the Japan Crafts Association, the evaluation criteria are completely different from those of regional exhibitions. It is a world where “whether it is authentic craftsmanship” is rigorously scrutinized, taking into account not only the quality of the work but also the materials, techniques, and historical context. Tsugane’s understanding was completely overturned. Celadon is not simply about appearing blue or green. Its defining characteristic is the application of an astonishingly thick layer of glaze. While the glaze on ordinary pottery is less than 1 millimeter thick, on celadon it is 2 millimeters or more, and in some cases exceeds 4 millimeters. Within this thick layer of glaze, light reacts with the iron content to produce that deep hue.

Because the glaze is so thick, the underlying vessel must be made extremely thin to achieve the desired elegance. However, the thinner the vessel, the more likely the clay is to collapse or warp during firing.
This is where the process of creating the clay itself becomes essential. Mr. Tsugane tested clays from all over Japan, gradually adjusting factors such as strength to withstand firing, ease of shaping, and stability in the finished piece to develop his own unique blend. Even when he thinks, “This is good,” he feels compelled to make further adjustments. It is a constant cycle.

The lines drawn by time. An expression called “crazing” 

Applying the glaze is just as labor-intensive. Three coats on the inside—drying and building up each layer—and three on the outside. Before firing, the piece looks so far from the finished product that one might doubt it will ever truly become celadon. Moreover, even the slightest change in conditions inside the kiln can easily throw off the color. “Depending on the oxygen levels alone, celadon can even take on a yellowish hue. It’s not about creating the color; rather, it’s about drawing out the coloration of the iron within the thickly applied glaze. That, I believe, is what celadon pottery is all about,” says Mr. Tsugane.

Among Tsugane’s works, the most distinctive are those known as “crazed celadon.” Crazing refers to the fine cracks that form on the surface of a piece as it cools after being removed from the kiln. In celadon, slight differences in the shrinkage rates of the clay and the glaze cause fine cracks to appear in the glaze. Some pieces look as if a thin layer of ice has formed, while others feature red lines created by rubbing vermilion into the cracks. Generally, these cracks are considered to occur by chance. However, Tsugane meticulously adjusts the thickness of the glaze, as well as the firing and cooling conditions, to deliberately shape the pattern of the cracks themselves into an integral part of the work’s expression.
Crackling does not necessarily occur the moment the piece is removed from the kiln. Sometimes, several days or even a month later, it may appear with a sudden “crack.” The red lines that emerge and the transparent lines that appear later—their interplay transforms the vessel’s appearance the more it is used.

What Defines the Quality of Celadon

Since being selected for the first time for the “Japan Traditional Crafts Exhibition”—Japan’s premier open-call exhibition organized by the Japan Crafts Association—Tsugane has gained increasing recognition, with his works even being purchased by the Imperial Household Agency. Furthermore, through achievements such as winning the “Japan Crafts Association Award,” he has established a solid reputation in the field of celadon. At the same time, however, he notes that attitudes toward awards have changed significantly over the past decade or so. In the past, winning an award would attract department store events, and customers would visit specifically to see the winning pieces. Now, however, more people choose tableware based on their personal taste, and Tsugane notes, “We are no longer in an era where awards decide everything.”
Nevertheless, what remains unwavering for him is the “dignity” expected of celadon. His goal is to achieve a water-like, clear blue known as “Uka-tensei” (the blue of the sky after rain). To approach this ideal, he studies the lineage of Chinese celadon and travels to China. He believes that understanding the roots provides a solid foundation for new forms of expression.

He uses a gas kiln. His philosophy is not to be particular about the type of kiln, but to choose the flame that best suits the work. For celadon, a strong, stable flame with few impurities is essential.

Furthermore, in recent years, the raw materials themselves are becoming scarce. Fewer people are digging for clay, and he has even been told that the clay he has used for many years “can no longer be obtained.”
Tsugane secures whatever clay he can while searching for new sources, and he meets with suppliers on-site to build relationships. “If there are no longer people digging for clay, we won’t be able to make our work either.”

It is perfected through use

My goal is to become a potter who makes people think, “Tsugane celadon is beautiful. I’d love to own one.” I don’t want to make pieces that are simply displayed in a box; I want to create tableware that is actually used at the dinner table—the kind that makes someone ask, “Whose is that?”

Celadon is understated, and the apprenticeship is long. The yield rate is by no means high. Yet, drawn to the dignity that lies beyond the difficulty, I never gave up. “Even master craftsmen over 70 have mountains of failed pieces in their scrap piles.” When I heard that, I felt the tension melt away.

“I’ll do this for the rest of my life.” I quietly savor those words.

A piece of pottery isn’t finished once it comes out of the kiln; it is gradually completed through use. Tsugane’s work, too, is being built up slowly in that same way.

The post “Mifune Kiln”: Where Light Shines Through in a Mountain Kiln / Mifune Town, Kamimashiki District, Kumamoto Prefecture first appeared on NIHONMONO.

Iyogassuri, one of Japan’s three great kasuri weaves and a traditional craft of Ehime. Kuniko Murakami, an Iyogassuri artist who began weaving around age 54. Her challenge to participate in traditional craft exhibitions and her approach to Iyogassuri truly embody the philosophy that “to live is to weave.”

Weaving and Iyogassuri: A Meeting in Her 50s

　Born in 1948, Ms. Murakami works as an Iyo Gasuri artist. Surprisingly, she only began weaving after turning 50. She had long worked as an art flower instructor, but wrist injuries made creating pieces difficult, leading her to leave that path. She then distanced herself from “teaching others” and began searching for a new form of expression she could genuinely enjoy herself.

　While trying new crafts like pottery and woodcarving, weaving captivated her most. “As a child, there was a kasuri factory along my school route. They worked right there on the embankment along the Ishite River, stretching threads.” That scene became a primal landscape within her.Memories of secretly watching the indigo-dyed thread weavers at work, and the childlike sense of wonder it sparked, stirred something deep within him years later. Fortunately, the motions of weaving suited his impaired hand movements, making it a craft he could continue. He enrolled in the dyeing and weaving classes at Iori Kogei, led by contemporary Iyo Kasuri artist Nobutoshi Shirakata, studying there for five years.

The charm of kasuri, born from time and effort

　In the Iyo region, including Matsuyama, cotton was once cultivated. Within this culture where cotton was woven into daily life, “Iyo Gasuri” developed.

　Kasuri is a woven fabric characterized by a blurred, faint appearance along the outlines of its woven patterns. This is achieved by partially tying off warp or weft threads to create areas that resist dye absorption, then applying indigo dye. The resulting contrast between white and indigo creates the unique, beautiful texture characteristic of kasuri.Iyo Kasuri is counted among the “Three Great Kasuri of Japan,” alongside Kurume Kasuri (Fukuoka Prefecture) and Bingo Kasuri (Hiroshima Prefecture). However, it is noted for its composition centered around the “Yokokasuri” pattern, where the kasuri threads are used primarily on the weft threads.

　”When setting up 17 meters of thread per bolt, the weft threads alone can require tying over 1,000 points,” explains Mr. Murakami. Consequently, while tying the warp threads takes about a month, tying the weft threads takes two to three months, making it an extremely labor-intensive process.Horizontal kasuri allows for delicate, regular pattern expression because the design unfolds continuously in the horizontal direction. However, this requires advanced skill and considerable time. This characteristic is closely linked to Iyo kasuri’s simple, approachable design aesthetic, creating its appeal as a practical, everyday fabric.

Shaping Curiosity, Meticulously Woven

　Murakami-san’s early Iyo-kasuri designs often featured floral motifs. However, as she continued creating, she began incorporating elements that moved her in daily life. As she says, “I finish each piece while gazing at it repeatedly,” her works vividly reflect her curiosity. In recent years, motifs related to Earth and space—such as the fault lines at Dogo Park and the asteroid probe Hayabusa2—have emerged as new themes.

　Once the design is complete, the process moves to meticulously calculating and designing the position and amount of thread ties to ensure the pattern is woven precisely. “I strive to avoid any misalignment during finishing. While some say misalignment is part of the charm of kasuri, I find it sad when something I calculated doesn’t turn out exactly as planned. I suppose that’s just my personality,” Mr. Murakami says with a smile.

The workshop is at home, where daily life breathes with handcraft

　Murakami operates without a dedicated workshop, handling every step of the process alone at home. Weaving accounts for only about 20-30% of the total work; most time is spent on dyeing and preparing the threads. She conceives designs in her bedroom and dyes fabrics using fermented indigo in her garage.Maintaining the indigo in optimal condition is crucial, requiring constant monitoring of humidity, temperature, and the pH level of the dye bath to indicate its acidity or alkalinity. The dyeing process is repeated about 40 times, taking roughly a month to complete. Afterward, she takes time to unravel the yarn and shape it.

　Then, weaving progresses on the loom placed in the living room. Surprisingly, this loom was handmade by the couple themselves. After closely observing a loom at the Iyo Kasuri Hall, Ms. Murakami drew the design plans, and her husband built it to fit her height.

Challenging Traditional Craft Exhibitions and Passing on Iyo Kasuri

　Working on multiple processes simultaneously, Ms. Murakami completes only 2 to 3 Iyo Kasuri pieces per year. She says her heart races with excitement when a piece woven over such a long time is finally finished.

　In 2011, her Iyo Tsumugi woven kimono “Time of Fragrant Winds” won the Sanyo Shimbun Award at the 45th Japan Traditional Crafts Dyeing and Weaving Exhibition. Since then, she has actively exhibited her completed works at dyeing exhibitions and the Japan Traditional Crafts Exhibition. Challenging the Japan Traditional Crafts Exhibition, which tours nationwide, is a valuable opportunity to spread awareness of Iyo Kasuri. Continuing to take on these challenges is what connects to its preservation.

　In 2021, she was certified as a full member of the Japan Craft Association. In 2025, Iyo Kasuri was designated as an Intangible Cultural Property of Ehime Prefecture, and Ms. Murakami was recognized as a holder of this technique. She will continue to engage in her craft while promoting Iyo Kasuri as a cultural asset.

“Housewives work on it between kitchen chores and cleaning,” Mr. Murakami says calmly. “Alone, bit by bit, enjoying it. It’s a blessing to have something to pour myself into at this age.”

　Starting in her 50s, she arrived at Iyo Kasuri while seeking “something she could truly enjoy.” For Ms. Murakami, the process of engaging with thread in daily life and gradually completing her work is life itself. “How many fine pieces I can leave behind is also a challenge,” she says. Her words reveal a steadfast spirit of inquiry and a clear determination to carry the inherited skills of traditional craftsmanship forward into the future.

The post Iyo Kasuri woven in a home workshop. Connecting traditional craft to the future. Iyo Kasuri artist Kimiko Murakami / Matsuyama City, Ehime Prefecture first appeared on NIHONMONO.

MONKEY MAJIK, one of Japan’s premier rock bands, continues to shine in the music scene. Their vocalist and guitarist, Maynard Plant, and drummer, TAX, are now dedicated to beekeeping. They harvest honey in Tomiya City, Miyagi Prefecture, where they’ve lived for over 20 years. They sell their raw honey at a shop called “EIGHT CROWNS” inside the city’s central tourist exchange station, “Tomiya-do.”What led these musicians to become beekeepers…?

Beekeeping in Tomiya, inspired by childhood memories

Tomiya City, Miyagi Prefecture, is a town of over 50,000 people adjacent to northern Sendai City, once prosperous as a post town. In recent years, it has gained attention as a “child-rearing friendly town,” attracting young families. Living in Tomiya for over 20 years are MONKEY MAJIK’s Maynard Plant and drummer TAX, aka Takuya Kikuchi.

These two founded the honey company “EIGHT CROWNS” in 2018.

The world of beekeeping they encountered in Canada

The background to this lies in Maynard’s childhood in Canada. As a teenager, he sometimes helped his uncle, who was a beekeeper. He learned firsthand about nurturing the tiny lives of tens of thousands of honeybees, how their pollination allowed crops to bear fruit, and how people then enjoyed that bounty. It was a time of experiencing the cycle of nature and the role each living thing plays. That memory stayed with him, becoming a desire to “try it myself someday.”

An encounter in Tomiya City connects the dots

Amidst this, Maynard, who was serving as a navigator on an NHK local program, met Tomiya City Mayor Hirotoshi Wako. Mayor Wako was interested in “urban beekeeping” conducted on building rooftops and was practicing it on the roof of Tomiya City Hall. Sensing something fateful in this, Maynard decided, “Tomiya is a town promoting beekeeping, so I should try it too!” and began beekeeping with TAX.

The Beginning: “Eight Beehives”

They started by placing seven Western honeybee hives and one Japanese honeybee hive—eight hives total—in the lush green area called “Nanatsumori” in central Miyagi Prefecture.The “EIGHT” in the company name EIGHT CROWNS comes from this. Maynard explains that “CROWNS” was chosen because he wanted a word showing respect for the queen bee, adding with a laugh, “Later, I realized ‘EIGHT’ is the Japanese word for the number eight (hachi), so it was perfect.”

Creating Unique Honey Through Terroir-Driven Beekeeping

Rather than migratory beekeeping, which moves hives in search of flowers, Maynard and TAX wanted to harvest honey from their own terroir. They planted Japanese honeysuckle (Lonicera japonica) as a nectar source. Known for its distinctive blue-purple flowers, Japanese honeysuckle is considered one of the best nectar plants for honeybees. Collecting its nectar produces a golden, fruity honey. Characterized by a light sweetness, it pairs well with tea, yogurt, and cheese.While the honey yield is never large, their sole focus is on quality.

While they may expand their collection sites, they have no plans to move their hives. The flavor of the honey subtly changes each year due to the climate and natural environment. They find value in these differences, seeing them as the unique terroir of this land, offering distinct tastes to enjoy.　

The “WILD FLOWER” flavor born in Tomiya

Given Tomiya’s location, collecting monofloral honey from a single type of flower is difficult. Instead, they harvest nectar from mountain cherry, acacia, wisteria, and others, packaging it as “WILD FLOWER.” Meanwhile, they source and sell monofloral honeys from beekeepers across Japan who share their scale and dedication.

Using this single-flower honey (acacia), the company focuses on producing Infused Honey, where ingredients like habanero peppers, lemon, and saffron are steeped in honey. Beyond its versatility in cooking, it’s gaining attention overseas for its potential health benefits, such as boosting metabolism and enhancing immunity.

Challenging the World from Tomiya with Honey Wine (Mead)

Furthermore, they brew “mead” from WILD FLOWER. Mead is an alcoholic beverage made by fermenting honey, water, and yeast. It is said to be the world’s oldest alcoholic beverage, even appearing in mythology.

Developing Mead with Tohoku Breweries

The impetus for mead brewing came when TAX, during MONKEY MAJIK’s Canadian tour, saw an in-flight magazine feature on mead and proposed, “We should definitely try this.” After returning to Japan, Maynard and TAX sampled meads worldwide and decided to commission brewing with a sake brewery in the same Tohoku region.Only about 20-30 companies in Japan brew mead, and this company is the sole producer in the Tohoku region. The rarity lies in the very environment capable of producing mead. Leveraging fermentation techniques honed in sake brewing, they craft mead that preserves the honey’s natural aroma and flavor. The range extends from sweet to dry styles. Maynard and TAX tasted it and found it delicious, which was the deciding factor in entrusting them with the brewing.

A dry, fruity cup born from sake yeast × raw honey

EIGHT CROWNS’ mead uses sake yeast as an ingredient. Combining watered-down raw honey with sake yeast results in a slightly tart, dry finish. After much experimentation, the president of Mine no Yuki Shuzo settled on this yeast, producing a mead that’s fruity like Muscat grapes and easy to drink.

Maynard laughs, saying of his mead, “I never imagined it could taste this good! I’m incredibly satisfied.” Just as grapes determine wine’s flavor, honey dictates mead’s taste. It goes without saying that EIGHT CROWNS’ exceptional honey creates exceptional mead.

Worldwide Recognition

EIGHT CROWNS’ mead, named “WILDFLOWER TRADITIONAL MEAD,” won a gold medal at the 2023 BTI World Mead Challenge, a globally recognized American mead competition. It boasts an exquisite balance of acidity and sweetness, with a clarity reminiscent of sake. Though Maynard was initially hesitant about brewing mead,his pursuit bore fruit, driven by the desire to “pair it perfectly with various dishes and deliver the natural bounty gathered by bees directly to the table.”

His goal is to create “the world’s best mead” and connect beekeepers globally.

When asked about his future dreams, Maynard shared: “First, I want to build my own meadery.” He also aims to create a mead that surpasses even their highly acclaimed current offerings to become the “world’s best,” and to revitalize the local community through mead.

He also smiled as he shared his vision as a beekeeper: to become a “hub” connecting beekeepers not just in Japan, but around the world.

EIGHT CROWN honey is unheated and minimally filtered, preserving abundant natural vitamins, minerals, and enzymes. This is because they want to deliver the flavor and nutrients of the nectar gathered by bees from flowers with as little loss as possible. This also connects to expressing Tomiya’s terroir.

Born in a small town in nature-rich Miyagi Prefecture, this honey and mead, recognized worldwide, should bring richness and vitality to everyday life. We invite you to experience the “finest honey and mead” born in Tomiya with all five senses.

The post The goal is to create the world’s best mead in both name and substance. Maynard Plant, Representative of “EIGHT CROWNS” / Tomiya City, Miyagi Prefecture first appeared on NIHONMONO.

Curves softly illuminated by light. Their texture evokes the moment a flower blooms or fabric layered with supple grace, making you want to reach out and touch them. Lacquer artist Fumie Sasai explores “shapes you can’t help but want to touch,” creating unseen forms while conversing daily with lacquer.

Shapes Made of Lacquer That Invite Touch

In her home and studio in Mukō City, Kyoto Prefecture, the lacquer drying cabinet, the “lacquer room,” holds pieces with a mysterious presence. Soft, airy swells, or forms as plump and juicy as ripe fruit. Their surfaces catch the light with a moist luster, tempting you to bring your fingertips closer.

Sasai’s three-dimensional lacquer works are not completed with a single coat. By layering lacquer and polishing after each application, she refines subtle irregularities to create an even, uniform surface. Furthermore, lacquer only hardens in spaces with controlled temperature and humidity, requiring time for drying. Only through this repeated process, layered many times over, do these smooth textures and soft forms emerge.

“I decide the coating and form while imagining the sensation when touched,” explains Sasai’s creative approach. As he coats, polishes, and coats again, the lacquer’s thickness builds into volume, and the precision of the polishing creates smoothness. The forms nurtured bit by bit carry the layered time Sasai spent engaging with the lacquer, confirming its state with his fingertips.

He chose “works that won’t lose their form”

Sasai was born and raised in Yao City, Osaka Prefecture. Growing up in a working-class neighborhood with a father who was a company employee and a mother who was a homemaker, his family had no particular connection to the arts. He became drawn to the path of art in high school and went on to study at an art university in Kyoto.

“I painted in high school, but as I continued, I started thinking maybe I was better suited to creating forms within my hands rather than working on a flat surface. What about becoming a ceramicist? I jumped into an art university with the mindset of ‘Let’s just try it first.'”

Upon entering university, he first experienced dyeing, ceramics, and lacquerware. Among these, lacquer captured Sasai’s heart. “With ceramics, the pieces shrink when fired, which I found a bit sad,” he explains. Conversely, lacquer gains fullness and substance with each layer applied. He was drawn to how its expression changes with each application, allowing him to slowly decide the form while observing these transformations.

Forging a path no one has walked before, with my own hands

Having chosen lacquerware, Sasai initially envisioned a future crafting vessels in a workshop. Yet as she worked, she transcended the boundaries of vessel-making, pursuing forms that were true to her own sensibilities. Following her heart led her to lacquer objects—a medium where she could freely explore the shapes she loved.

At that time, the world of lacquer art was still dominated by practitioners working as “craftsmen” making vessels and Buddhist altarware. Precisely because of this, he reasoned that by deliberately pivoting into the realm of art, he could forge a new path where no one had ventured before. This realization became the major catalyst for steering his course toward becoming an artist and beginning to explore his own unique form of expression.

Dialogue with nature and people close at hand became the source of creation

Since encountering lacquer, Sasai has consistently engaged with “form.” This journey has also been one of continually seeking how to entrust the sensations arising in his heart to lacquer. His work reveals a core strength that enjoys time-consuming processes and steadfastly upholds his aesthetic sensibility.

Plump forms of life born from everyday observations

One of Sasai’s representative series is “Bilabdo.” Its rounded, soft forms evoke the appearance of infants and children—the period when humans receive the most affection—and inevitably bring a smile to the viewer’s face. These plump contours succinctly express Sasai’s theme of “forms you want to touch.”

Another representative series, “Sky Fish,” beautifully harmonizes the characteristic plump curves and overlapping ridges found in Sasai’s work.

These works share a common thread: they convey Sasai’s curiosity, focused on small, everyday observations and the nature close at hand. The freshness of a child’s skin, the suppleness of a fish swimming on the water’s surface. The charm of Sasai’s work lies in how these forms of life are expressed through the unique, deep texture of lacquer.

Time spent with students fuels creative energy

Alongside his own artistic practice, Sasai has served as a professor at Kyoto City University of Arts, teaching students the creation of three-dimensional lacquer works. He finds the time spent interacting with the younger generation at the university to be a significant stimulus for himself. “If I had devoted myself solely to creating, I might have hit a wall. Interacting with the students provides balance and gives me energy.”

Dialogue with the younger generation broadens his perspective, enriching Sasai’s creative process.

A new world opened through collaboration

“Collaborations” with artists from different fields have also been a major catalyst for expanding Sasai’s expressive range. Encountering materials and approaches entirely different from lacquer has given birth to new possibilities.

A prime example is the collaborative work “Boat of the Sun” with bamboo craftsman Tanabe Chikunsa IV.While Sasai used blue lacquer to express the sun floating on the sea surface with a sharp, circular form, Tanabe wove bundles of bamboo into the blue ring, capturing the moment sunlight spreads across the ocean. The fusion of lacquer’s sharp lines and bamboo’s softness creates a new charm in craftsmanship.

The collaborative work “Glass Fish” with kirikane glass artist Akane Yamamoto is another piece where the two artists’ individualities merge.”Kirikane glass” is a technique original to Yamamoto Akane, where patterns are drawn using thin, thread-like strips of gold leaf, which are then sealed within molten glass. Inspired by the glass eyes Yamamoto creates, Sasai gave birth to a vivid blue fish that seems to leap across the water’s surface.

“Through collaborations with various craftspeople, I’ve seen worlds I never could have reached working alone. Of course, it benefits me personally, and I can pass it on to my students, so I believe it’s creating double or triple the positive impact.” These collaborations with diverse artists also became an opportunity for Sasai to unravel the unconscious assumptions she had unknowingly formed about “how lacquer should be.”

Freer, farther. Believing in the potential of lacquer.

Sasai’s works have been exhibited in museums, solo shows, and various themed exhibitions. Additionally, her pieces are permanently displayed as part of the artwork collection at The Ritz-Carlton Kyoto. It’s a special space where visitors can encounter her creations during their stay or dining experience.

In recent years, his new challenges showcased in the 2024 solo exhibition “Gentle Breeze, Sudden Thunder” were recognized, earning him the Minister of Education, Culture, Sports, Science and Technology New Artist Award in the Fine Arts category at the 75th Arts Selection Awards. Furthermore, he will realize his first solo exhibition in the United States in the summer of 2025, significantly expanding his creative horizons.

“I truly believe Japanese crafts possess exceptional quality. That’s precisely why increasing opportunities for more people to see them should spark greater interest overseas. In fact, international visitors do come to see my work, and I believe the potential is immense.”

In 2026, an exhibition introducing Japanese lacquer art is scheduled at the Victoria and Albert Museum in London, UK, and Sasai’s work has been selected for display. As an individual artist, she stands at the gateway to introducing Japanese craft to the world. Her determination and hope for the future were palpable in her words.

What new encounters will come next, and what new expressions will emerge? The works born from these encounters will surely stir our hearts once again.

The post What I seek is “a form that invites touch.” Lacquer artist Fumie Sasai, who shapes the tactile essence of life / Mukō City, Kyoto Prefecture first appeared on NIHONMONO.

Pearls have traditionally been valued in the market for their “perfect roundness.” Nami Yamashita, who crafts her own cultivated pearls into jewelry and sells them under her original brand “L’ de pearl,” creates unique value by discerning the individual character of each pearl and bringing out its charm, rather than focusing solely on market value.

Yamashita Pearl: Three Generations of Pearl Cultivation in a Nationally Renowned Production Area

Founded in 1963, Yamashita Pearl Co., Ltd. is a long-established pearl farming business in Uwajima City, one of Japan’s premier pearl production areas, where the family has cultivated pearls for four generations. Nami Yamashita, the fourth-generation head, initially had no clear intention of joining the family business. After graduating from university, she took a job at a general company in Hiroshima Prefecture. However, around that time, the novel coronavirus began spreading, making it impossible not only to go to work but even to return to her hometown.Amidst this, casual remarks from her boss and business partners—things like “Having a family business is really something, isn’t it?”—became the catalyst. She began thinking about returning home to help with the family business. Around the same time, her younger brother, Yuhei, who had been working as a salaryman outside the prefecture, also returned to Uwajima. This led the family to join forces and dedicate themselves to pearl farming.

One day, Nami was asked by a friend, “Where can I buy pearls from Yamashita Pearls?” That casual question made her realize she didn’t know where or how the pearls they cultivated were being sold after being processed into jewelry by manufacturers.”We want to deliver the pearls we cultivate with our own hands.” Driven by this desire, they resolved to handle everything from accessory processing to sales themselves. Then, in 2023, while continuing to assist with pearl farming, they launched their own jewelry brand, “L’ de pearl,” using their company’s pearls. They create and sell accessories that showcase the inherent beauty of pearls, free from conventional values.

We want to convey the true beauty of pearls, something only producers can understand

Pearls are natural gems nurtured over time within the Akoya oyster. No two pearls share the same color, shape, or luster. Yet, pearls have long been judged by a standard that prioritizes perfect roundness above all else. No matter how beautiful their sheen or luster, or how uniquely shaped, pearls that don’t meet this ideal are not recognized as valuable in the market.Through her work in pearl cultivation, Nami grew to feel sympathy for these pearls, which in a sense have been treated unfairly. Her desire for others to recognize their charm led to the founding of “L’ de pearl”.

The name “L’ de pearl” originates from the German word “erde,” meaning “earth, land, or specific territory.” It was chosen to embody the belief that the pearls, nurtured robustly and beautifully in the waters of Uwajima—blessed with ideal conditions for pearl cultivation—carry within them the life force of the Akoya oyster and the deep affection of the people who carefully cultivate them.

Her grandfather, the first generation, was a pioneer of pearl cultivation in this region.

The Yamashita family began pearl farming here about 65 years ago, dating back to Nami’s great-grandfather and grandfather. Pearl farming originated in the Ise-Shima region of Mie Prefecture and gradually spread nationwide, including to Uwajima City.Pearl farmers from Mie Prefecture ventured into the Uwa Sea. Starting with mother-of-pearl harvesting work, Nami’s grandfather later learned pearl farming techniques, becoming part of the first generation of pearl farmers in this area.

In recent years, the Uwa Sea area, including Uwajima City, has seen a decline in production compared to its peak due to issues like mass deaths of Akoya oysters, an aging workforce, and a lack of successors. However, new business developments are also advancing, such as pursuing even higher quality and implementing brand strategies.

Amid these environmental changes, Yuhei Yamashita is now the pillar supporting the Yamashita family’s pearl farming.

Currently at the center of the Yamashita family’s pearl farming operations, Yuhei says, “Even with the same mother oyster, the same nucleus, the same sea, and the same cultivation methods, differences emerge depending on the producer. In the past, techniques and know-how were kept secret, but that trend is fading now.I’m a rookie in my fourth year of pearl farming. With the fearlessness of a newcomer, I’m eagerly asking questions everywhere,” he says with a laugh. It is precisely because they are diligently cultivating pearls through their own trial and error that they can sensitively perceive the unique beauty of each individual pearl.

Rich hues and beautiful luster created solely by nature’s power

Generally, pearls are valued for being perfectly round, free of blemishes or dimples, and possessing a strong luster. However, such pearls account for less than 1-2% of the tens of thousands harvested annually. Therefore, “L’ de pearl” actively uses pearls with unique individuality, even if they lack conventional market value, transforming them into jewelry.While occasionally using near-round pearls, the collection primarily features uniquely shaped pearls like baroque, drop, and feathered varieties. Furthermore, only the processing necessary to preserve the pearl’s quality is applied, allowing the wearer to enjoy the rich, natural hues with their subtle variations.Because these distinctive pearls are designs in themselves, we consciously use small, delicate components to highlight their beauty. This reflects Nami’s vision: “Precisely because these aren’t pearls that easily grow into conventional beauty, I want them to be pieces cherished and passed down across generations.”

To convey this vision directly, she has carefully crafted her sales approach. While primarily sold through her online shop, she also participates in pop-up stores and events. Her semi-custom service, where customers select their favorite pearl from a variety of colors, shapes, and sizes to be made into jewelry, is particularly popular.

While driven by a desire to bring recognition to previously undervalued pearls, Nami maintains the pride of a professional from a long-established pearl farming business, working with pearls daily. She insists on uncompromising standards for the deep luster, sheen, and color beauty characteristic of Akoya pearls, even if their shape is irregular.”Seeing customers select each pearl individually—whether for themselves as a one-of-a-kind treasure or as a gift for someone special—brings me joy. It’s a moment of pure happiness,” says Nami. She continuously experiments with designs and pricing to make pearls accessible not just for formal occasions, but also for everyday wear.

Transforming a pearl, one of a kind in the world, into someone’s special radiance

“There are countless pearl accessories in the world. That’s precisely why defining our unique selling point is challenging,” Nami reflects. “But I believe our greatest strength lies in using pearls we’ve cultivated ourselves. Because of this, we deeply understand the inherent beauty of pearls and know how to bring it out.” Guided by this philosophy, she began with online sales via social media, gradually expanding her reach through pop-up events, temporary sales at rental spaces, and limited-time pop-up stores.

Amid these efforts, the brand has also expanded, launching the “NAMIOTO COLLECTION.” This line features deeply blue pearls selected from the diverse array of pearls they cultivate, the name blending Nami’s name with the Japanese word for ocean waves.

This shift has also impacted the pearl farming operations. Yuhei shares, “I used to be desperate to cultivate perfectly round, white pearls with excellent nacre. But after my sister started making jewelry, I realized I didn’t have to be so fixated on existing standards of value. Knowing they could be utilized in new ways made me feel more at ease. At the same time, it also fueled my desire to cultivate even better pearls.”As times change, so do the nature of fishing and people’s values. In this era of diversity, L’de pearl’s accessories may well become cherished by many, regardless of age or gender.

The post Preserving nature’s irreplaceable beauty. Yamashita Pearl Co., Ltd. L’ de pearl Uwajima City, Ehime Prefecture first appeared on NIHONMONO.