The Aokigahara Forest, formed when lava flows from Mount Fuji’s eruption about 1,200 years ago cooled and solidified, overgrown with trees.At the workshop “Maro” in Fujikawaguchiko Town, Yamanashi Prefecture, nestled at the foot of Mount Fuji amidst expansive primeval forests, delicate glass works crafted through meticulous carving are displayed. The patterned and richly colored glass brings a soft light that blends into the lives of those who hold it.

Each piece is meticulously crafted over time.

The works of glass artist Ichichō Matsuo showcase delicate details and textures created using a technique called “cold work.”Cold work is a technique applied to chilled glass without heat, involving polishing, decoration, and carving. Edo Kiriko, where patterns are applied by cutting the glass, is one such example. The glass surface is finished with a matte, frosted texture by removing its shine through “sandblasting,” a technique that blasts sand-like abrasives onto the surface.Expressions vary by piece: some blend seamlessly to highlight the smooth, gritty feel of frosted glass, while others feature carved marks like sculptures. While coldwork is primarily a finishing technique, Matsuo’s distinctive “extra touch” is also evident in the processes leading up to this stage.

The expressive potential of glass’s unique properties

Matsuo’s works vary widely, including “guinomi” (sake cups), “shuhai” (sake bowls), and “futamono” (lidded containers). In these pieces, colored lines or floral-like patterns are created by inserting heated, rod-shaped colored glass into transparent glass and fusing them together. The colored glass rods can be straight or spiral-shaped, and when fused with the transparent glass, they create patterns that seem to float within it.

In contrast, for the “Honeycomb Pattern” series, white glass powder is applied to the colored rods during preparation to create a distinct boundary and sharp pattern against the clear glass. The term “honeycomb” refers to the hexagonal structure formed by the glass rods pushing against each other as they fuse, resulting in beautifully aligned hexagons.To create perfect hexagons, Matsuo meticulously selects materials by measuring rod thickness beforehand. He then arranges cross-sectioned rod pieces in a regular pattern, melting and solidifying them into a sheet in an electric furnace. Matsuo handles nearly every step himself, from component creation to final finishing.His meticulously crafted pieces, characterized by their texture, color, and transparency, have garnered a loyal following. His work was featured in the 2023 Tokyo glass exhibition “Containers of Light,” drawing large crowds daily.

Discovering the Feel of Glass

Matsuo first became interested in glass craft 31 years ago. Encouraged by his parents, he left his hometown of Fujikawaguchiko Town in Yamanashi Prefecture to attend a private middle-high school in Saitama Prefecture. It was there, in the school’s glass craft club, that he encountered glasswork for the first time, setting him on his current path.When he first touched glass, Matsuo recalls, “I found each change fascinating—how it melted, stretched, and curved.” He melted glass using a burner in the science lab and explored pattern-making techniques by studying books. Immersed in these fulfilling activities with his clubmates, his world was suddenly shattered when his father passed away unexpectedly during his second year of high school.

He realized he would have to make his own way from then on. He agonized over his future and what path to take after graduation. “I loved glass, and I was happy when people enjoyed the things I made,” he says, explaining his decision to pursue glass craftsmanship. Aiming to enter an art university, he spent the year after high school graduation studying drawing at a preparatory school.

Lacquer: What I Learned in College

Even while studying drawing, his passion for glass only grew. He reflected, “I was so absorbed in glass that I hadn’t paid attention to other materials.” To gain a deeper understanding of different materials first and broaden his perspective on glass craft, he deliberately applied to Kanazawa College of Art and Crafts in Ishikawa Prefecture, which didn’t have a dedicated glass department. There, Matsuo majored in the Lacquer Course within the Crafts Department.

“I sensed a similarity to glass in the ‘luster’ produced by lacquer.” Ishikawa Prefecture, home to traditional crafts like Wajima lacquerware and Yamanaka lacquerware, provided an ideal environment for studying lacquer. He visited local artisans actively working in the field and became increasingly captivated by the material’s charm.

Through studying lacquer art, he came to see lacquer as “an ‘outer material’ that decorates the surface of a work,” while glass, with its translucent nature, is “an ‘inner material’ where the view inside also becomes part of the expression.” This led him to wonder, “Couldn’t I expand expressive possibilities by utilizing glass’s color, form, and transparency, while also exploring texture and decoration?” This question became the thread leading to his current artistic style.Matsuo also notes, “I was never good at detailed work.” However, his experience with lacquer art—which demands meticulous, delicate handwork—proved invaluable for his later glass craft, especially since most glass processes rely on machinery. “By sincerely engaging with lacquer, I acquired skills without even realizing it,” he reflects on that time.

Techniques Learned in the “Glass Town”

After graduating university, he enrolled at the Toyama Glass Art Institute. For the first two years, he studied the three pillars of glass techniques in the Sculpture Department: “hot work” (techniques like glassblowing that involve melting and shaping with heat), “kiln work” (casting techniques using electric furnaces), and the aforementioned “cold work.”During the subsequent two years, while re-examining his direction as a glass artist, he felt “the sensation of glass changing form as I carved it with my hands was akin to sculpture.” His father, who worked as a woodcarver, significantly influenced this perspective.Having grown up surrounded by wood as a material, he consciously adopted cold work glass processing—where unique patterns emerge through carving, much like how patterns appear on carved wood surfaces—as his signature style.

With the goal of becoming a full-time glass artisan, he held his first solo exhibition, “Glass Treasures,” in 2006 while still a student.After graduating, he continued creating glass works while working part-time in Toyama. From 2010, he served as a teaching assistant in the Glass Course of the Craft and Fine Arts Department at Kobe Design University. During this time, he honed his skills while seeking specific advice from artist acquaintances on critiquing his work and monetization methods. In 2014, he established his studio “Maro” in his hometown of Yamanashi.

The Joy of “Shaping”

Matsuo’s works combine multiple glass craft techniques. He begins by creating parts through hot work, then uses kiln work to form the base shapes for vessels and other pieces, finally finishing the work through cold work. Generally, in techniques like glassblowing, the accidental beauty created by the artisan’s breath is valued, so few artists, like Matsuo, actively seek to intervene and refine the work.”As I continued making glass, I came to realize that ‘taking the time to ultimately complete the work in my own hands’ is the style I should value.”

While the accidental qualities of hot-work and kiln-work pieces hold their own appeal, the real fascination of carving lies in “being able to transform the shape with my own hands while expanding my vision.” Carving changes the expression, giving birth to unexpected new forms of expression. Gazing at his carefully crafted pieces, Matsuo smiles innocently, saying, “I enjoy the time spent carving.”

“I want people to store their precious things inside” – the wish embedded in his lidded vessels

Matsuo’s signature series is the “Lidded Vessels,” where soft light pools within the glass and color seeps through its transparency. This series, packed with the unique charm of glass, is named “Tamabako” (literally “jewel box”), using the word “tama” (jewel) to signify something beautiful and precious. Placed near a window or in sunlight, a gentle, soft light emerges from within.

“I feel there’s a connection between light gathering inside the glass and storing something within the lidded container. People often ask what they should put inside. I tell them, ‘Please place whatever small, precious things you hold dear,’ like an anniversary ring or an acorn a child brought home.”

She recalls a customer who once purchased one as a container for keeping ashes close by. This reminded her of her student days when creating such pieces was a theme—to make something that would make someone want to place their late father’s ashes inside. She felt a connection. “What’s ‘precious’ varies for each person, but I’d be happy if, when they glance at the lidded container I made, it helps them recall some cherished feeling.”

Finding my own voice, bit by bit

After returning to Yamanashi and establishing her studio, Matsuo describes her days as “a constant cycle of trial and error” in an environment where she had no teacher. Gradually, she refined her own style of work—pieces that blend practical usability as vessels with the beauty of craft—while incorporating feedback from those around her.

“Being alone made me realize things I’d unconsciously absorbed in my privileged environment and how I’d been trapped by preconceived notions. There were failures, but as I rethought my style, I steadily discovered what I truly wanted to do.”

There were times when poor health hindered her progress, but her resolve remained unchanged: “I want to create what I believe is good without compromise.” To adjust her pace, she reduced the frequency of her solo exhibitions, which she had held multiple times a year. In 2022, she launched a new online shop. While maintaining her own well-being and producing satisfying work, she is also exploring ways to monetize her craft using the power of the internet.Matsuo’s journey continues, driven by the goal of “sustaining this as something I love, as work, for the long term.”

I want people to discover the charm of glass

As a glass artist, Matsuo shares, “I want many people to discover the charm of glass through the pieces I create.” Speaking calmly about the “extra effort” that comes from years of accumulated experience, she says, “I know it seems wasteful, but the steady work and that extra effort are what make it ‘me.'” Holding a polished lidded vessel, her smile as she said, “I’d be happy if my creations could become part of someone else’s life going forward,” was truly memorable.

The post Carving glass—that extra effort defines who I am. Expressions that capture light and captivate. “Kobo Maro” / Fujikawaguchiko Town, Yamanashi Prefecture first appeared on NIHONMONO.

Oldest “shogi” pieces date back to the late Heian period

The game of “shogi” which has a very long history, is said to have originated in ancient India in its original form, and it’s not certain when the game came into Japan. There are several theories about the origin of the game, and some say that the game was brought to Japan in the 6th century. However, as tangible proof we have some “shogi” pieces from the late Heian period.
That was told by father and son Kazuo and Ryo Sakurai who are craftsmen who make “shogi” pieces.
Some ”shogi” pieces were found at the ruins of Kofukuji Temple in Nara. There were also pieces from the late Heian period dug up from a ruin in Sakata, and they were similar in design to the current day “shogi” pieces.
The Sakurais make “shogi” pieces in a city called Tendo in Yamagata prefecture. “Shogi” piece production started in late Edo period, and by the Meiji era, it became widespread among the populace. Tendo was a major production base along with Osaka. Among the more traditional types is “kaki goma” where the letters are directly written onto the pieces with “urushi” lacquer.

How “shogi” pieces are made

The main material Sakurai uses to make the “shogi” pieces is boxwood. The same used in edo-style cabinets. These are cut into boards during the winter and dried. Then the good parts of the boards are cut out and used as pieces, with the characters written on them. Boxwood has even vessels and is easy to work on, and develops a nice luster with proper care as is evident in combs, making it the perfect material.
There are various styles in writing the characters, like the traditional Tendo style of brushing them on the pieces, or carving the characters before actually brushing on the lacquer. ”What kind of pieces are considered high grade?” Nakata asked and Sakurai showed us pieces called “moriage koma” (piled up piece) in which the characters are first sculptured, then the “urushi” lacquer is layered on giving it height. This creates a 3-dimensional effect, and the characters look larger and stronger. These are used in “shogi” title matches.

Making the characters 3 dimensional

Sakurai hands a piece to Nakata so he can experience carving and painting. Again, it was not a simple task. “Shogi” pieces actually are not that big. Carving kanji characters onto the pieces is a challenge in itself. Even using a piece of paper with the character written as a guide, it is very difficult. Layering “urushi” lacquer also requires very careful work. Being careful not to go over the line after filling in the carved character, Nakata somehow managed to paint the character.
When Nakata was about done, he asked Sakurai how he got into this profession. “Oh I wanted to make something with my hands, and I found this tradition of “shogi” pieces in Tendo.“ he answered.
The sight of men relaxing and enjoying a game of “shogi” on the terrace is a nostalgic Japanese scene. And the tension of title matches is also irresistible. In both scenes, the sharp sound of the “shogi” piece hitting the board “straightens your back” as the Japanese expression goes. We’d like to keep hearing that sound.

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Cast aluminum?

You usually think of iron when you think of cast metal, but we saw a lot of cast metal products that were not iron, including bronze and surprisingly, cast aluminum products. We were told that aluminum casting is often used for lampshades. As technology advanced, the variety of metal used in casting widened, and now variou types of metal are used, in many sizes and shapes. Even large items like road lighting equipment can be made by metal casting.
Yamagata has been known for its history of metal casting. Its history goes back to the Heian period. The industry boomed during the early Edo period, and Kikuchi Hojudo was founded at about that time in history, in 1604. Today they make traditional cast iron kettles, as well as wrought iron pots that suit the modern home. Rice cooking pots known to cook delicious rice are also popular.

The best feature of Yamagata cast metal – thinness

The presence of a heavy cast iron pot is certainly one of the qualities of cast metal products, but the best quality of Yamagata cast metal is in their thinness. The thinness makes it possible to express a finer texture, and their beauty is outstanding. The items found in Kikuchi Hojudo are not just simple country quality, but many are refined and beautiful.
They are almost like art objects, and Nakata asked the president Noriyasu Kikuchi if there were any items made as art pieces. “”Kogei” should be distinguished from art. ”Kogei” has people who use them. I want to make things that are actually used in daily life,“ he answered. He is of the opinion that the skill to make art objects will just fade away when the particular artist stops his creative activity. That’s why Kikuchi defines his works as ”kogei”, and places great importance on how the techniques involved in making molds and casting are both handed down to the next generation.

Difficulty in recovering lost skills

Kikuchi is the 15th generation owner of Kikuchi Hojudo, but one of the things he thinks about now is to “passing on the skills to the next generation”. One of the popular lines of Kikuchi Hojudo is ”WAZUQU” which is popular overseas as well.
Written as 和銑 in ”kanji”, it is a traditional Japanese metal refined from iron sand using charcoal. The manufacturing skill for the metal was revived by Human National Treasure Tetsushi Nagano, whom he happens to be related to, after 20 years of work. Even though the skill had only been lost for 2 years, it took 20 years to revive.
“Therefore, skills are something you have to pass on perpetually. As I work, I am always conscious about the continuation of skills.” Kikuchi told us.
Kikuchi has worked on nurturing the next generation for more than 15 years, and many of his students are already active on the front line. Today there are 17 people in the workshop, all of whom were involved in their work with various expressions on their faces. Tradition is an easy word, but it’s something that if lost for one day, takes three years to get back. It is under such conditions that the centuries old tradition is built upon and passed on.

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Yonezawa Ori, the tradition of Yamagata

Yonezawa was already flourishing with ramie and safflower cultivation by the Edo period, but the textile industry became a full fledged industry thanks to Kanetsugu Naoe, a high-ranking Samurai serving Kenshin Uesugi. He bought out the products from farmers and sold them to various regions known for textile production, and built a financial foundation for his feudal domain.
Later in history, in the late 1700’s, Yozan Uesugi became the lord of the Yonezawa area, and he promoted the fiber and textile industries as a part of his plan to revitalize Yonezawa. He invited instructors from the present-day Niigata prefecture, directed farmers to raise silkworms, and built a foundation for “Yonezawa Ori” textiles. Since then, “Yonezawa Ori” has become a 200-year-old tradition.

The Characteristic of Yonezawa Ori

The feature of “Yonezawa Ori” is the colors that come from natural dyes. In recent years, research has advanced, and in addition to the natural dyes from plants, other colors have been added. In some products, chemical fibers have been woven in and many attempts to advance the tradition further have been taken.

Good things have “power”

We interviewed Gentaro Nitta, the Representative Director and President of Nitta Textile Arts Inc., a 130-year-old textile company founded in 1884. Nitta was born in 1980. He learned the basics working at an old kimono sash maker in Kyoto, and has been active in Yonezawa since 2005. He won the Japan Kōgei Association Freshman Award at the Japan Traditional Art Crafts Exhibition in 2011.

The award-winning item was a “hakama” skirt. Its innovative design with gold threads received high praise. ”There are certain rules you have to follow in the patterns for “hakama”, but I wanted to start a new design. I wanted to be particular about design for people who are actually particular about the “hakama” they wear.“ Nitta told us.
“A good item has something like power in it. It’s hard to explain but, it’s like a feeling that anyone can pick up. I call it softness or even “sweetness”, but it’s a feeling you can feel when you take it in your hands, when you wear it, and when you see yourself in it. It’s something you feel.“

Dyed with many colors

Many “Yonezawa Ori” workshops specialize in weaving and don’t have a dyeing workshop. But at Nitta’s workshop it’s not just about weaving. They start with dyeing, and go through the entire process of Kimono making. That’s why they are able to bring the final product closer to their ideals, as they can experiment and control the threads and the weaving process.
“This one was presented by my grandparents” Nitta explained as he showed us a safflower dyed textile. “You can even still smell the dye. It’s entirely dyed using safflower. I am confident that there is no other product like this in the world. When you hold it up against the light in the dark, you can see the red color.“
Presently, a variety of workshops operate in Yamagata, from those specializing in thread spinning, to those specializing in weaving or sewing. It is very unusual for all the workshops to be concentrated in one region. Kyoto is one of the few. This means that Yonezawa is a comprehensive textile production region within Japan. Each workshop comes up with new ideas and skills every day. Products made in Yonezawa will surely be worth following.

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A Japanese flute with a Western musical scale

It is said that 90% of Japanese flutists as well as members of the traditional music entertainment group ”Kodo” of Sado Island use Ranjo’s flute. The secret to his popularity with first class musicians, is that the flute has a range that can accommodate various scenarios, and a tone that is a product of being selective about the material that is used.

Ranjo told us, ”The rhythm of the ”ohayashi” flutes from ancient times is specific to Japan, and does correspond to that of Western music. In short, the flute used for Kabuki or Noh has a scale specific to Japan.”
A flute with the unique Japanese scale is not suitable to Western music. But Ranjo changed the internal structure, made it correspond to the Western scale of ”Do Re Mi”, and created a flute which is also suitable for modern music.
”It made of Japanese bamboo. Yet it also plays the Western scale, so it can be used worldwide.”

As a child, Ranjo was attracted to the sound of flutes used at festivals. When he was in the 3rd or 4th grade, he was already making his own flutes.
”The local festival was not held for a long time, and I also was working in Yokohama for a while so I was away from home. When I returned to my hometown at 26, the festivals started again. So it was a ’good opportunity’ for me to participate with a flute that I made myself. The next thing I know, I was immersed in this world. (laugh)”

Creating a flute that performers desire

Surprisingly, Ranjo is a self taught flute maker.

”It used to be that only 1 out of a 100 flutes were considered a success. But that is not acceptable. All 100 should be successes.”
Ranjo says.
After thoroughly studying the structure of the flute, he figured out how to structurally create a good flute.
”In my case, it was important that I was self-taught. Over repeated trial and error, I learned from my mistakes. If you study under a teacher, you will only learn one way to do things.”
Because of Ranjo’s tenacious curiosity, he has been able to fulfill the needs of performers with different preferences or musicality.

Starting with ”what kind of sound will it make?”

Nakata tried blowing into Ranjo’s flute.
On a previous occasion when Nakata had an opportunity to play a Japanese flute, it was difficult to make any sounds. But this time, with gentle guidance from Ranjo, he was able to make a sound.
”Athletes have good intuition.” Ranjo complimented.

Usually, a flute is made entirely of either Japanese timber bamboo or regular bamboo, but Nakata was curious and asked ”I wonder what kind of sound would be created with a flute made with half timber bamboo and half regular bamboo?”
”That’s a good idea. I’ll give it a try.”
Ranjo’s curiosity is sure to continue to play a large role from here forward.

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Hand carved “inkan” without using any machines

”Come this way”. When he asked us to walk into the studio, he handed Nakata a ”inkan” seal engraved ”Hidetoshi Nakata”.
As Nakata let out a cry of surprise, Gaun Komiyama handed him a carving knife saying ”Try carving for yourself”. A square of about 2 cm to a side, with a fresh and smooth surface. Very delicate work required.

Komiyama told us ””Inkan” should be unique for each person”. He is a hand carving craftsman who does the entire process himself. Currently, there are very few craftsmen who don’t use any tools other than a carving knife.

Creating a one and only “inkan”

Komiyama learned from the master inscriber, the late Zuiun Ogawa. When he was only 31 years old, he won the first prize at the First Class Professional Skills Nationwide Grand Prix, and became the top craftsman in Japan.
Currently, he manages a seal and stamp shop ”Komiyama Seal Studio” in Atami City, and is also seal craftsman. His skills are well known nationwide, so he continuously receives orders from all over Japan.

With seal engraving, there is no room for going back or making mistakes. One must carve complex letters or patterns in a small area.
Nakata focused on doing his work. Finally, he blew away the shavings and completed an original ”Hidetoshi Nakata” ”inkan”.
”Wow, Nakata, you might have done very well in this field.” Komiyama praised him. After Nakata smiled shyly, he took a large breath and said,
”The detailed work, it’s very demanding.”

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Breathing new life into Beppu’s traditional bamboo craft

Oita is the largest producer of long-jointed bamboo. Beppu bamboo craft is Japan’s National Traditional Kogei which began with baskets used for door to door sales in the Muromachi era. ”Baica” is based in Beppu, Oita. It was established in 2006 to pass on the traditional techniques and philosophy, to improve esthetic quality of bamboo craft, and to nurture future craftsmen. With freelance designer Mr. Kosei Shirotani as the art director, Baica is run by young craftsmen. The name ”Baica” is derived from plum blossom, the prefectural flower of Oita. The four members of Baica, the leader Shigetomi Ohashi, Takayuki Shimizu, Hajime Nakatomi, and Keiko Hirose breathe new life into the traditional industry of Beppu bamboo craft.

Bamboo craft as culture

Nakata visited bamboo craft artisan Hajime Nakatomi’s studio. Nakata observed the bamboo being split into strips and then woven. Precision is required to weave the bamboo strips while calculating the space in between them. One of the prominent pieces created by Nakatomi titled ”Prism”, combines various parts of bamboo. It is very unique in that it does not look like bamboo craft at first glance. The members believe in the importance of not only passing on traditional techniques, but having the ability to design pieces that can involve with the times, so that the market can be expanded, and actively exhibit their pieces in Japan and abroad. We certainly hope they will continue to turn out pieces that match the times, and spread their work.

The post “Bamboo craft artisan, Hajime Nakatomi ～BAICA～” Encountering the charm of bamboo first appeared on NIHONMONO.