Hirudani, Asahi Town, Toyama Prefecture, is a small village by a creek that originates from Mt. There is only one washi craftsman who has inherited the “Birudani washi” that was born here about 400 years ago. He is Mr. Takakuni Kawahara of Kawahara Seisakusho. Mr. Kawahara handles everything from growing the raw materials to making the paper by himself. His unique ideas and sense of style are now attracting attention not only in Japan but also from around the world.

Traditional Japanese paper making, taught orally by a master in his 80s

The origin of Hirutani washi paper dates back to about 400 years ago. People from Hiru Valley in Higashiomi City, Shiga Prefecture, moved to Asahi-cho, Toyama Prefecture, near the border with Niigata Prefecture, and named the area Hiru Valley after their hometown, where they worked in the mountains in summer and at home in winter. One of their winter domestic jobs was making washi paper. In the early Showa period (1926-1989), about 120 households made washi, and it was a major production center. Hirutani washi, carefully made from natural materials, is strong yet soft, and is said to be durable enough to be preserved for 1,000 years. Together with Yatsuo washi and Gokayama washi, also from Toyama, it is collectively known as “Ecchu washi” and is recognized as a traditional national craft.

However, Hirutani washi, which was often used for shoji paper, lost its luster as demand declined with the changing times. One day, a woman wanted to preserve Hiruya washi, so she learned washi making from a papermaker and revived it. After falling ill, her husband, who was over 60 years old at the time, learned the art of papermaking orally from his sick wife, who had been making the paper for over 20 years. Just as the light of Hirutani washi, which the couple had been preserving for more than half a century, was dying out, they met a young, 23-year-old Mr. Kawahara.

Torakichi Yoneoka was 83 years old at the time. However, Mr. Kawahara was moved by Torakichi’s way of life before, during, and after World War II, as well as his sincere approach to washi making, and decided that he would like to carry on Mr. Yoneoka’s ism.

He was so moved by Yoneoka’s life and his sincere approach to washi making that he wanted to carry on Yoneoka’s ism. “I was determined not to let my hometown culture die out,” he said. Despite repeated failures, Kawahara diligently learned the traditional Hirutani Washi manufacturing method and papermaking techniques with his body.

There is no future in simply preserving tradition. We need to create products that do not depend on the place of production.

At the time, however, traditional crafts were tapering off, Kawahara says. When I was working alone, I suddenly realized that it was not a matter of preserving traditional culture. It was not a question of preserving traditional culture. Washi itself is a declining industry. Older people have pensions and can continue to do it as a hobby, but younger people can’t do it. If you look at the history of washi making, it was something that people did only during the winter months while making a living. It was impossible for them to make a living with just washi.

For a while, he worked part-time at a zoo in Toyama City and at a local office, while still being involved in washi making. But he was able to continue because of his conviction: “Don’t just fall in love with washi. It is okay to do various things while making washi,” his teacher told him.

One of the answers that Mr. Kawahara came up with in the face of washi was to venture out of the production area. One of the answers he came up with was to go out of the production area. However, the time has come when people no longer choose washi because it is made in a particular place. It would be great if washi could be made in a variety of places and craftspeople could play an active role, regardless of where the paper is made. I thought it would be interesting to see people making washi that is not bound by tradition.

As long as you have the technology, you can make paper anywhere. The era of “one-man production centers” will surely come in the future. As a pioneer, I would like to try various things. With this in mind, Mr. Kawahara left Asahi-machi and moved to Tateyama-machi after his master passed away.

In a peaceful village, he grows his own raw materials and makes washi paper from scratch.

I want to do it from scratch in as small a place as possible. I wanted to put aside the title of “traditional” in order to make washi in my own style,” he said. Mr. Kawahara chose the Mushitani area of Tateyama Town, a small community with only 14 private homes.

First, he cleared the mountain and planted 700 kozo (paper mulberry) plants, the raw material for washi, on a gentle slope. They then rented a nearby field and grew tororoaoi, a mallow tree that is essential for making washi, or “neri. He took over a vacant house that used to be a farmer’s barn, renovated it, and turned it into his workshop. At the same location, his wife, ceramicist Sakae Nagayo, also has a studio where she makes ceramics.

From April to November, he works in the mountains and fields. In the spring, he sows seeds of tororoaoi, and in the summer, when the flowers bloom, he picks them one by one to nourish the roots, which will be used as a mucilage. In the fall, they go into the mountains to cut off the branches of straight-growing mulberry trees and steam them in the workshop to soften them before peeling off their skins. The temperature and time of steaming are adjusted according to the condition of the branches and based on past experience. Once the skin is removed, the surface is scraped off, leaving only the inner white part, which is then dried in the sun.

By the way, it is said that there are only a few washi makers in Japan who grow their own kozo and tororoaoi, but Kawahara’s involvement in cultivation is both characteristic of Hirutani washi and a reflection of his concern for the future of washi.

I read an article in the newspaper once that farmers in Ibaraki Prefecture are going to stop growing tororoaoi, and I heard that if the five tororoaoi farmers disappear, there will be a shortage of 80-90% of the raw material for handmade washi in Japan. This is a crisis for the washi industry. If we depend on someone else, if that person goes bankrupt, we will also go bankrupt. There are cheap Kozo paper from overseas, and many craftsmen rely on imported products. However, it is better to procure one’s own kozo from the mountains near one’s home,” says Mr. Kawahara.

With the arrival of winter, the papermaking process finally begins. The process of making washi from kozo (paper mulberry) and tororoaoi (Japanese mallow), which are grown with great effort and care, makes the process even more intense.

In the workshop, a large kiln inherited from his master is heaving with steam.

The process of making washi involves boiling kozo (paper mulberry) in a kiln, washing it in water, beating it with a mallet, making the paper, weighing it down to drain off the water, and drying it (……). In most cases, these processes are carried out under the division of labor, but here Mr. Kawahara carries out the entire process by himself. For this reason, he changes the work he performs each day.

When boiling kozo in a kiln to remove the lye, he uses firewood. It is a time-consuming process, so we start boiling in the evening and boil it in the morning. The firewood keeps the fire hot for a long time, and the fire source is safe even if you are not near the fire. It’s more rational than sticking to the old-fashioned style.

While every step of the process requires careful attention, what is especially important is the process of pounding the paper mulberry with a mallet. If the paper is beaten well, it becomes fine-grained washi, and if it is beaten roughly, the fibers become more prominent. Because the texture of the paper becomes so different in this process, it is important to have a clear image of what kind of washi you want to make and what the finished product will look like.

Full customization to create the washi required by the customer.

Mr. Kawahara does not sell what he makes, but makes washi completely on a made-to-order basis. When he had mastered the art of papermaking, he once went to paper wholesalers and specialty stores to sell his products. But he realized that the washi he made himself, which he made by gathering kozo (paper mulberry trees) from the mountains, getting covered in mud, and putting his own hands and salt to it, was very precious to him and was not something he could sell with his head held low.

What do you think makes good washi? It is not something that was made in a particular place or by a traditional method. Good washi is what is easy to use and what the person is looking for.

In this way, Mr. Kawahara pursues what sticks in people’s minds and focuses on making washi not as stationery, sundries, or folk art, but as a craft and art. He has established a unique technique and method of expression by layering ultra-thin sheets of washi to make designs and patterns appear through the layers.

After receiving numerous awards, including the Silver Prize in the Toyama Traditional Crafts Competition, the company began to receive orders from various fields, such as the entrance exhibit at the Japan Expo in Paris, the presentation of a city emblem made of washi to the mayor of Florence, the interior of the Kurobe Unazuki Onsen station of the Hokuriku Shinkansen Line, and the walls of the TOYAMA Kirari, designed by Kengo Kuma The Toyama Prefectural Citizen’s Hall lobby interior.

For the order of washi paper for the lobby interior of the Toyama Prefectural Citizens Hall, he mixed mulberry bark with Tateyama cedar bark and combined it with glass, another Toyama specialty, to create a beautiful ooze of Tateyama-like hues.

In 2017, he won the Grand Prize at the U-50 International Hokuriku Awards. The following year, he was invited to an event at the Musée des Arts Décoratifs at the Louvre in Paris, where he exhibited a fantastic washi paper work on the theme of the phases of the moon. The transparent thinness and unique texture of washi, not found in any other material, fascinated people around the world.

On the other hand, “Tateyama Goyou (talisman for Mt. Tateyama),” which is given at New Year’s at the Oyama Shrine in Ashikuraji, which is rooted in the Tateyama faith, is also something that Kawahara-san makes every year. The design is based on the Edo period woodblock prints and is hand printed one by one on handmade Japanese paper. It is sure to be a memorable and appreciated piece of paper for the local people.

The Potential of Washi Expands through Encounters with Expressionists

One of his recent masterpieces is the wall artwork in Tokyo’s Toranomon Global Square. Kawahara’s washi work decorates the entire wall of the escalator directly connected to the subway station, and the permanent installation of this large-scale washi, covering more than 200 square meters, is an unprecedented attempt in the world. The light-permeating washi paper gives the inside of the paper the appearance of being softly illuminated like a paper lantern.

At the reception desk of the main entrance is a magnificent piece of washi paper with contour lines of the Toranomon area made of 12 colors of colored threads. The paper was made using a special mold frame to create a single sheet of paper measuring 3.5 meters in length by 10 meters in width. The work required not only the creation of something large, but also a great deal of technical ingenuity. I had a lot of discussions with the building’s designers to see what kind of thing we could create, and I thought it would be interesting to create contour lines that were unique to the area. Eriko Horiki, a Japanese paper artist, was also involved in the direction of the design, and we worked together on the colors and other aspects.

Kawahara says that what he would like to do in the future is to team up with a chef, such as a French master. It would be nice to use carrots, spinach, or other ingredients to make washi paper,” he says. I want to be the kind of person who people think, ‘If you ask this person to create an interesting space,'” he says with a twinkle in his eye. He will continue to meet designers, architects, and chefs (……) and multiply their ideas. He will continue to meet with a variety of people and multiply their ideas. He will incorporate new ideas that cannot be found anywhere else into the essence of Hirutani washi, which he has single-handedly inherited from his master. From Toyama to the rest of Japan and to the world, traditional washi will spread its wings. The challenges to achieve this goal are endless.

The post Takahuni Kawahara, the sole inheritor of Hirutani Washi paper, attracts the world’s keenest attention. first appeared on NIHONMONO.

A moment with auntie artisans.

When we visited ”Shiroishi Washi Workshop” in Shiroishi-shi, Miyagi, two people were making paper together.
”How long have you been working here?”, asked Nakata. ”40 years. I do the paper making, and she makes the material, also for 40 years. It’s a hard job, since we are old.” said one of the workers laughing. Here, three artisan ladies perform the tasks. From the ceiling hang several ”keta” to make paper of various sizes, and ”kozo”, the material for paper was skinned and stacked high by the window.

Watching how they moved ”suketa”, Nakata asked ”do you move the ”suketa” both sideways and back and forth when you make paper?”
”You move it back and forth when making ”paper cloth” and back and forth and sideways when making ”paper clothes”.
How the fibers overlap depends on which direction the ”suketa” is moved, so the movement is changed depending on what is being made.
”Paper cloth”(”shifu”) is a fabric woven with yarn made by cutting Japanese paper thinly and twisting it. Paper clothes (”kamiko”) is a garment made from paper that is twice painted with glue made from ”konnyaku powder”, first dried to make it strong, then rubbed to make it soft, and finally sewn into a garment.

Paper cloth and paper garments that suit the climate

”Once, there were 300 ”washi” workshops, but we are the only one remaining.”, said Mashiko Endo, who greeted us at her workshop, Shiroishi Washi Workshop.
”In this district, agriculture and silkworm culture are the main industry. The silkworms are fed with mulberry leaves, but there are several different kinds of mulberry, and the silkworms are fed with different mulberry leaves each season. ”Kozo” is also made from mulberry trees, but since there are many kinds of mulberry, there are many kinds of ”kozo”.” said Endo. Out of these different kinds, the workshop uses a kind called ”kajinoki”. It has very fine, long and soft fibers, and because of this characteristic, yarn can be made from ”washi” and from the yarn, soft paper fabric can be woven.
”Tohoku was too cold to grow cotton, and cotton was very expensive. So instead of wearing cotton padded clothes, people wore paper garments to keep out the cold.”, she explained.

In summer, the paper garments absorb sweat quickly and dry quickly, and keeps one cool. In the winter, the paper garments are worn under the ”kimono” to keep one warm. The garments made from Shiroishi washi are a product of daily experience, to adapt to the climate of the region. We were shown the actual paper cloth and garments, and were surprised by the pleasant texture and their beauty.
”Everything we make is from this land, the material and the method and everything.” said Endo. There are things that can only be made in the particular climate of the land, and there are cultures that are necessary to the land.

History of Shiroishi washi

The origin of Shiroishi washi is not known exactly, but it is said that in the Heian period ”washi” called ”Michinoku-gami” was made in Tohoku, and the art of paper making has continued since then. In the Edo period, the local government of the Date clan encouraged the development of paper making, and the industry flourished.
Though paper making was one of the most famous products of the Date clan, it declined for a while during the Meiji period, Endo’s husband, Tadao Endo revived the traditional art of papermaking and Shiroishi washi. Shiroishi washi was recognized for its excellent strength and durability, and was designated by the Imperial Household Agency as archival paper for recording important subjects. It continues to be used for restoration of cultural properties.
Since 1973, they have been creating the paper to make the paper garments worn by the monks participating in Shuni-e (Omizutori) at Todaiji Temple. Nowadays, only a small quantity of Shiroishi washi can be made. Each sheet is made with great care. On a pillar of the ”sukibune” in the workshop, there were these words:
”Good paper cannot be made, unless the heart is still. Take a deep breath and face the ”sukigeta””

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Traditional Kamikawasaki “washi” from Nihonmatsu

Since the ReVALUE NIPPON PROJECT theme in 2011 was ”washi”, ”washi” is one of the materials that Nakata has special interest in. There is a area known for ”washi in Fukushima Prefecture – Kamikawasaki district of Nihonmatsu City.
The history of ”washi” in Kamikawasaki is long and dates back to the mid Heian period. In the early Heian period, the paper was called the ”paper of Michinoku”, and was popular among the nobles. It is also said that ”Mayumigami”, commonly used by writers such as Murasaki Shikibu or Seisho Nagon was also Kamikawasaki ”washi”. It’s exciting to think that the same paper that was used for novels which were enjoyed by people in those times, has been passed on to the present.

The sound of water resonating in the quiet

We visited Nihonmatsu Washi Traditional Crafts Gallery which produces and sells Kamikawasaki ”washi”. Not only do they sell products and sundries made with ”washi”, they also make ”washi” here.
All the materials used to make ”washi” in the Traditional Crafts Gallery comes from local mulberry trees. 2 to 3 meter mulberry trees are harvested in December. Then the bark is peeled, boiled and pounded to make ”washi”. The paper that is made here is genuinely Kamikawasaki ”washi”.
We could hear the rocking sound of the papermaking vats or ”sukifune” as we were listening to the explanation. We observed their work. In the ”sukifune”, water and fine fibrous ”kozo” was mixed with a tool called ”maguwa”. After this, ”neri” (”tororo aoi”) is added, mixed well, then scooped up with the papermaking mat or ”suki take”.

Carrying on the traditions of washi paper

As the name Nihonmatsu Washi Traditional Craft Gallery suggests, along with production, they are also focused on passing on the tradition. Nakata asked what kind of activities they were involved in.
”The most important thing is for people to develop an interest in ”washi”. The best way to make this happen is for them to come in contact with it. So we offer free papermaking sessions to all of the city’s middle school students.” our guide, Yoshishimizu told us.

Handmade “washi” diplomas

Another activity that Nihonmatsu City is involved in is ”diplomas”. Yoshishimizu said she graduated from a local middle school, and the diployma she received was made with Kamikawasaki ”washi”.
She laughed as she told us ”I don’t remember where I put my elementary school diploma but I still have and cherish my Kamikawasaki ”washi” diploma.

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Paper that keeps the writing intact even when wet

The history of Nishinouchi ”washi” goes back about 350 years.
This paper was used in the ”Dai Nihonshi” history book compiled by the Famous Mitsukuni Mito, otherwise known as Mito Komon. Its strongest feature is its strength. So it was used not only for ”shoji” paper screens, umbrellas, and lanterns, but also for accounting books recording the receivables. This is not only because it’s hard to tear, but according to Kikuchi, it is also because the writings do not bleed even when wet. ”So if the wholesalers had a fire, they threw the account book in the water. That way they will not lose records.” he said. This paper is that strong.

Products utilizing this strength

As we were discussing the strength of the paper, Kikuchi brought a piece of ”washi”. As we wondered what he was about to do with it, he abruptly soaked it in water and started twisting it like a wet rag. Nakata was totally taken by surprise. Kikuchi handed the paper to Nakata and told him to stretch it by pulling on both ends forcefully. It didn’t tear nor break. He tried many times, but there were no signs of tearing. He pulled it so hard that it made a loud pang pang noise, and water splashed from the paper. It was like pulling on a piece of cloth. This is because two pieces of paper with the fiber running vertically was pasted, with another that had horizontally running fiber with glue made from ”konnyaku” (jelly-like food made from a type of potato). That gave them this extraordinary strength and waterproof quality.
In Ibaraki, they utilize this paper for ”noren” curtains and cushion covers. They are the top selling items now. Strength of paper is still recognized as the quality of Nishinouchi rice paper.

The motivation from within.

We interviewed Masaki Kikuchi , a first class ”washi” master. We also interviewed the paper and clothes artist Sadako Sakurai who said that she can’t spin a thread unless its Kikuchi’s rice paper. Only Kikuchi can make paper that’s strong and sensitive at the same time, she testified.
Kikuchi started his career as an ordinary office worker after he graduated school. He never meant to inherit the family business. But after awhile, he realized he was not happy working in the office and came home to become a craftsman. He says it was a hard way from there. His paper didn’t sell very well. It took him about 10 years for them to sell, and when he opened a shop, his customers educated him in many ways. That’s how he became a full fledged craftsman, he told us.

Kikuchi now makes paper with his son. He never told his son to inherit this business, but like him, his son worked as an office worker for a while before he voluntarily said he wanted to make paper.” It makes a whole lot of difference to be told to do something and to do it as a result of the inner motivation and interest in the job. It is really up to one’s motivation. ”

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Making thread from “washi”

A paper cloth is, as the name suggests, cloth that’s made from paper. Thread is made from paper, and a fabric is woven from that thread. It is difficult to imagine how that is done, so we visited Sadako Sakurai, one of the leading artists in that domain, and had her demonstrate how it’s done.

”The really difficult part of paper cloth is spinning thin threads from paper. Since you are here, I will show you how I make the most difficult 2mm thread.” Sakurai folded four pieces of ”washi” so they should stand up and then cut them into 2 mm widths. Then she wet the pieces of paper and softened them in a rolling motion on a flat rock. Then, taking care to not tear the paper, she loosened the fiber and rolled them again. And that process was repeated again and again. ”See how it’s turned into thread?” All of a sudden the paper had turned into thread. Then she took them, broke them one by one with her fingers and then twisted them together to form a long thread. Then these threads were carefully twisted onto a spinner, and set on a form called ”kase”, and then it’s done.

The “washi” that makes paper cloth possible

A special kind of ”washi” is required to make this paper cloth.
“I need good paper. It has to be good paper, otherwise the work will definitely fall apart before completion.” The paper needed to be thin and strong, made by a master craftsman from 100% mulberry trees. The only paper that was able to meet her exacting demands was the ”washi” made by the Nishinouchi rice paper master Kikuchi, she told us. “When making paper, fine silk needs to be spread on top of the guider so that it will come out with a fine texture.” She said she ordered the paper again and again until the ideal one was produced. There are only a few paper cloth artists left in Japan. For Sakurai, the restoration of the manufacturing process of paper cloth was the hardest part.

Starting from zero

”My husband was the greatest helper. I mean after all, he is the one who suggested we restore Shiraishi paper cloth.” Sakurai saw Shiraishi paper cloth with her late husband in Miyagi Prefecture, and they were struck by its graceful beauty and decided that this technique had to be preserved. Since then, their researched together. Shiraishi cloth paper was made by samurais belonging to the Date clan, and presented to the Tokugawa shogunate. It was a highly protected family secret and references were few. With cooperation from Nobuhide Katakura of the Katakura family who inherited the tradition of Shiraishi paper cloth, they had to figure out how to make paper cloth from what little literature remained. After one year and 3 months of tedious efforts, they finally restored the paper moistening method that they had so much difficulty with. After further trials and error, they attempted to restore the various weaving methods of the paper cloth.

The beauty within paper cloth

”These are the ultimate” she said as she showed us the textile which was woven with silk warp and paper weft. It was graceful and beautiful. The other one was a crepe textile. They had succeeded in restoring the technique for combining silk and paper cloth, by weaving strongly twisted weft. These were really the fruits of their zealous research and practice.

Before leaving, Nakata tried on a vest made from paper cloth. He somehow looked formal and stoic. Paper cloth maintains the characteristics of paper, and it dries fast and is cool in the summer, while being warm in the winter. Thus we re-discovered another quality about Japanese ”washi”, deepening our interest in them as well.

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A hometown of Japanese paper, Ogawa-machi

Ogawa in Hiki-gun, Saitama Prefecture is famous for Japanese paper. Especially, ”Hosokawa paper” which is thick and durable, is designated as Important National Intangible Cultural Property. The history is not exactly known, but one theory has it that the origin goes back about 1300 years.

It developed into an industry in Edo period. Being near the city of Edo which had a population of more than one million, the paper making industry was established there, as the demand for paper went up. More people meant more demand of paper makers in Ogawa studied various kinds and forms of paper from all over Japan, and developed skills enabling them to produce all kinds of paper.

Paid tax by paper!?

According to Takamasa Kubo of Kuboseishi, who showed us around, there is other reasons why, paper making industry became active in Ogawa.
One reason was, there was an abundance of ”kouzo” or paper mulberry, the main material for paper. The plant has very strong roots, so it was planted abundantly to reinforce soil. In the mountains surrounding Ogawa-machi, many ”kouzo” trees were planted to hold the soil to dam up water. Paper making started using these ”kouzo” trees.

Another reason was, the tax was paid by paper. ”In those days, there was not enough rice or other farm products to pay tax. So people paid tax with paper. It is believed that this led to further development of paper making industry,” said Kubo. Demand, availability of material, and tax, these elements have lead to the development the local traditional industry.

Why wouldn’t wet paper stick together?

In the workshop, Haruo Kubo, the manufacturing manager of Kuboseishi showed us the process of paper making. He worked with a large wooden frame called ”sukigeta”, which he rocked back and forth. This process is something one would imagine by the phrase traditional paper making . Of course, it is not easy as it looks. It requires well trained skills.

Nakata had a try, but he had to struggle very hard, since it was difficult to make an even sheet of paper in the ”sukigeta”. Then the sheets of paper are stacked carefully one by one. Then Nakata asked, ”And the wet sheets of paper don’t stick together, do they?”

”That’s right. By rocking, and straining water, the fibers of paper lie flat, so they don’t stick together. When these processes are skipped, the fibers become rough, and they stick together.”
That means each sheet is already a finished product. The stacked sheets are then squeezed and finally dried.
At Kuboseishi, they make a wide variety of paper, such as plain Hosokawa-gami, or paper with texture or dyed paper. In Japanese living style, there still is a lot of paper used in our surroundings, such as ”shoji (paper screens)” and ”fusuma (paper doors)”. I am sure that you will want to be more familiar about Japanese paper, when you get to know the traditional paper making.

The post All handmade paper “Ogawa Washi Kuboseishi” first appeared on NIHONMONO.

Conveying Boso uchiwa to the present

Marugame uchiwa of Kagawa, Kyo uchiwa of Kyoto, and Boshu uchiwa of Chiba. These are the ”Three Great Uchiwa” of Japan.
We visited the workshop of Masao Uyama, a traditional ”kogei” artist of Boshu uchiwa.

Seeing the many uchiwa in the workshop, Nakata asked a question.
”Are there differences in uchiwa depending on where they are made?”
”Marugame uchiwa has a flat handle. There are also only 8 processes. Boshu uchiwa has a round handle and involves 21 processes.”
”How about Kyo uchiwa?”
”With Kyo uchiwa, you align the frame and paste the paper, and the pattern is added later by inserting it in between.”
”So, each type has a different handle?”

The bamboo used for Boshu uchiwa is the native Simon bamboo, especially the Daimyo bamboo.
He tries to use straight bamboo which wasn’t affected by a lot of wind, but there has been a dramatic decrease in the number of craftsmen who can select or cut bamboo. Currently, Uyama is the only person who can do that.
There are currently only 20 to 30 craftsmen who can make uchiwa by hand.
And Uyama, who is over 80 years old, is the only craftsman who can do all of the processes himself.

The difficulty of splitting bamboo

It is beautiful to watch Uyama make the uchiwa.
Leaving the handle, he splits the rest of the bamboo into 48 to 64 equal parts.
The split bamboo becomes the frame. These are woven with string, creating a beautiful lattice ”window”.

It seems like a simple task, but when you actually try it, it is very difficult.
A bamboo is split into 8, then 16, and then each piece is split into 4. Nakata was only able to split into 16 pieces.
In order to shred further, a blade is used to cut the 2 mm bamboo strip, and it is difficult to place the blade precisely in the center.
”When splitting the frame, some are thick and others thin. They aren’t even. The human eye sees differently on the right and left, so depending on which eye you use, the thickness turns out differently.” Nakata said.
”Your eyes become irritated. It looks easy, but it’s hard. Isn’t that true about everything?”
According to Uyama, it takes at least a year to be able to split the bamboo properly.
Once the bamboo is split, the frame is spread out into the shape of a fan, roasted over coal, then the fabric is applied.
The fabric is made of either washi or cloth. You can bring your own fabric to be used. When using cloth, cotton or silk is recommended.

The pleasant feel of handmade Boshu uchiwa

”After the ships were destroyed by the earthquake, a lot of their flags were collected. We couldn’t just throw them away, so we discussed ways for them to be used. It might be a good idea to make them into uchiwa.”

Taking a look at the uchiwa he completed, Nakata looked delighted and said ”Isn’t this beautiful?”
It takes much more time and effort to make the uchiwa than expected.
That definitely enhances our appreciation for these handmade items.

The post Functional and beautiful, Boshu uchiwa (fan) “Uyama workshop, Masao Uyama” first appeared on NIHONMONO.

Aiming for modern products based on tradition.

”This is made of washi (traditional Japanese paper)?” Nakata had the right to be surprised.

In front of him, colorful hand bags and cosmetics bags were laid out, and on the wall, hunting caps and vests were displayed. On touching them, they were indeed made of paper. It felt strange.

Onao Co., Ltd. makes mainly Japanese paper (washi), as well as Japanese stationery and other miscellaneous goods. Their brand name ”SIWA” is ”washi”(another way to spell ”washi” in alphabets) spelled backwards, but it also means ”crease”. The creased look and the wrinkly texture of ”washi” is reflected in the design of the products.

But, how durable are they? ”We use a very durable and hard to tear ”washi” using wooden pulp as the main material,” said Yoshinori Ichinose, the president of the company. He said that the company took on such a challenge because their policy is to present new things based on tradition, into the contemporary world.

A tearoom made of ”washi”. Visiting the old, and discover the new.

At the end of the interview, Nakata was invited for tea in the ”tearoom made of washi”. The floor and the walls were all covered with ”washi”. ”You see, this is all ”washi”,” said Ichinose proudly. The tearoom was made possible because it utilizes the durable character of ”washi”.

Making a ”traditional thing” such as tearoom with the ”new technology” of applying ”washi” in modern way. This space may indeed be the embodiment of the saying, visiting the old and discover the new.

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“Washi” made in Mino

”Mino Washi” is well known all over the country. The exact history of when it started is not known, however, the oldest family registry which is kept in Shosoin in Nara Prefecture was made with ”Mino washi”, so it definitely goes back as far as the Nara period.
The quality of ”Mino washi” is very high, so it was used as official paper for the Imperial Court for things like Imperial edicts.
After the Kamakura period, ”Mino washi” went through times of decreased production, but the Toki family, guards of Mino Country, promoted the industry and shipped them as ”Mino shi” (Mino paper) to all parts of the country.
In Edo period, it was used for ”shoji” paper doors. It was so popular that the word ”Mino” came to be used as another word representing ”shoji”.

Creating artistic paper

“Mino washi” also supported traditional ”kogei” of Gifu as well. The color of ”Mino washi” is soft and delicate, and when held up to light, you can see the fibers intertwining beautifully in vertical and horizontal directions. This makes the paper suitable for making items like Gifu lanterns and Gifu Japanese umbrellas.

Tatsuo Ichihara, whose workshop we visited, is a professional with 60 years of experience in the field.
He produces not only the traditional ”shoji” papers but also colorful lace-patterned paper and art paper with plants woven in.
He makes small crafts from his ”washi”. In a sense, he creates beauty which cannot be imagined from the word ”paper”.

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“Washi”(Japanese paper) Associated with Toyama Medicine Sellers

Toyama-city is very often associated with the Toyama medicine sellers. Manufacturing and retailing of medicine started in the Edo period in Toyama. At the same time, manufacturing of Yao ”washi” paper began to strive, as medicine these days were wrapped in paper wrappers or paper bags. If you regress more in time, there are records of ”Ecchu paper” in old writings such as ”Shosoin Monjo” from the Nara period or the ”Engishiki” from the Heian period. The features of ”washi” are that they are strong and tear-resistant. It was thus valued and was used for the making of umbrellas, paper screens, and paper lanterns.

Making Kata dyeing Paper

We visited ”KEIJUSHA” this time, where vivid colored ”Katasomegami dyed paper” are manufactured. Yasuki Yoshida of KEIJUSHA explains, ”Katagami paper is dyed with persimmon tannin which is called shibugami.” Nakata recognized shibugami as he had seen it before on his trip to Mie prefecture when he visited ”Ise kata paper”. ”Katasomegami dyed paper” uses kata gami and dye-repellant glue to draw designs, all done by hand. When we visited the workshop, they were using calendar design molds to apply the dye-repellant glue onto the ”washi”.

Yao ”washi” paper in Multiple Colors

KEIJUSHA utilizes the durability of the paper and makes wallets, bags, cushions, etc. Nakata suggests to Yoshida that if thickness of paper can be adjusted and if water-proof processing can be done, perhaps they can be made into table cloths and luncheon mats. The discussion continued on about how Japanese washi paper can further be adopted into daily life. In the present, there are hardly any traditional ”Kata Somegami” dyed paper manufacturers left. ”KEIJUSHA” still continues to create Yao ”washi” paper, in the same way as in the past.

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