Oji Holdings traces its roots to the “Paper Manufacturing Company,” established in 1873 through the efforts of Eiichi Shibusawa—an industrialist often referred to as the “Father of Japanese Capitalism” who founded Japan’s first bank and laid the groundwork for a wide range of industries, including railways, insurance, and paper manufacturing—and boasts a history spanning 150 years. The company owns approximately 190,000 hectares of company-owned forests—among the largest in the private sector in Japan. For the past 100 years, it has been planting trees and nurturing forests in Kuriyama Town, Hokkaido, and continues to engage in forestry with a vision toward harvests 100 years from now.

A 150-year legacy of determination to see things through, inherited from Eiichi Shibusawa

Located in central Hokkaido, Kuriyama Town in Yubari District is a town where forests cover about half of its total area. It once flourished alongside the heyday of the Yubari Coal Mine, and is also famous for the fact that Hideki Kuriyama, former manager of the Nippon Ham Fighters, established a youth baseball field here named “Kurinoki Farm” after himself, and has been fostering community ties for over 20 years. In the mountainous region of this town, a vast forest stretches out amidst a snowy landscape as far as the eye can see. This is a company-owned forest held by Oji Holdings (hereinafter Oji HD). Tracing its history back, it leads to 1873, when Meiji-era industrialist Eiichi Shibusawa was deeply involved in establishing a paper manufacturing company. At that time in Japan, washi (traditional Japanese paper) was the mainstream, and Western-style paper—which could be mass-produced using Western techniques—did not yet exist. Producing it with their own hands was an indispensable challenge for supporting publishing and newspapers to widely disseminate information, and for advancing the nation’s modernization. Although the company faced a difficult start with continuous losses, Shibusawa did not give up. That “never-give-up” spirit has become the unshakable foundation of the company, which has continued for 150 years.

We grow our own ingredients

When the company was founded, rags were the raw material for paper. Later, as civilization advanced and demand for paper continued to grow, the company developed a manufacturing process to produce paper from wood in 1889. Since the 1930s, the company has been committed to forest cultivation to ensure a stable supply of raw materials for the future. Today, the company’s forests in Japan cover approximately 190,000 hectares—roughly the same as the total area of Osaka Prefecture—making it the largest such operation among private companies in the country. The company focuses on planting, cultivating, and harvesting trees that have traditionally grown wild in each region—such as Japanese white spruce and larch in Hokkaido, and Japanese cedar and cypress on Honshu. Tetsuhiko Ogasawara and Yu Sato of Oji Forest & Landscape are responsible for managing this forest in Kuriyama Town, Hokkaido.

Business enriches the forest

The reason the company continues to maintain its forests is simple: “Those who use wood have a duty to plant trees.” This single principle has given rise to an endeavor that nurtures forests, protects water sources, and benefits agriculture downstream. As the forests thrive, the water becomes clearer, and these benefits extend to agriculture and the sea (fishing) downstream. Although these effects cannot be proven with hard numbers, “I believe they do exist”—that is their genuine conviction. The fact that a rich natural environment awaits at the end of their business endeavors has been quietly proven by the passage of 150 years.

In a winter forest where temperatures drop to minus 20 degrees, the harvest is in full swing

In the company’s company-owned forests in Hokkaido, the harsh winter is actually the peak season for harvesting. It is precisely during Hokkaido’s winter—when temperatures drop below freezing and deep snow accumulates—that the conditions are ideal for harvesting high-quality timber. There is a practical reason for this, one unique to the northern climate.

Winter forests produce the finest timber

In winter, trees enter a dormant state and their internal moisture content decreases. While cutting a tree in summer causes sap to gush out, a winter tree retains a tight grain structure, dries quickly, and yields high-quality timber that lasts longer. Furthermore, sub-freezing temperatures freeze the ground, and accumulated snow acts as a cushion, allowing heavy machinery weighing dozens of tons to drive in without damaging the soil. Since frozen ground also makes it easier to slide and transport logs, winter is the ideal season for forestry. “Since trees store moisture, it’s better to harvest them in winter when they’re dormant and dry.” Mr. Sato and his colleagues speak naturally about this wisdom unique to the northern regions.

The expert’s eye—something machines can’t replicate

They are, so to speak, modern-day “lumberjacks.” Operating heavy machinery deep within snow-covered forests, they have a complete grasp of the area’s water flow and the balance of its vegetation. “You mustn’t cut here. If you cut here, the water will dry up.” As if speaking these words, they make decisions based on their senses—honed by years of experience—and determine which trees to harvest today while envisioning what the forest will look like a hundred years from now. Although the introduction of state-of-the-art machinery has dramatically improved safety and efficiency, in the end, it is their keen eye that determines the forest’s future.

From log to finished product in one minute: A “waste-free” cycle driven by industry

What were once sites where workers risked their lives walking up slopes with chainsaws in hand have now become highly mechanized. As safety has improved and it has become easier for younger generations to enter the field, signs of change are beginning to emerge in the previously severe labor shortage.

The Harvester’s Job: Turning Trees into Logs in Just One Minute

The harvester—a piece of heavy machinery that handles everything from felling to delimbing and log extraction—symbolizes this mechanization. Its onboard computer instantly assesses the tree’s curvature and diameter the moment it grips the trunk, calculating the optimal number of cuts to maximize value. With a sound of snow being kicked up, the tree is trimmed to the specified length in less than a minute. This is an essential innovation for working safely with a minimal crew, and even the tips of the remaining branches are utilized as biomass fuel, ensuring that forest resources are used to the fullest.

The demand for paper is growing worldwide

In this way, the timber harvested from the forest is used as building materials and furniture, while lower-quality wood unsuitable for lumber is turned into wood chips and transformed into various products, including paper, corrugated cardboard, and biomass fuel. With the advance of digitalization, it is certainly true that the role of paper is changing. However, while demand for information media such as newspapers is shrinking, this segment has never accounted for a significant portion of Oji Holdings’ sales to begin with. Rather, demand for everyday uses rooted in daily life—such as “wrapping” and “wiping”—continues to grow globally, and the two executives say, “Far from disappearing, demand for corrugated cardboard and hygiene paper is actually increasing.” The expansion of online shopping is further driving this demand. They produce paper, recycle it, and turn it back into corrugated cardboard. “There aren’t many companies that handle the entire process to that extent,” the two agree. Their system, which completes the entire cycle—from raw material cultivation and procurement to manufacturing and recycling—in-house, is a business model that is rare even on a global scale. Currently, they are also engaged in research to produce plastics and pharmaceuticals from wood, aiming to transform forest resources into future growth industries.

A Relay for the Next 100 Years. A Baton That Never Ends

Currently, many forests in Japan are left untended. The main reason is that efforts to keep forests healthy do not immediately translate into profits. The fact that companies like Oji Holdings continue to take a serious, business-oriented approach to forestry is helping to underpin the entire Japanese forestry industry.

Forests as a business protect Japan

Planting a single sapling won’t change society overnight. However, continuing to plant on a scale that allows for sustainable operations has the power to change the future. Nurturing trees, harvesting them responsibly, and keeping the economy moving will ultimately lead to leaving a healthy environment for the next generation. “We hope to pass these forests on to the next generation, so they can continue to build even better forests,” say the two, their words quiet yet powerful. A firm resolve lies behind their words. Behind this lies the reality facing Japan’s forests. Unmanaged forests eventually become overgrown, water sources are lost, and the risk of landslides increases. However, in reality, due to a shortage of workers and an aging population, many forests are left unmanaged and neglected. Trees are a renewable resource that humans can create through their own will. Furthermore, manufacturers around the world are accelerating efforts to shift from petroleum-based manufacturing to biomass, including wood. Oji Holdings’ continued commitment to forestry as a business is, in essence, a commitment to protecting Japan’s natural environment itself.

The trees we plant today will be there for our grandchildren

The trees planted today won’t be harvested until far in the future—in our grandchildren’s generation. For Japanese cedar and cypress, it takes 40 to 50 years; for Hokkaido fir and larch, 60 to 70 years. It will be our grandchildren’s generation that harvests the saplings we’ve planted. “We’re harvesting what our predecessors planted, and we want to entrust what we plant now to the next generation 100 years from now,” the two say. Their words convey a determination to persist single-mindedly in work that will not be completed within their own lifetimes. “Our mission is to nurture the forests, research the various materials they can provide, and deliver them to society.” As these words suggest, the vision that Eiichi Shibusawa envisioned 150 years ago is still alive today. They are carrying on this never-ending “100-year relay” as a business. Through this endeavor, they are passing on Japan’s prized abundance of water and greenery to the future, just as it is.

The post Working Toward a Forest for the Next 100 Years, Today and Every Day. “Oji Holdings” / Kuriyama Town, Yubari District, Hokkaido first appeared on NIHONMONO.

With its vivid and bold colors and patterns, Ryukyu Bingata is a dyeing technique passed down in Okinawa since ancient times. Bingata was originally crafted and presented as garments for the royal family of the Ryukyu Kingdom. Toma Chinen, the 10th-generation head of the Chinen Bingata Research Institute in Naha, engages with Bingata every day while infusing it with a fresh perspective.

One of the three leading families of Bingata, which used to present Bingata textiles to the royal family

Bingata is a traditional craft unique to Okinawa and the only form of dyeing practiced there. In ancient times, it was produced exclusively as clothing for the royal family of the Ryukyu Kingdom, but today it is widely enjoyed in the form of kimonos, obi sashes, and accessories. Originally, it was written in hiragana as “bingata,” but it is said that during the Showa period, it came to be written in kanji as “Bingata.”

During the Ryukyu Dynasty, which lasted until about 120 years ago, Bingata was crafted as a tribute to the royal family by the three Bingata master families: the Shirogane family, the Takushi family, and the Chinen family.

The Decline and Revival of Bingata Due to the War

However, with the abolition of the feudal domains and the establishment of prefectures, as well as the invasion of Satsuma, the monarchy was dismantled, and the work that had been passed down through generations for some 450 years came to an end. Although they could no longer sustain it as a livelihood, some families continued to produce Bingata after the Meiji era, determined not to let the technique die out. The Chinen family, while making a living through other work, continued to carefully preserve their Bingata tools and materials. As time passed, during Okinawa’s postwar reconstruction in the Showa era, Fuyuma’s grandfather, Sadao, learned the Chinen-style Bingata from a relative who had kept the tradition alive and revived it as a family business.

Artisans began producing Bingata for Ryukyu dance costumes and souvenirs, reviving it as an Okinawan craft. Around 1972, orders began coming in from the mainland for use as Japanese-style clothing, bringing new vitality to the Bingata industry. Consequently, in 1984, “Ryukyu Bingata” was designated as a Traditional Craft by the Minister of Economy, Trade and Industry.

The 10th-generation successor to the historic Ryukyu Bingata tradition

The Chinen Bingata Research Institute is located in a workshop near Naha Airport. The current head of the institute, Fuyuma Chinen, studied graphic design in Kyoto and worked as a designer in Osaka before moving to Milan, Italy, to further his studies in art. There, surrounded daily by works of art and historic buildings that have stood the test of time, he realized, “I want to create things that endure rather than being consumed. I want to express my own world.” The Benibana craft, the family business he had always intended to inherit one day, perfectly aligned with the vision he had arrived at.

With that resolve in his heart, he returned to Okinawa, and his days of dedicating himself to Benibana at the Chinen Benibana Research Institute began. Returning home at the age of 22 was sooner than she had anticipated, but considering that honing her skills was her top priority, it was the best choice. However, shortly thereafter, her grandfather, who had been running the workshop, passed away suddenly, and within just a few months of joining the workshop, she found herself having to take over its management. Looking back, she recalls those years as a time when she was truly struggling.

Chinen has received numerous awards, including the Newcomer Award from the Japan Traditional Crafts Exhibition and the Japan Crafts Association in 2021. She currently serves as a director of the Ryukyu Bingata Promotion and Preservation Consortium and as vice director of the Ryukyu Bingata Business Cooperative.

The Process Behind Okinawa’s Unique Bingata

Bingata is created using stencils carved with the designed patterns. The stencil is placed on the fabric, and resist paste is applied over it. After drying, pigment is applied in layers to the areas not covered by the paste. Next, resist paste is applied to the dyed areas, and finally, the base color is applied to the remaining areas. To set the colors, the fabric is steamed, rinsed, and dried to complete the process. While this is a general overview, there are actually more than 10 distinct steps involved in the process.

There are no strict rules regarding the fabric material, but silk and cotton are commonly used. Because there are no restrictions, a wide variety of dyeing techniques can be employed.

This beautiful indigo-colored pattern is called “Amefibana.” In the Okinawan language, this means “rain flower,” and the design features morning glories. The blue background is dyed with Ryukyu indigo. Ryukyu indigo is characterized by a deeper, more intense blue hue than the indigo found on the mainland.

The background color is created using natural dyes derived from plants, while the pattern itself uses pigments; the vivid pigments are used to express the boldness of Bingata. Since the dye is water-soluble and penetrates deep into the fabric, it blends seamlessly with the base material, while the pigment adheres to the surface as particles, allowing for vivid colors. The contrast in colors, which leverages the distinct properties of each, is a key focus.

Chinen explains, “The pigment comes to the forefront, while the softer dye recedes slightly into the background. This creates a dynamic three-dimensional effect, resulting in a work with great depth.” She uses a variety of pigments and blends the colors specifically for each design.

When she returned to Okinawa and began working with Bingata in earnest, she was strongly motivated to create her own original designs that differed from her grandfather’s. While she did experiment with various approaches, she says that as she continued her daily work, she increasingly came to appreciate the ease of dyeing the traditional patterns passed down through generations and the beauty they exhibit when colored.

Since many people still love the classic patterns that have been popular for generations, she continues to create these historic designs. In addition, she consciously incorporates modern patterns that appeal to younger people, aiming to produce products that will be cherished for a long time as the times change.

This involves a process called “katazuke,” where a stencil is placed on the fabric and resist paste is applied with a spatula. The paste acts as a mask to prevent the dye from penetrating the areas covered, ensuring the pattern remains intact. The artisan scoops up the paste, spreads it evenly, gently peels off the stencil, and places the next one adjacent to ensure the pattern connects seamlessly. If the process is too slow, the paste dries too quickly and clogs the fabric, or the stencil may tear, leaving holes in the design. Chinen’s movements are fluid and smooth. She explains that when she first returned to Okinawa, she could only complete one roll of fabric per day, but now she can produce as many as 15 rolls a day.

The resist paste, made by hand from glutinous rice and rice bran, is mixed with blue pigment. Apparently, this enhances the color intensity when the fabric is dyed later.

“Color application,” the process of layering fine colors, is performed by holding two brushes simultaneously. Pigment is applied with a dipping brush, and then a rubbing brush is used to work the coarser pigment into the fabric to help it penetrate more easily. In the next step, to emphasize the design, color is applied further while blending with the brush to create a sense of depth.

There are several types of brushes, and the one used varies depending on the fabric. Many of the tools are handmade.

Every year, I take on the “Oboro-gata,” a major project that requires twice the effort

This kimono, named “Island of Falling Flowers,” is made using a technique called “oborogata,” in which two stencils with different patterns are layered and dyed together. Since this process takes twice as much time and requires a high level of skill, few artisans attempt it. Although it’s labor-intensive, Ms. Chinen loves this oborogata technique and often works with it. The fabric used is a thin silk known as “kakujou-nuno,” produced in the nearby town of Haebaru.

Growing the Bingata Fan Base Through Social Media

She also actively pursues collaborations with other industries, working on projects that combine Okinawan specialties—such as transferring Bingata patterns onto local pottery or incorporating Bingata designs into Awamori bottle labels. She believes this creates opportunities for people who aren’t interested in dyeing to discover the art, and vice versa.
Currently, Mr. Chinen is actively posting on social media. He shares content designed to spark interest in Bingata, such as videos showcasing the production process. He reportedly handles not only the posting but also all video editing himself.

Perhaps as a result, the number of visitors to the workshop continues to grow, and it seems that our social media posts are reaching younger generations across the country who were previously unfamiliar with Bingata.
I also frequently visit the kimono shops on the mainland that carry our products. While interacting with customers there, I’m able to directly hear about their preferences—which differ from those in my hometown of Okinawa—tailored to each specific region. I often bring these insights back to incorporate into my work.
Currently, about 10 people work at the Chinen Bingata Research Institute, ranging from seasoned artisans to young people who have come with the goal of becoming Bingata artisans, and they all work briskly at their respective stations.

Looking Toward the Future of Ryukyu Bingata

“It’s not about it being culture or tradition—it’s not something special. We’re continuing it as a profession. I believe that’s how it becomes part of our history and culture,” says Chinen. His words convey a sense of determination to look ahead to the future of Ryukyu Bingata and carry that responsibility.
“If it isn’t fun, you can’t keep it up, and because there are challenges, you don’t get bored and can take on new ones. I want to show my staff that I’m taking on these challenges myself, and I want to keep pushing myself to create a form of Bingata that fits the modern era,” he says with sincere conviction.
As he continues to pass down the craft to ensure Ryukyu Bingata’s ongoing development, he will likely continue to take on challenges with a light yet stoic spirit, brightly leading the way for the Ryukyu Bingata community.

The post Toma Chinen of the Chinen Bingata Research Institute, who creates works with an eye toward the future of Ryukyu Bingata / Naha City, Okinawa 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.

Hakata dolls have been made in Fukuoka City, Fukuoka Prefecture, for about 400 years. In fact, the general term for clay dolls made in Hakata is Hakata doll, and there are many different styles of Hakata dolls. Young Hakata doll maker Mr. Hiromine Nakamura, the fourth generation of Nakamura Ningyo, is one of those who have been attracting attention in the Hakata doll world for his particularly original works.

Nakamura Dolls have been in business for four generations since the Taisho Era (1912-1926)

Nakamura dolls began in the Taisho era (1912-1926). Chikuami Nakamura, the first generation, was born into a wealthy family of what today would be called investors and rice marketers. At the age of 13, he began an apprenticeship with the Nakanoko family, a prestigious Hakata doll maker, and nine years later, in 1917, he started his own business. Since then, the baton has been passed from father to son: Engai the second, Shinkyo the third, and Hiromine the fourth.

What is the charm and role of dolls?

The Nakamura family, which has been involved in Hakata dolls for generations, has continued to look at the role of dolls in its own unique way. Unlike pottery, textiles, and other crafts used in daily life, dolls do not have a function to be “used. Nevertheless, the value of dolls lies in the fact that they appeal to people’s hearts and have been handed down through generations as a reflection of culture and the times.

In fact, Hiromine-san has been interested in this aspect of dolls since he was a child. However, as he faced the dolls as a puppeteer and had many conversations with the third generation, he realized that “dolls also have a function. That is to pray. For example, Ohinasama and May dolls have been made to pray for the healthy growth of children. Sometimes, a doll placed in a small corner can comfort the heart. Nakamura understands that there is a “beauty of use” in dolls, and that is why dolls are considered one of the traditional crafts. A doll is a form of human prayer. And being a dollmaker is the job of giving shape to people’s prayers.
The Nakamura family’s doll making is based on free ideas while inheriting tradition. This is because they believe that the role of “prayer” played by dolls will never change, even if the times change. For more than 100 years, Nakamura has been making dolls that give people dreams and hopes.

Oriental and Western “Doll Sense

According to Hiromine, dolls are “something between God and man. However, this is a Japanese way of thinking, and is slightly different in the West. In the West, there is first a god, and then a human being is created by the god in his own image, and a doll is created by the human being in his own image. In other words, they are often understood in the order of God, man, and doll. On the other hand, most of Asia, including Japan, is polytheistic, and nature worship is a fundamental part of their religion, so God = nature, and then there is man, and dolls are made to connect the two. In other words, the composition of the God/man and the doll is the link between the two.

Because of this difference in thinking, when Mr. Hiromine once described Hakata dolls as “dolls” overseas, they were considered “low status” and “not art,” and in some cases he was refused the opportunity to exhibit them. Since then, Mr. Nakamura has described Hakata dolls as “sculpture” or “art,” and he believes that this single action is a step toward bringing the appeal of Hakata dolls to the world.

The “Athlete Series” has received high acclaim even from overseas.

One of Hiromine’s representative works is the “Athlete Series,” featuring baseball, archery, and professional wrestling players. What triggered his attention was winning the Excellence Award in the 2017 Kanazawa World Crafts Competition at the 3rd Kanazawa World Crafts Triennale held in Kanazawa in 2016.

From the outside, it may seem like smooth sailing for Hiromine, who had decided since nursery school that she wanted to become a dollmaker after studying sculpture at the Tokyo University of the Arts. However, according to Hiromine, even in the midst of his fulfilling days, there was a sense of impatience.

This is because in the Nakamura family, “doing things differently from generation to generation” and “not making dolls that look like their parents” have been handed down from generation to generation. His father, Shinkyo, while carrying on the tradition and techniques, has created a wide range of works, including portraits, monuments, and dolls for the Hakata Gion Yamakasa festival. In particular, he has worked on dolls based on the theme of the Tensho Mission to Europe, and in 2011 he had an audience with the Pope and presented a doll to him. While watching his father’s back as he pursued his own themes and was highly praised by the world, Hiromine always felt the “pains of creation.

The “Athlete Series” was born out of this struggle, just in time for Mr. Hiromine to make his first May doll for his own child. When I tried to be too traditional, my friends from art school would not respond,” he said. As I struggled between the two, I realized that this was the only time to create a “radical work that would resonate with both sides,”” said Hiromine. He then reinterpreted the May dolls himself. He came to the conclusion that the motifs of Momotaro and Kintaro, May dolls, had always portrayed the heroes of the times, and this overlapped with the image of today’s athletes.

How Hakata Dolls were born

The lively forms and beautifully detailed colors of Hakata dolls are a testament to the beauty of Hakata dolls. Hiromine’s dolls attract the viewer’s attention because of his new ideas built on top of his solid skills.

The process of making Hakata dolls involves a number of steps using traditional techniques. First, clay is kneaded and shaped using a spatula and fingers. Once the prototype is complete, the head, sleeves, and other parts are all divided and a plaster mold is made. Then, the clay is pressed into the mold with fingers to a thickness of about 7mm. Each hollow part is created. This is called “dough pressing. Then, each piece of dough is glued together again with a dovetail and formed. After drying and firing, the baked pieces are painted with pigments dissolved in glue or rock paints, and finally completed. Sometimes a one-of-a-kind piece is created by hollowing out the prototype directly from the original, without going through the process of mold making. Making dolls requires much more time and effort than making statues. When you look at the dolls again with the process in mind, you will feel even more excited.

The Future as a Doll Artist

Having found his own direction with the “Athlete Series,” Hiromine is now receiving a variety of offers. He has been introducing new forms of Hakata dolls, a traditional craft, to the world one after another, such as “Gojira of Remembrance” (2023) created for the 70th anniversary of “Godzilla” and “The Lion of Time” that decorated the show window of “Grand Seiko Boutique Omotesando Hills” at the opening of the boutique.

A Neutral Receiver

At the same time, Hiromine’s style is to respond to offers other than doll-making, such as designing the obi sash for the Hakata Gions Yamakasa festival, original drawings for animations, and 3D modeling. This is largely due to the family motto that has been passed down in the Nakamura family for generations, especially the third generation’s words, “Be a neutral receiver. He says, “By responding to a variety of things, you can see what you want to see. I also think I can tell people that puppeteers can do such interesting things.

Creating dolls that reach the hearts of people today

Hirofumi now faces the challenge of making dolls under the scenario of an Edo period doll maker who, by chance, travels back in time to the present day. In the Edo period, people visited doll stores in search of dolls.
I believe that dolls have unlimited possibilities as long as human beings exist. Dolls are a comprehensive art form that has something to offer not only in their shape, but also in the clothes they wear, their personal belongings, and everything else. I would like to deepen that part of my art by using my techniques and knowledge. It might be interesting to put a real embroidered stadium jacket on a doll. In April 2023, Hiromine will open a private gallery, “KAIGEIDO,” a one-minute walk from Nakamura Doll Studio in Sakurazaka, Chuo-ku, Fukuoka City, featuring not only the works of the third and fourth generations, but also those of Hiromine’s sister, FU Nakamura, a calligrapher, and overseas artists. The gallery also features works by the third and fourth generations, as well as those of Hiromine’s sister, Nakamura Fuku, a calligrapher, and other overseas artists, and holds genre-less exhibitions. One cannot help but look forward to a new wave of artists who are not bound by traditional craftsmanship, but rather incorporate the “now” and face the modern world.

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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.

Takato Town, Ina City, Nagano Prefecture, overlooking the ruins of Takato Castle, one of the three most famous cherry blossom viewing spots in Japan. In this small town, there is a craftsman who makes frying pans that attract many customers from all over Japan. He is Takashi Kawarazaki, who moved from his birthplace in Tokyo to Takato Town and set up his own workshop.

Work that confronts oneself

Mr. Kawarazaki’s motivation for becoming a blacksmith was simple. While working at a department store in Tokyo, he grew tired of the crowds in the city and of dealing with customers at work. Then, why not do manufacturing?” He then visited various craft studios. He then toured various craft studios and pondered what he wanted to do. As a result, Mr. Kawarazaki became interested in forging, which involves striking heated iron to create products. After finding what he wanted to do, he quit his job at the age of 35 with his “can-do” spirit. He moved to Nagano Prefecture to attend a technical college, and after graduation studied under a blacksmith in Tomi City, Nagano Prefecture.

Not a work of art, but a tool for daily life.

In 2002, he opened his own workshop in Takato-machi, Ina City. Of course, it was not all smooth sailing for him immediately after he opened his workshop. There were times when he could hardly call it work. However, he thought, “Let’s keep going until I reach 40 years of age, and then we can see what happens next. As mentioned above, Mr. Kawarazaki himself did not set out to become a blacksmith for any great reason, and he does not think of what he makes as a work of art, but rather as a tool for daily life. That is why he thinks that his work is more like a tool for daily life, rather than a work of art. If it doesn’t meet the needs of the world, I will update it to meet them. If it doesn’t meet the needs of the world, let’s update it to meet the needs of the world. This attitude had a great influence on his encounter with the famous ceramic artist Noriyuki Yamamoto, who has published books and photo collections, which led to the introduction of Mr. Kawarazaki’s works to the world. When he first greeted Kawarazaki with the words, “I will make anything out of iron if you ask me to. Yamamoto was amused by this and exhibited his work in his studio, giving me the opportunity to see it. This attitude of listening to the voice of the consumer and applying it to manufacturing, like that of a manufacturer, has gained widespread sympathy.

Time and effort are what craftsmen’s handiwork should be about

That said, Mr. Kawarazaki’s works cannot be mass-produced like industrial products sold in mass merchandising stores. Unlike cold forging used in metal product factories, Kawarazaki’s works are made using hot forging, in which the metal is heated one by one. Although it is not suitable for mass production because of the time and labor required, it can be formed into complex shapes, and can be finished to the shape that is envisioned. Of course, he does not have a fixed concept of what his work should look like. However, he believes that this is the proper handiwork of a craftsman, and he has always been dedicated to it, no matter what time of day it is.

A wok I made by chance opens up new possibilities

Listening to consumers and careful craftsmanship are two ideas that coexist. The coexistence of these two ideas is one of Mr. Kawarazaki’s strengths. The story of the birth of the first hit “wok” is a perfect example of this. One day, his wife asked for a wok, and Mr. Kawarazaki went to a department store to look for one, but after walking around for a long time, he could not find the ideal one. Then, he decided to make a wok, so he listened to his wife’s request and produced it. The result is a handmade product that is lightweight, conducts heat well, and can be wielded by people of any height without discomfort. The wife’s reaction to the product was positive. This led to the sale of the product as an actual product, which received an unexpectedly strong response. The spirit of making everything from Japanese nails to staircases, as long as there is a request, is expanding the scope of his work and creating the possibility of further hit products.

The Value of “Takashi Kawarazaki’s Frying Pan

The result is a frying pan that is now hard to find. Like the wok, the frying pan was created in response to consumer feedback, but since it was first sold to a well-known lifestyle store in Tokyo, it has quickly gained popularity due to its functionality and warm texture, which is only possible with hand-forged products. Furthermore, the use of the product in a video distributed by a popular camping-related YouTube star led to the acquisition of users such as young people and men, who were not previously the purchasing base for the product. Demand for the product has grown even more, and now customers wait more than a year from the time of order to the time they receive the product.

The Arrival Point and the Road Ahead

Even today, when the company is attracting a large number of customers from all over Japan, what it does remains exactly the same as when it first opened its workshop. He heats an iron plate as he always does, and then he forms it by pounding it with a wooden mallet as he always does. The only thing that has changed a little is that he now has eyes. Because you can’t take measurements during the forging process, when I started as a craftsman, it was difficult to make the same thing all the same size, even if I was making the same thing in the same process.

However, as I made more and more pieces, I began to be able to make the same shape without having to think about it. And now that he can sell as many as he makes, he feels that he has reached the point where he can produce as many as he can. I am producing as much as I can, so I can’t make any more. Therefore, it is impossible to increase his income any further, and he does not want to do so much more. I want to continue the same blacksmithing business I started because I love it, even 10 years from now. With this wish, Mr. Kawarazaki continues to hammer iron today.

The post Kawarazaki Takashi, a blacksmith who listens to the voice of the user and carries on the handiwork of a careful craftsman / Ina City, Nagano Prefecture first appeared on NIHONMONO.

The Kawada district of Sabae City, Fukui Prefecture, is said to be the oldest lacquerware production area in Japan.
The long-established company, Ururindo, has been in this area for eight generations since the Edo period.
While carrying on the traditions, the company develops and offers products that meet the needs of modern life with the idea of “making lacquerware more easily accessible for everyday use.

The company proposes dishes that are a part of daily life, such as dishwasher-safe, hand-lacquered lacquerware.

Echizen lacquerware, produced in the Kawada district in the eastern part of Sabae City, located near the center of Fukui Prefecture, has long held an approximately 80% share of the domestic commercial lacquerware market. However, the industry has been shrinking due to the diversification of eating habits and the spread of inexpensive plastic tableware. Against this backdrop, Lacquyurindo branded itself and produced lacquerware suited to the modern age. The company’s colorful and functional dishwasher-safe dishes have attracted attention from around the world, and have rewritten the history of lacquerware.

Kawada area specializes in lacquerware for commercial use.

Echizen lacquerware was designated by the national government as a traditional craft in 1975. The Kawada district is located in the center of Fukui Prefecture, in the eastern part of Sabae City, known for its eyeglasses, and in a quiet basin separated by a mountain from the Ichijodani Asakura clan ruins, which are famous as a historical war site. The entire region is involved in the production of lacquerware, and each of the craftsmen involved in the process of making lacquerware, including the woodworker, the basemaker, the lacquerer, and the maki-e artist, have their own workshops where they work hard at their specialized fields of study.

At its peak, the company accounted for approximately 80% of the domestic market share of commercial lacquerware for inns and restaurants.

According to one theory, Kawada lacquerware has a history of more than 1,500 years. It is said that the history of Kawawada lacquerware dates back to the re-painting of the broken crown of Emperor Keita, and since then, the company has grown to account for about 80% of the domestic share of commercial lacquerware used at inns and restaurants.

A professional group of “lacquer scrapers” was also born, who went to work throughout the country to collect lacquer solution, and they influenced the lacquer industry in various regions by popularizing iron knives for scratching lacquer. In Kawawada, not only individual craftsmen, but also companies that handle all aspects of the lacquer industry have grown. One of these companies, Ururindo, is a long-established lacquerware manufacturer that has been in business for more than 200 years, since 1793.

Times are changing, and areas of expertise are blocking the future.

Kawawada, a lacquerware production center, specializes in making-to-order products that respond flexibly to clients’ requirements. The company captured the commercial lacquerware market mainly for inns and restaurants, thanks to its durability to withstand hard use, the price range demanded by clients, and the practicality of its ability to mass produce. After the end of the bubble economy, however, needs for lacquerware declined sharply due to competition from inexpensive overseas products, the rise of plastic products, changes in eating habits, and the diversification of tableware. The industry was shrinking day by day, and the production centers were faced with the problem.

The heirs of long-established businesses focused on the high hurdles that only a production center can overcome.

Lacquerware production and sales have been run by a family business centered on the lacquerware shop business, and “Ururindo” was one of the companies that were troubled by sluggish sales. However, while Kawada was struggling to keep up with the rapid changes of the times, Toru Uchida, who was in his early 20s, decided to take over the family business.

In his youth, he was obsessed with baseball and went on to study physical education at a university outside of the prefecture. People around him had high expectations for his large hands that firmly grasped the ball, which were suitable for a painter. Knowing the state of the industry, he could not make up his mind to take over the family business even before graduating from college, but lacquerware was on his mind during his job search. When I visited an interior design company, I wondered if my family’s lacquerware could be displayed there,” he said.

Determination to “take on the responsibility of the production area

I was aware of the nature of the problems in the production area, but I was also aware that it was difficult to sell lacquerware. As he realized the true nature of the problems facing the production area, Mr. Uchida decided to live in the world of lacquerware. When he returned to his hometown as a student, he saw his grandfather, father, and family working with sincerity. He decided that if he was going to take over the family business someday, he wanted to use the time he spent working at other companies and taking side trips to train in the art of lacquering. As soon as he returned home, he began learning the techniques of lacquering from his grandfather and father.

Launching new brands one after another to repaint the traditional beauty of Echizen lacquerware

Although he learned the techniques handed down in his family from generation to generation and started his career as a lacquerware master, the industry itself lacked vigor, and company sales were declining. The theory behind commercial-use lacquerware is that it should be made in specific sizes for specific purposes, such as for soup bowls, simmered dish bowls, and stopper bowls, and that it should be decorated with seasonal and glittering maki-e lacquerware. The bowls were not sold to the general public because they were a little too flashy and difficult to use for home use. In the course of receiving a large number of orders, he came to believe that if he only handled one of the processes of making lacquerware as a craftsman, he would not be able to understand the needs and satisfaction of the people who use his lacquerware and would not be able to convey the ingenuity and feeling he had put into his work.

What kind of vessels are needed by ordinary users in the world today? Without determining this, there is no way for a production center to make a living. Mr. Uchida began to produce a brand of lacquerware for individuals under the name of Ururindo, and he personally participated in exhibitions and sales at department stores, which was rare for a lacquerware production center at that time.

Lacquerware itself is used as interior decoration. AISOMO COSOMO

The next step Mr. Uchida took was to entrust the production of his own products to a professional. He asked Hirotoshi Maruwaka, a product producer at Maruwakaya, who was known for proposing a new kind of manufacturing by connecting traditional Japanese craftsmanship and the latest technology. The series, which added a playful touch of color to the concept of “familiarity,” made its debut as aisomo cosomo, a line of interior goods. He immediately had them placed in the stores of a large museum outside of the prefecture, but at first they were not even looked at. After a year, however, the series was exhibited at the “Dainippon Ichiba” (Dai Nippon Ichiba), an event organized by Nakagawa Masashichi Shoten, a company that has been developing and manufacturing products based on the vision of “revitalizing traditional Japanese crafts,” and was picked up by major department stores and national-class boutiques one after another.

While daring to move away from the image of luxury that lacquerware has, the quality and traditional techniques of lacquerware can still be felt, making it easy for anyone to pick up and use. Blue, red, yellow. The colorful yet deep colors that somehow fit in with Japan are used in the bi-colors. The shapes and sizes are also carefully selected, including soup bowls, rice bowls, small bowls, chopsticks, trays, and festive plates. The price range is from 2,000 yen to 9,000 yen, making the products accessible to the younger generation. As a long-established company that has focused on lacquering, we were able to create a variety of colors. The atmosphere of being able to use them as interior decorations may have appealed to people with a high level of sensitivity.

Although it takes a large number to develop a brand nationwide, the fact that Ururindo originally had a system in place for medium-volume production led to a winning formula. The company was able to achieve mass production while maintaining high quality. The new lacquerware caught the attention of many people, and the company was invited to participate in exhibitions in Germany, Taiwan, and other foreign countries. In 2012, Mr. Uchida became the youngest person in Fukui Prefecture to be certified as a traditional craftsman at the age of 35.

Dishwasher-safe and easy to clean [RIN&CO.

What further surprised the industry was Mr. Uchida’s announcement in 2020 of “RIN&CO.,” a line of lacquerware that is dishwasher-safe. Lacquer is the world’s finest natural paint. It is said that lacquer becomes hardest 100 years after it is applied. I thought that today’s lacquerware does not bring out its full potential. Usually, the lacquer solution purchased from wholesalers is mixed with chemicals to make it easier to apply. Mr. Uchida researched the blending and processing of lacquer solution in cooperation with Fukui Prefecture and the University of Fukui, and developed “Echizen kata urushi,” a hard coating film that can withstand dishwashing machines. The company also reviewed the wooden base and improved it to make it sturdier and more resistant to cracks and distortion by applying the technique used for commercial lacquerware, in which resin is soaked into wood powder and molded into the surface.

Using the colors we see in our daily lives as vessels

Again, the coloring of the vessels was a particular concern. Hundreds of color patterns were created based on the weather and climate of Hokuriku, and Mr. Manabu Mizuno, known for his “Kumamon” design, was asked to supervise the project. The color is almost gray-blue, which represents the winter sky of Fukui. Navy gray, reminiscent of the rough waves of the Sea of Japan. The light red gradation that colors the horizon at dusk. My father was very opposed to the idea. Cooking experts were very critical of the cold colors, saying that they would decrease one’s appetite,” says Uchida. But when I opened the lid, it was very well received,” says Uchida. The coloring makes you want to place them not only for meals but also in your daily life, and the scenery of the dishes tells us that people’s lives are seasonal. Lacquerware has excellent heat retention properties, so if you serve rice on it, it will not easily get cold and you can enjoy the freshly cooked hotness of the rice.

The “Hakeme technique,” in which the brush marks are left on the surface of the rice, was adopted as a unique coating technique. This technique requires a high level of skill because the paint cannot be repainted, but it creates a pattern that is unique in the world. Scratches are not noticeable. Only the black vessels use the “Shin-nuri-technique,” which leaves no brushstrokes, for a luxurious finish. The matte texture of each piece has been achieved by eliminating the luster. Modern houses are brightly lit, with lighting reaching every corner. If you use glossy dishes, they would look too shiny. The slightly smaller size is calculated to make people want to buy the vessels with the impulse of “kawaii” (cute).

To create a corporate environment where young people want to work.

From a cozy family-run business, Ururindo has increased its staff while expanding production year by year, and now has 12 employees. The reason why there are so many young people is because of the company’s desire to nurture young people who will remain in the production area. Rimindo says, “We actively accept not only art college graduates and those who have studied crafts, but also staff who want to become artisans from the ground up. When the ages of the makers and users are close, I think we can better understand what is needed to make traditional lacquerware resonate with young people,” he says.

In 2021, the company also launched a new line of lacquerware with an updated traditional form that is dishwasher-safe. 100% natural lacquerware can be expected to have antibacterial properties and can be repaired by kintsugi, a process that involves metal splicing. The luxurious, traditional lacquerware is also in high demand as gifts. Lacquer trees grow wild in many Asian countries, but in none of them is lacquerware an industry at all. With crafts in decline worldwide, Ururindo has opened a new avenue of activity for traditional crafts. Naturally, many similar products are being made, but Mr. Uchida is confident that this is proof of the success of his own brand. He says, “I would rather be the imitator than the imitated. Together with the next generation of craftspeople, Uchida will continue to rewrite the history of lacquerware by discovering needs that meet new values.

The dishwasher-safe lacquerware born from customer feedback is made of Echizen hard lacquer, a 100% natural lacquer coating developed through an industry-academia-government collaboration with Fukui Prefecture and the University of Fukui. We hope you will become familiar with this lacquerware for daily use.

The post Rewriting the history of lacquerware with colors and practicality suited to modern life. Toru Uchida, the 8th generation of the lacquer shop “Ururindo” / Sabae City, Fukui Prefecture first appeared on NIHONMONO.

Teppei Kojima, a ceramic artist who produces pottery under the name “Tetsu Kobo” in Aburagi-cho, Nagasaki, produces a large number of everyday-use vessels using traditional techniques and raw materials he has researched independently.

The “living creatures” series, which depicts the “living forms” of animals he has seen with his own eyes, and other works
have a unique appearance that is hard to find anywhere else.

Typical slipware has a soft, rounded comb pattern and a lattice pattern, but Teppei Kojima, who has a studio in Nagasaki City, creates slipware with a distinctly unique appearance using creatures as a motif. We visited ” Tetsu Kobo ” to meet Mr. Kojima, who is almost entirely self-taught in pottery making.

What is slipware?

Slipware is pottery that is decorated with a muddy clay called ” slip ” and fired. The unique texture of slipware, represented by soft, rounded stripes and wave patterns, has a solid presence that can only be achieved by hand.

Vessels born in England and raised in Japan

Slipware, which was made actively in England from the 18th to the 19th century, was mainly used as oven dishes, and was brought to the table as it was baked, supporting the daily dining table. Slipware was eventually swallowed up by the wave of industrialization and disappeared as mass-produced products became more common, but the founders of the Mingei (folk art) movement, including Muneyoshi Yanagi, took notice of slipware in faraway Japan. Their encounter with English potter Bernard Leach brought slipware back into the spotlight, and it gradually gained recognition, becoming increasingly popular in the 2000s.

Infinitely Expanding Slipware Patterns

Slipware is characterized by stripes and arrow feather patterns with rounded, soft curves. Well-known methods include drawing patterns on top of freshly-dried decorative clay with a dropper or tube, or scratching patterns on top of it with a stick. Because each piece is hand-painted, no two vessels are the same, and the artist’s individuality overflows into the slipware, which is another interesting aspect of slipware. Among them, Nagasaki-based ceramic artist Teppei Kojima continues to create unique slipware with motifs of living creatures.

From a Salaried Worker to a Potter

A room in a small building in Nagasaki City. When you step into “Tetsu Kobo,” your eyes are greeted by a hearth and the old tools that surround it. Books on folk arts and crafts lined the shelves, creating a world that resembled a small, cozy restaurant. Mr. Teppei Kojima, dressed in a kimono, greeted us.

The money is just enough to live on. I want to do what I love.

He was born in Nagasaki City. After graduating from university, he worked at a restaurant in Tokyo, but decided to leave and return to Nagasaki to find what he really wanted to do after spending too much time going back and forth between home and work. After that, he worked as a waterproofer, in sales, and as a manual laborer, but none of these jobs lasted long. On the other hand, Kojima began to take up ceramics after returning to his hometown and became absorbed in the art. He has loved making things ever since he can remember, and it was a precious time for him to lose himself in it. What he has always held in his heart is, ” All I need is enough money to make a living. I want to do what I love. It was a natural progression for him to pursue a career in ceramics.

When I was in college, there was a potter who stayed at my place of residence, and we would spend about a week fishing every day and drinking and talking with each other. Seeing his lifestyle, I envied him and thought, “If only I could become a potter, I could have such a life.

Painting for a change became his own style

Shortly after he started taking pottery classes, Kojima began to pay attention to slipware, which was gaining attention after a certain art magazine ran a feature on it. The teacher taught him the technique and he tried it at home, but “line drawings were difficult for an amateur and did not turn out well,” he recalls. Then, he happened to come across a book that featured the work of the late Kenji Funaki, one of Japan’s leading slipware artists, who had trained at Bernard Leach’s kiln in England.

He had trained at Bernard Leach’s kiln in England and was one of the most famous slipware artists in Japan. I tried drawing them myself as a change of pace, and to my surprise, it turned out to be a good idea. I thought that painting might be better suited to me than lines.

He spent many nights at home until midnight, painting on vessels and then bringing them to the class to be fired. Finally, “My teacher told me to buy my own kiln,” he said, and he bought an electric kiln for himself. He taught himself to study glazes and slip techniques.

Becoming a Professional in Just Three Years

In 2011, two years after he began making ceramics, Kojima received the Nagasaki Ceramics Exhibition’s Jury’s Special Prize. The following year, he won the Grand Prize in the category of ceramics for daily life at the same exhibition. In the same year, he was also approached by the ” Ginza Handicrafts Direct Seller ” at Matsuya Ginza, and this was the catalyst for his professional career.

I was asked to stay at the gallery for a week,” he said. But I was an office worker at the time, and I couldn’t take a week off work. If I refused, I thought, I would never become a potter.

Kojima decided to quit his job and devote himself to ceramics. Since then, he has steadily built a professional career, continuing to participate in the “Ginza Handicrafts Direct Selling Shop” every year.

Kojima-san is known for his paintings of living creatures.

Mr. Kojima is known for his vessels with lively creatures painted on them. In addition to his standard deer, octopus, and rabbit, in recent years, his yokai (monsters) series, including Nurikabe, Hitotsukomen, and Oni (ogres), have become popular.

Kojima’s view of the world, completed in three minutes

Slipware is made by pouring mud plaster (deisho, slip: a mixture of water and clay in a muddy state) on a freshly dried vessel, and then immediately painting over the top with another layer of mud plaster all at once. If it dries out, you will not be able to paint,” he said. Each dish takes only about three minutes to paint,” says Kojima.

Watching him paint, the process looks easy enough, but he has the experience to handle the pot with the right amount of pressure when holding the dropper filled with mud plaster. Even a single dot can change its balance if its size is slightly different,” says Kojima. It is really difficult to adjust the strength and weakness of the spot with the dropper.

If the amount of water in the mud plaster is too much, the painting will spread out and will not be finished beautifully, and the drying process is also prone to cracks and deformation due to the shrinkage rate. Conversely, too little water can cause the colors to peel off during the firing process, making the adjustment of mud plaster concentration an extremely important factor in slipware.

The speed at which the painting soaks into the slipware, the saltiness with which the lines spread, and the colors that emerge when the slipware is fired are all factors that must be considered when adjusting the density. You adjust the density while calculating these things. It is really difficult to make it thicker or thinner. Some people use a densitometer.

As much as possible, I use natural products that I made myself.

For the mud plaster, he uses bengara, a natural pigment. For the glaze, he uses a rare stone called kimachi-shiroishi, produced in Shimane, combined with a base of wood ash that he cooked himself. I can buy the ash if I want to, but I have to be careful about what kind of wood is used and where it comes from, and sometimes there are things other than wood mixed in, such as magazines and newspapers, so it is safer to make it myself,” he says. I try to make what I can myself,” he says.

Perhaps because of this, many of Kojima-san’s slipware have a somewhat gentle, natural feel to them, and his paintings have a light, unique, yet relaxed look to them.

They come in a variety of sizes and shapes. The 7″ plates are deep and easy to use for salads and oden, while the 5″ flat plates can be used as cake plates or serving plates. The 3″ bean plates are also carefully painted, and the expressions and lively movements of the animals and monsters never tire of being seen.

Seeking to establish his own style

Kojima says with a wry smile, “I’ve never been good at drawing pictures, so sometimes it’s hard for me. But, oddly enough, it was after seeing the late Kenji Funaki’s vessels that he began to draw pictures of living creatures, which led him to the path he is on today. Recently, he has made it a daily routine to draw ink paintings using ink he has ground himself, hoping to “improve my painting even if only a little.

At the same time, he is now adding to his collection of vessels made with sumi-hajiri ink. Sumi-Hajiri is a long-established technique of removing the white from the ink by utilizing the ink’s ingredients, and is contrasted with slipware, which is characterized by rounded corners, in that it produces a crisp, sharp look.

I didn’t go to pottery school, and I don’t have a proper teacher. That’s why I really have no choice but to do it as a round-robin competition. I think that if I continue to do this for a long time to come, one day I will be able to paint my own pictures and get closer to my own style,” he says with a cheerful laugh.

Kojima has found the right place to do what he truly loves. She says that although she took a slight detour, she has turned it all into a learning experience, and that her work is somehow gentle and warm. The mysterious sense of security that makes us want to pick up a piece of her work when we need a breather in our daily lives is a result of her commitment to making her customers happy. We hope you will add one of these pieces to your collection. You will find yourself with it in the front row of your cupboard.

I have been completing my work by clearing each challenge one by one in my own way. I am proud to say that these are my own unique vessels with my own unique twist. I hope you will keep it with you and use it a lot.

The post Teppei Kojima, “Tekkobo,” a slipware artist who is “almost entirely self-taught” / Nagasaki City, Nagasaki Prefecture first appeared on NIHONMONO.

This workshop makes Tosa knives, a traditional craft that has been passed down in Kochi for over 400 years.
While 90% of Japanese kitchen knives are made in Osaka and Sakai, 60-70% of these knives are actually made in Kochi.
The workshop is constantly improving its skills to “raise the value of Tosa kitchen knives even higher.

Tosa knives have been handed down for more than 400 years.

The traditional Kochi craft of “Tosa cutlery ” is said to have started when Motochika Chosokabe, the lord of the time, brought back sword smiths when he participated in Hideyoshi Toyotomi’s conquest of Odawara. Thus, the history of Tosa cutlery is long, and it has been carefully passed down through the years to the present day.

Makoto Tadokoro of Tosa Kitchen Knife Studio Tadokoro Cutlery, one of the best sharpeners in Japan, says that he first trained at an “edging shop” in Susaki City.

At first, I just watched and was not allowed to touch the knives. I hated to lose and felt frustrated, so I began to think that I should learn the technique too, and before I knew it, I was hooked. The harder I worked, the more skill I acquired, so it was much more fun than studying or playing.”

Incorporating Sakai’s knife technology into the new Tosa cutlery

After 17 years of training in his hometown, Mr. Tadokoro traveled around the country to various knife production areas in order to further enhance the value of Tosa knives. There, he met his current master in Sakai, Osaka, the home of kitchen knives.

He said, “I wondered what I had done in Kochi, and my previous skills and knowledge were not applicable. If we were to do the same work in Kochi, there would be 10 processes, but at my master’s place, there would be 20 or 30. Anyway, he puts in a lot of time and effort to sharpen the work. I really felt that I had to learn this technique.

The sharpening process is divided into “rough sharpening,” “medium sharpening,” and “finish sharpening. Mr. Tadokoro, who was shocked at Sakai, spends a whole day carefully sharpening his knives in order to breathe new life into Tosa knives.

He grinds by feeling everything: the vibration, the sound, and the color of the sparks transmitted to his hands. As I gain more experience, I acquire a sense of these things.

The sharpness of the knife makes the food tasty.

Tadokoro’s knives, the result of his careful work, are beautiful and have excellent sharpness.

A knife that sharpens well does not put pressure on fish, meat, vegetables, etc., so the food tastes better,” he says.

In fact, if an ingredient is cut with a knife that is difficult to cut, it may taste bitter and cloying, and the flavor may be lost. A sharp knife is not only beautiful to look at, but also has great power to change the taste of food.

It is said that 90% of Japanese kitchen knives in Japan are produced in Sakai, but in fact, 70% of them are made in Kochi.

We cannot continue to be a “subcontractor” to Sakai forever. I think we must somehow raise the value of Tosa kitchen knives.

Mr. Tadokoro continues to pursue sharpness today in order to enhance the value of Tosa kitchen knives.

Japanese kitchen knives are attracting attention not only from Japanese chefs but also from all over the world, so much so that French chefs sometimes come all the way to Japan to buy kitchen knives. If you use a good kitchen knife, your food will taste better. Please try a good knife and see how sharp it is.

You can find more information here.

The post Traditional kitchen knife sharpening makes cooking more delicious Tosa Kitchen Knife Workshop Tadokoro Cutlery Makoto Tadokoro / Tosa City, Kochi Prefecture first appeared on NIHONMONO.

Takasaki City is Japan’s No. 1 “Daruma City

Takasaki Daruma, also called “Toyooka Daruma,” is widely popular throughout Japan. The scene of an elected politician putting black eyes on a Daruma doll at the time of an election is often seen on TV. Most of these daruma dolls are Takasaki daruma, and Gunma Prefecture is a “daruma town” that accounts for the majority of daruma doll production.

Daimon-ya, the home of Daruma dolls, is a long-established Daruma doll shop with a 200-year history. The shop produced a Samurai Blue Daruma doll for the 2010 World Cup.

Entering the workshop, Daruma dolls in the process of being made are crammed into a small space, and they are placed like bells on the floor. In between the Daruma dolls, a craftsman was painting them.

At this workshop, visitors can try their hand at painting Daruma dolls. Visitors can choose a Daruma doll of their choice, and then make their own original Daruma doll by painting on the doll’s eyes and beard while expressing their wishes. The Daruma doll Nakata chose was yellow. He said he was praying for traffic safety. What?　I wonder how I should draw it,” Nakata wondered as he compared his brush with a model Daruma doll, which was a wonderful model.

However, he is not able to make as much progress as he would like because the model’s eyebrows and beard are so splendid. Finally, he finished the Daruma doll with the names “NAKATA” and “JAPAN” and a very fine eyebrow and beard, while stealing a glance at his master’s brush. Finally, the master added the words “Traffic Safety” in green letters to complete the work.

For more than 200 years, the Takasaki Daruma has been watching over people’s well-being. The rounded shape of the doll means “seven falls and eight rises. It is a powerful figure that conveys to the present day the teaching that even if you fall down, you will always get back up again.

The post Try your hand at painting Daruma dolls! Daimon-ya, the home of Daruma dolls / Takasaki City, Gunma Prefecture first appeared on NIHONMONO.