Kannon Sui,” selected as one of the 100 best waters in Japan, springs in the Akanma district of Uwa-machi, Seiyo City, Ehime Prefecture. In this area, where the original Japanese landscape still remains, washi designer Yukari Sato is pursuing new possibilities for washi by taking advantage of the blessings of pure water. By combining traditional handmade washi techniques with digital technology, she has created unprecedented three-dimensional washi works.

From the 350-year-old production center of Ozu washi

Mr. Sato hails from Igasaki, Uchiko-cho, Ehime Prefecture, known as the birthplace of Ozu washi, a traditional handmade paper. Ozu washi is said to have been established in the Genroku era (1688-1704) by the Ozu clan, which invited Echizen washi craftsmen to establish the technique while enjoying the benefits of the clear Oda River. By the end of the Meiji period (1868-1912), there were more than 400 craftsmen, but with the spread of western paper, the number of craftsmen has been reduced to a few in recent years, making it a challenge to pass on the traditional industry.

After graduating from high school, Ms. Sato left her hometown and worked as a model in London. While busy with her work, she was informed by her father that the local handmade washi industry was in a difficult situation.

I knew I wanted to work with washi eventually, so after returning to Japan, I studied design at the Kuwasawa Design School in Tokyo. During my sophomore year, my father’s construction company decided to start a project with the Ehime Prefectural Institute of Industrial Technology to produce washi for construction, and I was asked to participate as a designer.

Feeling a positive response to the challenge of product development while traveling back and forth between Tokyo and Uchiko, Sato returned to his hometown in 2010. In 2010, he returned to his hometown and began to produce washi in earnest in his hometown.

Delicate and light. The Birth of “Breathable Washi

The project launched by Mr. Sato’s father and others resulted in washi made by attaching zeolite, a mineral, to kozo (paper mulberry), the raw material for washi. It is called “breathing Washi” because of its high humidity control and deodorizing functions. Mr. Sato found a way to utilize the characteristics of this paper in interior decoration and created mobiles to hang in living spaces. The idea originated during his time in London. He often saw buildings in London with high ceilings and interiors that took advantage of the blank spaces. The idea of having interiors like mobiles in Japan took shape.

First, a wooden frame is made by weaving twisted Japanese paper threads like lace around a wooden form with studs, and then gluing it together. Zeolite kozo (paper mulberry) is then manually strained into the frame to create the shading of the kozo fibers. This is an original technique that follows the traditional papermaking method while taking advantage of the suppleness and beauty of zeolite washi.

Looking around the workshop, where a huge water tank for making paper is placed, one sees mobiles hanging from the ceiling. The mobiles swaying in the wind are delicately beautiful and have a lightness that overturns the conventional image of washi.

A workshop in a mountain village blessed with famous water

In 2012, Sato moved from Uchiko Town to Akema, Uwa-machi, Seiyo City, where Kannon Sui, selected as one of the 100 best waters in Japan, springs, and opened the Rikuu washi studio on the site of his grandparents’ house.

It is said that the Kannon Sui is said to have been produced by rain that fell on the Shikoku Karst during the Edo period, becoming underground water that welled up from a cave, bringing a blessing of 8,000 tons of water every day to the Akema area where the workshop is located. The water is said to be ideal for handmade washi because it contains few impurities, and it is said that paper making used to be prosperous in this area.

He built a workshop in his garden and created an environment for making washi by drawing Kannon water. Sato’s works fit in well with the home he inherited from his grandparents. Zeolite washi, which is slightly translucent and even fragile, does not feel oppressive, even when used in large objects such as an impulse stand, and creates a light and airy feeling in the space.

3D digital technology opens up new possibilities for washi

Washi paper is being phased out in today’s living environment. However, its delicate beauty, softness, and warmth should remain close to the hearts of Japanese people throughout the ages. With the support of her husband, Tenshi Terada, who is a 3D modeler, Sato is taking on the challenge of creating products that actively incorporate new technologies, such as digital fabrication, as a way to convey the appeal of washi to the modern age.

The workshop is decorated with mobiles, lighting, and interior accessories, some of which are co-created with Ms. Terada. 3D digital technology is used to create three-dimensional washi paper products. 3D modeling is used to create the parts, and the three-dimensional objects are then made using techniques developed through experience.

Mr. Terada is also involved in a project to use a 3D printer to produce Awa Ningyo Joruri (puppet theater) in Tokushima Prefecture, which is designated as an important intangible cultural asset by the Japanese government, and has a deep understanding of the fusion of traditional crafts and digital technology.

He has a deep understanding of the fusion of traditional crafts and digital technology. “Until now, most three-dimensional washi works have been organic in shape and have a massive image, but by utilizing 3D digital technology, it is possible to create lighter, more modern designs,” he said. The range of expression of washi has expanded,” they say in unison.

Mr. Sato comes up with the idea for the design, and Mr. Terada performs the simulation on the computer. The studio is equipped with a 3D printer, laser cutting machines, and other digital fabrication equipment, and a series of processes, from modeling to handmade paper, are completed in the lab.

The difficulty level of handmade washi increases when it comes to three-dimensional paper, especially when it comes to curved surfaces, but he certainly feels that there is room for further exploration, such as devising new ways of placing zeolite Kozo fibers on the paper. Mr. Sato and the washi craftsman with whom he works spent about five years developing a unique technique for coating washi in a mousse-like texture.

Washi paper shows various expressions by adding undulations and twists.

Rikuu’s signature product is “Hineri,” a washi paper lighting system that utilizes digital technology to create joint parts that connect wooden frames using 3D modeling to create a complex design with a real twist.

Sato, who has been exposed to the world of interior design, design, and fashion overseas, brings out new charms in washi with his unique sensibility.

Digital technology as a new tool

Some people may worry that incorporating digital technology into traditional crafts will take away from the traditional techniques. However, we see digital technology as one of the tools of the modern age. We imagine a manufacturing process that incorporates the latest technology into the handcrafted production process and takes advantage of the strengths of each,” says Sato.

His innovative designs, which open up new possibilities for the expression of washi, have been highly acclaimed both in Japan and abroad, and orders from hotels and luxury brands are pouring in one after another. He has been involved in a wide range of client work, including lighting for RIMOWA’s Omotesando store, decorations for Louis Vuitton stores in Japan and abroad, and artwork for the InterContinental Yokohama Pier 8.

New products utilizing local materials

While working to integrate with digital technology, the company is also actively engaged in returning to its roots. One such effort is the revival of handmade washi using local kozo paper. In recent years, the company has increasingly relied on Southeast Asia and other overseas sources for raw materials, but the Onikita Senkanshi Preservation Society, with which the company cooperates in the production of its works, is now trying once again to collect locally grown and propagated kozo, which they call “Iyo kozo,” and use it as a raw material. By using unbleached paper in accordance with the old-fashioned production method, the original characteristics of the kozo are preserved, giving the paper a simple color, silky luster, and unique texture.

At the same time, Mr. Sato also paid attention to Iyo Raw Silk, a precious domestic silk produced in the neighboring town of Nomura, Seiyo City. As a result of his search for effective use of cocoons, which are out of the standard cocoons used to make Iyo silk, a product called the “White Camellia Aroma Diffuser” was born, using Iyo cocoons and Iyo kozo (paper mulberry).

A 3D printer is used to create a mesh base in the shape of a camellia, and Iyo Kozo is used to make the base.
The center of the diffuser, into which the aroma oil is soaked, is made of cocoons, the source of Iyo raw silk.

To connect traditional crafts to the future

While maintaining respect for the ancient techniques and materials used to make Japanese paper, Mr. Sato’s challenge is to fuse them with cutting-edge digital technology.
He hopes to continue to expand the possibilities of washi by mixing various materials and preserving the traditions while continuing to innovate.

The post Fusing tradition and digital technology to bring new life to handmade washi. Yukari Sato, Rikuu / Seiyo City, Ehime Prefecture first appeared on NIHONMONO.

Senkanshi” has been handed down in the mountains of Nomura-cho, Seiyo City, Ehime Prefecture since ancient times. This paper has been valued by court nobles and samurai families in Kyoto and Edo (present-day Tokyo) for its toughness made by a unique technique. Kikuchi Seishi is the only paper maker in Japan that continues to preserve this tradition. Today, the workshop is run by Takashi and Kensuke, father and son. In the midst of abundant nature, the one-of-a-kind technique that has been passed down from generation to generation is being passed on to the future.

Strong washi born in a mountain village in Seiyo, Ehime

Ehime Prefecture has long been a center of the papermaking industry. This is due to the abundance of water and the abundance of kozo (paper mulberry) and mitsumata (mitsumata), the raw materials used to make washi. Nomura Town in Seiyo City is no exception. Located in the mountains and blessed with clear water, the town has long nurtured a culture of papermaking.

The history of Izumi-Kanagami dates back to the Azuchi-Momoyama period (1586-1597). It is said that Tarouemon Hyodo, commonly known as “Senkaishi,” invented thick, strong paper by overlapping two sheets of paper during the papermaking process. This strong and flexible paper was useful for a variety of purposes, including sutra books, dyeing patterns, tatami mats, papier-mâché, and folding screens.

This process was taught to farmers, and during the Edo period, it spread as a side job during the off-season. As a way to survive in the area, people harvested kozo (paper mulberry), cooked kozo using a rice-cooking pot, and made paper.

It developed as a local industry during the Meiji period (1868-1912), and boomed from the Taisho period (1912-1926) to the early Showa period (1926-1989). However, demand for washi declined sharply over time. Combined with the spread of postwar paper, by 1968 there was only one paper manufacturer, Kikuchi Paper Mills. Sixty years later, Sadashige Kikuchi, the sixth generation of Kikuchi Paper Mills, passed the baton to Takashi, the seventh generation, and Kensuke, the eighth generation, joined him to carry on the tradition of “Izumi paper.

The tradition has been handed down by the decision of the 6th generation. The only company in Japan that continues to protect Izumi paper.

It is mid-March, a morning in a mountain village still bitterly cold. In the workshop, filled with clear air, were Takashi Kikuchi and Kensuke Kikuchi, father and son.

Takashi is the seventh generation of the Kikuchi family to run a handmade washi farm. When I started Izumi-Kanagami, I was just following in my parents’ footsteps and helping them,” he says modestly, but like his father, Sadashige, he has been recognized as a “Contemporary Master Craftsman.

Kensuke, the 8th generation, left for Osaka after graduating from high school, but returned home in May 2013. Until then, he had worked in a completely different industry, such as apparel, and had no experience in papermaking.

However, the turning point came in 2012. When I returned to my hometown for a friend’s wedding, I saw my father making paper and felt that I had to carry on the craft,” he says, deciding to join the family business at age 25. He decided to join the family business at the age of 25. “I thought I could do it because I was still young, but it was a lot harder than I expected,” he says with a laugh.

After the war, demand for washi declined sharply, partly due to the spread of paper. Many families quit, partly because papermaking was a sideline business to begin with. While everyone around him was devoting themselves to their main business of farming, my grandfather did the opposite: he quit farming and made paper his family business. Without this decision, Izumi paper might have already ceased to exist,” says Kensuke.

Because of its rarity and traditional value, Izumi currency paper is also designated as an “intangible cultural asset that should be recorded and other measures taken.

The secret of the strength of Senka-gami: the art of combining two sheets of paper

The most distinctive feature of Senka-gami is its two-ply lamination process. There are six cells in the bamboo frame for making paper, and the front three cells are covered with thick bamboo screens, and the back three cells are covered with fine bamboo screens. The coarseness of the bamboo screen in papermaking greatly affects the thickness and texture of the paper to be made. The coarse bamboo screen is easy to make thick paper containing a lot of fibers because water passes through well, and the fine bamboo screen becomes a thin and smooth paper surface because water does not pass through well and fibers are easily dispersed uniformly. By making these two types of paper at the same time and then layering them together, the paper is made even stronger than before. The paper is so tough that it is even used for the paper garments used in the Shuni-e (water-drawing ceremony) at Todaiji Temple’s Nigatsudo Hall in Nara.

The materials used are kozo (paper mulberry) and tororoaoi (mallow). Kozo, which has long been used as a raw material for washi, has thick and long fibers that are easily entangled, making it suitable for making strong washi. Neri, a mucilage extracted from the bark of the root of the tororoaoi, also serves as a natural glue. It is indispensable in the papermaking process to ensure an even spreading of the kozo fibers.

The mixture of kozo and neri is pumped into a bamboo frame, and the fibers are entangled and the thickness of the paper is matched through a delicate repetition of vertical and horizontal shaking. This delicate shaking is truly a craftsman’s skill and depends largely on the sense of the craftsman.

It is important to match the two sheets of paper immediately after they are finished. The fine mesh in the back is lifted up, and the paper in the front is made into one sheet by aligning it exactly with the paper in the front so that air does not enter. The matched papers are pressed to remove water, and then placed on an iron plate heated to 70 to 80 degrees Celsius. The paper is then dried by stretching it with rollers to complete the process.

The secret of good papermaking is to let nature take its course. That is the secret of good papermaking.

Although the papermaking process has an image of being done during the cold season, it is now possible to make paper throughout the year by using preservatives to prevent the water from spoiling. However, the best washi is made from winter to spring. Kikuchi Paper Mills draws water from the river, so the water temperature is extremely cold. This coldness is essential to the papermaking process.

The cold water is essential for the papermaking process. That’s why we have to test our patience in the winter,” laughs Takashi.

Although chemical glue is now commonly used as a substitute for Trolloa, he always uses Trolloa when making Izumikurigami.

Compared to chemical glue, the glue is smoother. When making fountain currency paper, chemical glue sticks to the paper unnaturally, and for fountain currency paper, which is made by overlapping two sheets of paper, tro-aoi is the best choice,” says Takashi.

Procuring the tools used for papermaking is not easy either. In particular, it takes six months to a year to complete the delicate bamboo screen made of woven bamboo and silk twine, because the number of craftsmen is decreasing. However, a good bamboo screen is straight and beautiful, and it does not warp at an angle. This is a condition to produce good paper.

It is adopted for the restoration of prints and paintings. Washi recognized around the world

The main demand for Senkanshi is for printing paper for overseas markets. Unfortunately, local demand is low, with the majority of demand coming from outside the prefecture and overseas.

In recent years, in particular, demand from overseas has exceeded domestic demand as washi is increasingly being used in European museums to restore paintings and works of art.

Japanese washi has long been valued for its fine texture, thinness, and uniform weight, but the strong and supple characteristics of Senkanshi paper and its ability to produce different textures on the front and back sides due to the combination of two sheets of paper with different textures are also gaining support.

Kikuchi Paper Mfg. ships as many as 3,000 sheets of fountain currency paper to overseas markets every month. This is proof that Japan’s traditional crafts are attracting attention overseas.

A Mission for the Future and New Challenges

While there is certainly demand for Izumi-Kunagami, it also faces challenges such as the rising cost of raw materials, labor costs, and unit prices. A single workshop cannot form a cooperative, and it is difficult to obtain support from the local government.

Takashi says, “I don’t want the Izumi paper technique to die out in my generation. We just have to keep going,” says Takashi.

Kikuchi Paper Mfg. has begun to take on new challenges while preserving the tradition of Senka-gami. One of these is the development of processed products that take advantage of the wrinkles and debris that occur during the manufacturing process. The company aims to expand its sales channels and create a sustainable system that enables the producers themselves to generate profits.

Kikuchi Paper Mills also accepts overnight farm stays, and school excursion students from Tokyo come to stay for the experience. The high school students make postcards and take them home with them, a valuable experience that they cannot have in the city. The experience of being soothed by the murmuring of the river and coming into contact with the one and only Izumi-Kanagami will be a special time for them. Furthermore, every year, children from the local Nomura Elementary School visit the mill as part of their class, contributing to the learning experience of the local community.

The future of Izumi-Kanagami lies in the passion of Takashi Kikuchi and Kensuke Kikuchi and their challenge to create new values while preserving tradition. We hope that this washi, nurtured in the mountain villages of Seiyo, will continue to attract many people with its strength and beauty.

The post Kikuchi Paper Mfg., a fountain currency paper company with a 400-year history and a unique technique / Seiyo City, Ehime Prefecture first appeared on NIHONMONO.

Yamatsugi Paper is a papermaking studio for Echizen washi paper, and mainly produces fine art komagami paper. Fine art komagami paper is a general term for washi paper used for Japanese accessories, and includes papers with various patterns made using techniques unique to Echizen washi paper. Yamashita Hiroya, a sixth-generation traditional craftsman, has inherited the traditional techniques of the production area while creating an original new paper called “ukigami,” which is expanding the possibilities of Echizen washi paper.

A Japanese paper production area that has continued to evolve

Yamatsugi Paper Mill is located in the Imadate district of Echizen City. This is a major production area of ​​Japanese paper, where Kawakami Gozen is said to have taught how to make paper about 1,500 years ago, and there are still about 30 workshops remaining. Yamatsugi Paper Mill is one of them, and is located close to the approach to the majestic Okamoto Shrine and Otaki Shrine, which enshrines Kawakami Gozen.

Various techniques developed in the region

Echizen washi paper, a production area with a history of 1,500 years, has continued to protect its traditions by innovating technology to suit the times. In the early Showa period, techniques such as “hooking”, in which paper fibers are “hooked” onto a metal mold to create a pattern, and “pouring”, in which paper material is poured into a mold to create a pattern, were invented, dramatically expanding the market for art and craft paper such as fine art paper.

Even in today’s world where paperless society is on the rise, art and craft paper has increased in value as “paper for manufacturing” through the development of new patterned papers and honing molding techniques.

Making high-quality washi paper using pulp

Since ancient times, the raw materials for washi paper have been plants such as kozo, mitsumata, and gampi, and only the white bark found just beneath the outer bark is used. This white part is called jinpi, and is characterized by its long, strong fibers. Yamatsugi Paper Factory uses not only bast but also pulp used in Western paper as a raw material. Pulp makes it easy to give paper thickness and is easy to process, which has led to a wide range of uses for washi paper.

“In our workshop, we ‘make up’ the paper by placing a thin layer of kozo, mitsumata, and gampi on top of the filtered pulp,” says Yamashita.

The challenge of being part of the effort to protect this unique production area

Yamatsugi Paper Factory was founded in 1868. When it first opened, it started out by producing plain handmade washi paper such as hosho paper, but gradually began to focus on producing art komagami. In the past, they also produced a lot of postcards, but as times changed and demand for postcards fell, they began receiving more orders for sake bottle label paper, and have been producing komagami that adapts to the changing times.

Switching to mass-produced handmade paper

In the production area, the traditional way was to dry each sheet of hand-made washi paper one by one. However, in today’s world where working styles have changed, it is also important to increase efficiency. “We are a ‘mass-producer of hand-made paper,'” says Yamashita, and Yamatsugi Paper Mill has installed a press that can continuously dry hand-made washi paper. “From the perspective of washi tradition, this may be considered unorthodox, but for that tradition to continue, the paper mill needs to survive. I think it is essential to make improvements to produce more high-quality paper while still sticking to hand-made paper.”

Developing new washi paper using traditional techniques

Yamatsugi Paper Mill is a family-run workshop run by Yamashita, his father, and employees, with Yamashita’s uncle currently serving as the representative. After graduating from a vocational school, Yamashita worked at a store specializing in washi crafts in Kyoto before returning to Yamatsugi Paper Mill 20 years ago. “By going outside once, I realized how amazing this production area is. And I felt strongly that we, the younger generation, need to continue to take on new challenges, rather than just relying on the traditions built by our great predecessors.”

The Birth of Ukigami

Yamashita, who wanted to create cutting-edge washi paper, noticed a family crest-like mark embossed on washi paper. He had the idea that if he embossed this repeatedly, he could create washi paper with a new design, so he tried it with his father and others. The paper that was embossed all over had a clearly uneven surface, and it looked like it was floating, so he named it “Ukigami (floating paper)”. Yamashita was convinced that this new washi paper would definitely attract attention.

The three-dimensional pattern creates a rich look

Traditional embossing is a technique that similarly presses a mold into paper to make a pattern stand out, but it inevitably results in rounded corners. However, with embossed paper, the pattern stands out at right angles, making it appear more three-dimensional. The unevenness of the pattern creates shadows, and the way it looks changes depending on the angle of the light is also an appealing feature.

Ukigami can also be dyed to your preferred color after it has been made. Although only one color can be used, the intensity of the color changes between the recessed and raised areas, resulting in a beautiful two-color finish.

Aiming to develop new products using new washi paper

Ukigami was featured in a sample book, but Yamashita felt that this alone was not enough. “As things stand, Ukigami will only be distributed in a limited number of countries. Ukigami has more potential, and I want more people to know about it,” said Yamashita, and he began to develop unique products for Yamashita Paper Mill using Ukigami.

Sample products of washi paper

In 2017, they developed a stylish tea canister wrapped in ukigami. The main purpose of this product was not to sell, but to show people the possibilities of ukigami. The tea canister was to show people that the underside of ukigami is flat and can be attached to various things, and the card case was to appeal that ukigami is durable and can be sewn on.

Participating in exhibitions proved successful

Next, in order to raise awareness of Ukigami, Yamashita began exhibiting tea cans at an exhibition in 2017, where craft manufacturers from all over the country gather. At first, he struggled to receive orders, but after exhibiting a second and third time, he gained connections with buyers, and in 2019, at the third exhibition, Yamatsugi Paper’s tea can won first place overall in a popularity vote by visitors. The Ukigami tea can was featured on the cover of the monthly magazine Fujingaho, and Yamashita says, “We became known as Yamatsugi for tea cans.” As the tea cans became popular, Yamatsugi Paper received more requests from manufacturers around the country, asking them to make Ukigami to match their products. “I was happy when my father, whom I respect, praised us for developing new business partners,” Yamashita says with a smile.

Increasing our strengths as a workshop

In 2021, Yamatsugi Paper’s ukigami paper was used on the packaging of Godiva, a luxury French chocolate brand. The pattern, which uses motifs such as the letter “G” for Godiva, was also designed by Yamatsugi Paper. The designer was Taniguchi Misaki. Taniguchi studied graphic design as a student, and after working at a design office in Fukui City, she joined Yamatsugi Paper in 2020. She is now learning papermaking in parallel with her design work. “Having an in-house craftsman-designer allows us to make better proposals to clients. It’s a big strength for us,” says Yamashita.

Washi paper opens up new possibilities in manufacturing

Yamatsugi Paper Mill’s Ukigami is a new type of washi paper created using the traditional technique of embossing. Yamashita is enthusiastic about updating the various techniques handed down in the production area to develop “washi that feels new for today’s age.”

He says that unique washi paper like Ukigami still has a lot of potential as a manufacturing material. “By developing original products and responding to various requests from clients, I want to make washi a common part of modern manufacturing.”

To achieve this dream, Yamashita says he wants to improve his communication and presentation skills with overseas companies, and this is sure to further increase the global reputation of Echizen Washi, which prides itself on being a “cutting-edge washi paper mill.”

The post Making washi paper the standard for modern manufacturing: The challenge of Yamatsugi Paper Mills first appeared on NIHONMONO.

Karakami is often used for interior decorations such as wallpaper and fusuma (sliding door) paper in Kyoto’s prestigious spaces, including historical buildings, long-established ryokans, famous hotels, and ryotei (Japanese-style restaurants). Karakami craftsman Ko Kado brings out new charm by adding a modern essence to the delicate beauty of karakami.

The beauty of karakami brought from China and developed in Kyoto

Karakami, as the name suggests, is a type of paper introduced from the Tang Dynasty during the Nara period (710-794). After the abolition of the Japanese envoys to the Tang Dynasty, karakami was produced domestically, and the first state-run paper mill in Japan, “Kamiya-in,” was established in Kyoto. During the Heian period (794-1185), karakami was used by aristocrats as a paper on which to write sentences and waka poems, and eventually monkarakami (patterned karakami) appeared. This type of paper is now referred to as karakami.

In the Medieval and Edo periods, karakami was used for interior decorations such as screens, partitions, shoji screens, and fusuma sliding doors, and its use spread further.

Delicate work to copy the pattern

Karakami is made by copying patterns onto Japanese paper using a printing block.

The woodblocks are wooden boards on which patterns are carved. Karakami is printed by rubbing the paper on the woodblock with the palm of the hand, which requires deep carving for beautiful printing, and the soft wood of the hoki tree was ideal for this purpose.

A sieve, a round wooden frame covered with gauze, is used to apply the colors to the woodblocks. First, the gauze-covered part of the sieve is coated with water using a brush, and then paint is applied. The paint is made by mixing mica or gofun (gofun) to give texture to the pattern and nori (laver) to make it adhere to the paper. The proportion of each mixture depends on the climate and humidity of the day, the habits of the woodblock and engraver, and the nature of the paper used.

A sieve covered with paint is lightly pressed onto the woodblock, and the paper is placed on the sieve, which is then gently pressed by hand to copy the pattern. As with the paint mixture, the degree of printing force needs to be adjusted from time to time. Karakami, which requires such delicate manual work, is soft and fluffy and has a unique beauty.

Deepened my interest in Japan in the U.S., where I studied abroad

Mr. Kado began his career as a karakami craftsman in 2003, when he was in his 20s. Prior to that, he had worked as a graphic designer in Japan and abroad.

Born and raised in Kyoto, Japan, Kado graduated from Kyoto Saga Art College and then moved to San Francisco, California, USA, where he enrolled in the graphic design program at the Academy of Art University. What surprised him at his study abroad destination was that Japanese traditional culture, art, and contemporary art were often discussed in his university classes. My classmates often asked me about Japan, and I took this as an opportunity to start learning more about Japanese culture and art.

Just around this time, when I temporarily returned to Kyoto, an acquaintance invited me to visit a long-established karakami (Chinese paper) workshop. Computers were beginning to spread to the general public, and the majority of creators were moving toward digital technology, but I felt that the world of handcrafted work was unique in its own way. Kado was also attracted to the fact that the work could only be done in Kyoto, and he had a hunch that he would be able to make use of his graphic arts background in the world of karakami.

Starting out as a karakami craftsman in a long-established karakami workshop in Kyoto, Japan, from a career in art

After graduating from an American university, Kado worked as a graphic designer in New York for about a year and a half before returning to Japan in 2003. He did some design work in Japan, but his interest in karakami only grew. With his portfolio in hand, he went to a karakami workshop he had visited in the past and found that they were looking for staff to plan and design products for a new store opening, and he began working there as a designer.

At the workshop, he also learned how to make karakami. Eventually, he was also given the opportunity to work as a craftsman, and was allowed to be involved in karakami making, which had originally been passed down in the family business. Mr. Kado learned voraciously.

Guided by a townhouse in Nishijin, he became independent and opened “ Kamisoe”

Mr. Kado became independent in 2009, five years after he started working at Karacho. It was when he found a property that looked like a good place for a workshop and store.

The location was along Kuramaguchi-dori, an area on the north side of the city of Nishijin, famous for Nishijin textiles, with Daitokuji Temple to the north, the Urasenke Kaikan to the east, and weavers’ workshops and companies to the south. Despite being well away from the center of Kyoto, Nishijin is home to tea masters, priests, and various artisans with a high level of cultural awareness, so it seemed like an interesting place to work. Guided by this premonition, Kado decided to set up his own business.

A world of softly glowing white expressed through the use of gofun and kira stamping

Kado’s workshop and store is named “Kami Soe.

The store on the first floor is neatly lined with cards, letter paper, and pouch bags, all made by hand. Karakami is used for the wallpaper and the fusuma (wooden floorboards), and the shop also serves as a showroom for those who wish to commission interior decorations.

A great souvenir when you stop by Kyoto

The most popular type of paper is white paper with a white pattern printed on it. The pattern is not printed directly on the washi, but first the surface of the washi is dyed with gofun (a powder made from the shells of clams, oysters, etc.), which is called gubiki. The surface of the washi is first dyed with gofun (powdered clam or oyster shells) and then stamped with mica made from crushed granite. The matte texture of the gofun and the diffuse glow of the mica reflect light softly in the natural light that reaches the store. The non-white products are also beautiful with subdued colors that enhance the shading and luster of the printed patterns. Many of these are said to be based on classical color matching.

Karakami patterns also include motifs such as oriental patterns and quarter-sawn wood

Karakami handled at Kamiizoe has many unique patterns that can only be found here.
There seem to be two major types of kara-kami patterns. The first is to print patterns using existing objects as woodblocks. For example, some Oriental patterns are created using woodblocks found in antique stores in India, Turkey, and other countries where they have traveled, or patterns are created using woodblocks made from straight grain wood or architectural woodblocks. The woodblocks are made from woodblocks with a straight grain or architectural burr (a process that leaves distinctive marks on a square piece of wood or a board). The former graphic designer’s aesthetic sense allows him to find interesting motifs in existing objects and incorporate them into his designs.

Another pattern is that Kado himself designs his own original patterns and then gives them to woodblock craftsmen to have them made. In some cases, he collaborates with another artist to create the pattern design.

In this way, Mimizoe’s karakami made with his unique worldview has attracted the attention of many people, and Kamiizoe’s SNS often receives inquiries about orders not only from Japan but also from overseas.

Work as a creator and a craftsman

Currently, Kado is working on hotel interiors and other projects, as well as collaborating with designers. One of his best-known projects is the direction of Ryuichi Sakamoto 2019, an analog vinyl box containing six soundtracks released by the late musician Ryuichi Sakamoto in 2019.

The box was limited to 200 pieces and sold at Sakamoto’s label’s official store for 100,000 yen per piece. Inside the box is a 7-inch single of a new song composed and recorded for the buyer, a portrait by a Korean artist, and an incense stand created by Sakamoto’s longtime favorite incense and craft artist. Also included is a woodblock print made from Sakamoto’s own handwritten score, signed by Sakamoto.

In order to bring his ideas to fruition, Mr. Kado selected a designer to take charge of the overall design work, while at the same time creating the paper for the outside of the box, the artwork for the inner sleeve of each record, and the sheet music to be included in the package. The woodblock prints, which were printed in white on white paper, are of a high quality, and Sakamoto’s handwritten corrections and writings emerge in the shadows, vividly conveying the flow of the composer’s consciousness.

After the completion of the box, Mr. Sakamoto, who held the actual box in his hands, commented, “The presence of the box as an object is even more wonderful than I imagined. In this age of digital music, where music can be easily distributed and downloaded, the value of handmade work that cannot be mass-produced must be conveyed to the world. It seems that this attempt was successful.

Work that digs out and sheds light on the buried past

While active in highly artist-oriented work, Kado is also involved in a number of restoration and other projects that recreate the techniques of karakami craftsmen of the ancient times. One such project is the restoration of Saga-bon utai-bon, one of the research projects conducted by Musashino Art University’s Center for Art Formation Research from 2014 to 2018.

Saga-bon is the general term for books published by Hon’ami Koetsu, a comprehensive artist active in the early Edo period, and Suminokura Soan, who studied calligraphy from Koetsu. These books were printed using wooden type. The luxurious binding is also a distinctive feature, with various colors of paper used for the cover and text, and printed with mica patterns. With these characteristics, the Saga-bon holds an important position as the most artistic printed material in the history of Japanese printing culture.

In the Saga-bon Chanting Book Restoration Project, while unraveling related materials held by the Musashino Art University Library, Kyoto craftsmen meticulously traced the various production processes necessary to restore the Saga-bon, such as wood type engraving, wood type typesetting, and paper making, and by restoring it, tried to explore the unexplored aspects of our predecessors’ production techniques and intentions. Kado’s project was to explore the unexplored aspects of his predecessors’ production techniques and intentions.

Kado was in charge of the mica printing of the cover for this project, and when he saw the original Saga utai book, he felt that it was “different from what he had imagined. The mica print was unevenly applied, with blurring and pooling, and the paper was wrinkled. Frankly speaking, the quality of the mica prints was not high, and the impression was that the modern prints were superior in terms of sophistication.

The researcher leading the project thought that the seemingly rough finish was an expression of the “beauty of imperfection” advocated by the Rimpa school, a comprehensive art school founded by Koetsu, but Kado’s view was different. Karakami at that time had to be made in large quantities by hand, and it was probably not possible to take enough time and effort to produce each piece of karakami. On the other hand, today, karakami is regarded as a “special” traditional craft, and people tend to spend more time and effort to finish it neatly. The researchers reasoned that because karakami was positioned differently in the past than it is today, there may have been a difference in the finished product.

The researchers were interested in Kado’s unique view that he could reproduce the craftsmanship of the time and approach the intentions of the maker through his techniques. As a result, for the Sagahon Chantben Restoration Project, Mr. Kado produced two types of karakami covers: one that faithfully imitated the old style of production, and another that was produced to the highest level of finish that he was comfortable with.

Kado is now strongly attracted to the work of exploring the karakami techniques left behind by his predecessors through such restoration and repair work. He is committed to putting into words and conveying the techniques and aesthetic value of the handcrafts that have been passed down through the generations. This is a new theme that he has taken up over the past 10 years or so.

In the past, I was in the position of being taught “what karakami is,” but now I am expected to play the role of the conveyor, thinking up my own interpretation of what karakami is. In the U.S., when his classmates used to ask him about Japan, Kado studied Japanese culture in order to explain it in his own words, and before he knew it, he was in a position to talk about it from a craftsman’s perspective.

Holding a shiny card in his hand, Kado-san said, “This is a piece of copper-polished karakami paper.

This is karakami with a copper finish. I made it because I found out about this technique when I was researching old materials. I like the process of digging up things that have fallen into disuse and tailoring them to fit the modern age.
Karakami craftsmen with a designer’s eye add something to the ancient techniques while going back and forth between the present and the past.

Kado’s karakami created in this way will continue to convey the core beauty of handwork that makes people around the world want to pick it up.

The post The aesthetic sense of “KAMISOE” Ko Kado, gently added to Kyoto karakami paper first appeared on NIHONMONO.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Full customization to create the washi required by the customer.

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

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

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

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

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

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

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

The Potential of Washi Expands through Encounters with Expressionists

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

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

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

The post Takahuni Kawahara, the sole inheritor of Hirutani Washi paper, attracts the world’s keenest attention. first appeared on NIHONMONO.

The Imadate area, located on the east side of Echizen City in central Fukui Prefecture, is a major production center of Echizen washi with a history of 1,500 years and is home to Okata Shrine and Otaki Shrine, the only shrines in the country dedicated to the god of paper. Yoshinao Sugihara, who took over the 150-year-old washi wholesaler Sugihara Shoten in this “village of washi,” is bringing a new style to the world of washi by connecting producers and modern needs with ideas and energy.

The Challenge of a 150-Year-Old Washi Wholesaler

Mr. Sugihara is the 10th generation of a long-established washi wholesaler and calls himself a “washi sommelier. As a wholesaler, his work is not limited to purchasing washi from producers and wholesaling it. He also plans and sells large-format washi as interior decorations for spaces, including products that reconstruct washi in response to the changing times. The company’s connections with local washi producers make it possible to develop innovative products. Each producer has its own specialty. They are asked to make use of these to meet the needs of modern consumers and clients in Japan and abroad. It is Mr. Sugihara who wields the tact. Like a sommelier who selects wines according to taste.

Making the most of washi compatible with home-use printers

Sugihara Shoten now sells washi paper worldwide. Mr. Sugihara’s path to prosperity has not been a smooth one.

In 1988, when Mr. Sugihara returned to his hometown at the age of 26 after working for Kozu Sangyo, a washi wholesaler that had been in business for nearly 370 years, and joined Sugihara Shoten, the washi industry was facing a period of decline. Demand for fusuma paper, which had been rising steadily during the high-growth period of the Japanese economy, had plummeted due to the westernization of housing and the decrease in the number of Japanese-style rooms. Echizen washi, which had previously excelled at fusuma paper, suffered a major blow. Sugihara, who was concerned about the survival of the Echizen washi industry, decided that the survival of Echizen washi would depend on the survival of the washi producing region, and he decided to establish Sugihara Shoten. With this sense of crisis, Mr. Sugihara began to develop washi products in response to the changing times.

The result was “habutae paper,” which can be printed on a home printer. Washi paper is originally designed so that characters will not bleed through when written on with ink. However, it is a fact that the custom of writing characters with ink on a daily basis is disappearing, except for calligraphers. Habutae paper was created by applying a device to Japanese paper to prevent blotting even with ink. The variation in thickness was also groundbreaking for washi. This washi, named after a textile representative of Fukui Prefecture, once known as the “Habutae Kingdom,” was a hit, perfectly capturing the changes of the times with the widespread use of printers.

Hand-rolled sheets of washi paper called “Chigitate Meisho” (tear-off business cards)

After feeling the pressure to develop new washi products, Mr. Sugihara turned his attention to a use for paper that would not become obsolete despite the advance of digitalization. It was business cards, which are indispensable for face-to-face business. Instead of cutting the paper apart from the beginning, he folded a sheet of Japanese paper into a business card by tearing it off by hand. The name of the new product is “Tear-off business cards. Even the edges, which have been torn off and fluffed up, have a washi-like appearance. The traditional “sukashi” technique was adopted in the development of this product, and the folded part is finished with sukashi to make it easy to tear off by hand. Tear-off business cards” have been introduced on TV and other media, and have been a big hit. Today, the company produces not only business cards, but also sheets of washi with motifs of animals, flowers, etc. The “Tchigitte” series has been used for a variety of purposes. The “Chigitte” series offers a wide range of variations.

Lacquer on Washi. A New Encounter of Traditional Crafts

Next, Mr. Sugihara planned to collaborate with traditional crafts. In the Echizen City area of Fukui Prefecture, where Echizen Washi paper is produced, a variety of other traditional crafts are also thriving. One of them is lacquer, which is essential for Echizen lacquerware, and we wondered if we could use it in our washi products. The result is “Urushi Washi. The result of a trial-and-error process, Urushi-Washi has the appeal of a leathery look that has been used for a long time, created by the combination of Japanese paper and lacquer. The lightness of the paper is retained, while the water resistance is enhanced by the lacquer coating. Soon after its commercialization, Urushi-Washi won the grand prize of “DESIGN WAVE FUKUI,” which honors products with excellent design in Fukui Prefecture.

Expanding Washi’s Sales Channels and Possibilities

Habutae Washi,” “Tear-off Business Cards,” and “Lacquer Washi. All of these products are products that have successfully revived a tradition that has lived on in the region and adapted it to modern needs. However, there were many difficulties when they were first launched. The more innovative a product is, the longer it takes for the world to accept it. Mr. Sugihara’s product was no exception, and he was particularly persistent in his discussions with producers. When he consulted with his existing customers, he was told that they were interested in his interesting product but did not know how to sell it. The same was true for Mr. Sugihara himself.

He decided that he had no choice but to do it himself. Mr. Sugihara personally went to major retailers such as Tokyu Hands, with whom he had no previous business relationship, to develop sales channels. He made a number of innovations to make it easier for retailers to sell his products, such as cutting Japanese paper into A4 size, and gradually gained acceptance.

A Fateful Encounter at an Exhibition

Sugihara Shoten is proud that it was able to develop sales channels to some extent and create products that connect washi to consumers. This brought a future to Sugihara Shoten. However, when I looked at the entire washi production area, “washi-no-Sato,” I wondered if I could do something more. For a long time, he remained conflicted.

Then came a fateful encounter.

Sugihara Shoten was also exhibiting at a “craft exhibition” held in Fukui Prefecture. It was a routine stall every year, but a prominent design consultant I met at the exhibition had this to say to me. Do you know that Japanese paper is in demand in architecture?”

Washi paper in architecture?　I had no idea what he meant. When I was at a loss for words, the consultant told me to attend the exhibition. Feeling something like fate, Mr. Sugihara decided to exhibit at IPEC, an international exhibition on interior design held at Tokyo Big Sight, despite his misgivings.

This was the catalyst for a leap forward. He was the first in the Japanese paper industry to exhibit there, and received an Encouragement Award. In addition, Sugihara Shoten received an order for a tremendous amount of washi paper to be used as a building material for Roppongi Hills in Tokyo, which was under construction at the time. Mr. Sugihara says, “I went to the exhibition.

We went to exhibitions, made connections with designers and planners, and started going abroad. What surprised me was their appreciation of the beauty of washi. Washi as a construction material is extraordinary in terms of both unit price and amount used. That is when I rediscovered the high potential of Echizen washi.

All for the sake of enhancing the value of washi

Echizen Washi as a construction material, for which Mr. Sugihara paved the way, is gaining further recognition. Echizen washi was used for the walls and pillars of the Lyon City Hall in France, the Tokyo 2020 Olympic Stadium, the lounge at New Chitose Airport, the entrance to Mita Hospital in Tokyo, and the new facility “Eshikoto ” of the Kuroryu Sake Brewery, one of Fukui’s representative sake breweries, where Sugihara Shoten’s Echizen washi was used as restaurant wallpaper. Echizen Washi, handled by Sugihara Shoten, was used as the restaurant’s wallpaper.

Encounters with People through Washi

Sugihara Shoten has continued to innovate as a wholesaler of Echizen washi. While the distribution of this paper has fallen into disuse due to the shrinkage of its existing uses, the company has created new demand through sales at major retailers and in the form of construction materials.

The catalyst and driving force behind this challenge has been the relationships with people he meets wherever he goes. Through Echizen Washi, I want to create a “place” where people can engage with each other in a richer way. I believe that there will be further innovations that will be created through the effects of these places.

A 100-year-old storehouse converted into a washi gallery

The fruit of Mr. Sugihara’s vision is “Washi Shop,” a washi gallery opened on the premises of Sugihara Shoten. The Wagamiya, which was renovated from a 100-year-old warehouse adjacent to the company’s premises, exhibits washi works as interior decorations and art, such as lighting fixtures and vessels, as well as samples of kozo, mitsumata, and gampi, the raw materials used to make washi, and the paper from which they are made. A huge tapestry of washi hanging from the ceiling is also a highlight. Washi items such as “Habutae Washi,” “Tear-off Business Cards,” and “Lacquer Washi” are also available for purchase.

Mr. Sugihara welcomes visitors with hand-brewed coffee and responds to clients’ requests to actually touch the washi and listen to their stories. He is truly a sommelier of washi as he searches for the best proposal while explaining the historical background and transition of washi.

A deserted century-old warehouse was transformed into a place for people to gather through the use of washi. Washi has the power to connect people with each other, and will surely survive,” says Sugihara.

I will listen to various people and try everything through trial and error. In the process, I hope to find something new.

Sugihara Shoten will continue to connect people with Echizen washi and weave a new tradition of washi.

The post Echizen Washi connects people and creates new traditions. Yoshinao Sugihara, 10th generation of washi wholesaler Sugihara Shoten / Echizen City, Fukui Prefecture first appeared on NIHONMONO.

A moment with auntie artisans.

When we visited ”Shiroishi Washi Workshop” in Shiroishi-shi, Miyagi, two people were making paper together.
”How long have you been working here?”, asked Nakata. ”40 years. I do the paper making, and she makes the material, also for 40 years. It’s a hard job, since we are old.” said one of the workers laughing. Here, three artisan ladies perform the tasks. From the ceiling hang several ”keta” to make paper of various sizes, and ”kozo”, the material for paper was skinned and stacked high by the window.

Watching how they moved ”suketa”, Nakata asked ”do you move the ”suketa” both sideways and back and forth when you make paper?”
”You move it back and forth when making ”paper cloth” and back and forth and sideways when making ”paper clothes”.
How the fibers overlap depends on which direction the ”suketa” is moved, so the movement is changed depending on what is being made.
”Paper cloth”(”shifu”) is a fabric woven with yarn made by cutting Japanese paper thinly and twisting it. Paper clothes (”kamiko”) is a garment made from paper that is twice painted with glue made from ”konnyaku powder”, first dried to make it strong, then rubbed to make it soft, and finally sewn into a garment.

Paper cloth and paper garments that suit the climate

”Once, there were 300 ”washi” workshops, but we are the only one remaining.”, said Mashiko Endo, who greeted us at her workshop, Shiroishi Washi Workshop.
”In this district, agriculture and silkworm culture are the main industry. The silkworms are fed with mulberry leaves, but there are several different kinds of mulberry, and the silkworms are fed with different mulberry leaves each season. ”Kozo” is also made from mulberry trees, but since there are many kinds of mulberry, there are many kinds of ”kozo”.” said Endo. Out of these different kinds, the workshop uses a kind called ”kajinoki”. It has very fine, long and soft fibers, and because of this characteristic, yarn can be made from ”washi” and from the yarn, soft paper fabric can be woven.
”Tohoku was too cold to grow cotton, and cotton was very expensive. So instead of wearing cotton padded clothes, people wore paper garments to keep out the cold.”, she explained.

In summer, the paper garments absorb sweat quickly and dry quickly, and keeps one cool. In the winter, the paper garments are worn under the ”kimono” to keep one warm. The garments made from Shiroishi washi are a product of daily experience, to adapt to the climate of the region. We were shown the actual paper cloth and garments, and were surprised by the pleasant texture and their beauty.
”Everything we make is from this land, the material and the method and everything.” said Endo. There are things that can only be made in the particular climate of the land, and there are cultures that are necessary to the land.

History of Shiroishi washi

The origin of Shiroishi washi is not known exactly, but it is said that in the Heian period ”washi” called ”Michinoku-gami” was made in Tohoku, and the art of paper making has continued since then. In the Edo period, the local government of the Date clan encouraged the development of paper making, and the industry flourished.
Though paper making was one of the most famous products of the Date clan, it declined for a while during the Meiji period, Endo’s husband, Tadao Endo revived the traditional art of papermaking and Shiroishi washi. Shiroishi washi was recognized for its excellent strength and durability, and was designated by the Imperial Household Agency as archival paper for recording important subjects. It continues to be used for restoration of cultural properties.
Since 1973, they have been creating the paper to make the paper garments worn by the monks participating in Shuni-e (Omizutori) at Todaiji Temple. Nowadays, only a small quantity of Shiroishi washi can be made. Each sheet is made with great care. On a pillar of the ”sukibune” in the workshop, there were these words:
”Good paper cannot be made, unless the heart is still. Take a deep breath and face the ”sukigeta””

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Traditional Kamikawasaki “washi” from Nihonmatsu

Since the ReVALUE NIPPON PROJECT theme in 2011 was ”washi”, ”washi” is one of the materials that Nakata has special interest in. There is a area known for ”washi in Fukushima Prefecture – Kamikawasaki district of Nihonmatsu City.
The history of ”washi” in Kamikawasaki is long and dates back to the mid Heian period. In the early Heian period, the paper was called the ”paper of Michinoku”, and was popular among the nobles. It is also said that ”Mayumigami”, commonly used by writers such as Murasaki Shikibu or Seisho Nagon was also Kamikawasaki ”washi”. It’s exciting to think that the same paper that was used for novels which were enjoyed by people in those times, has been passed on to the present.

The sound of water resonating in the quiet

We visited Nihonmatsu Washi Traditional Crafts Gallery which produces and sells Kamikawasaki ”washi”. Not only do they sell products and sundries made with ”washi”, they also make ”washi” here.
All the materials used to make ”washi” in the Traditional Crafts Gallery comes from local mulberry trees. 2 to 3 meter mulberry trees are harvested in December. Then the bark is peeled, boiled and pounded to make ”washi”. The paper that is made here is genuinely Kamikawasaki ”washi”.
We could hear the rocking sound of the papermaking vats or ”sukifune” as we were listening to the explanation. We observed their work. In the ”sukifune”, water and fine fibrous ”kozo” was mixed with a tool called ”maguwa”. After this, ”neri” (”tororo aoi”) is added, mixed well, then scooped up with the papermaking mat or ”suki take”.

Carrying on the traditions of washi paper

As the name Nihonmatsu Washi Traditional Craft Gallery suggests, along with production, they are also focused on passing on the tradition. Nakata asked what kind of activities they were involved in.
”The most important thing is for people to develop an interest in ”washi”. The best way to make this happen is for them to come in contact with it. So we offer free papermaking sessions to all of the city’s middle school students.” our guide, Yoshishimizu told us.

Handmade “washi” diplomas

Another activity that Nihonmatsu City is involved in is ”diplomas”. Yoshishimizu said she graduated from a local middle school, and the diployma she received was made with Kamikawasaki ”washi”.
She laughed as she told us ”I don’t remember where I put my elementary school diploma but I still have and cherish my Kamikawasaki ”washi” diploma.

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Paper that keeps the writing intact even when wet

The history of Nishinouchi ”washi” goes back about 350 years.
This paper was used in the ”Dai Nihonshi” history book compiled by the Famous Mitsukuni Mito, otherwise known as Mito Komon. Its strongest feature is its strength. So it was used not only for ”shoji” paper screens, umbrellas, and lanterns, but also for accounting books recording the receivables. This is not only because it’s hard to tear, but according to Kikuchi, it is also because the writings do not bleed even when wet. ”So if the wholesalers had a fire, they threw the account book in the water. That way they will not lose records.” he said. This paper is that strong.

Products utilizing this strength

As we were discussing the strength of the paper, Kikuchi brought a piece of ”washi”. As we wondered what he was about to do with it, he abruptly soaked it in water and started twisting it like a wet rag. Nakata was totally taken by surprise. Kikuchi handed the paper to Nakata and told him to stretch it by pulling on both ends forcefully. It didn’t tear nor break. He tried many times, but there were no signs of tearing. He pulled it so hard that it made a loud pang pang noise, and water splashed from the paper. It was like pulling on a piece of cloth. This is because two pieces of paper with the fiber running vertically was pasted, with another that had horizontally running fiber with glue made from ”konnyaku” (jelly-like food made from a type of potato). That gave them this extraordinary strength and waterproof quality.
In Ibaraki, they utilize this paper for ”noren” curtains and cushion covers. They are the top selling items now. Strength of paper is still recognized as the quality of Nishinouchi rice paper.

The motivation from within.

We interviewed Masaki Kikuchi , a first class ”washi” master. We also interviewed the paper and clothes artist Sadako Sakurai who said that she can’t spin a thread unless its Kikuchi’s rice paper. Only Kikuchi can make paper that’s strong and sensitive at the same time, she testified.
Kikuchi started his career as an ordinary office worker after he graduated school. He never meant to inherit the family business. But after awhile, he realized he was not happy working in the office and came home to become a craftsman. He says it was a hard way from there. His paper didn’t sell very well. It took him about 10 years for them to sell, and when he opened a shop, his customers educated him in many ways. That’s how he became a full fledged craftsman, he told us.

Kikuchi now makes paper with his son. He never told his son to inherit this business, but like him, his son worked as an office worker for a while before he voluntarily said he wanted to make paper.” It makes a whole lot of difference to be told to do something and to do it as a result of the inner motivation and interest in the job. It is really up to one’s motivation. ”

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A hometown of Japanese paper, Ogawa-machi

Ogawa in Hiki-gun, Saitama Prefecture is famous for Japanese paper. Especially, ”Hosokawa paper” which is thick and durable, is designated as Important National Intangible Cultural Property. The history is not exactly known, but one theory has it that the origin goes back about 1300 years.

It developed into an industry in Edo period. Being near the city of Edo which had a population of more than one million, the paper making industry was established there, as the demand for paper went up. More people meant more demand of paper makers in Ogawa studied various kinds and forms of paper from all over Japan, and developed skills enabling them to produce all kinds of paper.

Paid tax by paper!?

According to Takamasa Kubo of Kuboseishi, who showed us around, there is other reasons why, paper making industry became active in Ogawa.
One reason was, there was an abundance of ”kouzo” or paper mulberry, the main material for paper. The plant has very strong roots, so it was planted abundantly to reinforce soil. In the mountains surrounding Ogawa-machi, many ”kouzo” trees were planted to hold the soil to dam up water. Paper making started using these ”kouzo” trees.

Another reason was, the tax was paid by paper. ”In those days, there was not enough rice or other farm products to pay tax. So people paid tax with paper. It is believed that this led to further development of paper making industry,” said Kubo. Demand, availability of material, and tax, these elements have lead to the development the local traditional industry.

Why wouldn’t wet paper stick together?

In the workshop, Haruo Kubo, the manufacturing manager of Kuboseishi showed us the process of paper making. He worked with a large wooden frame called ”sukigeta”, which he rocked back and forth. This process is something one would imagine by the phrase traditional paper making . Of course, it is not easy as it looks. It requires well trained skills.

Nakata had a try, but he had to struggle very hard, since it was difficult to make an even sheet of paper in the ”sukigeta”. Then the sheets of paper are stacked carefully one by one. Then Nakata asked, ”And the wet sheets of paper don’t stick together, do they?”

”That’s right. By rocking, and straining water, the fibers of paper lie flat, so they don’t stick together. When these processes are skipped, the fibers become rough, and they stick together.”
That means each sheet is already a finished product. The stacked sheets are then squeezed and finally dried.
At Kuboseishi, they make a wide variety of paper, such as plain Hosokawa-gami, or paper with texture or dyed paper. In Japanese living style, there still is a lot of paper used in our surroundings, such as ”shoji (paper screens)” and ”fusuma (paper doors)”. I am sure that you will want to be more familiar about Japanese paper, when you get to know the traditional paper making.

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