Fewer and Fewer Glass Blowing Workshops Today

In the 1950s, there were more than 50 glass studios in Tokyo. One of them is Tajima Glass, established in 1956 in Edogawa Ward, Tokyo.

Tajima Glass Co., Ltd. is a workshop that handles “Edo glass,” which has been handed down since the Edo period (1603-1868). Edo glass is handmade using traditional techniques from the Edo period (1603-1868), and when it is faceted, it becomes Edo faceted glass.

Edo faceting is so famous that it is now designated as a “traditional craft” by the national government, making it highly valuable to preserve for the future.

Fuji glass” that triggered its popularity

My grandfather, who was a watchman, started his own business. He started by renting a workshop at first. In the old days, coal was indispensable for glass production, so many workshops were built along riverside areas where it was convenient to transport coal,” says President Daisuke Tajima.

When we visited the workshop, we found many craftsmen sweating and blowing glass in the old-fashioned kiln. The company continues to produce traditional Edo faceted glass, but it is the “Fujiyama Series” in the shape of Mount Fuji that has made Tajima Glass Co. The company’s beer glasses, sake cups, rocks glasses, and other drinking glasses are popular as souvenirs among foreigners.

Fuji was registered as a World Heritage site, the hotel asked us to make some glasses for them. Fuji was registered as a World Heritage site. At first, we made beer glasses, and they were such a hit that we made a series of them. Thanks to your support, we are now in such a state that we can’t keep up with production.

In this way, the company is not limited to traditional Edo faceted glass, but is also focusing on glasses that are fashionable for everyday use in the shape of Mt.

Evolving the quality of glass and bringing it into the modern age

The showroom displays a variety of glassware, from traditional Edo faceted glass to custom-made products. The ability to respond to a wide range of orders is one of the strengths of Tajima Glass, which makes its products by hand.

Tajima Glass is able to meet a wide range of orders, which is one of the strengths of the company. I believe that we must protect this technology, even in these difficult times for glass,” he said emphatically.

His passionate wish for more people to be able to easily pick up glassware is probably the main motivation for him to continue making various products even in this difficult situation.

Traditional techniques are necessary to create the unique beauty of glass. It also requires the passion and ideas of craftspeople to keep it alive in the modern age. The combination of reliable techniques and the passion of craftsmen who want their products to be used by people of all generations is the driving force behind Tajima Glass Co. We look forward to seeing Tajima Glass continue to use its traditional techniques to bring new ideas to life.

You can also read more about Tajima Glass here.

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Cut Glass that Looks like a Kaleidoscope

Nakata took a glass in his hand and looked at it intently. When you rotate the glass 360 degrees, different patterns can be seen, just like a kaleidoscope. This is the Edo kiriko work, made by Seiichi Shinozaki of Shinozaki Glass Craft and his son, Hideaki Shinozaki.
You may image a combination of lines and complex geometric patterns when you think of Edo Kiriko. “In the past, we were able to make a living by drawing palisade patterns.” Shinozaki told us.
“But now, that’s in the past. Simple designs are made overseas, and the Japanese craftsmen are gone. Also in the past, department stores were not interested in Edo kiriko unless they were made by a famous designer.” As Shinozaki spoke, his son brought the glass Nakata was looking into earlier that looked like a kaleidoscope.

Designs made Possible by the Artisans

“This is one of my father’s masterpieces. The floral design is still very popular.” The work of Seiichi Shinozaki are delicate and the kiriko cut are very detailed. The technique creates the little dots and circles drawn inside the glass, making it glitter like a kaleidoscope. They are not simple flower designs. The flower on the other side can be seen within the flower in the front. That is how the kaleidoscope works. It is all calculated. Sometimes a cloudy effect is used made to emphasize the designs. In addition to the flowers, there are circles and patterns that are cut onto the glass to for visual pleasure.
“The kiriko in the past were all just a combination of lines, so traditional craftsmen may say this is not authentic kiriko. But this is a new design that was brought into this world through their creations. Technique comes first, and then the designs. This is how this unique type of kiriko design came to be, through the minds of the artisans.

Concentration that allows one to forget the weight

Shinozaki also creates large size pieces. Ordinarily, Edo kiriko is thought of as being small, the size of a cup or a wine glass. However, Shinozaki makes huge dishes, big enough to hold two portions, and pitchers the size of a pot. Nakata held the pitcher and shouted, “It’s heavy!” It is made of crystal glass and obviously the bigger, the heavier.
“You need to hold it when you’re engraving, don’t you?”
“Yes, of course it’s heavy, but as you focus more and more, you forget about how heavy it is.”
The delicate patterns are engraved while the 10 kg of weight is in your arms. Once you make a mistake, it’s all over. Concentration is essential, and perhaps the more you concentrate, the more you forget about the weight. We saw many works of art that reflected true craftsmanship. “Well, sometimes I get overly engrossed and forget that it’s the holiday season, and there were times my wife and friends all left on a trip somewhere leaving me behind.” Seiichi Shinozaki chuckles, showing no signs of remorse.

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Designs from abroad being incorporated into Japanese tradition

There are rules to the patterns of Edo Kiriko. “There are approximately 10 types of standard geometrical designs,” explained Toshiro Kobayashi. He is a third generation Edo Kiriko artisan, taking after his father and grandfather.
“We usually use the existing patterns though there are some who have their own unique designs. The new designs are rarely commercialized and hardly ever referred to as “Edo Kiriko”, while there may be distinct, single pieces.”
According to Kobayashi, the geo geometric designs of Edo Kiriko originally came from Europe, where glass art was popular. The cutting technique was especially popular in Ireland and England from where most of the patterns were adopted. Slight Japanese style alterations were made, leading to the “Edo kiriko” we are familiar with today. It has since flourished becoming a unique form of Japanese art. There used to be many old patterns like those seen in Satsuma Kiriko pieces.

The Old and the New

Kobayashi’s family has produced generations of Edo Kiriko artisans. Currently the son, Shohei Kobayashi, is the 4th generation, so there are many old tools that have been handed down in the family.
What has changed drastically over the years is finishing polish process. We were invited to see their workshop where we saw many old polishing stones, which had been used to polish the glassware by hand. Hand polishing took a lot of time and involved many steps. This all changed with the appearance of the diamond disc. It decreased the polishing process to a single step, and shortened the time by a quarter.
“When equipment takes over an artisan’s job, the artisan’s skill declines, not that that is always bad. It is also true that without using new tools, we would not be able to continue our work.”
Currently, there is another polishing method in addition to hand polishing and polishing with a diamond disc. Polishing with acid. There was a time when people said that it was not true Edo Kiriko unless everything was by hand. However, Kobayashi told us that the acid polishing method existed from the Taisho period. So this is a misunderstanding.
New technique is incorporated into traditional craft making. This is a challenge that traditional crafts face and need to overcome every so often. At Kobayashi’s studio, we saw the Edo Kiriko that had gone through these changes.

The corners do not fit…

The most prominent feature of Edo Kiriko is the geometrical patterns with large grids. As a work of art, it is ”beautiful”, but when you have to create it, it is ”difficult”. Nakata experiences this first hand.
”Sand this until the red line disappears.” Nakata tries to scrape the glass against the disc as he was instructed, but it is not a simple task.
”No matter how I do it, the lines aren’t even.” Nakata said in dismay. The corners of the grid pattern don’t match because the width and depth of the lines are not uniform. This will not create an attractive Edo Kiriko. ”This can only be mastered with experience.” Kobayashi told us. It was said that it takes 10 years for someone to master a skill. Of course these techniques cannot be learned overnight. But these skills are what brings out the beauty of Edo Kiriko.
Currently there are 59 companies in Tokyo that create Edo Kiriko. Most of them only have one or two artisans. Kobayashi says that there are obstacles they need to overcome as demand decreases. Glassware tends to be considered expensive, and it takes time to nurture an artisan. Traditional craft that is passed on in Edo, Tokyo. Edo Kiriko with its stylish beauty. Kobayashi shared the issues they face for the future.

The post “Edo Kiriko Toshiro Kobayashi, Shohei Kobayashi” Observing the Changes in Edo kiriko first appeared on NIHONMONO.

Ceramics that play up the food

Fresh and bright. These are the attractive aspects of Edo Kiriko. Edo Kiriko is thought to be a combination of irokise glasses with different patterns engraved, but in fact Edo Kiriko uses only transparent glass. Irokise glasses have been in use only since the Meiji period.
”Recently, colored glass is more popular.” Edo Kiriko artisan Yukio Nemoto told us.
”But transparent glass makes the colors of the beverage and food stand out. Colored glass will obstruct the colors of the food. I don’t think it will look as tasty.” As an artisan, he told us that the standard is transparent glass.

The skill that comes only with experience

The delicate detailed patterns can only be made by a veteran artisan. However, Nakata gave it a try. Tatsuya Nemoto, the son, adjusted the machine for Nakata as he shaved the glass, which he struggled with.
”You think you carved deep enough only to find that it wasn’t enough. Then there are times when you end up carving deeper than intended.” In response to Nakata’s comments, ”This is skill learned through experience. Thin lines and thin glass are still difficult,” he told us.
When you take a look around the studio, there are many glassware. There are some that make you wonder if it’s really Edo Kiriko, they are so modern. Some of the pieces were made using the Graveur Glass method from Europe.

Avoiding becoming obsolete

Edo Kiriko has a little over 10 types of patterns, including ”nanako”. ”But that’s not enough,” he commented.
If people see it as Kiriko from 50 years ago, that’s not good. It has to reflect the needs of the times, otherwise, the tradition will not be passed on.” Therefore he creates his own Kiriko designs and combines it with traditional patterns. The work will not evolve unless this is done.
Nemoto has been presenting his Edo Kiriko pieces as tea ceremony tools.
”People who practice ”sado” are very particular about their tools. So I frantically made my own,” he explained.
Tradition does not always exist in the same form. It goes through change, absorbing and reflecting the present. Challenges are important, making its presence known in a completely new field.

The post “Edo Kiriko, Yukio and Tatsuya Nemoto” Tradition moving forward first appeared on NIHONMONO.