Calm and gentle, with a solid sense of presence. The wooden trays created by Shibaji Ochiai, a woodworker, have the power to transform a landscape just by placing them there. We visited his workshop at the foot of Mt. Hira in Shiga Prefecture, where his works come in a variety of colors and shapes, and where he continues to receive orders from galleries and select stores nationwide.

Facing each piece one by one at the workshop in the forest in Shiga Prefecture

Minamikomatsu, Otsu City is located at the foot of Mount Hira on the west side of Lake Biwa. Mr. Ochiai’s workshop is located in a quiet forest with a clear stream running nearby. The site is also home to the workshop of his wife, Sachiko Yano, a maki-e and lacquer craft artist. Many of the houses that stand in the vicinity are vacation homes with few people coming and going, making it a perfect environment for the artist couple to concentrate on their work.

The northern area of Otsu City is home to many immigrants. Some people are engaged in manufacturing.

Incidentally, the northern part of Otsu City in Shiga Prefecture, where the Ochiai’s workshop is located, is close to the large scale nature of Hira Mountain and Lake Biwa, while Kyoto is only a 30-minute train ride away. The area is known for the large number of immigrants from outside the prefecture, especially those of child-rearing age. In addition, some of the newcomers are engaged in manufacturing, and the area has been attracting a bit of attention in recent years.

The word “craftsmanship” covers a wide range of activities, including artists like Mr. and Mrs. Ochiai, gallery and restaurant operators, designers and writers, and new farmers, etc. Mr. Ochiai, who is from Kyoto, chose this location for his workshop 10 years ago by chance. He says he likes living here, where nature is close by and it is easy to get out to the city, because it provides a good stimulus for his life as a writer, which tends to be solitary while he works.

He never took up an apprenticeship, but established his own style as a woodworker in his own way.

In 2000, Mr. Ochiai completed the lacquerware course of the Kyoto City Training Program for Traditional Industry Technicians, and in 2001, he learned the basics of woodworking at awoodworkingschool run by the Jyurinsha woodworking shop in Kyoto’s Minami Ward, which was known for its famous woodworkers. The following year, he expanded his style by learning the woodworking wheel from the late Uzuo Ogura in Eigenji, Shiga Prefecture, known as the home of woodworkers.

I was not born into a family of traditional craftsmen, so I entered the world of woodworking without knowledge or tools. I didn’t have the opportunity to apprentice myself to anyone in particular, so I guess you could say that I created my own style using the techniques and knowledge I learned from many people in different places,” he recalls.

From lacquered bowls to trays. The enjoyment of creation has expanded.

Mr. Ochiai, who studied lacquer ware in Kyoto, says that when he first started his career, he mainly made lacquered bowls. However, he says that he began to feel ” stuck” with the bowls he was making.

The reason, he says, is that it was difficult to add original individuality to bowls whose size, shape, and use were fixed to some extent. Rather than designing by painting or lacquering, Mr. Ochiai wanted to pursue expression by utilizing the individuality and texture of the wood, and began to explore options other than lacquered bowls.

One of the major clues he found was the ” kurimono ” technique he learned at the Jyurinsha. Using the technique of kurimono, in which a single solid piece of wood is carved out with a chisel and a planer, Ochiai creates trays in a variety of colors, shapes, sizes, and types of wood.

While it is important to know the characteristics of each type of wood and how to handle it, including its characteristics and how to cut it, there are relatively few other rules governingthe making of wooden trays, which allows for a high degree of freedom. He finds this appealing, and says that he enjoys making trays even more than before.

Trays that are “free” for the user as well

It seems that Mr. Ochiai’s wooden trays are just as free and exciting for the user as they are for the creator himself.

A search for “#Ochiai Shibaji” on social networking sites reveals that some people use the trays in the style of a Japanese course meal, others in the style of a home meal, others in the style of entertaining by placing a small amount of food on several small plates, others in the style of a cafe with a cake and coffee on a small tray, and still others display the trays with their favorite dishes on them instead of using them for a meal, Some people use the tray to display flowers in a vase.

It can also be used as an oshiki, a tray that is used to create a special atmosphere and for entertaining, or as a casual tray for drinking alone. Its use is up to the person who has it. Such freedom seems to be attracting fans all over Japan.

Design inspiration comes from “old things

Ochiai’s trays add a sophisticated atmosphere when combined with Japanese items such asearthenware,sake cups, and bamboo baskets for serving Japanese food, and an exquisite calmness when combined with Western taste such aslinen cloths,Western tableware, and wine glasses.

Such versatile designs are often inspired by “old things. For example, old pottery, antique tools, Yi Dynasty ceramics, and crafts, as well as non-woodworking objects, are also useful references. Ochiai often goes to antique markets in Kyoto, less than an hour away from his studio, to find inspiration.

Handcrafting a single solid piece of wood

The distinctive feature of Ochiai’s work is the meticulous finishing, which is done by hand with a round chisel, leaving a solid hand-carved mark. Machines are used to cut large boards to the required size, rough carve, and form outlines, but the rest of the work is done by hand. He says he loves the “imperfect beauty” that only human hands can produce, which gives the piece a slight sense of fluctuation.

The key to shaving is ” to carve with the same tension. He says, “The key to carving is to carve with the same tension.” He says that the carving is finished beautifully when it is done in a straight line, with the same rhythm, thickness, and depth. He showed us the actual carving process, which was light and speedy. However, even on the same piece of board, there are hard and soft parts, so the carver adjusts the amount of force each time while carving. He repeats this process over and over again.

This might give the impression of monotonous work that requires a lot of patience, but Mr. Ochiai laughs, “My hands get sore, but strangely enough, I never get tired of it. He says it is interesting to see the grain patterns gradually take on a three-dimensional appearance as he carves. I could tell that Ochiai loves the time he spends working with his hands and facing the wood.

Perhaps it is because of this that when I look at or hold one of Mr. Ochiai’s wooden trays in my hands, I feel a sense of happiness that fills my heart with a sense of serenity. They are elegant, yet somehow gentle and warm.

Bringing out the individuality and expression of the wood

Another important point in Mr. Ochiai’s style is to ” bring out the original character of the wood.

Ochiai’s wooden trays are made of various types of wood, includingchestnut, cherry, zelkova, mizume, yellow cedar, and tabu. They come in a wide variety of colors, including deep black, soft beige, dark brown, reddish brown, and strong yellowish ochre. In some cases, oil finishes are used to bring out the original color of the wood, while other finishes such asiron-borne dyeing, ammonia smoke, and fuki-urushi (wiping lacquer) are used to add variety. They are constantly introducing new methods while considering the compatibility with the type of wood they are using.

No matter what type of finish is used, however, the artist insists on bringing out the individuality and expression of each type of wood. For this reason, the most commonly used finish is oil, which brings out the true color of the wood. When lacquer is used, the lacquer is not applied in a glossy lacquer finish, but rather is wiped off to finish the wood.

Splits and Knots are Also Part of the Wood’s Character

Ochiai also makes use ofknots andsplits in wood, which are often regarded as defects in wood, in his work. He says that when he cuts a large piece of wood and obtains 10 boards, there are usually 2 to 3 boards with knots or splits in them, but he wants to use them instead of throwing them away.

Knots, which are at the base of the branches of the tree, appear as a circular pattern when the wood is milled into boards. Although knotty boards are often avoided because they reduce the strength and appearance of the wood, Mr. Ochiai says they are interesting and tasteful. In fact, many people like trays with knot patterns and choose them.

The same goes for the cracks in the wood, which are used to accentuate the design of the piece. Compared to soup bowls and buckets, trays can be made without worrying about water leakage.

The Goodness of Things That Cannot Be Mass-Produced

The style of production that makes full use of wood, which is now a precious commodity, and the beauty of daily utensils made with exquisite handcraftsmanship have the power to appeal to many people, especially in this age of information and goods.

Mr. Ochiai has held exhibitions throughout Japan, but his guides to these exhibitions include a request for a limit on the number of items that can be purchased. Because most of the process of carving is done by hand, it is difficult to mass-produce his works.

Therefore, the purchaser must face the individuality of each piece and find the one that is right for him or her. It is not difficult to imagine that this process creates an attachment to the piece and that it will be used with great care for a long time. It is only natural wood that can ” grow up ” with the depth of color as it is used.

The wooden trays created by Mr. Ochiai’s hands, while not perfect, have a certain beauty that makes us happy every time we use them, and they will be a small comfort in our hectic days. I felt as if I had seen an answer to the question of what crafts, which have been refined over time and through skill, can bring to people living in this era.

The post Hand-carved trays with “beauty that is not perfect. Ochiai Shibachi’s wooden tray that grows with time / Otsu City, Shiga Prefecture first appeared on NIHONMONO.

Shiga Prefecture, once the capital of Japan at Otsu-kyo and twice at Shikaraku-gū, has long flourished as a strategic location for land and water transportation, and is home to a treasure trove of historic shrines and temples. One of its representative temples is Ishiyama-dera Temple, known as the site where Murasaki Shikibu began writing “The Tale of Genji”. We visited the temple, which stands on the banks of the Seta River connecting Lake Biwa and Kyoto.

A scenic temple known as one of Shiga’s best spots for viewing the autumn leaves

Ishiyama-dera Temple, located at the tip of Lake Biwa in southern Shiga Prefecture, is popular mainly in the Kinki region as a scenic temple, especially during the seasons of Japanese apricots, cherry blossoms, green maple trees, and autumn leaves. It is also known as one of the best spots for viewing the autumn leaves in Shiga. The secret of the temple ‘s popularity is its proximity to the city center and its easy accessibility: a 10-minute walk from the nearest station, Keihan Ishiyama-dera, and less than a 30-minute train ride from Kyoto.

Todaimon Gate was donated by Minamoto no Yoritomo. The statue of Niou is by Unkei and Tankei.

The first thing that greets visitors is the Higashidaimon Gate, designated as a national important cultural property. The gate was donated by Minamoto no Yoritomo and repaired in the Momoyama period (1573-1600) by Yododono, a lady consort of Toyotomi Hideyoshi, and is flanked by two Nio statues by Unkei and Tankei. After bowing to the imposing appearance of the irimoya (gabled roof) structure with a kawarabuki-roof, visitors proceed to the approach to the temple.

The scenery created by the “silica stone,” a national natural monument, which gave the temple its name.

As we make our way toward the main hall, we are suddenly confronted by a huge rock with a mysterious shape reminiscent of splashing waves. It is a ” silica limestone,” which is designated as a national natural monument. Beyond it is the elegant pagoda (national treasure), built with contributions from Minamoto no Yoritomo, which is said to be the oldest pagoda in Japan. This scenery, which makes you feel as if you have entered a landscape painting world, is the symbol of Ishiyama-dera Temple.

The temple is located on a 239-meter-high mountain called Garanzan, which is a “stone mountain” with silica limestone protruding everywhere, and Seoksan-ji Temple stands on a bedrock of limestone. This is the origin of the name “Seoksan-ji Temple.

The temple was founded in 747, and the first female head of the temple will be born in 2021.

Ishiyama-dera Temple was founded in 747. The temple was built by the order of Emperor Shomu, who was the first abbot of Todaiji Temple in Nara.

However, during the Heian period (794-1185), when esoteric Buddhism such as the Shingon and Tendai sects became popular, the temple became a center for the esoteric Shingon sect. The first head priest was Rigen Daishi Seiho of Daigoji Temple, the second head priest was Kangen, a disciple of Seiho, the third head priest was Junsuke Uchikyu, a grandson of Sugawara no Michizane, and the 53rd head priest is currently Ryuka Washio.

Born to her grandfather, Takateru Washio, the 51st head priest, and her father, Henryu Washio, who later became the 52nd head priest, Washio became the first female head priest in the long history of Ishiyama-dera in December 2021. She says, “I was born and raised in these precincts and have wanted to be a monk since I was a child, so my dream has come true.”

The main hall, a national treasure, where architectural styles of the Heian and Momoyama periods coexist

Next, Mr. Washio led us to the main hall, a national treasure built on a silica stone. The inner sanctum (main hall), which houses the principalimage of Nyoirin Kanzeon Bosatsu and a number of other Buddhist statues, including Yakuyaku Fudo Myoo, said to have been created by Kobo Daishi, was built in the Heian period (794-1192), and is the oldest wooden structure in Shiga Prefecture.

The outer sanctum of the main hall (Reidō ), which was built during the Momoyama period (1573-1600) with a donation from Yododono, uses the same ” kake-zukuri ” style of construction as the main hall of Kiyomizu-dera Temple in Kyoto. It is said to be extremely rare to find a mixture of styles from two different periods in one main hall.

The main image of the temple is Japan’s only imperial seal hidden statue of Buddha. The Gokaicho is held once every 33 years and the year after the accession of the Emperor to the throne.

The principal object of worship at Ishiyama-dera Temple is the secret statue of Nyoirin Kannon Bosatsu, which is designated as an important cultural property of Japan. In front of the kitchen in the inner sanctuary where the hidden Buddha is enshrined is the golden “Gozenritsuzon”.

Beyond the kitchen sits Nyoirin Kannon Bosatsu, a very large wooden Buddha standing 1.6 meters (5.3 m) tall. Created in the Heian period (794-1185), it is the only “imperial sealed Buddha” in Japan, sealed by order of the emperor.

The seal is broken and the statue is opened once every 33 years (the next time will be in 2047), and the year after the emperor’s accession to the throne. At the opening ceremony, the doors are solemnly opened in the presence of an imperial envoy (a messenger from the emperor). This has continued since the Nara period.

Since the statue is a hidden Buddha, it can only be viewed during the opening ceremony, but visitors are encouraged to imagine what the statue actually looks like as they look at the Kannon carved on a thin copper mirror known as a kakeboteke.

The Nyoirin Kannon is said to be a half-lotus statue with the left leg down, sitting on a rock, and is enshrined in the form of a triad with Zao Gongen, the god of the mountains, on the left, and the Deity of Vajra on the right, who is worshipped at Todaiji Temple, which has been closely associated with Ishiyama-ji since its foundation.

The Nyoirin Kannon is usually depicted with six arms (roppi, meaning six arms), but the Nyoirin Kannon of Ishiyama-dera Temple is said to have two arms, which is a more ancient form.

The “Temple of the Three Kannon Temples” along with Kiyomizu-dera Temple and Hase-dera Temple

Nyoirin Kannon has been worshipped as the Goddess of Mercy for safe delivery, good fortune, marriage, and protection from bad luck. Even today, many young women are said to come to the temple to seek such blessings.

In the Heian period (794-1185), Ishiyama-dera Temple was called the “Three Kannon Temples” along with Kiyomizu-dera Temple in Kyoto and Hase-dera Temple in Nara, and ” Ishiyama-mode” (pilgrimage to Ishiyama) became popular among aristocrats in Kyoto. The aristocrats of Kyoto were tired of their daily lives in the capital and wanted to visit Ishiyama, where they could enjoy the relaxing atmosphere. People of that time must have felt this way,” says Washio. Surrounded by the greenery of Mt. Kyanzan, I feel the strong persuasive power of his words as I sit in the main hall overlooking Lake Biwa.

On the night of the Fifteenth Night, “The Tale of Genji” was born here.

Incidentally, among the aristocrats who made pilgrimages to Ishiyama during the Heian period were Murasaki Shikibu, author of ” The Tale of Genji,” as well as famous women literary figures such as Fujiwara Michitsuna, mother of the author of “Dragonfly Diary,” and Sugawara Kojojo, known for her “Sarashina Diary. These women are said to have performed “sangoro,” a ritual of staying in a hall and praying throughout the night.

One of the most famous episodes is the legend that Mur asaki Shikibu wrote “The Tale of Genji” at Ishiyama-ji Temple. 1004, when the prince of the time asked her to write a new story, she spent seven days in the temple to write it. That day was the harvest moon of mid-autumn. As she gazed at the moon reflected on Lake Biwa, a scene came to mind of a nobleman who had been exiled from the capital of Kyoto to Suma, looking at the moon and pining for the capital. He then wrote, “Tonight is fifteen nights,” which is said to be the beginning of “The Tale of Genji.

This legend is recorded in various books including “Ishiyama-ji Engi Emaki” (Ishiyama-ji Temple Engi Emaki), and in a corner of the main hall, there remains a room called “Genji no Ma” where Murasaki Shikibu is said to have written “The Tale of Genji”.

Matsuo Basho stayed at the temple during the Edo period and Shimazaki Toson during the Meiji period.

In the precincts of Ishiyama-dera Temple, there is also the pagoda house “Mikura-in,” where the young Shimazaki Toson stayed for two months (the building in front of the temple gate was moved to the precincts in 1969), and a monument with haiku poems by Matsuo Basho. Also near the temple is the “Genju-an” where Basho lived temporarily.

Basho visited Ishizaki and composed the haiku “Ishiyama no ishi ni tabashiru ararekana” and “Akebono no wa murasaki ni hottogisu,” while Toson wrote essays and children’s stories about his stay at the time.

The natural beauty of the scenic temple and the power brought by the Kannon (Goddess of Mercy) may have made him do so. Ishiyama-dera has continued to inspire writers of various periods.

A temple that can be a source of comfort in troubled times.

Ishiyama-dera Temple was and still is visited by many people, and is also known as the “temple of flowers.

Around late February, 400 plum trees of about 40 varieties in three plum orchards on the temple grounds herald the arrival of spring, followed by 600 cherry trees of various varieties that decorate the temple grounds. After that, seasonal flowers such as Kirishima azalea (over 300 years old),iris, wisteria, iris, peony, hydrangea, and sazanka (a type of cherry blossom) soothe visitors’ hearts.

Many of the flowers are said to have been cultivated with great care by the zamoto (master), and the “Daiichi Plum Garden” is home to a collection of old plum trees cultivated by successive zamoto. The sazanka, which blooms from late fall to winter, was grown by the 51st headmaster, Washio’s grandfather, who loved it.

The flowers on the temple grounds bring us together with people from all walks of life, from those who come from far away to the locals,” Washio said. In these times of uncertainty, I hope the temple can be a place where people can find comfort in their hearts,” says Washio.

Free your mind by immersing yourself in the natural beauty of the temple grounds, where the sound of cars cannot reach you.

Since the temple grounds are located on a part of a mountain, the trees that have survived the long history of the temple are also beautiful. The 400-year-old sacred tree, called a ” thousand-year-old cedar,” the cedar forest that casts deep shadows even in summer, and the vivid contrast between the young maple leaves,autumn leaves, and limestone are popular as views that can be seen only here.

The sound of cars does not reach the temple grounds. The temple grounds are free from the sounds of cars, and visitors feel as if they have been cut off from the mundane world for a while, bringing with it a sense of relief. In fact, many visitors spend as much as half a day strolling the temple grounds.

The magnetism of Ishiyama-dera Temple, which has attracted many people over the years as a “place of prayer,” also resides in its beautiful nature, which allows visitors to relax and unwind.

The post The natural beauty of “Daihonzan Ishiyama-ji Temple,” which inspired Murasaki Shikibu, Basho, and other rare creators / Otsu City, Shiga Prefecture first appeared on NIHONMONO.

Many people go to see castles for the love of history and architecture, but how many pay attention to the stone walls? In Sakamoto, Otsu City, Shiga Prefecture, the gate town of Hieizan Enryaku-ji Temple, the skills of the Anou-shu, a group of craftsmen specializing in stone wall building, are still being passed down today. We asked the Anou-shu about the origins, activities, and present day of the craftsmen, who have passed on all their skills only by oral tradition.

Anou-shu, a group of craftsmen specializing in stone wall building

Sakamoto, Otsu City, is located on the western shore of Lake Biwa in front of Hieizan Enryaku-ji Temple. In this town, known as the ” village of stone piles,” you will be greeted by magnificent stone walls everywhere you walk along the streets. The Anozurashu, a group of stone masonry craftsmen active mainly during the Warring States period, specialize in ” nozurazumi,” or piling up natural stones without processing them. The Anata-shu, who used their advanced skills to build solid stonewalls, were favored by feudal lords throughout Japan, and it is said that 70 to 80% of the stonewalls of castles in existence were built by the Anata-shu.

Roots in the Kofun Period

The roots of the Anata-shu are said to lie in the migration of people from the Korean Peninsula to Japan during the Kofun period, when Saicho founded Enryaku-ji Temple on Mt. The craftsmen were based in an area called Anou, which is why they were called Anou-shu.

Although masonry construction is associated with Europe, a large amount of concrete was already used in the Colosseum in Rome, which was built in 80 AD. Japan is an island nation where adhesive technologies such as cement and concrete were not introduced, and because Japan is an earthquake-prone country, strong foundations were needed under buildings to withstand shaking. Because of the climate of Japan, the technique of masonry was dramatically advanced and refined into a unique skill. Even today, no adhesives are used in Ano-shu masonry.

Nobunaga fell in love with their masonry techniques

The Ano-shu became famous when Oda Nobunaga built Azuchi Castle on the eastern shore of Lake Biwa. 1571, when Hieizan was burned down, Nobunaga ordered the remaining stone walls to be torn down so that they could never be rebuilt. However, no matter how much he tried to break down the stone walls, they did not collapse. Nobunaga was so surprised by the solidity of the walls that he mobilized the Anata-shu to build Azuchi Castle. Since then, the name of Anata-shu has become well known throughout Japan, and it is said that Anata-shu later worked on Himeji Castle, Takeda Castle, Osaka Castle, Nagoya Castle, and Edo Castle.

Anata-shu craftsmanship was licensed, and it was a rule that no matter how much skill was honed in various parts of the country, the craftsmen had to return to their home region to complete their training before they could claim the name of their craftsmen. Therefore, when a new craftsman took over, he always came to Sakamoto for training and inherited the Anata-shu name. This shows the importance he placed on passing on authentic techniques as a craftsman.

Awata Construction is the only company in modern times to carry on the Anata-shu’s techniques.

Suminori Awata of Awata Construction Co. Based in Sakamoto, Otsu City, Shiga Prefecture, where the splendid stone walls once piled by the Anodashu still remain, Suminori Awata continues to work throughout Japan as the 15th head of the Anodashu.

It is said that there were thousands of Anata-shu throughout Japan in their heyday, but today only Awata Construction is left. Stone wall building is not just about piling stones; it is a division of labor system, with people cutting stones from the mountains, transporting them, and piling them. When the Warring States Period ended and new castles were no longer being built, the people who quarried the stones were assigned to work on gravestones and other stonework, while those who carried the stones were assigned to work as “flying expeditions” or other transportation jobs, and the work became scattered. Those who piled stones lost their jobs, but thankfully we have Enryaku-ji Temple on Mt. Hieizan nearby, and there are many shrines and temples in Shiga Prefecture. Thanks to this, we are able to continue our work by adding stone walls and undertaking restoration and civil engineering work,” he says.

It is a matter of course that once stone walls are piled up, they last for 300 or 400 years. Today, it is difficult to continue masonry as a business, but he still hopes to somehow pass on this skill to future generations.

What I think about restoring stonewalls

Today, when new castles are no longer being built, most of his work involves the restoration of stone walls that have collapsed due to earthquakes or deterioration.

The stonewalls of Kumamoto Castle, which collapsed in the 2016 Kumamoto earthquake, were originally built by Anata-shu, but most of those that collapsed due to the earthquake were parts that were repaired during the Meiji period without using Anata-shu techniques. On the other hand, the parts built 400 years ago remained intact. The ironclad rule for the restoration of cultural properties is to “restore to the original state,” but is it really better to return to the state in which they were restored in the Meiji era before the collapse? Mr. Awata also believes that the fact that the entire foundation had been reinforced with concrete may have been a cause of the collapse. With the recent increase in the number of major earthquakes, perhaps it is time to stop and think about whether modern technology alone is really the best choice.

Stone walls made of natural stone stronger than concrete

Anotashu is specialized in ” Nosazurazumi,” a method of piling up natural stones without processing them. This technique can be seen in the stone walls of Takeda Castle (Hyogo Prefecture) in the photo. There are other stone wall piling techniques, such as “Uchikomi-hagi,” a technique in which stones are processed and piled up by interlocking them, as seen at Himeji Castle, and “Kirikomi-hagi,” a technique in which stones are completely cut into squares and piled up without gaps, as seen at Nijo Castle. In Shiga Prefecture, the technique used at Azuchi Castle is called “field face piling. In Shiga Prefecture, you can actually see a stone wall made of field masonry at Azuchi Castle.

When Ano-shu received a request, they first went to the location and piled up stonewalls using local stones wherever they went. The reason castles of the Warring States period were built on top of mountains is that they were built in places where stones could be extracted. Mr. Awata says that masonry begins with the selection of stones. First, he draws a plan in his mind, stares at the stones, thinks, “This stone will be used here, that stone will fit here,” and brings the stones home. It is no exaggeration to say that 70 to 80% of his work is completed at the stone selection stage.

The secret to building a strong stone wall lies in the ” chestnut stones ” that cannot be seen from the outside. By carefully filling the stone walls with fine stones called chestnut stones, they provide cushioning in the event of earthquakes and improve drainage, making the walls less prone to collapse. There is also ingenuity in the way the stones are stacked. By piling the stones horizontally, the entire weight is supported by the wide base, and the stone wall is designed so that gravity is applied about one-third of the way back from the surface, making it difficult for the wall to collapse. In a load-bearing test of the stone wall and concrete blocks piled by Anotashu, the concrete cracked at 220 tons, while the stone wall continued to withstand 250 tons of weight, which is surprising.

Listen to the stones.”

When the stone walls are piled up, there are moments when a stone fits perfectly in its place when you place it. When that happens,” Awata says, “I am happy because I feel like I can hear the stone’s voice. Listen to the voice of the stones. Let the stones go where they want to go, not where we want them to go,” is what Mr. Awata has been told by his predecessors. Stones are just like the world. Every stone, no matter what its shape, has a role to play, and none of them are useless. He has been told that each stone has its own individuality in terms of appearance, character, and so on, and that the combination of all these elements makes up the stone wall.

Stone walls have a completely different finish depending on who piles them. It shows your personality. For example, my grandfather is delicate and follows the shape of the stone precisely. My father was rather rough, piling up large stones and then filling in the gaps with smaller stones. I learned masonry from my grandfather, so I have inherited his method of piling stones in small pieces,” he says. When he sees stonewalls at restoration sites, he has a vague idea of the kind of person who piled them. There are times when I think, “They cut a few corners here and there,” or “If they had been more careful, the walls would not have collapsed,” but the most important thing for castles built in the Warring States period was how quickly they could be completed. Stone walls that would normally take six months to assemble and more than a year, including preparation, were completed in one or two months in those days. The influence of the Anata-shu on castle building during the Warring States period is immeasurable.

Masonry Techniques Passed Down Orally for 400 Years

The Ano-shu’s masonry techniques were all passed down orally. There are no written records left behind. The blueprints of castles and stone walls are what we now call military secrets. If they were to be passed on to the enemy, everything would be exposed, from the devices used inside the castle to effective methods of attack. This is the reason why the Awata family, which is said to have existed for more than 1,000 years, still counts only 15 generations.

During the Warring States Period, local farmers helped pile stones under the direction of the Anata-shu. The main means of transportation in those days was oxen and horses. Therefore, castles were not built in spring and fall, when farmers were busy with agriculture. The Anata-shu’s technique of combining natural stones, no two of which were the same, and which was passed down in strict secrecy to a limited number of craftsmen, may have made it difficult to preserve it in written form.

I will not build a stone wall that will collapse in my son’s or grandson’s generation.

Our work is very special. If we build something that will last for 400 or 500 years and it collapses, people say we are not good at it. Sometimes I wonder how long it will last before I am considered good at my job, but that is why I am so particular about the strength of my work. Nowadays, many people may think it is better if the stone wall looks pretty and if it lasts as long as they live, it is enough, but I do not want the name of Awata to remain on the stone wall and when it collapses hundreds of years from now, people will say, “The 15th generation of Awata was not good at it. We are one of the last houses in Anata. I don’t want to build a stone wall that will collapse in my son’s or grandson’s generation with this technique that has been trusted to be resistant to earthquakes and disasters,” said Awata.

It is a difficult job and requires a lot of determination, but he is determined to carry on this technique.

What does Mr. Awata think is a great stone wall?

We asked him about great stone walls from a professional’s point of view. He replied, “My personal favorite is Takeda Castle in Hyogo Prefecture. It is said that this stone wall was also built by Anotashu. You can see a unique stone wall that is a well-balanced combination of natural stones of various sizes,” he said. Four hundred years have passed since the castle was abandoned and no buildings remain, but the stonewalls remain almost exactly as they were, and the Awata family has been entrusted with their restoration for three generations. The Awata family has been entrusted with restoring the stonewalls for three generations. “I learn a lot from watching my grandfather and father repair the stonewalls, and I have a special attachment to them,” Mr. Awata smiles.

By looking at the stonewalls, one can learn about the thoughts of the castle’s owners and the historical background of the time. During the Warring States period, the structure of a castle was a matter of life and death. By looking at the route, we can realize that they must have ambushed here, and if the stone walls are bold and warped, we can guess that they are from the Azuchi-Momoyama period. It is also interesting to note that the stone steps of Azuchi Castle are overtly made of gravestones and jizo, which gives us a glimpse into the background of the period when stones were in short supply due to the rush to build the castle and the temper of the castle’s lord, Nobunaga.

To preserve the beautiful Japanese landscape

Mr. Awata is sometimes invited overseas to lay stone walls. When he worked in the U.S., he says he was moved to tears when he saw a Japanese man living there say, ” These stone walls remind me of Japan.

I have a son, but if things continue as they are, it will be difficult for me to proudly tell my son to take over. I can see that he will have a hard time. For that reason, I have to somehow create a path for him while I am still able to work,” says Awata. He is also actively taking on overseas work, and says he hopes that the stone walls will attract attention, which will lead to a time when the appeal of masonry will be reevaluated in Japan as well.

In Tokyo, one can see a stone wall piled by Awata Construction used as an Olympic memorial monument at Bajikouen. It is rather small, but it was made entirely by hand, reusing the stone walls of Edo Castle. Touch the stone, listen to its voice, and ponder the skills that have been passed down from one generation to the next.

The post Awata Kensetsu” connects the skills of Anata-shu in the village of stone masonry / Otsu City, Shiga Prefecture, Japan first appeared on NIHONMONO.

When you hear the word “wooden bucket,” you probably think of a round shape, such as an Ohitsu or a Sushi bucket. However, the wooden buckets produced by Shuji Nakagawa, the third generation owner of Nakagawa Wooden Crafts, are quite different. What is the background behind the fusion of traditional Japanese craftsmanship and artistry, including his signature work, the champagne cooler?

Champagne cooler that transcends “structural limits” created in a workshop near Lake Biwa

Lake Biwa is nearby, and the Hira mountain range runs along the western shore of Lake Biwa. The Hira Mountains, which run along the western shore of Lake Biwa, and the “Nakagawa Wood Crafts Hira Workshop Kusaniwa ” is located in Hira, Shiga Prefecture, surrounded by the nature of the area.

The first thing Shuji Nakagawa showed us at the workshop was the champagne cooler ” konoha.

Rare woods such as Koya Maki and Bishu Hinoki, which are more than 200 years old, are used to make this cooler, which has a beautiful white wood appearance. They are also said to be suitable for storing ice because they are water-resistant, suitable for keeping cool, and resistant to condensation. It is also lightweight and easy to carry, making it very practical.

The most eye-catching feature is its streamlined form, which is pointed at both ends. It is a form that fits easily in Japanese-style spaces, on tables, or in outdoor settings such as glamping. It looks cool not only with champagne, but also with wine or sake.

So, how did Mr. Nakagawa, a wooden bucket craftsman, come up with the idea of creating this champagne cooler?

Sharper. Repeated requests

It was 2010. Mr. Masatoshi Imai, president of the Kyoto-based planning company “Link Up,” asked Mr. Nakagawa to create an unprecedented wooden bucket that could be sold overseas.

The idea was not to make a champagne cooler from the start, but rather to create a “wine cooler” as he searched for a way to use wooden vats that would be suitable for overseas markets. Mr. Nakagawa proposed a small-sized wine cooler, but did not receive a GO signal.

In fact, Nakata had seen this prototype tub. Nakada, who had lived abroad for a long time, requested “a sharper design. If the design remained the same as the conventional tub, it would stand out in a foreign living space. If we could create something that fits European lifestyles by using the technology of making tubs, it would bring new possibilities to traditional Japanese craftsmanship. This was the idea behind the project.

The prototype took two years to complete. Convinced of further evolution after overcoming obstacles

However, it was extremely difficult to achieve this “sharp design.

Wooden vats are made by cutting hegi-ita, which is made by splitting raw wood along the fibers of the tree, and then shaving it using a knife called a “sen,” as well as 300 different types of knives, and tightening it with a metal ring called a “taga. The wooden buckets with pointed ends were so damaged that the tag bit into the curved part of the wooden bucket.

The prototypes were made over 10 times, and two years had passed between them. He says that the thought of ” structural limitations ” crossed his mind, but in his groping in the dark, he came up with the idea of rounding off the part where the tag enters and warping the topmost part to make it sharp and pointed. This was the key to the breakthrough. The konoha was finally completed and caught the eye of a major champagne maker, which led to its international debut as a champagne cooler. That was more than 10 years ago, and it is still a popular product with a string of orders from Japan and abroad.

Nakagawa’s discovery through the production of konoha was that the technology of the tub is still evolving.

At the beginning of his life as a craftsman, he did not see the “world.

Mr. Nakagawa is the third generation of Nakagawa Wood Crafts. He was born and raised in the workshop that his grandfather , Kameichi Nakagawa, established on Shirakawa Street in Kyoto City. The workshop is now called “Nakagawa Wood Crafts Kyoto Workshop” and is run by Kiyotsugu Nakagawa’s father, the second generation.

After graduating from university, Mr. Nakagawa studied under Mr. Kiyotsugu. Mr. Nakagawa studied under Mr. Kiyotsugu after graduating from university, and his wooden buckets, called “the best bucket craftsmen in Kyoto,” were used by long-established restaurants and ryokans. At the same time, Mr. Seiji was also energetic in the production of craft works, and established the ” masa-matching ” technique, in which the wood is perfectly aligned by taking advantage of its characteristic grain expansion and contraction. In recognition of these efforts, Seiji was designated a Living National Treasure in 2001.

Two years later, Mr. Nakagawa left Kyoto. He was engaged as a craftsman in Mr. Seiji’s workshop, but he chose to start his own business, believing that he could not avoid having his works recognized in the world under the name of Seiji Nakagawa if he created them in his father’s workshop, which had become a living national treasure. He then set up “Nakagawa Wood Crafts Hira Studio” in the Hira region of Shiga Prefecture, a place rich in nature that he had been visiting for mountain climbing since his college days. When he first started out on his own, he made traditional products such as ohitsu (rice casserole dish) and sushi tubs, just as he had done during his apprenticeship.

The world of tubs had shrunk.

At that time, Mr. Nakagawa saw that “the world of Oke was shrinking rapidly.

In the past, tub makers made all kinds of daily utensils, from cradles to rice pails, sushi tubs, bathtubs, hand tubs, and even coffins. However, as lifestyles changed, the number of tubs sold declined, and by the time Mr. Nakagawa became independent, there were only 3 tub makers left in Kyoto, compared to the 250 or so that existed under his grandfather Kameichi.

When I started my own business, I thought it would be enough to support my family with a small workshop,” he said.

Accepting Change and Expanding Sales Channels

However, it was the creation of the aforementioned champagne cooler “konoha” that brought about a turning point for Mr. Nakagawa.

When I was making tubs with only “Japan” in mind, I thought there was no way to change the 700-year-old tub making method, and I did not feel the need to do so. However, when they succeeded in boldly changing the shape of the wooden tubs, there was room for design, and sales channels expanded to the world. Mr. Nakagawa recalls.

He is now working with craftspeople in tune with the times and culture, embracing change and creating products that people of that era will want to use. He believes that this is the key to opening up the possibilities of craftsmanship and preserving traditional techniques.

Evolving into the “wooden buckets” that amaze the world

Today, Mr. Nakagawa’s creativity continues to evolve and is highly acclaimed both in Japan and abroad.

Superb technique of matching 30 boards with the grain of the wood

The Loewe Craft Prize was sponsored by the Loewe Foundation of Loewe, a long-established Spanish brand famous for its leather goods, and Loewe’s creative director, Jonathan Anderson. This groundbreaking prize was launched in 2017 based on the recognition that crafts occupy an important place in contemporary art. In this memorable first edition, Nakagawa’s entry ” Big Trays of parquetry ” was selected as one of the 26 finalists out of more than 3,900 entries from 75 countries.

At first glance, the round tray in the exhibit does not appear to have any joints, but it is made of 30 boards cut, milled, and assembled from Japanese cedar. This is the moment when the ” masa-joining” technique inherited from his father, Seiji, was recognized around the world.

KI-OKE” in the collections of museums in London and Paris

The ” KI-OKE Stool,” created by Mr. Nakagawa in collaboration with a Danish designer, was selected for the permanent collections of the Victoria & Albert Museum (V& A) in London in 2015 and the Musée des Arts Decoratifs in Paris in 2016. Both are prestigious world-class museums specializing in decoration and design.

In the past, it was difficult to bring wooden vats to Europe. This was because the drying air caused the wooden panels to shrink, and the gaskets were dislodged. Now, however, technology has been established to adjust the moisture content of the wood according to the humidity of the land where the vats are brought, allowing Japanese “KI-OKE” to spread its wings around the world.

Opening New Doors

In the two-story workshop, young craftsmen are busily at work.

Mr. Nakagawa used to think that he could support his family, but now he focuses on training his craftsmen. While passing on the techniques of wooden bucket making, he is also incorporating the ideas of young craftsmen in the production of his new brand, ” Shiki, ” which will be launched in 2020.

As the name suggests, “Shiki” is a brand of tableware made of wood from Shiga Prefecture. By creating everyday items such as cups and plates for young people, we hope that they will develop a sense of design that fits the lifestyle of the times. It is with this in mind that he watches over his apprentices.

The next step is to shine a light on the craftsmen.

Nakagawa is involved in collaborations with craftspeople from other fields and industries, but he would like to shine a light on Japanese craftspeople in the future. This is because, after traveling abroad, he realized that there are many artisans in Japan who have not yet seen the light of day, but who have the potential to become world-class craftspeople.

When traditional techniques and design are fused together, craftspeople can spread their wings to the world. He wants to create opportunities for those involved in crafts to have the same experience that opened his own eyes in the past.

He believes that this will expand the possibilities of Japanese crafts and pass the baton to the next generation of craftspeople.

The post Nakagawa Shuji, the third generation of Nakagawa Wood Crafts,” World-famous champagne cooler and wooden bucket technique / Otsu City, Shiga Prefecture, Japan first appeared on NIHONMONO.