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.

Fascinated by the tasteful beauty of blown glass, glass artist Yuko Miura uses traditional techniques to create dishes for daily use. The vessels, designed with ease of use in mind, feel stable in one’s hands and stand dignifiedly on the dining table. Regardless of the genre of cuisine, such as Japanese or Western, or the occasion, she creates glassware that blends in with daily life based on the concept of “daily usable vessels.

Moved to the nature-rich northern part of Okayama Prefecture

Yuko Miura’s studio, Bamboo Glass, is located in a quiet mountainous area in Kagamino-cho, Tomada-gun, Okayama Prefecture. It is about an hour and a half drive from Okayama City and about 15 minutes to the border of Tottori Prefecture. Nearby are Okutsu Onsen, a hot spring representative of the Mimasaka region of Okayama Prefecture, and the scenic Okutsu Creek, an area blessed with abundant nature throughout the four seasons. Mr. Miura started his workshop here in 2014.

Producing tableware for daily use

Mr. Miura creates colorless clear and pale gray cups, wine glasses, plates, and bowls. Blown glass is a technique with a history of over 2,000 years. I am fascinated by the forms of vessels used by people in the past, so I study the history of blown glass carefully and try to create my own unique designs while considering how easy it is for people to use today.

Discovered blown glass while a university student

Mr. Miura was born in Osaka Prefecture. While a student at Kyoto University of Art and Design, he was exposed to a variety of crafts, including ceramics and woodworking, and was most attracted to glassworking. Wanting to pursue glassblowing even further, he took classes at “Glass Studio Aaty” in Kyoto City and gained experience in the art of glassblowing. He chose blown glass from among the many glass forming techniques because he is not good at sitting still, he says with a laugh.

That is probably why glassblowing, which requires physical exertion, suits him so well. When he actually tried it, he found the movement of the molten glass interesting, and he began to think, “I want to learn more about blown glass,” and “I want to handle glass in a soft state.

Blown glass is formed by winding high-temperature molten glass around a steel tube called a “blowpipe” and blowing air into it to make it expand like a balloon. It is possible to make glass thinner than that formed by fitting it into a mold, and the technique is said to have remained largely unchanged since ancient Roman times.

After graduating from university, she continued her studies at the Toyama Institute of Glass Art, where she learned basic glass theory, techniques, and the necessary sketches, as well as the know-how to become an independent glass artist. She moved to this area when her husband, Kazu, who was also a staff member, took a job at the “Fairy Forest Glass Art Museum” in Kagamino-cho, Tomata-gun, Okayama Prefecture.

Repeating the same thing over and over again does not produce the same thing.

She now has a studio in the corner of her house where she works alone. In his studio, there are two furnaces that he made himself according to the size of the vessels he makes. The furnaces for his work are heated to about 1,000 degrees Celsius. The furnace for melting and storing glass has a working temperature of approximately 1,180°C. This furnace is used to remove bubbles from the glass. This furnace is operated 24 hours a day to remove air bubbles from the glass so that it is ready to work the next morning. While surrounded by the heat generated by the two furnaces, he continues to make 20 to 30 cups from morning to night. He continues, “I never get tired of doing the same thing over and over again, day after day. That’s what’s so strange about it. I think I am making the same thing, but each finished product is somehow different. Maybe that’s why.”

He learned from looking at old glass, and in his own creations, he has arrived at his current style by devising shapes that are easy to wash and thicknesses that do not break easily. In addition, he mixes a small amount of iron and copper with glass to create a grayish color in order to bring out the atmosphere of old glass. The colors of these pieces are not too overpowering and blend in well with the tabletop.

One of his favorite glasses is a glass with legs, which was used in a popular French diner in the 20th century. It is what is called a “bistro glass,” a sturdy glass that can be handled roughly to some extent. He says, “I want to make something that is easy to pick up and has a simple, everyday quality, like this glass.

When he first started creating, he exhibited his work at craft fairs throughout Japan in order to make his creations known. He learned about the reaction to the vessels he made by talking with customers at “Craft Fair Matsumoto” in Matsumoto City, Nagano Prefecture, “Arts & Crafts Shizuoka Tezokuri Ichiba” in Shizuoka City, Shizuoka Prefecture, and “Field of Crafts Kurashiki” in Kurashiki City, Okayama Prefecture. He learned that there were surprisingly few glassware that could be used for both Western and Japanese cuisine without interfering when placed alongside ceramics, and his theme of “glass that fits in with the dining table” became firmly established. Through word of mouth, the number of clients gradually increased.

An environment that connects work and daily life

Miura spends his evenings looking at old books on glassware that he collects at antiquarian book fairs and other places, and uses them as motivation for his work. For example, when I look at a photograph of Venetian glass from the 16th century, I am impressed by the effort of the craftsmen who worked hard to make it,” he says. I enjoy finding traces of their work, such as tool marks, and thinking about how they were made in my own way.

He says that his work and daily life are well connected in his current environment, where he can work freely and without restraint at the foot of the mountain. For example, sweeping up fallen leaves around the house in the morning is an important way to refresh himself before heading off to work. It allows him to enter the workshop with a refreshed feeling of nature. I want to continue living the way I do now,” he says. I want to continue my life in the future. Like the women who have made a living by weaving, I imagine that I am making things day in and day out in the mountains. Work is a part of my life,” she laughs.

Recently, she has decided to turn off the furnace during the warmer months of mid-July through August, so that she can spend her free time, which she has not had before, looking at glassware at museums and collecting glass artifacts. He believes that there must be more to glass than just looking at materials.

Since moving here, he has devoted himself to raising his children, and there was a time when he worked part-time. Even so, somewhere in the back of his mind, he always thought, “I will make blown glass again. Ms. Miura’s strength comes from the fact that she has never doubted her own desire to create. Finding inspiration in her daily life and being able to create is what gives her the greatest joy.

The post Glass artist with an everyday perspective, Yuko Miura, Bamboo Glass / Tomata-gun, Okayama, Japan first appeared on NIHONMONO.

Rikie Shojiguchi is a glass artist with a studio in Toyama Prefecture.
Under the concept of “gentle, soft, and comfortable.
, she continues to create attractive vessels with a delicate whiteness expressed by cutting glass and a unique touch that is comfortable to the skin.

Why is Toyama glass famous?

Toyama is famous for its “Toyama no kusuri (medicine seller), ” and in order to support Toyama’s pharmaceutical culture, which has a history of over 300 years, the manufacture of glass bottles to hold medicines flourished in and around Toyama City during the Meiji and Taisho eras, with the city boasting the largest share in the nation’s market. Such historical background has created rich resources and developed Toyama into a city of glass. Toyama is said to be one of the world’s leading glass cities, with a favorable environment that includes research institutes that foster glass artists and ateliers that support their production. In such a glass town of Toyama City, there is a studio called “Shojiguchiya” run by Rikie Kojiguchi. Shojiguchi-ya is a glass studio in Toyama City, a town known for its glass . Ms. Shojiguchi-ya creates glass works that fit the skin and are comfortable to wear. Ms. Kojiguchi is a glass artist who has received many awards in Toyama and other parts of Japan, as well as internationally. The unique and gentle look of the glass works she creates will surely convince anyone of the concept behind her work.

The Road to Becoming a Glass Artist

Ms. Kojiguchi says that she enjoyed watching glass artisans blowing glass and their work processes. His admiration for glass was accelerated when the Toyama Glass Art Institute was established while he was still in high school. However, at the time, he did not have the knowledge or skills to take the entrance exam for the Toyama Institute of Glass Art, so he decided to go to an art school first, and enrolled in Toyama College of Art and Craft. Around the time he graduated from the school, his longing for glass, which he had felt in his high school days, was rekindled when he stopped by the Toyama Glass Studio. As soon as I saw the glass-making process, I thought to myself , “I want to do this! At that moment, he decided to take the entrance exam for the Toyama Glass Art Institute. After a year of intense study, he successfully fulfilled his high school dream and received a ticket to the Toyama City Institute of Glass Art. Looking back, he says he could not forget the feeling of “the texture of filing wood” when he made a chair in one of his classes at the institute. This experience may have influenced his choice of glass as a material to create by touching and looking with his hands.

The Appeal of Kojiguchi’s Glass Works

The appeal of Kojiguchi’s glass is its gentle white color and unique texture. At first, Mr. Kojiguchi made colored glass works because of the tendency to sell only colored glass. However, he found that this did not allow him to show his playfulness with shapes. She then began to make works without color, as she does now, and the reputation of her work at solo exhibitions and other venues was unexpectedly high. And more than anything else, the works were comfortable and satisfying for her to make.

In creating her works, Ms. Kojiguchi places importance on the five senses of “sight,” “touch,” and “hearing. The glass that Mr. Kojiguchi finishes with his unique senses, not only by blowing glass but also by shaving and polishing, seems to embody the key to his creation, “Seeing with the hands. The glass seems to embody the key concept of his work, “to see with the hands”. This is how the glass has a smooth feel that cannot be felt with other types of glass.

When you pour sake, whiskey, or other alcoholic beverages into the carefully crafted “Hatsuri” glass, you will enjoy not only the taste but also the feel of the glass. The warmth of the glass is sure to be useful as a gift for anniversaries such as wedding gifts and kanreki (60th birthday).

In this way, Kojiguchi’s glass works add warmth to our lives. We are sure that she will continue to provide us with ” gentle, soft, and comfortable ” space with her unique touch and gentle colors. She will continue to give us a space that is “gentle, soft, and comfortable” with her unique touch and gentle colors.

I aim to create works that warm the hearts of those who use them, valuing not only the sense of sight but also the feeling of touch. Glassware comes alive only when people use it in their daily lives. We would be happy if you could use them a lot without putting them away and bring smiles and happy moments to your life.

The post Glass works that feel warm to the touch by Rikie Kojiguchiya, Kojiguchiya /Toyama City, Toyama Prefecture first appeared on NIHONMONO.

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.

The post Preserving the warmth of Edo faceting in a different form for the modern age Tajima Glass Co. first appeared on NIHONMONO.

Hiroi Hanaoka resides in Bizen City, Okayama Prefecture, known as the home of Bizen pottery, about a one-hour drive east from the central part of Okayama City. Near the calm sea, he operates a glassblowing studio, where he crafts popular glassware for everyday use, adorned with beautiful hues and a gentle atmosphere.

The path to glass art born from a longing for art.

Hanaoka was born and raised in Bizen City, known for its renowned Bizen pottery, making pottery the most familiar form of art in his life. Additionally, he admired his father’s hobby of painting since childhood.

Influenced by these factors, after graduating from high school, he decided to study Bizen pottery at an art university and enrolled in Kurashiki University of Science and the Arts. In the process of determining his specialization, he studied various crafts such as pottery, glass, and dyeing. Among them, he found that the speed at which glass pieces are completed the day after they are made, unlike pottery, suited his personality. Trusting this feeling, he chose the “Glass Course” and studied under Masami Kotani, the founder of Kurashiki Glass, who was serving as a professor at the time.

During his studies, Hanaoka dedicated himself to glassmaking, striving to be able to shape what he envisioned as quickly as possible. He spent extra time practicing outside of class and participated in study sessions held nationwide, immersing himself in the world of glassmaking.

Who to target and how to create

“After graduating from university, I joined the glassblowing studio ‘fresco’ run by glass artist Tsuyoshi Tsujino in Osaka. The studio valued the approach of designing glassware not only as artistic pieces but also considering how they could be seamlessly integrated into people’s lives. They prioritized total design, from creation to introducing the pieces to the world. ‘We would envision who the pieces were for and imagine the person who would pick them up while creating. We would solidify that concept first before starting production. Learning this approach was an invaluable experience for me,’ recalls Hanaoka, reflecting on that time.”

“Glass uniquely mine” or “Glass unique to this land”

After working at “fresco” for 9 years, Hanaoka established his independence in 2013. He returned to his hometown of Bizen City and opened the glassblowing studio “HIROY GLASS STUDIO,” which also features a gallery.

Hanaoka employs the technique of “free blowing,” where he shapes the glass by blowing air into a blowpipe without using molds. “With free blowing, what feels ‘right’ can vary from day to day. I think the fascinating aspect of glassblowing lies in how it can fluctuate for better or worse depending on one’s physical condition or mood,” he enthusiastically explains.

Before his studio gained momentum, Hanaoka held glassmaking classes and gradually expanded his sales channels by visiting galleries and shops with his works.

Throughout this journey, Hanaoka prioritized not only his own desires of “what he wanted to create” or “what he wanted to sell,” but also listening to the requests of others and incorporating them into his work. This flexible approach ultimately expanded the range of his creations.

The representeative series with striking slits

Hanaoka, who has always been captivated by the beauty of traditional Japanese elements since childhood, created the impressive “ren” series, inspired by the “renji” lattice found in old Japanese houses. This series features striking slit patterns reminiscent of traditional Japanese lattice work. Not only can one enjoy a variety of colors and the play of light and shadow, but the ambiguous boundaries created by the slits give the pieces a mysterious charm that seamlessly blends in wherever they are placed.

Challenging what others don’t do.

The “ren” series may initially appear similar to cut glass, but its manufacturing process is entirely different. First, colored glass is overlaid on transparent glass, heated to create glass beads, and then allowed to cool. Subsequently, the surface is cut linearly and polished before being reheated and blown to shape. This method draws inspiration from the “Graal technique” originating in Sweden. “The process of cutting before blowing is significantly different from cut glass. This allows for the inclusion of cut patterns in areas that would not be possible with cut glass,” explains Hanaoka. Due to the additional steps compared to typical glassblowing, the process requires both time and effort. By daring to challenge what others don’t do, Hanaoka has created unique pieces that are distinctly his own.

Works with connections to this land

Another important aspect for Hanaoka was the connection to his local area. Just as he had grown up with Bizen pottery, he sought to create glassworks unique to his homeland.

One year, when his parents, who were rice farmers, experienced a poor rice harvest, they had excess rice that would go to waste. Hanaoka decided to incorporate this surplus rice into his artworks. By using rice that people consume daily, he aimed to create pieces that felt familiar to the users. This led to the creation of “GRICE,” a popular series characterized by its beautiful light blue color. Currently, Hanaoka uses rice that is not suitable for market due to small grains or color discrepancies, turns it into ash, and incorporates it into the glass during production.

Interestingly, the area of Honami-Ida in Bizen City, where Hanaoka’s studio is located, was reclaimed from the sea during the Edo period. The site was once the school field “Ida” of the former Kanaya School, a school for commoners operated directly by the Okayama Domain. Through “GRICE,” Hanaoka hopes to evoke thoughts about the history imbued in this area and its connection to the local community.

Dedication to beautiful colors

Stepping into Hanaoka’s glass studio, one’s eyes are immediately drawn to the colorful glass beads hanging by the window. At first glance, they may resemble artworks, but they are actually a collection of glass color samples spanning approximately 300 hues. For coloring, powdered glass is utilized, but it’s noted that the color in its powdered form may differ from the color when it becomes glass. To ensure clarity, the glass is pre-made to accurately represent its final state. Hanaoka explains, “We use powdered glass from manufacturers in Japan as well as from Germany and the United States. For the transparent glass parts, we use raw materials from Sweden. At this point, it’s become almost like a hobby for me.” The beautiful colors seen in Hanaoka’s works originate from this meticulous process.

Dishes to enjoy according to the season

The latest series that showcases Hanaoka’s dedication to colors is called “Dusty.” With its muted tones and calming atmosphere, it seamlessly fits into various scenes of daily life. It aims to dispel the notion that glassware is only for summer by expressing the allure of glass beyond its transparency.

“Recently, there are people who enjoy using glassware according to the season,” Hanaoka happily shared. For him, the most fulfilling moments come from interacting with users who appreciate his work.

A flexible attitude breeds new creations

Ten years have passed since establishing my independent studio. Having gone through the basics of pottery, I now aim to focus more on sculptures. Initially, I wasn’t particularly skilled in creating sculptural pieces. My passion lay more in crafting functional objects for daily use.

However, delving into sculpture opened up new perspectives. People interested in sculptures also showed interest in purchasing my pottery, and vice versa. Instead of turning down opportunities with a ‘this is not my forte’ attitude, I embraced them. This flexibility led to new encounters and expanded the horizons of my work.

Moving forward, I intend to experiment with combining various series I’ve worked on before. While cherishing Japanese culture and infusing glass with beautiful colors, I will continue blowing glass, exploring new possibilities along the way.

The post “Infusing Japanese culture and beautiful hues into glass.” – Glass artist Hiroki Hanaoka 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.

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Satsuma faceted glass, a specialty of Kagoshima

It is said that the Satsuma Domain made a great leap forward during the Meiji Restoration thanks largely to Shimazu Nariakira, the 11th lord of the Satsuma Domain. One of the specialties he left behind was Satsuma faceting, a glasswork as beautiful as jewelry. The production of Satsuma faceted glassware began at the behest of the feudal lord, who invited craftsmen with faceting skills that were spreading in Edo at the time, and began exporting the products overseas in order to boost the economic power of the feudal domain.
There are many cutting glasses in the world, including Baccarat. Satsuma faceted glass is as beautiful as Baccarat and many other cutting glasses in the world. It is characterized by the gradation and masculine strength depicted by layering colored glass on colorless glass and cutting it,” says glass artist Shoho.

The differences between Edo faceted glass and Satsuma faceted glass

Edo faceted glass and Satsuma faceted glass are the two most famous faceted glass types, and each has its own distinctive appearance. Edo faceted glass is thin and the cut lines are thin and clear, while Satsuma faceted glass is thick glass with colored glass layered on transparent glass, and the colors are gradated by cutting through the layers of colored glass.

Facing Satsuma faceting as a glass artist

In fact, the technique of Satsuma faceting once ceased to exist around 1877 (Meiji 10), the year of the Civil War. The Satsuma faceting currently being made was restored in 1985 by a local company that is related to the Shimadzu family. In 1986, the very year the restoration project began, Mr. Shoho graduated from high school and joined Satsuma Glass Craft. It is said that it takes several years to be able to draw a single line,” said Shoho, who honed his skills in the difficult art of Satsuma faceting and eventually became an independent glass artist. I have been working with glass for 35 years now, and I still find it difficult every day,” he says. You have to draw not only straight lines but also uniform curves, and the depth of the lines must be even. It is important not only to improve the technique, but also to nurture the imagination that appeals to people as a work of art,” says Shoho.

Traditional Skills Float into the Future

His works, which are based on old Satsuma faceted glass and create new works by utilizing the classics, are highly acclaimed overseas as well, and are sometimes used by Japanese consulates abroad as gifts for their dignitaries. Each piece has its own theme, and he draws motifs inspired by traditional patterns such as cherry blossoms and chrysanthemums, ladybugs, manga works, and many other things. The polishing process can be as small as 1 mm or less depending on the motif to be engraved, and he uses more than 100 different polishing tools depending on the pattern. From diamond kneaded tools to cloth tools for final polishing, the tools themselves are also made and adjusted by Mr. Shobo. When shown the finished work, the high transparency and gradation of colors are very beautiful, and the patterns on the pieces give a sense of nostalgia and modernity. The works fantastically depict the rich climate of Kagoshima, creating a new culture while inheriting tradition.

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薩摩切子に出会う「薩摩びーどろ工芸」 ／鹿児島県さつま町 – NIHONMONO 薩摩切子の歴史 薩摩切子（さつまきりこ）の誕生は、1846年に島津家第27代藩主・島津斉興（しまずなりおき）が

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Glass crafts made while feeling the nature of Noto

Nanao Bay, where Notojima Island is located, is unaffected by rough seas despite its location on the Sea of Japan, with only a few ripples, like a lake, giving the impression that sea birds and fish are spending their time leisurely.Glass artist Kota Arinaga continues to create his works in his studio facing Nanao Bay on this naturally rich Noto Island.Since the Notojima Glass Art Museum of Ishikawa Prefecture is located just nearby, one might think that he came to this area through that connection, but he says, “I inherited this house from a relative who was using it.
Originally from Osaka, I studied glass art at a university in Kurashiki and worked at glass studios in Fukushima and Niijima in Tokyo before coming to Notojima four years ago.” The air is clear and the only sounds are the wind, waves, and birdsong.The gently rolling hills of the island are covered with rice paddies and fields, and because there is no heavy snowfall even in winter, the island is blessed with a variety of crops in all four seasons.The starry sky is beautiful at night because there are few streetlights, and the area is surrounded by nature so rich that it is like a natural planetarium, making one sigh. The Noto Peninsula used to be called an “isolated island on land,” but recently the transportation network has developed, and Kanazawa is only an hour away by car, and you can reach Tokyo from Noto Airport in no time.It is the best environment for me to concentrate on my work without overworking myself.” (Mr. Arinaga) Displayed in the living room is a delicate glass vessel that is almost scary to touch.The glass, which looks like fabric, overlaps each other, softly diffusing the ambient light and creating an indescribable nuance with a veil of gentle colors on the transparency of the glass.

Aiming for both art and practicality

The series named “gauze,” as the name suggests, appears to be made of a soft, gauze-like fabric enclosed in glass.When I visited the glass studio attached to his home, I found the glass kiln burning red-hot.He said he usually stays here to work on his pieces.

The earlier piece was nice, but I also like this kind of rustic vessel,” said Nakata.
Hidetoshi Nakata’s attention was caught by the casual glasses and jugs.These pieces made of colored glass were indeed simple and rustic, but they showed both delicate shapes and a handmade flavor.They had a different feel from the works seen in the living room.

It is not easy to balance the pursuit of beauty as an artist and the pursuit of practicality as a craftsman,” says Arinaga.However, watching Mr. Arinaga silently blowing and shaping glass, it seemed as if the two existed without discomfort.

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