The fascination of glass draws you in.

Shun Kumagai is a glass artist based in Akita City. Fascinated by the unique expression of his works, he has held solo exhibitions in Japan and abroad, and his presence is growing. When we visited Mr. Kumagai’s home and studio, we found his glass works lined up in his studio surrounded by a beautiful garden that seemed to reflect the colors of the four seasons.
Born and raised in Akita Prefecture, Kumagai studied glass art at an art college and then moved to Toyama, a city of glass, where he worked at the Toyama Glass Studio, building a solid foundation in glass. After working there for about four years, he decided to return to Akita when his wife, Aki Sakaiida, also a glass artist, became pregnant.
Kumagai’s glass works are very unusual. At first glance, the shapes, textures, and tones of his glass works are so different from those of other glass artists that it is hard to tell that they are made of glass. They have a mysterious atmosphere as if they were excavated from ancient Egyptian ruins, and appear to be made using the pate de verre technique, creating a mysterious worldview that draws the viewer in.
Many glass artists tend to go for beautiful glass. But I am more interested in changes and irregularities caused by impurities in the glass than in transparency and beauty. For some reason, I am attracted to such things,” says Kumagai.

In search of the one and only glass works

The basis of Mr. Kumagai’s work is the casting technique. He also applies ceramic and Nakagane techniques to his work. He arrived at this creative technique because he wanted to create a work that no one had ever seen before.
First, he makes a plaster mold and molds it with molding wax while visualizing the work. The mold is then placed in a small box and plaster is poured around it to complete it. The plaster mold is then filled with liquid hot glass, which is cooled and hardened to form the piece. The raw materials used for the molds are materials that were given to him by a glass artist friend of his who was going to scrap them, and he mixes them with earth, metal, and other powders. The original color of the glass is heated to 1,000 degrees Celsius with the clay and metal, and the different properties of the ingredients produce complex colors and textures, creating a unique look for the finished piece.
After cooling for a week or more, the plaster is broken and the glass is removed. Because so much time has passed since the piece was placed in the mold, he often forgets what he has made and what it looks like until he opens it and looks at it. He says that he gets excited when he finds unexpected uneven coloring due to impurities in the glass, or when he sees an expression that makes the piece look dirty. Kumagai’s smile widens when she talks about her glass works. The most interesting part is when I break the plaster and take out the work,” he says. Saying this, Kumagai began to break a plaster cast with a mallet.
As he carefully tapped the plaster with the mallet, a human-shaped glass work resembling a Buddha emerged from inside. The slightly rough, dull-colored texture, the color dripping, and the distorted form of the piece, indeed, had a charm unique to the odd shape that transparent glass does not have.
I’ve gotten used to working with small pieces over the past few years,” he said. I would like to work on larger pieces in the future,” says Kumagai. I would like to master the casting technique and continue to create works that are unique to Mr. Kumagai.

NIHONMONO – 「にほん」の「ほんも…

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Colorful glass works

Large plates and receptacles. Many pretty colors are used, and one look and you’ll be fascinated. However, Hisao Nabeta’s works are not only that. The receptacles have beautiful curves, and the colors ”flow” in the glass. The flowing colors are made using a technique to combine different colored glass, and heat and melt them together. The method he explained was surprising. He uses gravity to transform the shapes.

First, glass plates or glass sticks of different colors are combined to determine a design. A mold made of fire-proof plaster with a hole is prepared, and legs are attached underneath. The colored glass pieces are placed on the mold, and placed in an electric oven. As the temperature rises, the glass melts slowly, and by the force of gravity, gradually stretches down the hole. This creates the flowing form of the receptacles.

Taking time to slowly form the receptacles

When we observed at the glass that had cooled after it was taken out of the oven, we understood what Nabeta meant by gravity. The molten glass is made to slide into the plaster mold. It’s very interesting, but it is an extraordinary procedure. Imagine a vase, for example. A vase with distorted shape may be charming, but Nabeta’s vase has a very refined curve. To produce that shape, the molten glass must sink evenly into the plaster mold. The glass has to be heated very slowly for this to happen, much slower than the process used for other glasswork.
Furthermore, heat must be conducted evenly, so you cannot use the corners of the oven. The glass has to be heated in the center of the oven so the heat is transmitted evenly. Therefore, not many vessels can be made at once.
”And the vessels have to be taken out of the plaster molds, and the edges have to be cut.　This is quite a difficult process. It takes up half a day. If you are not careful, they break easily. ”
It is indeed a fine piece, requiring a lot of work and time.

Expressing “wa” through glass

The technique Nabeta mainly uses is called fusing, where designs are created by combining glass sticks. It is an old technique, but one that requires high degree of skills because the expansion rate of glass varies when heated. As a result, it gradually gave way to glass blowing. Nabeta also uses glass blowing and other techniques.
However, the expressions that can be achieved by fusing cannot be matched by glass blowing. However long it may take, one must begin by arranging the glass plates and melt them slowly together.
And what is striking about Nabeta’s pieces is the color and the design. Many colors, especially bright yellow and red, draw one’s attention. Another characteristic is that his designs have Japanese elements. Many of his works skillfully fuses Japanese elements such as designs inspired by ”kimono” or Japanese architecture.
One gets the impression that glass work is an imported artform. Perhaps that is why we find Nabeta’s pieces to be so intriguing – because he expresses ”wa” using glass.

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Falling in love with glass pieces

Matsushima is known as one of the three scenic beauties of Japan, and is visited by many people. There is a well established Japanese style hotel with ”onsen” called ”Matsushima Ichino Bo”, and adjacent to this hotel is a museum which displays works by an eminent glass artist known throughout the world.
It is the ”Kyohei Fujita Museum of Glass” which Nakata visited. The director of the museum, Shotaro Takahashi, fell in love with the works by Fujita, and offered to build a museum. The offer was accepted, and the museum was opened in 1996. The museum has many pieces of work by Fujita in its collection, from the early period to some recent works, and the exhibits are changed each season. They also hold special exhibitions of works by contemporary glass artists.

Glasswork artist Kyohei Fujita

Kyohei Fujita was born in 1921 in Tokyo. He studied metal engraving at the Tokyo School of Fine Arts (now the Tokyo University of the Arts), and after graduation, he was employed at a glassware manufacturer. He soon left his job and immersed himself in glass craft. In the 1970s, he went to Venice Italy, a city with a long history of glass craftwork, and he acquired the skills of using colored glass and gold foils as he continued to create his pieces. Since then, he continued to study traditional Venetian glass, and devoted his life to glass craftwork production.

He created a variety of forms including vases, boxes, glasses, receptacles, tea utensils and formative art, and his works are fascinatingly elegant and full of colors, as if life was blown into the glass. He expressed his inspiration and Japanese sense of aesthetic in his work, and established his own world of art.

A box for your dreams “Kazari Bako”

There is a piece by Fujita to which Nakata commented ”I was deeply moved” when he saw it at Glass Workshop SILICA in Kitaibaraki-shi, Ibaraki Prefecture. This piece is also displayed here.
It is a piece from a series called ”Kazari Bako”, expressing the brilliant style of the Rimpa school from the Edo period. The ”Kazari Bako” are made of colored glass and gold and platinum foils, and they depict themes like ”red and white plum blossoms”, ”red leaves” and ”suzaku”　in the form of Japanese traditional boxes. They are referred to as ”Fujita’s dreambox” and are ever so enchanting.
”One of the characteristic techniques used by Fujita is the use of a chemical called hydrogen fluoride to make the surface frosted.” explained the staff who showed us around. The texture shows the beauty which transcends the image of glass. In the museum, the ”Kazari Bako” are displayed with light shining through them, so that you can see different aspects of the pieces.

”The pieces produced in Italy and the pieces produced in Japan seem to have a different sense of colors.” said Nakata. Numerous pieces of ”Kanna Pattern” series, which were made in Italy using the traditional Kanna technique of Venetian glass, are also displayed. They are full of charm with unconstrained flowing curves and spontaneous colors.
Kyohei Fujita Museum of Glass is a place where one can take a close look at many glass work pieces, and encounter with the works of art by the artist who lead the glass craftwork of Japan.

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A Gift from the Glass Lightbulb

Shotoku Glass Co., Ltd was established in 1922 originally as a manufacturing factory for light bulbs.
With advances in technology, the glass light bulb manufacturing became automated, chasing the craftsmen out of jobs.
Soon the craftsmen started to gain popularity for their “mouth-blown” glasses.
The company is renowned for Edo glass, which are fine delicate “small beer glasses” that has earned a high reputation among top-rated Japanese restaurants. Many guests usually drink beer from the small beer glass as a precursor to their meals. The small glass is often available at Japanese banquets. The company flourished by making these glasses, by taking advantage of the “mouth-blown” technique honed through light bulb manufacturing.

The Thin and Delicate “Usuhari” Series

Shotoku Glass continues to manufacture sophisticated, thin glasses mainly for drinking. They have taken their technique one step further by creating a brand called “Usuhari”, which literally means “thin glass”. The thinness of the glass rim, and the sound of the ice in the glass, helps enhance the taste of the drink.
We visited their showroom to see the glasses on display, and then went to the adjacent factory. There were a dozen craftsmen creating the Usuhari series and other glassware. Yoshifumi Saito, from the PR department showed us around, and explained “ Usuhari requires tremendous care, much more than the standard glassware.
First, the glass has to be melted at the perfect timing, as the Usuhari design is simple and the thinness needs to be uniform. Flaws in the glass would be conspicuous. “Usuhari cannot be made until all conditions are right – the condition of the kiln, the basic materials, wind, temperature. Everything needs to be perfect. As a result, there are days when Usuhari cannot be made. “And yes, of course the craftsmen’s skills. For example, if you are making a 100 g glass, you need to calculate in advance how much will be cut off to create a 100 g glass. That is how much glass you need to bring out from the kiln. Otherwise, the thickness and weight of the glass will not be uniform, and that flaw would be quite evident. “
There is perfect management and sophisticated skill behind the Usuhari brand name.

Establishing awareness for what cannot be created by machines

We went back to the showroom to learn more. At Shotoku Glass Co., original glasses can be made upon request. (quantity, budget, etc. to be discussed) Nakata was extremely interested in this. The design and shape can be special ordered as well. As all procedures at Shotoku Glass Co., is done by hand, Saito told us, ”We must make things that cannot be done by machine-manufactured glass.”
”If machine-made glass were 1000 yen, hand-made ones would be 1500 yen. The 500 yen difference must be because it is handmade. We cannot create the same glass. We need to add value that would satisfy people and convince them to pay 500 yen more.” The ”Usuhari” series is an example of this. People may think that the thin delicate pieces is suitable for automation. In actuality, the melting temperature for glass is adjusted according to the weather of the day. Only sophisticated skilled workers can draw precisely 100 grams every single time, based on their experience and senses.

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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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Glass pieces that seem to be alive

I am not sure whether freedom is an adequate word to describe Tomohiro Kano’s work, but his pieces look as though they are alive, and have a unique style. They are certainly eye-catching, and upon close examination, we discovered it was glass. The piece has a lot of different colors and different expressions, quite different compared to ”glass art” made for a particular purpose.
”Just like the thread spun from a spider, or how my nails would wind around as they grow longer, I want to create pieces as though the glass is filtered through me.”

Encounter with Glass Art

The name Kano is a name noted in Japanese art history. Kano’s great grandfather was the founder of the Kano school of Japanese art. He himself went to college and studied Japanese art, but became interested in film, and after graduation, worked for an advertisement production company. He devoted 8 years of his life as a creator, when he was in a motorbike accident, requiring him to deal with a long period of physical therapy.
During this period, he happened to recall a college friend whose father was sculpture artist Hodaka Yoshida who made glass art as a hobby, and so he decided to visit him.
”I assumed then that glass was made by craftsmen at a factory, but I found out that individuals could work with glass, and this came as quite a shock.” Kano told us. His friend recommended a glass workshop, and his journey as a glass art artist commenced.

Creating Everything with Glass

The technique he learned from Yoshida was the ”pate de verre” method, a method that derives from the ancient Mesopotamian period, existing long before the blowing technique. Generally, the prototype was made of clay or wax and a mold was made out of fire proof plaster. This was the mold casting method, where glass pieces were stuffed in the plaster mold and burned. After cooling, the glass was removed and processed.
At first, he used to follow these steps, but he always had an issue with having to throw away the prototype at the end. ”I felt a sense of emptiness, like I was losing something important. And when you create a prototype with clay, the glass that is eventually created becomes a duplicate. So I decided I would create the prototype with glass as well.” This was the start of his challenge to blow ”life” into glass.

Finding the Possibility for Molding

Until then, no one had made glass art using a glass prototype using the pate de verre method. Kano made glass-blown glass and covered the glass with clay. Then, he placed pieces of glass inside the glass prototype and put it in the fire. The blown-glass prototype and the glass that was later placed inside melted together, creating a dynamic ”movement”.
Kano said that the entire process is his art. The material, glass and all the other factors including nature and time are blended together. Everything intertwines with each other to create that one piece of art.
”There are so many other challenges I still have not tried with glass.” He is now creating molds without the using prototypes. Yes, he is headed towards his next challenge.

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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.

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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.

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A summer icon, Furin wind chimes

A summer icon, ”furin” wind chimes. The soft sound has a soothing effect. Most Japanese are familiar with this image. The gentle chime heard by the window may just be an ”Edo Furin” wind chime with its clear round shape.
Originally, they were wind bells derived from China. However, unlike the ”furin” wind chimes of today, they were called ”futaku”, bells made of bronze. The Chinese wind chime was used for fortune telling, made a loud banging sound, and was used to ward off evil in Japan. You can sometimes still see them in temples. The glass version appeared around the year 1700. Using glass from Nagasaki, they became popular in Edo and Osaka.

The Person who named ”Edo Furin”

After the Meiji period, glass manufacturing started in Japan enabling commoners to hang ”furin” wind chimes in their homes.
The wind chimes were given the name ”Edo Furin” around 1965. We interviewed Yoshiharu Shinohara, the ”godfather” of Edo Furin”.
””Furin” wind chime shops were located all around the country in North Kyushu, Nagoya, Osaka, and Tokyo.” Yoshiharu Shinoharu is the 2nd generation succeeding his father, and is the Chairman at Shinohara Furin Honpo. He still continues to blow glass with his son, Hiroshi. He was born in Mukojima and was born into this world. He helped out with the family business while young, served in the army, and after the war when materials were in short supply, he continued making ”furin” wind chimes by collecting glass-blowing materials. When the wholesaler went out of business, he hung ”furin” wind chimes on a board, carried it across his shoulders and sold them door to door. Later he named the ”furin” wind chimes made in Tokyo, ”Edo Furin”. Soon department stores offered to sell them. He held demonstrations, and they became so popular that they spread throughout the country. He never let the fire of the Edo Furin wane.

Transition of the ”furin” drawings

The current image of an Edo Furin wind chime is a transparent bubble with a picture drawn on it, but originally, the glass used to be red. Images of treasure boats and pine trees were drawn on the red glass ”furin”. On the other side was a picture of a bushel of rice.
”Bushels of rice were a commoner’s dream. Let’s buy a bushel of rice when we get rich, people would say. My generation began drawing pictures of coins. My father would be 110 if he were alive, and he would turn over in his grave seeing the ”furin” wind chimes of today.” he chuckled.
Recent ”furin” depict a variety of images from greeting cats and hydrangeas to scenes from around Tokyo. When Shinohara turns 110, perhaps it will be his turn to be surprised.

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Polishing by Hand

Edokiriko Shop Hanashyo was founded in 1964. The glassware is currently created by Ryuichi Kumakura, the second generation, and his son of the third generation, Takayuki Kumakura. The most prominent feature of Edokiriko Shop Hanashyo is that they are particular about hand polishing. This is the final process to finish off the perfect cutting work. Even the machines and equipment used for the polishing process are all hand made by the Kumakuras.
The works of art are not just beautiful glass, but are gentle to the touch, created with great care, not possible with mass-produced glassware.

Edo Kiriko to the World

Edo Kiriko is a work of art popular around the world for its beautiful colors and patterns. Edokiriko Shop Hanashyo aims to attract people across the globe. Their designs are a good fit with the Western lifestyle, with their old type glasses, wine glasses, and lamp shades.
What’s more, they incorporate modern designs to match current styles. These new designs have captured the hearts of new fans and are also helping to spread awareness for Edo Kiriko.
Glasses that are held in your hands, lamps that are beautiful to look at. They continue to create Edo Kiriko to make our modern lives richer and bountiful.

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