Quietly facing the wood and carefully working with his hands. Eita Kitayama, a woodworker in Ishinomaki City, Miyagi Prefecture, quietly continues his work. He spares no time or effort in each of his works and spends his days honestly tackling each one. Mr. Kitayama’s woodworking tools for daily life, dyed with plants and trees, are not only beautiful in form, but also warm and practical in some way. Behind this is a deep understanding of materials and a strong desire to create tools that will continue to be used in daily life.

A Career Traced Back to a Yearning for Craftsmanship

Mr. Kitayama grew up in a family that ran an ironworks. His grandfather, with whom he often played as a child, was a crafty man who could make anything, including bamboo-copter, stilts, and fishing rods. Kitayama says that he admired his grandfather’s skills and naturally fell in love with making things. The surrounding area was thick with plants and trees, an environment that stimulated his creativity.

Mr. Kitayama’s career began in the clothing industry, and he eventually became a furniture maker, remodeler, and store interior decorator, experiencing a variety of “making” workplaces. At the root of his seemingly disparate career paths lies a longing for craftsmanship that began at an early age.

Self-taught craftsmanship and the path to becoming an artist

While working as a furniture craftsman, Kitayama made frames and other small items from scrap wood and sold them at a marché. As he began to make connections with other artists, he began to receive orders to make stands for exhibitions. As he worked on various works, he taught himself to use machines such as lathes for cutting and processing.

At first, I couldn’t cut anything, no matter how hard I sharpened it, and the lathe kept rejecting my work,” he says. But as I continued to use them, I finally got the hang of it.

The skills he honed in this way eventually paved the way for him to become an artist. One day, an artist acquaintance asked him if he would like to participate as a guest in a private exhibition, and he exhibited a compote dish with legs that he was making at the time. The response he received was unexpectedly positive, and he decided to pursue his career as an artist.

Beautiful and Practical for Everyday Life

Kitayama’s works are characterized by graceful curves and rich colors. They are also highly practical as daily necessities. They are filled with his thoughts for daily life.

Wooden tableware has an image of being vulnerable to water, but Kitayama’s pieces are coated with glass and can be handled just like tableware made of water-resistant materials. Even if the water repellency wears off with continued use, it is no problem to recoat. The color also changes little by little, giving it an aged appearance. Some of them are used in restaurants, and the more they are used, the deeper the gradation becomes, which some customers say is cool.

Kitayama’s products can be used without inconvenience and also have interior design qualities. While blending into everyday life, they gently add color to the scenery of daily life.

New colors of wood dyed by plants and trees

The rich hues of Kitayama’s works are created by dyeing with plants and trees. While it is common to dye cloth and thread with plants and trees, Kitayama dares to dye wood, which is vulnerable to water.

When I decided to become an artist, I wanted to do something that no one else was doing. I happened to see a camellia near my parents’ house, and it hit me. I knew camellias could be used for dyeing, so I tried it and the color came out beautifully, and I thought, ‘This is it! I thought, ‘This is it!

The dyeing process differs depending on the wood, type of plant, and water quality, and it took countless trials and errors until he was satisfied with the color. Since this was not something that someone else had practiced, there was no way to do it somewhere else. He continued to try everything by himself.

The main wood used in the production process is Japanese maple. The bark is white, and the dye comes out the best among the various woods I tried. For dyes, I often use the fruit and leaves of pomegranate and camellia petals. I feel at home with these familiar materials, so I continue to use them, even now, while having them sent to me from my parents’ house.

Because it is a natural material, no two are alike. The wood has a rich individuality in texture, color, and form.

The future pioneered by the connections between people

Kitayama was fascinated by craftsmanship under the influence of his grandfather, and chose to become an artist after an acquaintance approached him. At the root of his quest for monozukuri was “connections with people. And even now, new challenges are born from his connections with people.

Breathing life back into thinned wood from the Oshika Peninsula

On the Oshika Peninsula southeast of Ishinomaki City, abandoned virgin cedar forests have become a problem. However, a recent immigrant is thinning the forest and using the cedars to make vessels. I would like to create new value by dyeing with the cedar.

While confronting local issues, Mr. Kitayama never stops moving forward with his “just give it a try” spirit. The day is not far off when he will breathe new life into thinned wood.

Creating a gallery that connects makers and users with his own hands

In addition to his work, Mr. Kitayama has another dream in mind.

There are not many people involved in crafts in Tohoku, and there are almost no galleries in Miyagi where you can exhibit your work. So I would like to set up my own gallery and create a place that connects makers and users.

Kitayama says he loves his work and sometimes finds himself working until 9:00 or 10:00 at night. I never thought I would become a writer. I’ve had many jobs, but this is the most fun I’ve ever had,” he says with a twinkle in his eye.

As Kitayama says, he is sincerely devoted to wood, plants, and lathes.

The post Eita Kitayama, an enterprising woodworker who “wants to challenge what no one has done before” (Ishinomaki City, Miyagi Prefecture) first appeared on NIHONMONO.

Koga City, adjacent to Fukuoka City, the capital of Fukuoka Prefecture, is bordered by lush green mountains to the east and faces the Genkai Sea to the west, boasting a beautiful coastline of white sand and green pines. Located here is Masuda Paulownia Box Shop, a specialist manufacturer of paulownia boxes that has earned deep trust both domestically and internationally since its founding.They produce a wide range of products, from special paulownia boxes for storing the works of Living National Treasures to paulownia boxes for everyday use. What is the appeal and dedication to craftsmanship behind their work?

The Unwavering Craftsmanship of Paulownia Box Making, Passed Down Since Founding

Founded in 1929, the company traces its origins to Mr. Fujii’s great-grandfather, who honed his skills at a paulownia box shop in Hiroshima. He branched off from the main family business to open a shop in Fukuoka, dedicated to crafting boxes for traditional crafts like Hakata dolls and Hakata-ori textiles.The business was then passed down to the second-generation grandfather and then to the third-generation Fujii. Rooted in their hometown of Fukuoka, they grew into one of Japan’s largest companies, producing approximately 1.2 million paulownia boxes annually to house crafts and gifts from across the country.

Characteristics of Paulownia Boxes and Environmental Considerations

Paulownia boxes have long been used to store precious items like clothing, books, jewelry, tea ceremony utensils, Buddhist altarware, and food. Paulownia wood excels in humidity control, insect resistance, and fire resistance. It is also lightweight yet sturdy among woods, making it easy to transport and providing reliable protection for stored items without warping.Beyond functionality, their refined grain and elegant, sophisticated appearance have long contributed to their popularity. Furthermore, while cedar takes 50 years to mature, paulownia grows remarkably fast, reaching maturity in just 25 years. With careful maintenance, these boxes can be used for generations, making paulownia a recognized eco-friendly material.

Changing Uses and New Demands for Paulownia Boxes

Recently, shifts in lifestyle have brought changes to the uses of paulownia boxes. While demand for boxes storing kimonos and traditional crafts is declining, the need for them as gift boxes for items like sake, chocolate, tea, and beef is growing, making paulownia boxes more commonplace.

To meet this expanding demand, Masuda Paulownia Box Shop integrated its two traditional operations: the artisan workshop crafting each box individually to match the craftwork, and the factory handling mass production. This structure allows them to leverage the skills of veteran artisans while accommodating a wide range of needs, from custom orders to large-lot production.

Paulownia boxes come in various grades, ranging from high-end, one-of-a-kind boxes crafted for National Living Treasure pieces or museum collections to more affordable boxes used for food or gift packaging. Grades vary based on materials and specifications. This structure, designed to meet such diverse needs, has led to increased gift applications and overseas exports, boosting production volume to more than double that of 15 years ago.

From Reactive to Proactive

Mr. Fujii took over the family business from his grandfather and became president at age 25. Considering what he could and should do as a young leader, he set three goals: “Make younger generations more aware of the merits of paulownia boxes,” “Increase orders to boost employee morale,” and “Expand the business scale to raise the profile of paulownia boxes.”Mr. Fujii questioned the passive mindset that boxes were merely supporting actors to the contents, where form and quantity were entirely dictated by the contents. Resolving that this couldn’t continue, he took decisive action and began developing original products that leveraged the unique characteristics of paulownia wood.

The Birth of the Hit Product: The “Paulownia Rice Storage Container”

With the theme “Bringing Paulownia Boxes Closer to Daily Life,” new product planning began with three goals: making people aware of the benefits of paulownia boxes, utilizing the company’s accumulated box-making expertise, and above all, creating products people would genuinely want.

First, the functional properties of paulownia wood—its humidity-regulating and insect-repelling effects, plus its lightness—led to the idea of a “rice storage container.” The aim was to let people experience the deliciousness of rice (i.e., maintaining rice quality) at their daily meals and convey the excellence of paulownia boxes.

Next, we aimed for a simple, timeless design that would blend seamlessly into modern kitchens. We went through multiple iterations with the product designer, discussing not only aesthetic beauty but also, with input from our craftsmen, whether the shape would be easy to produce in the factory.

Finally, the most challenging aspect was determining the “price point.” We considered the appropriate price from various angles: for personal use, as gifts, and for export.

Thus, our flagship product, the “Paulownia Rice Storage Container,” was born. In 2017, its quality and form were highly praised, earning it a spot in the “JIDA DESIGN MUSEUM SELECTION” (Vol. 18) by the Japan Industrial Designers Association (JIDA), an organization dedicated to preserving outstanding design for future generations. It has since grown into a long-selling product, with cumulative sales exceeding 40,000 units.

Feedback from buyers includes: “Rice stays incredibly fresh!” “Lightweight and easy to use!” and “The simple design is stylish!” Many who use it personally gift it to family and friends, gradually spreading the word about the Paulownia Rice Storage Container’s merits through word of mouth.

The rice storage container sparked interest in paulownia boxes themselves, leading to increased inquiries, including from overseas. Unexpectedly, the rice container became an effective “salesperson” for promoting the appeal of paulownia boxes.

Within the company, employees began seeing their handmade products—previously unseen—in department stores and high-end interior shops. This spurred them to actively participate in product development, asking: “Can we achieve better finishing? Can we make production more efficient?” Subsequent releases like vegetable and bread storage boxes, and the house-shaped bookend “Book House,” also gained popularity, steadily expanding their original product line.

The Future as a Packaging Coordinator

Masuda Kiri Bako Ten’s reputation grew after creating its own products. Moving forward, while upholding its founding principle of providing high-quality goods, the company aims to offer comprehensive proposals encompassing not just box size, design, and logo placement, but also the softer aspects like cushioning materials, string, shipping methods, sales systems, and promotional strategies.”Conceptually, we see ourselves more as tailors than manufacturers,” says Fujii. “Based on factory data, we want to fulfill a consulting role that fits each customer—advising on what products to package how to sell well, or how to approach overseas markets.” They pursue new possibilities for paulownia boxes not merely as storage tools, but as entities bridging Japanese traditional culture with modern lifestyles.
Born from the idea of safely and beautifully storing cherished items, the paulownia box is a gift from nature. It fits perfectly into people’s lives across generations, adding color to their daily existence.

The post Masuda Paulownia Box Shop: Crafting Paulownia Boxes That Blend Time-Honored Traditions with Modern Aesthetics / Koga City, Fukuoka Prefecture first appeared on NIHONMONO.

Hideki Takayama is a woodworker who creates architectural interiors and furniture in Mashiko Town. Mr. Takayama is also involved in the redevelopment of a historical building in Kyoto, the former Kyoto Central Telephone Station, and has gained recognition for his work on the architectural project of the Ace Hotel Kyoto, for which Kengo Kuma supervised the architectural design.

Imagining people and space with an emphasis on human connection

Mr. Takayama creates furniture that can enjoy the aging process of wood by combining old and discarded lumber. The warmth of his work is expressed through the importance placed on the texture of the wood.

Mr. Takayama values human relationships and says, “I don’t take orders unless I have a connection with the client.” He communicates with the client, receives the client’s ideas, and gives form to the furniture by envisioning “where it will be placed and what it will be used for. This is why he is able to create furniture that blends naturally with the space and feels right at home there.

Furniture made from old wood that fits well in an advanced space

There is one place where one can strongly feel Mr. Takayama’s sense of the world. That is “Shinpukan” located near Sanjo Street in Kyoto. The facility is a one-of-a-kind commercial space where the latest trends meet Kyoto’s originality, with a lineup of stores unique to Kyoto in addition to new business model stores that are new to the Kansai region and Kyoto. The Ace Hotel Kyoto, located in the Shinpukan building, was created as Asia’s first Ace Hotel based on the concept of “East Meets West. The oval tables and benches custom-designed by Mr. Takayama can be seen in the restaurant “Mr. Maurice’s Italian” in the “Ace Hotel Kyoto.

In addition, “Pilgrim Surf Supply KYOTO” handled by BEAMS opened in “Shinpukan. Pilgrim Surf Supply, a select store from Brooklyn, New York, proposes a lifestyle with outdoor activities centering on surfing through the filter of American East Coast culture, based on the concept of a “dual life in the city and nature. Pilgrim Surf Supply proposes a lifestyle of outdoor activities centered on surfing through the filter of American East Coast culture. The main table at Pilgrim Surf Supply KYOTO was designed by Mr. Takayama.

Self-building a home in Mashiko, where he moved to

Mashiko is the home of ceramics. Located in the southeastern part of Tochigi Prefecture, Mashiko has been famous nationwide as a pottery production center since the end of the Edo period. Mr. Takayama’s home and studio, where he produces woodwork and furniture, are located in an area of Mashiko that is rich in nature and abundant in greenery.

He moved to Mashiko in 2002 and has been building houses ever since.

Before moving here, I helped a farmer build a greenhouse. I built a greenhouse when I was helping a farmer before I moved here, and it was surprisingly comfortable. That’s when I came up with the idea of building a house like a plastic greenhouse. When I found this land, I thought that if I made a prefab house with a lot of glass surfaces, I could expect a similar effect, so I started building it.

Through the large windows, one can see a view of the rice paddies spreading out all over the land. During the rice planting season, the rice fields around the house are flooded with water, making them look like a lake. Beyond the woods, vineyards can be seen on the hills.

How did I end up in Mashiko?

Mr. Takayama, who has lived in Mashiko for 22 years, is originally from Nanao City, Ishikawa Prefecture. After graduating from Bunka Fashion College, he worked in Tokyo making stage costumes and one-of-a-kind clothes and traveling abroad when he earned enough money. At that time, she heard a rumor that “interesting people were gathering in Mashiko.

Before my child was born, I was looking for a good place to live…I wanted to make a hometown for my child when he or she was born. I liked this place because the scenery was somewhat similar to that of my parents’ house.

I was also “happy” with the local people’s understanding of craftsmanship and their culture of looking out for people who are willing to try various things.

Living in Mashiko began with the creation of his home. Furniture Making

Mr. Takayama’s furniture making started when he joined a restaurant owner in Utsunomiya who was opening a café in Mashiko to work on the interior design.

He was required to make tables and other furniture out of scrap wood and other materials, and this is where he came into contact with furniture making.

Mr. Takayama’s furniture making started as a coincidence. However, it was the start of Takayama’s furniture making, which is typical of him who values “karma”. Takayama’s furniture, which is made by skillfully manipulating wood and naturally fits in with the space, is not something he learned from others.

Learning from others is the only way to fit into a mold,” he says, adding that he started out as a self-taught craftsman, “I learned from working in the fashion industry, so I decided to do what I thought was right. For Mr. Takayama, furniture making is an expression of his way of life.

One way of expressing this is that he does not accept requests unless he has a “connection” with the people involved. Rather than design, he creates furniture by imagining the space where the furniture will be placed, the relationship between the furniture and the people who will use it, and the conversations and time that will be spent there.

He believes that furniture should be born from the necessity of integrating into daily life and connecting people and space.

Connections with People Create Opportunities

In Mashiko, there is “starnet,” which opened in 1998 with the concept of “living comfortably with what is around you and within your reach. The concept is “living comfortably with what is around you and within your reach.

Mr. Takayama also created a table for “starnet” as a matter of chance. Furthermore, through the connections made at “starnet,” Mr. Takayama’s family has developed a wine-making business led by his son, Genki.

Takayama says with a laugh, “I was thinking of doing furniture making as a handicraft in Mashiko, and now we are talking about wine.

It is a story that is typical of Mr. Takayama, who values human connections.

The Challenge of Winemaking

When Mr. Takayama’s son, Genki, was in high school, he asked a friend of the owner of “starnet” if there was anywhere he could go to see handicrafts and art during his summer vacation.

The reply was, “Go to Florence.

Surprised at the thought of going abroad, he decided to take advantage of the opportunity and spent a month of his summer vacation in Italy, where he saw about 30 different kinds of handicrafts and visited about 10 museums.

There, he was shocked by the artistry of the last winery he saw. So, after graduating from high school, he went to Italy to work in the wine industry.

Although it was recommended to him, the flexibility that allowed him to go study in Italy alone while still in high school was due to Mr. Takayama’s own behavior in his youth, “Whenever I earn money, I go on overseas trips.

Vineyards Cultivated by the Family of Three

After returning to Japan, Genki realized that the wines he was attracted to were “those that have a relationship with the region in the background” in his study of wine.

When he thought about where he should make wine, he came up with the idea of “making wine in Mashiko.

A senior colleague and an acquaintance connected me to Coco Farm Winery, a winery at Kokoromi Gakuen, a designated support facility for people with disabilities in Ashikaga City, Tochigi Prefecture, and I was able to learn and cooperate with the winery.
Coco Farm Winery” is located in Ashikaga City, Tochigi Prefecture, and is known throughout Japan as one of the leading wineries in Japan, having been used for dinners at international summits.

Furthermore, he was able to collaborate with the local people, and his family of three cultivated land that had begun to fall into disrepair due to aging and lack of management. Now in its third year, the Buto vineyard is planted with nearly 300 vines of 11 varieties, mainly red grapes. In the future, he would like to increase the number of white grapevines as well, depending on the characteristics of the land and other factors.

His father, Mr. Takayama, joined him, his eyes shining with excitement about the future of the vineyard and wine.

Cultivating “Craftsmanship” and Harvest Festivals with Local People

The Takayama family’s wine challenge, led by Genki, has just begun. It is expected to take five to seven years to harvest the grapes, and they hope to spend time “making things” with the local people.

The day may not be far off when their dream of holding a harvest festival comes true, as the three family members smilingly say.

The new challenge of winemaking was also born out of the “connections with people” that Mr. Takayama has always valued.
However, the starting point and core of his activities is furniture making that involves working with wood.

He breathes new life into each piece of old wood, placing importance on dialogue with the client and harmony with the space. Mr. Takayama will continue to make warm furniture in Mashiko that gently accompanies the lives of its users.

The post Hideki Takayama, a woodworker who combines old and scrap wood to create warm furniture / Mashiko Town, Tochigi Prefecture first appeared on NIHONMONO.

Bamboo has been a familiar presence in Japanese life since ancient times and is said to have been cultivated in Japan since the Jomon period. While the beauty of bamboo groves is well known, bamboo shoots are also beloved as a spring delicacy. Located in Utsunomiya City, Tochigi Prefecture, the vast bamboo farm “Wakatake no Mori Wakayama Farm” not only cultivates bamboo but also opens its grounds as a filming location and tourist spot, sharing the charm of bamboo with visitors.

Utilizing a farm that has been in operation for over 100 years as a tourist attraction

Spanning 24 hectares—equivalent to approximately five Tokyo Domes—the “Wakatsuki no Mori Wakayama Farm” features expansive chestnut orchards and bamboo groves. Located in the suburbs of Utsunomiya, this historic farm has been cultivating bamboo shoots and chestnuts for over 100 years.

While continuing its traditional cultivation of bamboo shoots and chestnuts, the farm opened its doors to the public in 2017. It has since gained attention as a tourist destination where visitors can enjoy the breathtaking views of the vast bamboo groves stretching as far as the eye can see.

Additionally, the farm has been used as a filming location for popular movies and dramas such as “Rurouni Kenshin” and “Kingdom,” as well as music videos by famous artists, attracting many fans who visit from afar for “pilgrimage tours.” The farm is operated by Wakayama Farm Co., Ltd., with Wakayama Taro serving as the company’s representative director. As the third-generation head of Wakayama Farm, Wakayama has been dedicated to promoting the charm of bamboo.

A filming location for famous movies

Wakayama’s ancestors moved to this area around the 1670s. Since then, the family has been farming the land and living in harmony with nature for over 350 years. Under Wakayama’s grandfather, the farm began as a bamboo and chestnut farm. Under his father, who was passionate about research, the farm shifted its focus to bamboo and chestnuts, with an emphasis on bamboo variety improvement.

In Mr. Wakayama’s generation, the farm gained rapid recognition after collaborating as a filming location for the music video of Shiina Ringo’s “Irohaihoheto” released in 2013 and the 2014 film “Rurouni Kenshin: The Legend Ends.”In modern times, where well-maintained, beautiful, and vast bamboo forests are rare, the farm’s mystical, majestic, and otherworldly landscapes made it an ideal location for creating such scenes. Word spread quickly, and the farm continued to be used as a filming location for numerous movies, dramas, music videos, and commercials.

Yoshiyama, who had long desired to share the beauty of the bamboo groves with more people, decided to open the site to the public in February 2017, responding to requests from fans who wanted to see the locations used in the films.

In 2019, it was used as a filming location for the hit movie “Kingdom,” gaining even more attention and popularity. The number of tourists has continued to increase every year, reaching 90,000 visitors annually as of 2024. Visitors can leisurely stroll through the impressive bamboo forest, enjoy matcha tea and sweets in a teahouse within the forest, and even ride a swing.Bamboo shooting and bamboo craft experiences are also available, and at night, visitors can walk through the enchanting bamboo forest illuminated by lights.

Additionally, the building adjacent to the entrance features exhibits explaining bamboo and showcasing traditional bamboo crafts, making it an enjoyable facility for visitors of all ages.

Bamboo: Large and Fast-Growing

There are about 20 species of bamboo, or more accurately, bamboo-like plants, that grow in Japan. Bamboo is not classified as a tree, but as a member of the grass family. It can grow up to 20 meters in just two months, and is known for its rapid growth and strong reproductive ability.

The part of the plant that is above ground, similar to the trunk of a tree, is called the “culm,” and it dies after about 10 years.However, the underground rhizomes, which form a network of roots, continuously produce new shoots that grow into new bamboo plants above ground.

According to Mr. Wakayama, this method of reproduction via rhizomes is a characteristic of bamboo native to East Asia, such as China and Japan, and it is this process that creates bamboo forests.

The original varieties are also utilized for urban landscaping.

Wakayama Farm, home to the “Wakayama Bamboo Grove,” cultivates approximately 100,000 bamboo plants, including the “Moso bamboo,” which is representative of Japan and grows to the largest size among Japanese bamboos, as well as the “Madake bamboo,” which has been native to Japan since ancient times, and the “Kikkou bamboo,” whose joints alternate in swelling to form a pattern resembling a turtle’s shell,“Kinmei Mousou-chiku” (golden Mousou bamboo) with beautiful golden stems, and “Hachiku” (light bamboo), among approximately 15 varieties.

Additionally, the farm is the only one in Japan specializing in the cultivation and sale of varieties for landscaping. Varieties such as “Akebono Mousou-chiku” and “Hime Akebono Mousou-chiku,” developed through the breeding efforts of Mr. Wakayama’s father, are original varieties of Wakayama Farm.In particular, “Hime Akebono Moso Bamboo” reaches a maximum height of approximately 9 meters, making it suitable for landscaping and enabling the creation of beautiful bamboo landscapes in facilities with limited space, such as those in the Tokyo metropolitan area.

Promoting the appeal of bamboo as food

The bamboo at Wakatsuki no Mori Wakayama Farm is not just for viewing. The bamboo shoots and chestnuts cultivated over three generations for more than 100 years are sold in markets and highly regarded by professionals at inns and restaurants.

Adhering to the philosophy that “agriculture lies in soil cultivation,” the farm employs natural循环 farming methods that minimize reliance on chemical fertilizers. The “black bokudo” soil of the Kanto region is rich in organic matter, resulting in a dark color. It has excellent water retention and permeability, and its soft texture facilitates the accumulation of organic matter, leading to bamboo shoots with high nutritional value.

Processed products made from bamboo shoots and chestnuts are sold in the farm shop and online. In 2023, they opened a café and restaurant on the premises, serving dishes made with their own bamboo shoots and chestnuts, as well as seasonal ingredients from the local area.

Sharing the sustainable charm of bamboo with the world

Wakayama Farm, known as Wakayama no Mori, seems to be successfully promoting the appeal of bamboo. However, according to Mr. Wakayama, “In order for people to truly understand the benefits of bamboo, we need to continue making steady progress.”

This is because in recent years, abandoned bamboo forests have become a problem throughout Japan. Bamboo, which has a high reproductive capacity, invades and kills trees growing on mountains, leading to negative perceptions of bamboo, which is sometimes referred to as “bamboo damage.”

“In the past, people used to dig for bamboo shoots in the spring everywhere, but now that no one does, they keep spreading,” says Mr. Wakayama.

However, in reality, simply laying a thin rubber sheet on the ground can easily prevent rhizomes from spreading randomly. This method allows bamboo to be used as landscaping without harming surrounding trees. Additionally, from the perspective of the SDGs’ “plastic reduction” initiative, bamboo is durable and has antibacterial properties, making it suitable for use in dishes and utensils.

At Wakayama Farm in Wakayama, the bamboo utensils used to serve matcha tea at the tea house in the bamboo grove are designed to be taken home and reused.

Truly conveying the charm of bamboo means not only highlighting its positive aspects but also addressing negative perceptions and resolving existing issues one by one.

Though it may seem like a challenging journey, Wakayama’s voice is strong and optimistic: “I want more people to learn about bamboo-related food and culture, and use them effectively. I hope to convey the charm of bamboo and help people and bamboo coexist once again.”

As a messenger of bamboo’s new charm, this initiative will continue into the future.

The post Reviving Japan’s bamboo. Bamboo farmers at Wakatsuki no Mori Wakayama Farm, a popular filming location and tourist attraction in Utsunomiya City, Tochigi Prefecture. first appeared on NIHONMONO.

Calm and gentle, with a solid sense of presence. The wooden trays created by Shibaji Ochiai, a woodworker, have the power to transform a landscape just by placing them there. We visited his workshop at the foot of Mt. Hira in Shiga Prefecture, where his works come in a variety of colors and shapes, and where he continues to receive orders from galleries and select stores nationwide.

Facing each piece one by one at the workshop in the forest in Shiga Prefecture

Minamikomatsu, Otsu City is located at the foot of Mount Hira on the west side of Lake Biwa. Mr. Ochiai’s workshop is located in a quiet forest with a clear stream running nearby. The site is also home to the workshop of his wife, Sachiko Yano, a maki-e and lacquer craft artist. Many of the houses that stand in the vicinity are vacation homes with few people coming and going, making it a perfect environment for the artist couple to concentrate on their work.

The northern area of Otsu City is home to many immigrants. Some people are engaged in manufacturing.

Incidentally, the northern part of Otsu City in Shiga Prefecture, where the Ochiai’s workshop is located, is close to the large scale nature of Hira Mountain and Lake Biwa, while Kyoto is only a 30-minute train ride away. The area is known for the large number of immigrants from outside the prefecture, especially those of child-rearing age. In addition, some of the newcomers are engaged in manufacturing, and the area has been attracting a bit of attention in recent years.

The word “craftsmanship” covers a wide range of activities, including artists like Mr. and Mrs. Ochiai, gallery and restaurant operators, designers and writers, and new farmers, etc. Mr. Ochiai, who is from Kyoto, chose this location for his workshop 10 years ago by chance. He says he likes living here, where nature is close by and it is easy to get out to the city, because it provides a good stimulus for his life as a writer, which tends to be solitary while he works.

He never took up an apprenticeship, but established his own style as a woodworker in his own way.

In 2000, Mr. Ochiai completed the lacquerware course of the Kyoto City Training Program for Traditional Industry Technicians, and in 2001, he learned the basics of woodworking at awoodworkingschool run by the Jyurinsha woodworking shop in Kyoto’s Minami Ward, which was known for its famous woodworkers. The following year, he expanded his style by learning the woodworking wheel from the late Uzuo Ogura in Eigenji, Shiga Prefecture, known as the home of woodworkers.

I was not born into a family of traditional craftsmen, so I entered the world of woodworking without knowledge or tools. I didn’t have the opportunity to apprentice myself to anyone in particular, so I guess you could say that I created my own style using the techniques and knowledge I learned from many people in different places,” he recalls.

From lacquered bowls to trays. The enjoyment of creation has expanded.

Mr. Ochiai, who studied lacquer ware in Kyoto, says that when he first started his career, he mainly made lacquered bowls. However, he says that he began to feel ” stuck” with the bowls he was making.

The reason, he says, is that it was difficult to add original individuality to bowls whose size, shape, and use were fixed to some extent. Rather than designing by painting or lacquering, Mr. Ochiai wanted to pursue expression by utilizing the individuality and texture of the wood, and began to explore options other than lacquered bowls.

One of the major clues he found was the ” kurimono ” technique he learned at the Jyurinsha. Using the technique of kurimono, in which a single solid piece of wood is carved out with a chisel and a planer, Ochiai creates trays in a variety of colors, shapes, sizes, and types of wood.

While it is important to know the characteristics of each type of wood and how to handle it, including its characteristics and how to cut it, there are relatively few other rules governingthe making of wooden trays, which allows for a high degree of freedom. He finds this appealing, and says that he enjoys making trays even more than before.

Trays that are “free” for the user as well

It seems that Mr. Ochiai’s wooden trays are just as free and exciting for the user as they are for the creator himself.

A search for “#Ochiai Shibaji” on social networking sites reveals that some people use the trays in the style of a Japanese course meal, others in the style of a home meal, others in the style of entertaining by placing a small amount of food on several small plates, others in the style of a cafe with a cake and coffee on a small tray, and still others display the trays with their favorite dishes on them instead of using them for a meal, Some people use the tray to display flowers in a vase.

It can also be used as an oshiki, a tray that is used to create a special atmosphere and for entertaining, or as a casual tray for drinking alone. Its use is up to the person who has it. Such freedom seems to be attracting fans all over Japan.

Design inspiration comes from “old things

Ochiai’s trays add a sophisticated atmosphere when combined with Japanese items such asearthenware,sake cups, and bamboo baskets for serving Japanese food, and an exquisite calmness when combined with Western taste such aslinen cloths,Western tableware, and wine glasses.

Such versatile designs are often inspired by “old things. For example, old pottery, antique tools, Yi Dynasty ceramics, and crafts, as well as non-woodworking objects, are also useful references. Ochiai often goes to antique markets in Kyoto, less than an hour away from his studio, to find inspiration.

Handcrafting a single solid piece of wood

The distinctive feature of Ochiai’s work is the meticulous finishing, which is done by hand with a round chisel, leaving a solid hand-carved mark. Machines are used to cut large boards to the required size, rough carve, and form outlines, but the rest of the work is done by hand. He says he loves the “imperfect beauty” that only human hands can produce, which gives the piece a slight sense of fluctuation.

The key to shaving is ” to carve with the same tension. He says, “The key to carving is to carve with the same tension.” He says that the carving is finished beautifully when it is done in a straight line, with the same rhythm, thickness, and depth. He showed us the actual carving process, which was light and speedy. However, even on the same piece of board, there are hard and soft parts, so the carver adjusts the amount of force each time while carving. He repeats this process over and over again.

This might give the impression of monotonous work that requires a lot of patience, but Mr. Ochiai laughs, “My hands get sore, but strangely enough, I never get tired of it. He says it is interesting to see the grain patterns gradually take on a three-dimensional appearance as he carves. I could tell that Ochiai loves the time he spends working with his hands and facing the wood.

Perhaps it is because of this that when I look at or hold one of Mr. Ochiai’s wooden trays in my hands, I feel a sense of happiness that fills my heart with a sense of serenity. They are elegant, yet somehow gentle and warm.

Bringing out the individuality and expression of the wood

Another important point in Mr. Ochiai’s style is to ” bring out the original character of the wood.

Ochiai’s wooden trays are made of various types of wood, includingchestnut, cherry, zelkova, mizume, yellow cedar, and tabu. They come in a wide variety of colors, including deep black, soft beige, dark brown, reddish brown, and strong yellowish ochre. In some cases, oil finishes are used to bring out the original color of the wood, while other finishes such asiron-borne dyeing, ammonia smoke, and fuki-urushi (wiping lacquer) are used to add variety. They are constantly introducing new methods while considering the compatibility with the type of wood they are using.

No matter what type of finish is used, however, the artist insists on bringing out the individuality and expression of each type of wood. For this reason, the most commonly used finish is oil, which brings out the true color of the wood. When lacquer is used, the lacquer is not applied in a glossy lacquer finish, but rather is wiped off to finish the wood.

Splits and Knots are Also Part of the Wood’s Character

Ochiai also makes use ofknots andsplits in wood, which are often regarded as defects in wood, in his work. He says that when he cuts a large piece of wood and obtains 10 boards, there are usually 2 to 3 boards with knots or splits in them, but he wants to use them instead of throwing them away.

Knots, which are at the base of the branches of the tree, appear as a circular pattern when the wood is milled into boards. Although knotty boards are often avoided because they reduce the strength and appearance of the wood, Mr. Ochiai says they are interesting and tasteful. In fact, many people like trays with knot patterns and choose them.

The same goes for the cracks in the wood, which are used to accentuate the design of the piece. Compared to soup bowls and buckets, trays can be made without worrying about water leakage.

The Goodness of Things That Cannot Be Mass-Produced

The style of production that makes full use of wood, which is now a precious commodity, and the beauty of daily utensils made with exquisite handcraftsmanship have the power to appeal to many people, especially in this age of information and goods.

Mr. Ochiai has held exhibitions throughout Japan, but his guides to these exhibitions include a request for a limit on the number of items that can be purchased. Because most of the process of carving is done by hand, it is difficult to mass-produce his works.

Therefore, the purchaser must face the individuality of each piece and find the one that is right for him or her. It is not difficult to imagine that this process creates an attachment to the piece and that it will be used with great care for a long time. It is only natural wood that can ” grow up ” with the depth of color as it is used.

The wooden trays created by Mr. Ochiai’s hands, while not perfect, have a certain beauty that makes us happy every time we use them, and they will be a small comfort in our hectic days. I felt as if I had seen an answer to the question of what crafts, which have been refined over time and through skill, can bring to people living in this era.

The post Hand-carved trays with “beauty that is not perfect. Ochiai Shibachi’s wooden tray that grows with time / Otsu City, Shiga Prefecture first appeared on NIHONMONO.

In Numata City, Gunma Prefecture, Yoshizawa Ryoichi is the third-generation owner of a 100-year-old finger joint shop. Finger jointing is a traditional Japanese technique of assembling furniture and fixtures without nails or metal fittings, using only wood. Yoshizawa combines this finger jointing with lacquer work to create “lacquerware,” challenging himself to create new products that value human connections.

A 100-year-old traditional woodworking shop takes on the challenge of creating new works.

Yoshizawa Ryoichi, a master woodworker, learned the craft from his father, who founded “Yoshizawa Shibori Shop” in Numata City, located in the northern part of Gunma Prefecture, approximately 100 years ago. While working under his father, the second-generation master, Yoshizawa sought to enhance the wood grain of his pieces by incorporating lacquer techniques. At the age of 18, he spent a year apprenticing at a lacquer shop in Tokyo’s Higashi-Mukojima district. At the time, he used the “fuki-urushi” technique, which involves applying raw lacquer to the wood and then wiping it off with cloth, a method commonly used in woodworking to beautifully highlight the grain of the wood. He applied lacquer to the woodworking pieces made by his father and himself.

In his early 40s, while working on a commission basis, fulfilling orders as requested, his father, the second-generation owner, passed away. As he was reflecting on his approach to his work and preparing to take over the family business as the third-generation owner, the Great East Japan Earthquake struck. This disaster made Yoshizawa realize the importance of human connections, prompting him to reflect on his relationships with past customers and begin asking himself how he wanted to approach his work and what kind of craftsmanship he aspired to create moving forward.

Unbound by the traditional framework of finger joint work, he embraced a more free-thinking approach.

“When my son was in his third year of high school, during a career counseling session, his teacher asked him, ‘What do you plan to do in the future?’ He replied, ‘I want to take over the family fingerboard shop.’ That one sentence made me think he was willing to work with me. It made me want to create various things together, enjoying the process, and leave something behind. It really moved me.”

For Yoshizawa, who was considering ways to rebuild relationships with customers, his son’s declaration to take over the family business inevitably changed his perspective on work.

With many of his regular customers growing older, he also felt anxious about whether his son could continue doing good work in the future. He wondered if it was better to continue making pieces for his regular customers in the same way he always had, or if he should use the remaining years of his craftsmanship to create pieces freely. After much consideration, Yoshizawa began searching for a way to build a future together with his son.

What he arrived at was a “process-oriented approach to craftsmanship” that values dialogue with those involved, exchanging ideas with customers, and creating works together.

Yoshizawa says that he feels the greatest joy when creating works freely, unbound by the traditional framework of finger joinery. His shift from a craftsman focused on preserving tradition to a creator who enjoys expression has become a new charm of Yoshizawa Finger Joinery, leading to the acquisition of new customers.

The power of lacquer, an adhesive used since the Jomon period—Made with Earth

Yoshizawa revisited lacquer as a medium to create works freely, unbound by the constraints of traditional woodworking techniques.

“Basically, I use lacquer on wood. Lacquer has the role of organically connecting various materials, and in the Jomon period, it was also used as an adhesive. Therefore, I freely attach various materials using lacquer.”

As the words suggest, he uses rice husks, stone powder, and even items like pottery and iron coated with lacquer. Around this time, he also began seriously experimenting with “colored lacquer,” which involves mixing pigments into lacquer to create various colors.

“Lacquerware crafts are often referred to as ‘lacquerware,’ but since ‘lacquerware’ refers to the work of lacquer artisans, I prefer to call my work ‘lacquer craft.’ I value both woodworking and lacquer work equally, so I refer to my work as ‘lacquer craft.’”

The intersection of woodworking and lacquer connects various regional elements into works of art, which in turn connect people to objects. These connections then link people to one another, creating a larger, more profound wave of connection.

Focusing on a select clientele to pursue the work I truly want to do.

Currently, Yoshizawa is very selective about who he works with. As a result, he is increasingly involved in collaborative projects with chefs and architects from Japan and abroad, where he makes proposals as a woodworker and works together with them to create something.

“Rather than being asked to make something specific, I’m getting more jobs where I’m asked to join a project and come up with something interesting (laughs).”

Yoshizawa’s approach to creating things involves having extensive conversations with clients to capture their desired image and then bringing it to life through creative ideas. By focusing on a specific target audience, he is able to connect with people he truly wants to work with, and his work is expanding beyond genres.

“I prefer jobs where people say, ‘That’s interesting! Who made that?’ rather than explaining techniques or skills. I’m really enjoying being able to do that kind of work right now.”

Creative challenges begin with encounters with people.

Yoshizawa’s encounter with a chef who inspired him to focus his work on specific targets was a pivotal moment in his career. It all began when Chef Kotaro Noda of “bistrot64,” a restaurant in Italy that has earned two Michelin stars, asked a friend to guide him around the Tone Numata area in search of ingredients.

Yoshizawa, who has always loved sake, food, and people, and had accumulated knowledge over the years, accompanied Chef Noda on a two-night, three-day tour of farms in the area, introducing him to the local produce. As expected, the tour was a great success, and eventually, the conversation led to the idea of Chef Noda hosting a one-day dining event at a ski resort in Minakami Town. At that dining event, Yoshizawa’s work was used as tableware and was highly praised by Chef Noda.

The conversation continued about creating something new together, and when Chef Noda became the executive chef at Ginza Shiseido’s “FARO,” he commissioned Yoshizawa to create lacquerware boxes for serving dishes. The creative world of a restaurant where Italian and Japanese cultures overlap, and where food, tableware, and space come together. Discussing how to design the tableware that would play a part in this world, and brainstorming ideas with Chef Noda, the time spent exploring a worldview that only the two of them could create was incredibly enjoyable.

Not overdoing it, not underdoing it.

Meeting Chef Noda inspired me to narrow my focus, which has led to opportunities to create dishes that enhance various types of cuisine. I now receive requests from chefs of different genres and also seek advice from them, expanding my repertoire of dishes I can create.

“Creating and using tableware is about not overshadowing the dish itself. Tableware always accompanies food, and to highlight the chef’s creativity, the tableware must not overpower the dish. Finding that balance is the most important and challenging aspect of my work.”

I don’t find much interest in pieces that overemphasize traditional craftsmanship, making the “traditional” aspect too prominent. On the other hand, if something is lacking, it leaves me with the regret of thinking, “I should have done this a little differently.” When I can strike that middle ground, it feels the most satisfying to me.

“Working with chefs from various genres, I realize that my clients are very creative. Whether they are Western or Japanese chefs, they understand their own style and are seeking new ways to express themselves in exciting ways.”

To narrow down the target audience while still meeting truly interesting people, he holds an exhibition called “Autumn in the Sake Brewery” once a year, gathering craftspeople from within and outside the prefecture in an old sake brewery. There, in addition to showcasing works, she invites chefs to prepare daily changing lunches and dinners, allowing participants to experience the interplay between food and tableware, thereby gaining a deeper understanding of their use and feel. Even chefs who have since earned Michelin stars continue to participate.

What she wants to do upon reaching her 60th birthday

During the winter, Minakami Town in Gunma Prefecture is known for its heavy snowfall. Within this town lies the Fujiwara district, where a traditional wooden tray called the “Fujiwara Bon” was once crafted. This tray features a wooden surface carved with radial patterns using a chisel. The craft began in the mid-Edo period as a way to utilize the abundant local timber and generate income during the winter months. Some of the pieces were even presented to the imperial family and are now coveted by antique enthusiasts.

However, a few years ago, the last artisan passed away, and the tradition came to an end. Yoshizawa-san, who had seen the Fujiwara Bons in his youth, initially found them unappealing and thought they were outdated crafts that had fallen out of favor. However, after turning 40, he began to see their beauty and launched a revival project as he approached his 60th birthday.

Additionally, Yoshizawa feels that people who engage in craftsmanship tend to value the first-person perspective. Therefore, he creates opportunities to think in the second and third persons, fostering a collective discussion about new challenges beyond the third-person perspective through interactions with others.

“I believe that without carefully observing old things and interpreting their beauty in your own way, you cannot create something new. There are many techniques from the past that are no longer practiced today but can serve as references.”

He incorporates old and traditional elements as one of his expressive methods, blending them with images derived from conversations with clients. His unique style, rooted in traditional techniques and modern sensibilities, harmoniously combines a sense of coolness that is both intuitive and timeless.

The presence of colleagues who help him expand his horizons.

Since starting to work with Chef Noda, Yoshizawa has had more opportunities to think and talk about “food and agriculture.” New encounters have led to interesting interactions with people and connections with many stimulating individuals. Through projects with these people, he feels that his world is expanding.

“As I get older, when I talk to younger people, I want to have conversations that expand their world as someone who is older. However, I feel a growing fear that the people who can broaden my world are gradually disappearing.”

He emphasizes that interacting with people who can make the unknown world interesting and broaden one’s perspective is absolutely essential for someone who creates things.

When traditional techniques and inspiration from peers come together within Yoshizawa, another fascinating work unlike anything seen before will undoubtedly emerge.

The post The world of lacquerware made from finger joints and lacquer. The challenge of finger joint craftsman Ryoichi Yoshizawa / Numata City, Gunma Prefecture first appeared on NIHONMONO.

Artisans behind historic buildings

Hida Takayama is located in the northern part of Gifu Prefecture. Surrounded by lush forests, this area has nurtured many artisans called “Takumi,” who have been at the forefront of Japanese woodworking and wooden architecture for about 1,300 years. In the Nara period (710-794), the high level of their skills was recognized and a special “Hida Takumi System” was established, under which about 100 Takumi were exempted from taxes in exchange for being dispatched to the capital annually.
Since then, as the company continued to work on historical buildings and develop its traditional culture, it has produced crafts such as “Hida Shunkei” and “Ichii Itto Bori”. About 100 years ago, the western furniture technology of “bent wood” was introduced to Japan, and through trial and error, it was fused with the traditional skills of the master craftsmen. As Japanese people’s eating habits changed from chabutai (table-top table) to dining sets, Takayama’s furniture craftsmen developed their expertise in wood furniture with high design and functionality, and Takayama became recognized by all as one of Japan’s leading furniture production centers. Even today, Takayama continues to attract more and more fans of “Takumi” both in Japan and abroad.

Adapting traditional crafts to modern life

Masashi Osawa, who was born in Hino City, Tokyo, moved to Takayama in his early 20s, studied woodworking techniques at a vocational training school, and then worked for a furniture manufacturer as a furniture craftsman. He bought an over 80-year-old old house and started his own workshop, Maru Kogei, there.
At first, he made wooden furniture, but as he pursued the technique of bending wood, he received orders and began making oval boxes called “oval boxes. The oval box originated as a piece of furniture created around the 19th century by the Shakers, a Christian sect that believed that beauty resides in usefulness, through careful handcrafting. It is a simple storage box made by bending thin wood. Many manufacturers and craftsmen began to produce replicas of the original, and the product gained popularity among a wide range of people and became known as a fashionable sundry item that blends in with daily life.
This is reproduced in Mr. Osawa’s style. The key is the bending technique he developed during his time as a furniture craftsman. Thin, solid hardwoods are steamed at high temperatures to soften them, placed in molds to fix them in place, and then dried to create supple, beautiful curves. The process is not a simple one, as it requires millimeter-by-millimeter adjustments to accommodate the different wood grains and moisture content of each piece of wood. To prevent the wood from warping or floating, the joints are made in a form known as a “swallow tail,” and the pieces are carefully pasted together one by one. The wood is cut out using a small knife with exquisite precision, and the soul is put into every detail. The works, which embody perfect functional beauty and are stripped down to the utmost limit, have attracted many fans and are sold out almost without ever being displayed in stores.
Another of Osawa’s styles is to reconstruct traditional crafts to suit modern lifestyles. He also creates wooden tissue cases with beautiful, graceful curves by applying bending wood technology and mirrors fitted inside wooden frames with magnificent circles, pursuing a stylistic beauty that combines rationality and originality. His next goal is to create pieces that will last for 100 years. I just want to create something that I can truly appreciate as beautiful,” he says. The wish of a modern master craftsman who has inherited the will and techniques of his predecessors is as simple and incomparably pure as the appearance of his work.

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What is a plasterer at Shuheigumi?

Plasterers use trowels to build walls, floors, and other parts of buildings. While the skills and craftsmen who have supported Japan’s traditional architectural culture are disappearing in the name of modernization and rationalization, one company that stands out from the crowd is Shuhei Gumi, a plasterer based in Takayama City, Gifu Prefecture.
The company has been involved in a variety of creative projects, including the reception wall of the Peninsula Tokyo, the wall inside the NEWS23 studio, the clay round table in the Zero Emission House at the G8 Hokkaido Toyako Summit, and the title character in the NHK historical drama “Sanadamaru,” demonstrating the originality of their skills and imagination. At the center of his work is plaster craftsman Shuhei Hazado, a “sommelier of soil. Also known as a “sommelier of clay,” he creates walls with colors and textures that no one has ever seen before. Some of his works look like folding screens made of Japanese paper, others have a three-dimensional appearance as if they were made of hand-pulled cloth, and still others have an indescribable sheen as if they were finished with lacquer. All of them are made of clay. They are truly works of art that break through everyone’s concept of plastering. He knows more about clay than anyone else, and his skill and discernment in sublimating any impossible task into art can be said to be in the realm of the supreme.
His style is to “dare not study. This may sound impudent, but it is not. In his pursuit of the completely original, he dares to block out information that could serve as a reference. He rarely visits museums or reads books for hints on how to create his works. He simply looks at the natural landscape and takes its resolution to the extreme. For example, how do trees stand, how do their branches split, and how do their leaves grow? The artist’s eyes are made to see the works of nature that are beyond the control of human knowledge. Just as Antonio Gaudi took inspiration from nature to create architecture that had never existed before, Mr. Sando creates his designs from the workings of nature in Hida Takayama.

I want to leave my admiration for plastering to future generations.

In an age when many people are trying to find something by following the timelines of social networking services, Mr. Sando uses seemingly prehistoric methods to complete a series of works that are new and universally beautiful, leaving a strong afterimage in the eyes of many people. He is also questioning the essence of originality to the public. Mr. Sando, who will soon reach the age of 60, says, “I don’t have much time left. He is now working to complete the “Western Room of Hospitality” with overwhelming precision, completing work that arrives not only from Japan but from around the world. He took over a guest house built in 1916, moved it to his mountain 20 years ago, and has been making little by little modifications to it. The long process of completion, Nakata says, is similar to the Sagrada Familia in Barcelona. Traditional skills are being devalued, and reliable veteran craftsmen are aging, and it is not clear whether the next generation will grow up. Believing that he could change the situation in Japan and gain recognition if he built something truly beautiful, he is finally on the verge of completion. He told us that he wants to make it a place where people who feel the value will spend special moments.

What we have continued to do in the past and will not change in the future is not to do thin plastering. Thickness makes a difference in skill, and the air and presence of a space can be completely different. Mr. Sando says that he wants to leave behind for future generations his admiration for plastering by creating something overwhelming with just clay and a trowel. Compared to the soil that has passed through tens of thousands of years, the history of human-made architecture may be but a tiny, invisible dot. However, the dots left behind by Mr. Sando are more intense than anything else, and radiate a luster that cannot be compared to any other color.

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In a small port town facing the Seto Inland Sea, woodworker Atsushi Sakai has been diligently making wooden spoons all by himself. In his workshop, he produces a wide variety of warm and welcoming works, from spoons that serve as tools to spoons that look like works of art.

To the spoon shop as if guided.

Ushimado Town in Setouchi City is located in the southeastern part of Okayama Prefecture, facing the calm Seto Inland Sea. It is a port town with a prosperous history as a port of call for Kitamae ships and diplomatic missions from Korea, the Korean Envoys to Japan, during the Edo period. On a street that retains its old townscape, Atsushi Sakai has his workshop, “Spoon Shop. Across the street, his wife, Kayo, runs the “sajiiya studio,” a gallery store that sells Sakai’s works and holds special exhibitions.

After graduating from college, Mr. Sakai worked for a company in Tokyo for about two years. However, he felt that this life was not for him. When he thought again about what he wanted to do, the thought that came to his mind was “I want to live by making things. Then, in 1994, with the encouragement of his wife, he started making woodwork on his own. At first, he worked on signboards, doorplates, chairs, and other items ordered by acquaintances. Eventually, he was asked, “If you’re whittling wood, why don’t you make spoons?” or “If it’s a spoon, why don’t you paint it with lacquer? He met people who gave him advice at every step of the way, such as “If you are cutting wood, why don’t you make spoons? As he was guided by these words, he found that the items he was working on were concentrated on wooden spoons.

Therefore, around 2000, he decided to change the name of his shop to Spoon Shop and specialize in making wooden spoons. At that time, handmade artist’s tableware was beginning to attract attention at galleries and stores. Demand for wooden spoons to go with these vessels was also on the rise. As if to ride the current trend, he devoted himself to spoon making, and in 2006, opened a store and workshop in Kunitachi City, Tokyo.

If I don’t focus on what I create.

The turning point was the Great East Japan Earthquake in 2011. He asked himself what he could do to continue making things no matter what, and decided to move to Okayama Prefecture. He decided to move to Okayama Prefecture because he had friends there and because it was a place where craftsmanship had taken root. Local people say there is nothing in the area, but I felt a vague potential in the serene environment. In August 2013, he moved to Ushimado Town in Setouchi City.

This was the beginning of a change in Mr. Sakai’s craftsmanship. In Tokyo, his cycle of activities consisted of producing spoons for exhibitions. In the process, he found himself focusing on the content of the exhibition and the appearance of the spoons. I realized that I needed to focus more on the spoon I was making,” Sakai recalls. He reexamined what materials he was using, what tools he was making them with, and to whom he wanted to deliver them, and from then on, making things at his own pace became the basis of his work.

I still have a hard time deciding where to stop cutting.

In his one-man workshop, there are various pieces of wood and branches of various sizes, as well as a variety of tools. Some of the tools are self-made, based on those used by shoemakers in Europe. Using these tools, he first carves out the rough shape of a spoon from a piece of wood. No matter how skilled he is, he cannot resist the grain of the wood, so he always works with the grain in mind. Finally, he uses a knife to shave off the hollows to form the shape of the spoon. Mr. Sakai says that he is still searching for the right place to complete his work. His words seem to show how sincerely he has been working on each and every spoon.

Spoons in three categories

Currently, Mr. Sakai’s spoons can be broadly classified into three categories. The first is standard products for daily use. The main material used is cherry wood, which is easy to work with and durable. To make the spoons smooth to the touch, he repeatedly coats them with lacquer and wipes them clean. The spoon is a delicate tool to put in the mouth. Moreover, a wide range of people use spoons in their daily lives, from babies in the weaning stage to the elderly who find metal spoons heavy and cold.

While valuing the pleasant feeling in the mouth that only wood can provide, we also pay attention to the functionality of the spoon as a tool. Through repeated trial and error, we arrived at the current shape, which is both pleasing to the eye and comfortable to use.

And 25 different sizes are available. Mr. Sakai smiles gently and says, “I have increased the number of spoon sizes to meet the needs of users and their purposes. The series is also maintenance-friendly, and is filled with Sakai’s pride in the spoon as a tool.

Make without excess, and make the most of the wood.

The second category is a series of products made from thinned wood, which he started after moving to the area. For the standard spoons mentioned above, he uses wood purchased from a fine wood store as a material, but only a small portion is used for the spoons. For many years, he had felt a sense of regret about using only a small portion of the wood for his spoons.

For the thinned wood spoons, he looks at the wood and carves out a usable spoon shape. From the remaining blank space, a small butter knife is made. Rather than wasteful, the craftsman’s approach is based on the perspective of what can be done with the wood without wasting it. Furthermore, this series of knives are not lacquered so that they can be used and enjoyed with the eyes as they change over time.

The third is a series of works of art made from thinned olive wood, a specialty of Ushimado, which has been developed under the name “Shobokushi” since 2018. The process of making them is unique. He says, “I look at the shape of the branch and forcefully apply the shape of a spoon to it. By doing so, the unusual shape of the tree branch, the color of the bark, and the fibers of the wood are brought to life. I make this product because I want to feel the exquisiteness of wood. They are not easy to use as tools, but they are interesting to make.

Our goal is to keep making them for a long time.

About 25 years ago, at the age of 30, Mr. Sakai decided to become a spoon shop owner. He has no regrets about that decision. Thanks to that decision, I have been able to travel to many places and meet many people. Every day, he feels the connection between himself and the world through the medium of wooden spoons.

In 2023, he started a spoon-making club called “spoon club 4U,” which meets monthly at his workshop. It is not a one-way class where Mr. Sakai teaches, but a club where everyone spoon-makes together. The fact that he has met people here who are interested in making spoons has also been a stimulus for his creations.

When asked about their goals for the future, they responded with two answers, one large and one small. The smallest goal is to make small wooden bowls and develop them as a set with a spoon. Toward that goal, he is practicing making bowls little by little. His big goal is to continue making spoons for as long as possible. We wonder what kind of world Mr. Sakai, who has been devotedly working with spoons, will show us in the future.

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A wood lacquer craftsman who pursued the beauty of use

Minami-Senba, Chuo-ku, Osaka City. On the third floor of a building not far from Matsumacho-suji Shopping Street, which is lined with more than 100 wholesale stores and specialty stores selling hina dolls, toys, candy, and other items, is wooden lacquer craftsman Kazumasa Fujiwaki’s workshop, “Tsuchi Kobo. Once you pass through the door, you will find yourself in a different world from the hustle and bustle of the surrounding area. The shelves are lined with beautiful and warm works of art. From furniture such as tea chests to small tea utensils, these simple folk art pieces look as if they were simply carved out of wood and coated with lacquer. The simplicity of these pieces, however, makes their beauty of form stand out.
Born in Maizuru City, Kyoto Prefecture in 1943, Mr. Fujisaki began his career as a woodworker at the age of 15, training in Toyama and studying under the late Tatsuaki Kuroda, a living national treasure in 1967. In 2009, he was awarded the Prince Takamatsu Memorial Prize at the 56th Japan Traditional Crafts Exhibition, and in January 2011, he was recognized as the first craftsman designated by Osaka Prefecture as an Intangible Cultural Property, Wood Crafts Holder.
He has been a major figure in the world of woodworking for more than 50 years, pursuing the “beauty of use,” yet he continues to present his own works, saying, “I’m still not satisfied with anything, korekara, korekara. When you hold it in your hand, it feels very comfortable. Many of his works are not for display, but for daily use.

Originality created by the Fujisaki style

I believe that crafts are made to be used. The process of making a product begins by thinking about when and how it will be used,” says Mr. Kawasaki. This allows him to pursue originality, unlike many other workshops where the work is divided between different departments. Even if it takes a long time to complete a piece of work, it is the Kawasaki way to create a satisfying piece of work.
A tour of the back of the building reveals a workshop lined with chisels and saws. Although the building is not spacious, it is a functionally designed space where apprentices face the wood. Mr. Nakada, would you like to try your hand at it? Nakada is of course willing to try it. Of course, Nakata was willing to try. He immediately took a chisel and a mallet and started to make trays. You can’t do it by force,” he said. You have to watch the grain of the wood as you chisel it,” said Mr. Kawasaki, as he gradually shaved the board like a chopping board. At first, the chisel was slippery and the mallet did not hit the board well, but gradually the chiseling became more rhythmic. Nakata’s face was sweaty, even though it was autumn. Nakada’s face was sweaty, even though the season was autumn. It’s difficult to find the right amount of force.

As he concentrated on his work, several hours passed in the blink of an eye. Mr. Fujisaki has continued this meticulous and careful handwork for 50 years. I felt as if I had caught a glimpse of the value of something that should be cherished and passed on for a long time.

NIHONMONO – 「にほん」の「ほんも…

町のシンボル、だんじりを作る大工たち「泉谷工務店」/大阪府泉大津市 – NIHONMONO だんじり祭りに欠かせない存在 だんじりといえば、岸和田の「だんじり祭り」が有名。重さ4トンもあるだんじりを男た

NIHONMONO – 「にほん」の「ほんも…

茶と鋳物の歴史のなかで生まれる茶釜の名品「角谷一圭工房」／大阪府東大阪市 – NIHONMONO 人間国宝の父より受け継いだ茶釜の技術 角谷一圭といえば、茶道会では知らぬもののいない茶釜師。1978年に重要無

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