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.

The grayish color is reminiscent of antiques, and the sophisticated appearance fits in with modern life. Glass artist Kenichi Sasagawa’s vessels have attracted attention in Japan and abroad for their style, but he says that his original work was art. How did he arrive at his current style?

Guided by “intuition,” he went from art school to becoming a glass artist.

A native of Kanagawa Prefecture, Mr. Sasagawa first began making glass while a student at Tama Art University’s Department of Crafts. At the time when she applied for the entrance exam, she had to choose between glass and metal as her major when submitting her application, and she recalls that she chose glass on a hunch. Glass is beautiful, and he had a hunch that the certain “inconvenience” of working with tools would suit his taste.

The works he produced at art school were different from his current style, Sasagawa recalls. At that time, I was making colorless and transparent glass works, not colored glass, and I was creating objects and installations. He also used materials commonly used as raw materials for glass, such as silica sand, which is made by grinding quartz, a highly transparent mineral, into a sand-like consistency, and lime, which is added to glass to prevent it from dissolving in water.

Many of his seniors and advisors in the laboratory where he was enrolled at the time were active as artists, holding solo exhibitions, and Mr. Sasakawa entered graduate school with the aim of becoming an artist himself. While in graduate school, he won the Encouragement Prize at the “International Exhibition of Glass Kanazawa 2004,” was selected for the “New Glass Review26” organized by the Corning Museum of Art in the U.S. in 2005, and was selected for the “2nd Contemporary Glass Grand Prize Exhibition in Toyama 2005,” among many other domestic and international competitions. He has been selected in numerous domestic and international competitions.

After completing his master’s program, Mr. Sasakawa relocated to Kanazawa City, Ishikawa Prefecture, in search of an environment where he could have more contact with glass. He spent two years as a trainee at the Utatsuyama Craft Workshop in Kanazawa, which fosters leaders in a wide range of crafts, including ceramics, lacquerware, dyeing, metalwork, and glass.

The days of Utatsuyama Craft Workshop taught me the “beauty of use

At art school, Sasakawa mainly made objects, keeping in mind “how to showcase the material of glass,” but the demands of art school, which emphasized high artistic quality, were different from those of Utatsuyama, which emphasized everyday and practical use. Mr. Sasagawa recalls that his previous style, which was highly artistic, often failed to communicate with the specialists who provided guidance at Utatsuyama and with his fellow trainees. This situation of “not being able to communicate through his artwork” led Mr. Sasakawa to seek a different method of expression.

In his search for a form of expression that would reach a wide audience, Mr. Sasagawa noticed the beauty of the city of Kanazawa. In this city, where traditional crafts and the aesthetics of the tea ceremony culture existed on a daily basis, Mr. Sasagawa opened his eyes to the charms of Japanese culture, and subsequently deepened his interest in the world of crafts and the “beauty of use. In Kanazawa, there were many opportunities to participate in various art events and exhibitions and sales, and he had several opportunities to make practical vessels in response to requests to exhibit his work. Through these experiences, his interest shifted from the sharp expression he had aimed for while in college to the casual beauty of daily life, and he gradually shifted his focus from making objects to making vessels.

The work “Utsuwa no koto” (2007), created while Mr. Sasagawa was working at Utatsuyama Kogei Kobo (Utatsuyama Craft Studio), is a work that examines the difference between looking at vessels and looking at art, and won the Excellence Award at the 3rd Contemporary Glass Grand Prize Exhibition in Toyama 2008. This group of works, consisting of objects reminiscent of earthenware from ancient civilizations, is an important work that symbolizes a turning point for Mr. Sasakawa.

The inspiration for his works came from his visits to various museums and art galleries in Kanazawa, both large and small. Born and raised in a new town in Kanagawa Prefecture, Sasakawa was interested in contemporary art at university, but he eventually came to incorporate the essence of “history and tradition” into his works, something he had regarded as somewhat negative at the time.

Own your own kiln in a small town located in the middle of Kyoto and Nara

In 2008, after completing his two years at Utatsuyama Craft Workshop, Mr. Sasagawa returned to Kanagawa Prefecture to spend four years from 2010 when he was offered a post as an assistant at Tama Art University, his alma mater, after working as an artist in Hokuriku.
During that period, Sasakawa worked hard at creating works while borrowing a kiln from his senior’s studio, a kiln at his workplace at Tama Art University, and a kiln at a rental studio, but gradually his desire to own his own kiln grew stronger.
However, he gradually became more and more interested in “owning my own kiln.” When he rented a kiln, the glass he could use was limited to common glass, which was mainly colorless, transparent glass. Sasagawa felt that such “clean” glass was unsatisfactory. He wanted to make his own fabrics to match his own style, as his fellow ceramic artists at Utatsuyama Kogei Kobo had done. At that time, an acquaintance introduced him to a property in Ide-cho, Kyoto Prefecture, far from his hometown, and he moved there in 2016. Located between the two ancient capitals of Kyoto and Nara, the town has a population of about 7,000 in the southern part of Kyoto Prefecture. For Mr. Sasagawa, who grew up in the city, the quiet environment surrounded by the nature of a mountain village is refreshing and he likes it very much.

Having his own kiln here, Mr. Sasagawa has been able to complete his one-of-a-kind pottery, which has been well received both in Japan and abroad.

Wine glasses and sake cups. Vessels made of recycled glass with delicate bubbles.

At his studio in Ide-machi, Mr. Sasakawa has completed a variety of everyday vessels, such as glasses and sake cups, made from “recycled glass.

Reclaimed glass is made by melting glass cullet, which is a crushed piece of waste glass, at high temperature. Mr. Sasagawa uses used fluorescent tube cullet as the material for his works. Incidentally, the reason why he paid attention to recycled glass is because he had many opportunities to recycle glass when he was working as an assistant. Recycled glass has a light blue color because the tips of the iron rods used in the production process stick to the raw glass material. He wanted to make use of this color in his work. Another reason was that he felt the antique-like texture of recycled glass had a “modern” feel.

The color of Sasagawa’s vessels is an exquisite nuanced grayish-blue, created by adding oxidized metals such as cobalt and copper to the original color of recycled glass in a unique blend. At the same time, he is also particular about the “lightness of color. Since Mr. Sasakawa himself is an alcoholic beverage lover, he made repeated adjustments to achieve a color that would make drinks look delicious.
In addition, the process of making recycled glass tends to produce air bubbles, which are trapped inside the glass. The glass is made in accordance with the artist’s own sensibility: “Glass without bubbles is beautiful, but I feel that it is a little lacking.

Thinness of the fabric that enhances the exquisite colors

Another appealing feature of Sasagawa’s vessels is their thin texture. He says that he arrived at this thinness because he has always preferred sharp forms to thick ones, and the combination of the thin fabric and the grayish-blue color of the recycled glass creates an exquisite effect.

The light-colored glass gives a sense of depth when you look into a vessel because the color accumulates around the edges, but the thin fabric gives a crisp, sharpened impression. It also goes without saying that a thin fabric glass or cup enhances the delicate flavor of the beverage because it is less uncomfortable when it touches the lips.
The thinness requires considerable skill and temperature control, and the most important thing is to make sure that the utensils are hot enough. These efforts have resulted in the creation of exquisitely textured vessels that are highly regarded as one-of-a-kind.

Popular both at home and abroad. The “scenery” interwoven with the food and beverages is also an attraction.

After spending his days at Utatsuyama in Kanazawa, Sasagawa’s gray-blue vessels were completed at his studio in Ide-machi. He says that he arrived at the present style with the intention of “creating vessels that glow beautifully even in the weak light of Kanazawa in winter.” The color of the vessels looks like the color of the sky of the Sea of Japan region in winter, which is filled with rain and snow grains.
The great appeal of permeable glass is that it changes its expression depending on the light. In addition, glass vessels create a view inside the vessel while echoing the food and beverages served in them. Sasakawa’s vessels, which are favored both domestically and internationally, are sure to bring happiness to the daily lives of those who use them, creating various landscapes that resonate with the light and the delicacies of different climates.

The post Glass artist Kenichi Sasagawa’s vessels that trap a hint of Kanazawa’s sky first appeared on NIHONMONO.

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.

The post 25 years of making only “spoons”. Atsushi Sakai, woodworker first appeared on NIHONMONO.

Kose Cormorant Fishing, the Tradition of Ayu Fishing

Cormorant fishing is a fishing method in which a cormorant master pulls the reins from the top of a boat and steers the cormorant to catch ayu (sweetfish) and other river fish. The cormorant’s habit of diving into the river and holding the fish it catches in its throat is utilized. The cormorant swallows the ayu as it begins to move, startled by the bonfire lighting up the surface of the water, and catches it. In the silence of the dark night with a pleasant river breeze, the sight of cormorants dressed in traditional costumes, boats lit by crackling bonfires, and cormorants maneuvering their boats to catch the ayu is truly a fantastic sight.

The festival has a long history, dating back 1,300 years in Japan, and is still held in 11 locations throughout the country, including Ehime and Oita prefectures. Of these, the Ose Cormorant Festival in Seki City, Gifu Prefecture, and the Nagara River Cormorant Festival in Gifu City, Gifu Prefecture, are conducted under the protection of the Imperial Household, and nine cormorant masters carry on the tradition under the title of Imperial Household Agency ceremonial cormorant masters. In 2015, the Nagara River Cormorant Fishing Technique was also designated as an Important Intangible Folk Cultural Property of Japan for the first time in Japan. Yoichiro Adachi, the 18th cormorant master in the Adachi family, is the inheritor of the Kose cormorant fishing tradition. While working as a cormorant fisherman during the annual cormorant fishing season from May 11 to October 15, he also runs a Japanese inn, Cormorant House Adachi, in a 300-plus-year-old house that is also a tangible cultural property of the city. After the summer cormorant fishing season is over, I take care of the cormorants every day in preparation for the following year. Cormorant fishing is not only about fishing, but also about feeding the cormorants. I am the only one who can take care of the cormorants, so I can never take a day off. （Cormorants are wild-caught cormorants, so at first they are wary and resistant, not eating their food or biting. By taking care of them every day and reassuring them, they finally get used to it. Because cormorants only feed from people they have become accustomed to, cormorants do not have holidays and cannot go on trips.

Cormorants of the “Imperial Household Agency Ceremonial Artisanship” passed down from generation to generation

He was also conflicted about his occupation and longed for other jobs when he was a child. 27 years old, he decided to follow in his footsteps, but it was not all glamorous work like the cormorants he saw on TV. He laughs, “There are other ways to catch ayu, but I don’t think I’ve found one that works. There are other ways to catch ayu, but why does cormorant fishing continue? Nakada replied, “Because it is the most efficient way to catch ayu, and the ayu they catch tastes good. One cormorant can hold several ayu in its throat, and the freshness of the fish is excellent because it is caught in an instant with a sharp chopstick. Also, when making stews and other dishes, the cormorant’s bite marks soak up the flavor, making them delicious,” says Adachi.
Although it may seem like a performance for tourists, there is actually a rational reason for this, backed up by 1,300 years of history.

Inside the tasteful main house, there is a box painted with “Goyo” (literally, “Imperial Office”), inside of which is a lantern. There are several in a row that were supplied from the Edo period to the Showa period. In those days, these lanterns were hung over cormorant boats to indicate that the fishermen were fishing with the endorsement of the Imperial Court, the Shogunate, or the government. Because cormorant fishing could not continue without such backing, it has survived with the help of patrons of each era,” said Adachi. In such cases, the backing of the court nobles and other officials allowed the cormorant fishermen to play a special role and be protected. Currently, Mr. Adachi is a ceremonial cormorant fisherman (national public servant) for the Imperial Household Agency, and keeps the tradition alive by conducting the “Imperial Cormorant Fishing” eight times a year at Goryojo, a prohibited fishing area, for the Imperial Household. When the bonfire is very powerful, the sparks from the fire are quite hot, but if the fire is big enough to light in the darkness, ayu fish can be caught, and the sight of the bonfire gives it an air of elegance, and tourists cheer loudly, so I feel that it is worthwhile. That’s why bonfires are the life of cormorants,” says Adachi.
Matsuo Basho composed a haiku poem, “Omoshiro te yamashiki udonohuna kanana,” or “If something disappears, it disappears, and if something continues, it continues,” Adachi muses. As long as there are cormorants who keep the fire burning in their hearts, this mysterious traditional culture will never die out.

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■Also on TDK VOICES FROM NIHONMONO
Hidetoshi Nakata Gifu Trip: Cormorant Master Yoichiro Adachi
https://www.j-wave.co.jp/original/nihonmono/entry/211107.html

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NIHONMONO – 「にほん」の「ほんも…

宮川のあばれ鮎に魅せられ、ブランド化を目指す釣り名人 室田正/岐阜県飛騨市 – NIHONMONO あばれ鮎が育つ環境 岐阜県北部の飛騨市宮川町。富山県に隣接するこの地域を流れる宮川の下流には、夏になると全国から多くの釣り人が集う。鮎釣りの名人・室田正さんもそ…

NIHONMONO – 「にほん」の「ほんも…

刀鍛冶に江戸時代から愛されたうなぎ屋・辻屋／岐阜県関市 – NIHONMONO 今から1200年ほど前につくられた日本最古の和歌集として知られる「万葉集」に大伴家持（おおとものやかもち）が同

The post Kose Cormorant Cormorant Master of the Imperial Household Agency’s ceremonial cormorant business, which has been handed down since the Muromachi period (1333-1573) – Yoichiro Adachi first appeared on NIHONMONO.

The Shioyama area of Koshu City, located in the northeastern part of Yamanashi Prefecture, is blessed with abundant nature represented by “Daibosatsu Ridge,” one of the 100 most famous mountains in Japan, and rich historical assets such as the village of “Shioyama Shimo-Odawara Kamijo,” an important preservation district for traditional buildings, and the “Former Takano Family Residence,” a national treasure and important cultural asset from the late Edo period. When we visited COMAKI GLASS, a glass studio nestled in the mountains, we found a lineup of glasses with bowls tilting as if “twirling” to the right and left.

Glass Studio in a Mountain Village

Around the workshop in the Shioyama area of Koshu City, there is a farming village with a scenic view of a mountain range and houses that retain the atmosphere of the old days when farmers cultivated fields and raised silkworms. After a hard day’s work, the scenery and the cool air are soothing to me,” he says. Glass artist Kohei Komaki looks out the window with a bead of sweat on his forehead. He creates his works by “blowing glass,” which involves wrapping glass melted at high temperatures around a blowpipe and blowing in the air.

The “Unexpected” Appeal of Blown Glass

The term “glass blowing” can be divided into two techniques. One is the “katabuki” method, in which glass is inserted into a mold and blown into the mold to efficiently produce the same shape. The other is the “air-blowing method” used at COMAKI GLASS. The air is blown into the air and the glass is formed using only gravity and the centrifugal force of the blowing rod, making it less efficient than the mold-blowing method.

The interesting thing about the air-blowing method is that the glass itself creates unexpected shapes,” says Komaki. Some of COMAKI GLASS’s wine and beer glasses, which are described as “original,” are made of “recycled glass,” which is hard and cools relatively easily, depending on the individual piece. Some of the works have a deep flavor that makes the most of the material’s characteristics.

Each glass has its own character. No two glasses are the same, and I try to express the form and aspect of the glass that has been formed by the glass itself.

The stem, which is bent as if to tilt the head, and the curved mouthpiece, which gives a different feel to the mouth, are truly unique in shape. When you look at the glasses lined up in a row, they look like they are dancing and swaying happily,” he says, gazing lovingly at his work.

Mr. Komaki says he originally enjoyed ceramics, woodworking, and painting. Rather than realistic and elaborate objects, he is more moved by things that he can see and feel, especially abstract paintings and creative expressions. His interest in glass making and other arts and crafts was sparked by his grandfather, whom he saw when he was a child.

My grandfather’s words and my encounter with glass artist Funaki Waho

Mr. Komaki says that since he was a child, he was close to his grandfather, who painted pictures as a hobby. As he was drawn to arts and crafts, he gradually began to dream of becoming a glassblower, following the words of his grandfather, who always said, “If I could be young again, I would like to make glass.

It was not until he was a university student that he finally came into contact with glass. He found a studio that offered facilities for the general public and began making glass, which he had longed to do. Later, when he began to think about pursuing glass making in earnest, he came across the work of Funaki Shizuho, a glass artist who would later become his mentor.

The gentle warmth of the form and the coolness unique to glass gave me a sense of clarity when I looked at it,” says Komaki. She immediately wrote to Mr. Funaki and asked to study under him, but it so happened that there was a vacancy for an assistant, and upon graduation she moved to Kanbe-cho, Hiroshima Prefecture. He moved to Kanbe-cho, Fukayasu-gun, Hiroshima Prefecture, at the same time as graduation, and began his apprenticeship at Funaki’s studio, Glasshütte Funaki, where he studied glass making in earnest.

Anticipate coincidences, live diligently.

Funaki’s vases, plates, bowls, glasses, and bowls are made by hand, utilizing the characteristics of the materials, from design to finish, and are characterized by their warmth and artistic quality, while being highly practical and robust. Even after his passing, Funaki’s work continues to be highly acclaimed both within and outside of the craft industry. Looking back over the past six years, Mr. Komaki says, “It took a lot of hard work to become able to work together as an assistant. Despite his mature skills, Mr. Funaki always approached his work with humility. “He had a loving kindness, but he was strict and stoic about his work,” Komaki says.

He was a man of love and kindness, but also strict and stoic in his work,” says Komaki. “What I learned from Mr. Funaki, such as ‘to expect coincidences’ and ‘to live diligently,’ is still at the core of my work today. After learning techniques and how to be an artist through training, Mr. Funaki became independent. Seeking a spacious place to make glass, he set up his own studio in his father’s hometown of Minami-Alps City, Yamanashi Prefecture.

It is only in the last few years that I have finally been able to make a living solely from my own work. Looking back, I learned very little about ‘selling,'” he says with a wry smile. Immediately after becoming independent, he worked part-time while producing his works. He held solo exhibitions at galleries around the country and gradually expanded his connections with people who shared the same values. Through these steady activities, the number of production requests gradually increased.

The word “happenstance” moves the heart.

In 2020, the studio was relocated to its current location in Shioyama, Koshu City, in search of an even larger work space. In 2020, Komaki will move his workshop to Shioyama, Koshu City, in search of a larger work space. He will pursue technical and expressive “fun,” and focus on producing the unique stemmed glasses that have become synonymous with his work.

The area that touches the lips and the texture of the mouth changes the taste,” says Komaki, tilting his own glass as he pours a beer into it. The workshop has a large number of glasses on display, but in fact, most of them are prototypes. For example, when adjusting the thickness or adding patterns, the slightest amount of force applied with a metal tool called a “jack,” can make a big difference in the finished product. No matter how much he continues to hone his skills, the moment when he comes across a piece that he thinks is good is always a “fluke.

He says, “The impression will change depending on the situation and purpose of use in daily life. I want to use the glasses I make myself, and I try to actively ask people what they think of them,” he says. From many prototypes, he seeks out points for improvement and hints by actually using them himself. This stoic and flexible attitude is what creates works that move the hearts of those who see and use them.

In a day that tends to drift by

Mr. Komaki is actively involved in the local community. He says that it has been a great opportunity to meet people in the community who support his activities, such as a local miso maker, roof tile craftsman, and winery. The tips and inspiration he has received through these relationships have been numerous, and he has gradually begun to receive orders for lampshade production, something he had never done before. In recent years, he has been receiving an increasing number of requests from local restaurants for glasses with curved legs.

While realizing that his work is gradually gaining popularity, he says that he would like to continue to refine his ideas and sensitivity through various inputs such as these exchanges, encounters at solo exhibitions held in various places, and things he happens to see on his travels.

“I’m sure my mind is crooked, too. It’s interesting to see things take a shape you never thought they would.”

He has a firm belief in his work, but at the same time, his eyes are full of a certain “wavering” quality. The works of COMAKI GLASS are infused with the personality of Mr. Komaki himself. I think that the works of COMAKI GLASS are infused with such a personality of Mr. Komaki himself. In this age of fast-paced production and consumption of mass-produced goods, it is important to take a break in our daily lives. Why don’t you enjoy a moment to admire the “shimmering” one-of-a-kind pieces that accompany the daily transitions and changes of the seasons?

The post “COMAKI GLASS” – Glass making that “never relaxes” and “makes your heart sway first appeared on NIHONMONO.

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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Preserving the tradition of Sakai Uchihamono

A technology once recognized by Oda Nobunaga and the Tokugawa Shogunate

Sakai City, Osaka Prefecture, is known for its Sakai Uchihamono (Sakai perforated cutlery). The history of cutlery making dates back to the 5th century, when blacksmithing techniques developed from the production of tools for building ancient burial mounds. It became a major industry in the 16th century. When guns and tobacco were brought to Japan from Portugal, the manufacture of guns and tobacco knives for chopping tobacco leaves became popular in Sakai, making use of the knife smithing technique. The high technology was recognized by Nobunaga Oda and Tokugawa Shogunate, and spread throughout the country. In the Genroku era (1688-1704), the single-edged type, which is the characteristic of Sakai kitchen knives, was born, and now it has spread to the public as many cooks use it. They are also designated as “traditional crafts” by the Minister of Economy, Trade and Industry.
Morimoto Cutlery, which preserves the tradition of Sakai percussion cutlery, is a traditional craftsman’s house that combines work and residence in a back alley. In Sakai City, houses of similar construction can still be seen today. The workshop is so small that it is difficult for people to pass each other. Machines lined up in cramped spaces show their age. However, the Sakai Uchihamono cutlery born here is highly trusted by chefs in Japan and abroad.

Koichi Morimoto, the company president, was born in Sakai in 1941. In 2008, he was selected as a “Contemporary Master Craftsman,” an award given by the Minister of Health, Labor, and Welfare under the Outstanding Technical Skill Award System, and in 2016 he was awarded the Medal with Yellow Ribbon. He is one of Sakai’s leading cutlery craftsmen. The cutlery industry in Sakai is characterized by the long-established division of labor. The “forging,” or the production of the “base” of a Japanese kitchen knife, is divided into two separate processes: “ji,” or forging, which produces the “base” of the knife, and “edging,” or polishing, which sharpens the “base” produced by the forging craftsman to create a beautifully sharp kitchen knife, Each technique can be mastered. The single-edged blade is suitable for Japanese cuisine, such as fish and vegetable dishes, because the knife runs away in the direction without the blade when cutting materials.

Cutlery supporting Japanese cuisine

I just took over my parents’ business and did what I was taught to do to support my family. I am very happy that professionals use my products, but I also feel a strong sense of responsibility not to betray their expectations and trust,” said Koichi Morimoto.
Although Mr. Morimoto has been selected as a “Contemporary Master Craftsman,” he says, “Blades are not works of art. I just have to keep working steadily,” he says of his own work.
The knives born from this small workshop support Japanese cuisine,” says Nakata.
Nakata also took on the challenge of sharpening. It is not an easy task to sharpen a knife by placing the blade on a grinding stone spinning at high speed. Not only are there sparks from the fire, friction noises, and dust flying around, but it also requires a great deal of force to hold the blade against the whetstone. It takes a long time of practice before one is able to recognize the optimum level of sharpening with the senses of the eyes, ears, and hands. Following Morimoto’s example, his sons are now following in his footsteps, and I hope that the techniques that have been passed down for over 1,500 years will be preserved for future generations.

NIHONMONO – 「にほん」の「ほんも…

歴史と伝統の堺打刃物「榎並刃物製作所」／大阪府堺市 – NIHONMONO 古くから鋳物職人の住む“堺” 堺市は、日本最大の前方後円墳、仁徳天皇稜がある地。5世紀前半に作られたのではない

NIHONMONO – 「にほん」の「ほんも…

「一生使える鍋」を掲げる手作り鍋のスペシャリスト「姫野作.」三代目 姫野寿一／大阪府八尾市 – NIHONMONO 大正13年に設立した大阪府八尾市の工房。銅とアルミを原材料にした厨房機器や調理器具を主に製造し、代々受け継がれ

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Ltd. has been making paulownia boxes for three generations in Yamagata City, Yamagata Prefecture, Japan. 90 years of experience in the art of paulownia box making has enabled the company to produce a wide range of products, from traditional craft designs to modern lifestyle items. Wood, stone, glass. In this age of material diversification, the company is striving to expand the possibilities of paulownia products.

Making paulownia boxes that can be passed down from grandfather to grandson

Yoshida Ltd. has a workshop in Gokamachi, Yamagata City, about a 10-minute walk from JR Yamagata Station. The company has been producing wooden boxes, especially paulownia boxes, for more than 90 years since its establishment. The word “paulownia box” may conjure up prestigious images of traditional crafts, but the paulownia boxes made by Yoshida Ltd. are different. They can respond to a wide range of customer needs, not only traditional gift boxes made with the finest craftsmanship, but also custom-made items that fit in with modern life, such as paulownia bread cases and smartphone speakers. We interviewed Mr. Nagayoshi Yoshida, the third generation of “YOSHIDA Co., Ltd.” who has been inventing a series of creative products that are not bound by the conventional image of paulownia boxes.

The change of food culture made him choose the path of paulownia box making.

Mr. Yoshida’s grandfather, Chosuke Yoshida, started the production of paulownia boxes. Born in the Meiji era (1868-1912), Mr. Yoshida was originally a wooden craftsman who made tables and stacked boxes. However, as the style of eating gradually shifted from serving dishes to tables, the demand for serving dishes declined. He started making paulownia boxes using local paulownia wood.

The amount of ozen we make has decreased, so we started to make paulownia boxes when we were wondering what we should do. In the past, paulownia wood was harvested in Yamagata, and I was familiar with paulownia boxes as containers for storing important items,” says Mr. Yoshida.

The first generation, Chosuke Yoshida, began producing paulownia boxes in 1930. Later, his son, Choshiro, the second generation, started to produce paulownia boxes for local industries such as Yamagata cast iron, Yonezawa textiles, and cherries, while developing “Ecchu Toyama no Okiyaku” (medicine left in Ecchu Toyama) paulownia drawer boxes nationwide. The current representative, Mr. Nagayoshi, has been working as the third generation in the company since 1991. He has been developing not only traditional paulownia boxes but also a variety of products that fit into modern life.

His skills are so solid that the first generation, Chosuke, received the Yamagata City Technical Merit Award in 1980, the second generation, Choshiro, received the Yamagata City Technical Merit Award in 1993, and the Yamagata City Traditional Craft Industry Technology Merit Medal in 2020, while the third generation, Choyo, received the Grand Prix in 2019 in the Japanese Treasure JAPAN Grand Prix “Crafts and The third generation, Choyo, won the Grand Prix in 2019 in the Japanese Treasures JAPAN Grand Prix “Crafts and Sundry Goods Category” and the Yamagata City Medal of Technical Merit for Traditional Craft Industries in 2022.

Paulownia wood box suitable for long-term preservation of important items

One of the characteristics of paulownia boxes is their humidity control properties. In Japan, where humidity is high, people have long stored important items in paulownia boxes. This is because the humidity inside a paulownia box never exceeds 70%, making it difficult for mold to grow. It is also said that fruits and other produce last longer. The same is true for medicines, and the fact that they can be stored away from humidity makes them suitable for medicine boxes. In the case of medicine sales in Ecchu-Toyama, the medicines were originally transported in paper bags, but the first generation created a medicine box from the scrap wood of paulownia geta, and the second generation perfected it as the “‘Ecchu-Toyama’s leftover medicine’ paulownia drawer box” due to its functional qualities.

Paulownia wood, which can be used from about 30 years old, is said to be better when grown in colder climates, as its grain is more compact. This may be one of the reasons why Yamagata paulownia boxes developed from local paulownia wood. However, paulownia wood also has its weak points. It is a soft wood that is easily scratched. For example, a paulownia box will chip if the corners are not removed when it is finished.

“Nevertheless, I believe that the possibilities of paulownia wood are endless, and the good thing about paulownia boxes is that they can protect a person’s most precious possessions and leave them to the next generation. That is why it is important to challenge new things while preserving tradition,” says Mr. Yoshida.

The original products born from this attitude have brought “YOSHIDA Ltd.” into the spotlight.

Put in pasta, bread, and red seal book.

The paulownia boxes for gifts that YOSHIDA Co., Ltd. still mainly produces are basically a “wait-and-see” business that depends on the market and customer demand. In response to the belief that it would be impossible to survive under such circumstances, the company launched “KIRI STYLE” about eight years ago.

Mr. Yoshida, who creates custom-made paulownia boxes to meet any request, received a request for a rice bin. When it won a Good Design Award in 2015, he began to devise a paulownia box that was not only for gift-giving.

Also interesting is the naming of each product. For example, the paulownia box for bread is called “Yoshida Panzo,” the cutting board for bread is called “Pan no Harebutai,” the pasta storage box is called “Yoshida Pasta,” and the box for tea leaves is called “Tea Time Three Sisters,” each with a name that makes you giggle: “Reiko Yoshida,” “Yoko Yoshida,” “Midori Yoshida,” “Yoko Yoshida,” and so on. The names of the three daughters are “Reiko Yoshida,” “Yoko Yoshida,” and “Midori Yoshida,” respectively.
The paulownia wood bread case, especially designed “for bread lovers,” is said to protect bread from mold and dryness by taking advantage of paulownia’s humidity control and antibacterial properties, as well as its cushioning properties. Since it helps reduce food loss by making bread taste better and last longer, the company is not only meeting the needs of bread-loving consumers in general, but is now also selling paulownia boxes in collaboration with bakeries in Yamagata Prefecture.

In addition, the “Traveler’s KIRIBAKO Traveler’s KIRIBAKO” series includes a unique paulownia box that holds one red seal book in a box. The box is made of paulownia wood to preserve the memory of the traveler’s journey forever. The series “Shosoin of Books” won the grand prix in the crafts and sundries category of the “Nippon no Hozomon Japan Grand Prix. It is an item that has never existed before, a custom-made box to hold a single book, made at the request of a collector who was troubled by insect infestation of books.

Since we started our new paulownia boxes, we have been getting more attention and our sales have actually increased. We want to make our own original products so that we can launch our own business. However, I didn’t expect the bread box to be so well received when we made it,” says Yoshida.

Cherish the luster and characteristics of paulownia wood

Mr. Yoshida handcrafts a wide variety of products one by one. The lumber is milled on the first floor of the company building and assembled on the second floor. The second floor is equipped with a finishing machine, which is not seen anywhere else but in the box-making shop.

The finished boxes are so tightly closed that it is difficult to tell which side can be opened. Such elaborate workmanship is the result of his long-standing skills, and it is what distinguishes him from other box makers.

We make products that take advantage of the characteristics of paulownia wood, but in other words, if we can’t show the characteristics of paulownia wood, then we won’t make it. Otherwise, there would be no point in making them from paulownia wood, and no point in making them at our company,” he says.

One new product each year as a sign of growth.

While the number of box makers is decreasing due to aging and other reasons, the demand for paulownia boxes is rising, according to Mr. Yoshida. That is why he is trying to increase product development without being defensive.

If you just focus on what is thriving, you will decline, but if you take on new challenges, you will find a way forward.

What Mr. Yoshida would like to produce in the future is “a case that can store sneakers while showing them off” and “a paulownia box for vintage jeans. This is exactly what he is proposing, integrating the functional aspects of paulownia boxes, such as their superior humidity control, into the lifestyles of young people to the fullest extent possible. Who would have ever thought of storing sneakers in a paulownia box while decorating it?

The reason for creating innovative items one after another is not only to challenge something new, but also to “prove one’s growth,” according to the company. Regardless of whether the product sells or not, he “thinks about what will sell next and what kind of product will attract people’s attention. And when that idea takes shape and is completed as a product, he feels that he has grown during the year.

It will be interesting to see what kind of creative paulownia box will be born next.

The post Yamagata paulownia box that combines tradition and originality: Nagayoshi Yoshida of Yoshida Ltd. first appeared on NIHONMONO.

Lacquer patterns on moist deerskin leather. Koshu Inden” is a representative craft of Yamanashi, and is sold in many department stores nationwide. In recent years, Yusuke Yamamoto, the third generation of “Inden-no-Yamamoto” (Yamamoto of Inden), has been attracting attention for his innovative attempts. What is the “new form of Inden” that he embodies?

The Roots of Koshu Inden

Koshu Inden” is a traditional Yamanashi Prefecture craft in which a pattern is applied to processed deerskin with lacquer. The word “Inden” is said to have originated from “Indea leather,” which was made in the 1600s by imitating the Indian (Indian) ornamental leather presented to the Shogunate from abroad.

Going back in history, it is said that deerskin processing began in Japan in the 400s AD. Deers have been abundant in Japan’s mountain forests since ancient times, and it is said that this is because they were easier to process than cows and horses. Deerskin was used for samurai armor after the Onin War (1467-1477) because of its lightness and high strength, in addition to its flexibility to fit comfortably in the hand. It is said that Shingen Takeda, who later became a feudal lord and protector of Kai Province, was also fond of this material, and came to love to use it for armor and “Shingenbukuro,” a deerskin armor pouch. This is said to have been the foundation of Koshu Inden.

In the Edo period (around 1700), a leather craftsman in Koshu invented the technique of lacquering, which is still used today, and this led to the production of high quality leather products in Yamanashi Prefecture. In the Meiji era (1868-1912), Koshu Inden became well known throughout Japan when it was awarded a medal at the National Industrial Exhibition. Although there have been several places in Japan that produce leather products using lacquer, Koshu Inden is the only one where the manufacturing process is still in use today.

The Beginning of “Inden-no-Yamamoto

In the late Showa period, there were several Koshu Inden businesses in Yamanashi Prefecture, but today there are only two. One of them is Inden-no-Yamamoto Ltd., which has a workshop in Asake-cho, not far from the center of Kofu City.

Yusuke Yamamoto, a Koshu Inden traditional craftsman (general category), is the third generation to inherit the skills of the company. In addition to workshops and lectures, he has attracted attention for his innovative activities, including collaborations with game companies, animation, manga, and major brands. The history of “Inden-no-Yamamoto” began after the end of World War II, when the city of Kofu was burnt to the ground, according to Yusuke.

Restoring the Fire of Koshu Inden

The founder was Kinnosuke Yamamoto, Yusuke’s grandfather. However, due to restrictions on deerskin leather caused by the shortage of supplies during World War II, the Koshu Inden business stagnated. Finally, he too was sent to the war zone. Upon his return, he found the town of Kofu scorched and transformed.

He must have seen the burnt-out ruins of Kofu and thought that everything would have to start from scratch. My grandfather was determined to ‘rekindle the fire of Koshu Inden once again. He established Yamamoto Shoten, a subcontractor to a bag manufacturing company in Tokyo, and began producing Koshu Inden again while saving money by making school bags.

Kinnosuke incorporated the rich colors he witnessed overseas into his products, and began producing products dyed in colors not found in conventional Inden. After the war, restrictions on deerskin leather were lifted in 1952, and the number of inden manufacturers gradually increased along with the demand for products, leading to the establishment of the Kofu Inden Merchant Cooperative Association around 1975.

In 1996, he passed the certification examination for traditional craftsman of Koshu Inden, and began to produce a wide variety of products as the only traditional craftsman in the prefecture who handles everything from processing to decoration. Mr. Makoto is the only traditional craftsman in the prefecture who handles everything from processing to decoration.

Instead of the traditional wholesale sales through wholesalers, Makoto has shifted his focus to direct manufacturing and sales, where he listens directly to customers and develops products. By doing so, he expanded new needs and created new products one after another that were not bound by conventional wisdom, combining the techniques he inherited from his predecessors with a rich variety of colors.

As a bearer and communicator

Yusuke looks at the shelves piled with colorful deerskin, “The style of giving shape to customers’ voices has been passed down to this day as one of the strengths of Inden-no-Yamamoto,” he says. Even now, the company is developing products in a variety of color variations, made to order, in response to customer requests.

Yusuke decided to enter the world of Koshu Inden when he graduated from junior high school. His father, Makoto, was certified as a “traditional craftsman” by the Association for the Promotion of Traditional Craft Industries. He had never been interested in Koshu Inden before, but he became very curious about the possibilities of Koshu Inden.

By the time he finished high school, he chose to study commerce at a university outside of the prefecture, with an eye toward eventually taking over the family business. After graduating from college, he entered the family business and began his career as a craftsman in earnest.

Technology passed down from generation to generation

Dyeing: Dyeing the surface of the deerskin by processing and coloring the surface of the minstrel’s skin so that the lacquer will adhere well to the surface. Cutting is done to roughly trim the leather to the appropriate size for the product to be made. Pattern application, which is the essence of Koshu Inden. Sewing: Cutting the leather and shaping it into the product. Yusuke handles all four of these processes by himself.

The lacquering process takes only 5 to 6 seconds, but he says that he puts his utmost effort into these few seconds. He says, “The finish depends on the amount of force I use. It is no exaggeration to say that everything is decided here. The “Urushi-tsuki” technique is applied by layering hand-carved paper stencils on top of deerskin and brushing lacquer onto the surface with a wooden spatula.

In many cases, the materials used for deerskin, paper stencils, and lacquer are sold wholesale to craftspeople rather than to consumers. Yusuke is concerned that “if the production and consumption of Koshu Inden cannot be sustained, the industry of those involved will not be able to survive. The relationship between producers of raw materials and craftspeople is truly “hand in hand. Holding a finely hand-carved pattern in his hand, Yusuke’s expression reflects his sense of responsibility as a bearer of the craftsmanship.

Let’s talk about the future.

Lacquer trees used to grow in abundance in Yamanashi Prefecture, but due to changes in demand and lifestyles, the number of lacquer trees has decreased significantly. He and other volunteers are attempting to plant lacquer trees in Hokuto City, saying, “We rely on imports from China for the lacquer we use to make patterns, but eventually we would like to make products only from Japanese lacquer.

While it has become more difficult to purchase deerskin from abroad in recent years, the number of wild deer in Yamanashi Prefecture is on the rise. It is said that about 70,000 Japanese deer live in the prefecture, and in recent years, animal damage has become a serious problem in cultivated land. In 2014, the company launched “URUSHINASHIKA,” which competes with Yamanashi Prefecture’s project to prevent beast damage, and is working to make effective use of Japanese deer captured as vermin in Koshu Inden.

He hopes that this will be a breakthrough in securing materials, saying, “If it becomes possible to make inden from deerskin produced in Yamanashi Prefecture, the prefecture’s traditional handicrafts will gain more depth. Yusuke’s desire to continue and popularize Koshu Inden as a bearer and a conveyer of the art is spreading like ripples.

New Inden Shape

Currently, Inden-no-Yamamoto is brushing up on the policy of his father Makoto, who mainly sold his products in department stores, and focusing on expanding sales channels through direct orders and sales at the workshop, which is one of the company’s strengths, corporate collaboration product development, and on the Internet. The demand for their products ranges from order-made products, which can be commissioned even for a single item, to the development of cup sleeves in collaboration with a major coffee chain, wall panels for stores, and the production of card holders for government officials.

Koshu Inden has become well known in the market. Recently, we are working on new product development so that the appeal of Koshu Inden can be known not only in Japan but also overseas.

Many people overseas do not like animal products such as deerskin leather from the viewpoint of ethics and environmental pollution during the manufacturing process,” says Yusuke. Therefore, in early 2023, he will release a new brand “obudo (obudo) ®︎” using “ultra-suede,” a leather made from vegetable materials instead of deer skin. The company has released a series of products that are animal-free and have a sophisticated design not seen in previous Koshu Inden products.

The company hopes that its new brand, “obudo,” will help people to understand the appeal of Koshu Inden to a wide range of people,” and presents a new and free form of Inden that meets the needs of the times, while preserving the tradition. The company’s next step is to pass on its techniques to the future.

While demand for Koshu Inden is increasing, it is undeniable that the region lacks power. The company is also working to create a foundation for more people to be involved in the business by promoting the use of electronic manuals and the digitalization of paper patterns.

The essence of Inden is technology. I would like to broaden the scope of Inden with more free ideas and create products that are demanded by customers and the times,” says Yusuke, who is full of energy.

A strong belief that conveys the backbone and identity of the company. A lighthearted attitude that is not bound by molds or stereotypes. A soft and flexible imagination that adapts to the needs and lifestyles of the people who hold them in their hands. Yusuke’s works and techniques, which continue to embody “a new form of Inden,” may be rewriting the future of traditional crafts.

The post Yusuke Yamamoto of Inden-no-Yamamoto, a new form of Inden that rewrites the “future” first appeared on NIHONMONO.

Based on the simplicity of casual usability, the woodworker Koji Hori’s
unique style with his subtle design as an artist is very attractive.
He carefully produces vessels filled with simple gentleness one by one,
which can bring a little warmth and serenity to your daily life, as well as time and space.

Mr. Koji Hori makes wooden utensils in Sasebo City, Nagasaki Prefecture. His tableware that brings out the universal qualities of wood, such as the grain and texture, is so well received that some customers wait a year for their tableware. We visited his workshop in Sasebo City to find out.

From a Self-Defense Forces Personnel to a Woodworker

The northern part of Nagasaki Prefecture. In a corner of an industrial area by the sea in Sasebo City, there is a small workshop. In a space of about 10 tatami mats, there are many pieces of wood, machines, and tools. On a shelf at the entrance, freshly finished wooden tools are randomly lined up.

Leaving the Self-Defense Forces to Work for an Interior Design Company

Born and raised in Sasebo City, Nagasaki Prefecture, Mr. Hori was influenced by his father, who was a member of the Maritime Self-Defense Force, and after graduating from high school, he joined the Maritime Self-Defense Force himself. He has a unique background in that he was transferred from Sasebo Air Base to Yokosuka, where he was engaged as a Self-Defense Forces member.

After working as a Self-Defense Forces member for three years, he found a job at an interior design company in Tokyo, hoping to work in the furniture business, which he had always been interested in. At the same time, Mr. Hori had always wanted to make a living by making his own wooden furniture someday. His first encounter with woodworking was when he started attending a woodworking class on weekends. The more he learned about woodworking, the more he was drawn into its deep appeal. However, after conducting his own market research, Mr. Hori felt that it would be difficult to make a living making furniture. So he started making wooden trays as part of his tableware line, which included wooden bowls andcutlery that he had enjoyed since he was a young man.

Creating during the day, working part-time at a tavern at night

After moving to Kamakura and commuting to work at a company in Tokyo while continuing to make trays on weekends, it was around 2006 that Mr. Hori started his own business. At first, he had few clients, and in the evenings he made a living by working part-time at a nearby izakaya (Japanese-style pub). What brought about a change in his situation was a general merchandise store that he jumped into as a sales pitch. The owner, a connoisseur, selected and sold carefully crafted household goods, and the store was well known throughout Japan.

I’m really not good at sales,” he said. I researched stores that had a concept close to my own, and I gathered up all my courage and made a sales pitch,” he recalls with a wry smile.

I wanted to create something beautiful and usable for a long time. It was a great encounter with a general store that was quick to adopt such a now commonplace point of view, and once business began, Hori’s wooden tools naturally took on a life of their own . After the business relationship began, Hori’s wooden tools naturally began to take on a life of their own.

Tools for Any Occasion

Currently, Mr. Hori is working on a wide range of tableware, including trays, bowls, spoons, forks, butter cases, and more. His works, which are characterized by the carved patterns that remain on the surface of each piece of wood, are easy to fit in one’s hand and give a sense of warmth. After carving, he soaks the carved pieces in wood hardener, which preserves the texture and feel of the wood and increases its strength, and lets them dry. When we use urethane paint, it inevitably has a plastic feel. I use sesame oil because I want the wood to feel like it has its own texture,” says Hori. The natural texture of the wood is perfect for everyday use, special occasions , oras a gift, and can be used in any situation.

Speaking of Mr. Hori, round trays

One of Mr. Hori’s best-known creations is the round tray. In addition to having a deep and stable rim, the natural texture of the tray and the ease with which it fits in one’s hand make it a perfect supporting piece for a variety of dishes. The medium-sized tray can be used as a plate, while the small-sized tray is perfect for placing a drink and a small snack. The wood’s ability to change color with age and develop a deeper sense of flavor is also a unique quality of the wood.

Inspired by old folk tools sunk at the bottom of a dam

One thing that many of Hori’s works have in common is a unique carving pattern of straight lines wavy in the middle. This style was inspired by the Wagatabon of Ishikawa Prefecture. Wagatabon originated in the village of Wagaya (now Kaga City), where carpenters and joiners carved chestnut trees with a single chisel as a tool for daily life. It is said that the Gaya-bon once ceased to exist in the Showa period (1926-1989), when Gaya-mura sank below the bottom of a dam, but in recent years, a nationwide movement of woodworkers who are self-taught in the technique are trying to revive it.

Mr. Hori is one of those who are fascinated by the Gaya-bon. Because they are folk tools, they have a rough-hewn, rugged look and feel, and he has taken this and sublimated it beautifully into his own style. The wood used and the process of making the trays are different, but I cut the trays by hand, daring to leave straight lines. The power of each line is very powerful when you see the finished product.

A new base that combines atelier, gallery, and residence

In 2017, Hori returned to his hometown of Sasebo City, where he continues to work in his current studio. He commutes to his atelier every morning from his house a short distance away, but he is now planning to “eventually build a base that combines an atelier, gallery, and residence, and live surrounded by the things I make.

While working in silence, I serve tea to visitors to the gallery and invite people over for small parties. It’ s not fancy by any means, but I would be happy if I could lead a rich life in the sense that it fills my heart, and if I could fulfill my life with it. I would like to make art objects someday,” he says of his endless dreams.

The expression of the uneven wood that is visible and hidden in the simplicity and sharpness of the work. Hori’s wooden tools remind us that it is this fluid beauty that contrasts with the uniformity and orderliness of mechanical beauty, and that is why we will always be fascinated by them. We look forward to the birth of a new center in the near future where we can pick up Hori’s tools and experience their natural beauty.

Having even one “wooden” item on the dinner table every day adds warmth and serenity to the space and time spent there. I would be happy if you could feel a little healing by using my work in your hectic daily life and enjoy the pleasure of living with woodwork.

The post Wooden tools born by leaning on different wooden expressions Woodworker, Koji Hori / Sasebo, Nagasaki, Japan first appeared on NIHONMONO.