Local Creators’ Market

Six Places,
Six Crafts,
Myriad Delights

Supporting Traditional Crafts
Local Creators’ Market is a two-year project launched in FY2017 by Japan’s Ministry of Economy, Trade and Industry(METI) to support traditional industries in their branding efforts. Its aim has been to strengthen ties between thelocalities where craft traditions are upheld, the creators who live there carrying on those skills and know-how, andpotential markets for them beyond Japan.
The six FY2018 municipalities introduced here were selected in a careful screening of applicants. Each locale isnotable for the high level of artistry and creativity carried out within a traditional sphere, as well as the potential of
its products to appeal to a wider audience.
To find out more, visit local-creators-market.com.

Six Places, Six Crafts

Producers

Mishima Basketry

Satoru Miyake (Hensyusha Inc.)
Shinya Kobayashi (Coelacanth Restaurant LLC & Mujun)
Keisuke Otani (KCmitF)
Nicolas Soergel (Chinriu Honten Ltd.)
Atsushi Takada (A.T. Marketing Solution)

Mishima, Fukushima
Mishima Town
Amikumi-zaiku Association of Oku-Aizu, Mishima
Traditional Amikumi-zaiku Guild, Oku-Aizu
Mishima-machi Living Crafts Center
Megumi Iguchi

Gunma Silk

Annaka and Midori, Gunma
Gunma Prefecture
Miyama Zenshoku Ltd.
Usui Raw Silk Company

Seto Ceramic WareSeto, Aichi
Seto City
Aichi Pref. Pottery Industry Cooperation
Aito Co., Ltd.
Chikudoen
HantoenImaruyo Co., Ltd.
Kofutoen
SanpoenSingama
Sojuen Inc.
Tsubakigama

Kishu Lacquerware

Kainan, Wakayama
Wakayama Prefecture
Kainan City
Kishu Lacquerware Traditional Industry Association
Katsuhiko Hayashi
Kumiko Tanioka

Sekishu Washi Paper
Hamada, Shimane
Hamada City
Kawahira
Nishita Washi Kobo
Seki-Ou Shokokai
Sekishu Washi Kubota

Kurashiki Canvas

Kurashiki, Okayama
Kurashiki City
Baistone Co., Ltd.
Marushin Industry Co., Ltd.
Takeyari Co., Ltd.

Contributors
Emiko Chujo (Mono Japan)
Shyh-Huei Hwang
Ryuichi Kozeki (RKDS)
Miya Suwa (Suwa Design Studio)
Taeko Takigami (Comculture LLC)
Tomohiro Yamamoto (Woolly)

Creative Communicators
Coordinator
Dennis Chia (Boundless Co., Ltd.)
Communicators Chao Ping Lai
Chika Kondo
Momoe Kubota
Keith NgDavid Wang

Local Creators’ Market

Six Places,
Six Crafts,
Myriad Delights
This FY2018 edition of the Local Creators’ Market was
managed by All About, Inc., on behalf of the Ministryof Economy, Trade and Industry and its initiative topromote regional brands.
Publisher All About, Inc.
1-20-8 Ebisu, Shibuya-ku, Tokyo 150-0013
Tel. +81 (0)3-6362-1258©2019 All About, Inc.
All rights reserved.
Unauthorized reproduction prohibited.
Printed in Japan.

Publication Team
Chief Editor
English Editor
Translators

Satoru Miyake (Hensyusha Inc.)
Susan Rogers Chikuba
Center for Intercultural Communication
Deborah Iwabuchi
Victoria Oyama
Wendy Uchimura
Proofreader
Katherine Heins
Photographers Yasunobu Kobayashi (inside front
cover, pp. 1, 3, 34–63, back cover)
Ryan Smith (front cover, pp. 2, 4–33,
64, inside back cover)Megumi Iguchi (p. 12)
Illustrator
Mebuki Matsuoka (p. 48)
Map
Takashi Kamiizumi (p. 30)
Designer
MomentContributors

Printer

Fukushima Museum (p. 11)
Jaxson (pp. 14, 16–17)
Silk Science Research Institute (p. 19)
Shinano Co., Ltd.

This page: Red and white cotton strands are wound
onto drums prior to loading onto the loom at Marushin
Industry Co., Ltd., a manufacturer of Kurashiki canvas.
Opposite page: Detail from a lacquered makie piece by
Kishu artisan Katsuhiko Hayashi, featuring mother-ofpearl inlay and raised lacquer work.
Cover: Motoshige Aoki of Mishima, a maker of amikumizaiku basketry, wears a cape he fashioned himself.
Made of tightly woven hiroro sedge, it repels rain andkeeps him warm.
Back cover: So Kubota at work sheeting washi paper
at Sekishu Washi Kubota. Hanging from the ceiling is alarge talisman ring known as a chi no wa. Common to
the region, it is believed to protect against misfortune.

CONTENTS

Mishima Basketry
Mishima, Fukushima

Deep in snow country, where the Tadami River flows, lies atown where handmade basketry is just one secret behind a
community-wide joie de vivre.

A basket woven of yamabudo crimson glory vines
by Taijiro Itabashi showcases the skill required toprepare uniform strands of the bark and plait thistough material beautifully, without any gaps.

04

Gunma Silk

Annaka and Midori, Gunma
A bioactive protein secreted by silkworms and typically discardedin silk-making is being recovered and adapted for use in high-end
bath products that benefit skin and the environment.

Woven on German Raschel machines designed forfine lace, these silk washcloths developed byMiyama Zenshoku retain amino-acid-rich sericin, aboon for those with sensitive skin or allergies.

14

Seto Ceramic WareSeto, Aichi

Kilns were firing wares in this Land of Pottery as far back as the10th century. Seto potters today can meet just about any design or
technical challenge. Read on to see their diverse styles.

From tableware to vases in greens, whites, and yellows,
everything at Sanpoen Pottery is hand-thrown. Their
specialty is crackled glaze. On these cups its effect isenhanced with horse-chestnut tannin.

24

Gunma Silk

Annaka and Midori, Gunma

Mishima Basketry
Mishima, Fukushima

Seto Ceramic WareSekishu Washi Paper

Seto, Aichi

Hamada, Shimane

Kurashiki Canvas

Kishu Lacquerware

Kurashiki, Okayama

Kainan, Wakayama

Kishu Lacquerware
Kainan, Wakayama

The moist, silky look of urushi lacquer is deceiving: this all-natural
coating is durable enough to outlast us all. Two artisans carry on
the Kishu heritage of using raw sap in innovative ways.

Numerous colored base layers were polished down
to yield the shimmering effect of iridescent clouds
in this work by certified traditional artisan Kumiko
Tanioka, the first woman in Kishu to earn the title.

34

Sekishu Washi Paper
Hamada, Shimane

Crafted by hand from the fiber of trees grown by the artisans
themselves, these resilient, textured papers are easy on theenvironment in ways worth knowing about.

These samples of momigami crumpled paper by
Nishita Washi Kobo show just a few of the different
expressions that can be achieved with this sturdy,
versatile paper that resists tearing.

44

Kurashiki Canvas
Kurashiki, Okayama

From ship sails to street fashions, Japan’s 100 percent natural
high-quality canvas turns up in more places than you’d imagine.
And it’s surprisingly soft and silky to the touch.

The No. 2 canvas woven on vintage Belgian looms
by Takeyari Co., Ltd. is the densest weave of all.
Bags made of it enjoy cult status, and it can only be
produced here.

54

04

Mishima
Basketry

Mishima, Fukushima

Brand Highlights• The area’s long history of woven handicraft: basketry for fishing and agricultural use
has been traced to the prehistoric Jomon period• A colorful calendar of festive rites and rituals honoring the old ways
• A community of artisans in tune with seasonal cycles, living off the land and crafting
works of all-natural materials

The town of Mishima in western Fukushima prefecture lies in an area known
as Oku-Aizu, where the old mountainvillage traditions of the Tohoku region
still hold sway. The Tadami River runs
in a rushing torrent through these highlands; in winter the area receives heavy
snowfall of up to 2 meters.
Amikumi-zaiku, or plaited basketry,is the local craft. About 10 percent of
the town’s 1,600 residents weave baskets, sieves, cushions, and other items,
turning locally sourced plant materials
into functional designs of simple, uncontrived beauty.
Each autumn these weavers fan out
into the hills to gather their materials:
yamabudo crimson glory vine, matatabi
silver vine, and hiroro sedge. They cureand dry these gifts of nature and thendevote the snowbound winter months
to their weaving.
In the local dialect these basket
weavers are called kojin—“makers ofthings.” Few Mishima residents engage
in amikumi-zaiku as their livelihood;
many turn to it as a post-retirement
pastime. They report happily on how
they become absorbed in the work. Following the whims of their creative
muse is a satisfying way to pass thelong winter months, they say.

Mishima’s kojin use their works intheir own homes, give them away as
gifts, and display themat the living crafts center in town, where they
are also sold.
The craft tradition ofbasketry is nearly as old
as these Oku-Aizu hills.
Beautifully plaited fragments of amikumi-zaiku
that are believed to date back 2,400
years have been unearthed in
Mishima. From the outside, theslower pace of life, in step with thecycle of the seasons, makes retirement here look attractive indeed.
Symbolic rites to honor mountain deities and various ceremonies related to farming are stillfaithfully observed by Mishima’s
citizens. As with many rural communities in Japan, depopulation isa pressing concern. Residents of Mishima
welcome young people with a desire to
relocate and help carry on its traditions.
At two places in town the Tadami
Railway crosses the river on a picturesque bridge. Visitors and photography
buffs come from near and far to capture
these Instagrammable scenes.

Opposite page: Tomeko Funaki lives in the Magata
area and works with hiroro sedge to make beautiful
items like this backpack by her own hand. Herbaggy sappakama trousers are traditional farming
wear. Made of cotton, they are comfortable andeasy to move around in.
Top left: The Tadami Line crosses the Tadami River.
Top right: Baskets crafted of matatabi silver vine by
Seiichi Wakabayashi, a kojin from Asamata.
Above left: Statues of Jizo Bosatsu, guardian deityof travelers and children.
Above right: An Oku-Aizu mountain hamlet in the
Kawai district presents a scene of rustic beauty.

05Bungo Igarashi
A leading light ofMishima basketry, thislate master of amikumizaiku made of matatabi
silver vine was one of
the first in Mishima
to be certified as a
traditional artisan.*His teachings have hada profound influenceon those who knew
and studied under him.

Hiroshi Kodaira
Kodaira turned toamikumi-zaiku whenillness ended hisformer job as acarpenter. He works
mainly with matatabi
silver vine. “I don’t
mind whether mypieces sell or not,” heasserts. “I’m happy togive them away or use
them myself.”

Masaei Meguro
Meguro took up
amikumi-zaiku after
retirement; he is now acertified traditional
artisan with 20 yearsof experience. He
learned matatabi
weaving styles from
Bunko Igarashi. His
rice baskets sell out
fast at regularly heldcraft fairs.

Junkichi Komatsu
As a young boy
Komatsu watched his
father weave items
from straw; he didn’t
take up basketry
himself until after
turning 60. A former
certified traditional
artisan, today hereceives a steadystream of orders forhis matatabi baskets.

Mitsuyoshi Igarashi
A recipient of many
prestigious awards andaccolades for his workwith yamabudo
crimson glory vine,
Igarashi insists thatbeauty in shape andappearance alone is
not enough. “A truly
well-made piece,” hesays, “must exude
warmth.”Motoshige Aoki
Aoki grew up watching
his mother make farmtools. He beganweaving baskets inearnest at the end of along teaching career. A
certified traditional
artisan, he enjoys thefull cycle of working
with yamabudo vines,
from gathering thematerial to shaping it.

Toichi Kanke
Kanke says his former
job at the Mishimamachi Living Crafts
Center opened his eyesto the appeal of basketry.
This all-around expert
on mountain living
works with yamabudovines and enjoys
applying traditional
techniques to meetcontemporary needs.

Tomeko Funaki
Funaki, a certified traditional artisan, learned
to plait hiroro sedge
from her mother-inlaw. In their farmhousethe year was split byfield work and indoor
crafts. Always one totry out some new
design idea, she says,“Making things is fun. I
love it.”Mishima residents who gather and process natural
materials for their handmade amikumi-zaiku works
consider themselves neither craftspeople nor
artists. They prefer to be thought of as kojin, makersof things. The Kojin Matsuri is an annual crafts fairthat’s been held in Mishima each June since 1987.
More than 150 exhibitors gather from all over Japanto sell their wares, which range from basketry topottery and even glassware, at an outdoor location.
A destination in its own right, the event now draws
some 20,000 people. The individuals introduced onthese pages are just a few of the talented kojin who
call Mishima home.

Amikumi-zaiku: A living craft
The Japanese government named the amikumi-zaiku basketry ofMishima a Traditional Craft Product in 2003. But the movementthat led to this recognition began two decades earlier, in 1981.
Amid concerns about depopulation, then mayor Nagao Sato identified monozukuri—the art of making things—as a way to bothpreserve the old mountain ways and stimulate the local economy.
Subsequent projects to boost interest in monozukuri, including the 1987 launch of the Kojin Matsuri crafts fair, inspired more
and more Mishima residents to take up basketry, a swell of interest that eventually prompted the government designation.
It would be misleading to suggest that amikumi-zaiku has
since developed into a full-fledged local industry. On the contrary,
for the residents of Mishima the point has rather to do with deepening one’s enjoyment of life. What better revitalization scheme
could there be than the very joy of living itself? At the end of theday, it’s this attitude that will do the most to keep the old ways
intact. The fact that 10 percent of its population are kojin is one of
the most valuable assets this spirited mountain community has.
Visit Mishima and you will see handmade basketry everywhere. Neither decorative pieces of art nor casual souvenirs, they
are living works of natural beauty, used and appreciated daily.

From top left: Matatabi silver vine baskets used for washing rice, a popular
choice of visitors (Hiroshi Kodaira); flat hiroro sedge cushions (Tomeko Funaki);
yamabudo crimson glory vine baskets (Motoshige Aoki); matatabi basket(Junkichi Komatsu); yamabudo clutch purse (Mitsuyoshi Igarashi).
Opposite page: A hiroro sedge shoulder bag (Setsuko Kubota) rests atop a
yamabudo basket (Taijiro Itabashi), a delightful contrast in colors. Plaiting thenaturally curvy and twisted yamabudo vines into a desired shape withoutleaving any gaps in the weave demands years of practice.

*National certification as a traditional artisan is bestowed upon those who endeavor to preserve a traditional craft native to their area. Holders of
this title are devoted to the study of the craft’s techniques and skills, and play an active role in transmitting the vocation to the next generation.

07

Women of Mishima model amikumizaiku bags and baskets. Most of theresidents shown here are kojin,
although the pieces they hold may
not have been made by their own
hand. Yamabudo baskets and hirorobags are as natural a part of thelandscape here as the fields andtrees that are their source.
In the olden days amikumi-zaiku
was a winter activity performed
when the rural settlements were
snowbound. People used those longmonths to fashion the household
tools and other implements theyneeded for farming and working
outdoors—thus the emphasis on
functionality. The woman at bottom
right is holding two matatabi silvervine baskets made with a yotsume
cross pattern, a basic weave that’s
strong and durable and well suitedfor the handling and storage of
produce. The photo above that one, at
far right, shows a yamabudo rucksack
made 100 years ago for use in themountains. Its well-conceived cord
design, handy size, and simple beauty
are clearly evident.

08

On an autumn day in mid-November, students of the
Seikatsu Kogei Academy head out to gather matatabi
silver vine, which grows profusely on sunny hillsides
beside streams. They take only what they need,leaving two buds on each first-year-growth branch
for the following season. The academy was launchedin 2017 by Mishima as a way to help the
younger generations become familiar
with mountain ways. Its students
live in Mishima for one year,
learning amikumi-zaiku
techniques and practicing
farming. Those who wish tostay on after completing the
program may sign on asapprentices for an
additional two years.

Amikumi-zaiku time slip

Mowada basswood(Tilia japonica)

Hiroro sedge(Carex multifolia)

Akaso nettle(Boehmeria silvestrii)

Matatabi silver vine
(Actinidia polygama)

Yamabudo crimson
glory vine
(Vitis coignetiae)

The three base materials used in amikumi-zaiku are the bark ofyamabudo crimson glory vines, the woody part of matatabi silvervine, and hiroro sedge. Akaso, a species of the nettle family, andmowada, the inner bark of the basswood tree, are used to provide accents in hiroro works. Sturdy yamabudo is hard-wearing,
while supple matatabi repels water. Hiroro is lightweight yetstrong. Mishima’s kojin gather these materials in the nearby
mountains themselves and process them as required.
Fragments of amikumi-zaiku like the one shown below havebeen discovered at the Arayashiki archeological site in Mishima;
they are now held by the Fukushima Museum. This one, woven ofbamboo, is believed to have been made in the late days of the
Jomon period—nearly two and a half millennia ago. The bamboo
was meticulously split into extremely fine strips of uniform
width, then interlaced in a chevron twill to yield a distinctive zigzag design. Nothing at all to do with function or enhanced durability, this was purely an aesthetic choice by an obviously skilled
weaver.
Connections between Jomon-era weaving and the Mishimaamikumi-zaiku lineage are still the subject of scholarly research.
But what is clear is that more than two millennia ago, people
who lived and breathed on this same ground were expressing
their artistic talents through basketry. Mishima is that kind ofplace.

Each winter Mishima hosts a monozukuri seminar attended by
non-residents and citizens alike. Participants learn amikumizaiku weaving techniques and make their own basketry. The
women shown here are making cords of hiroro sedge by
twisting the raw material. At bottom right is the finishedproduct, beautifully rendered by traditional artisan Tomeko
Funaki.

11

A Year in Mishima
NatureBasketry

Period of heavy snowfall

Cottage crafts

December–March

Daily Life

Ceremonies

Freeze-drying of daikon

Jan.

Dogu no toshitori ❷Otekake ❶New Year’s offering◀▲ Snow cover

Cottage crafts

reaches about 2 meters.
Everyone pitches in withshoveling, especially forthe elderly.

Feb.

Icy crusts form on snow

Hatsu taue ❹Torioi ❺Snow and fire festival

Bear hunting

Making horsechestnut rice cake
Crocusflowers
bloom

Dango sashi ❸Sainokami (p. 13)

Mamemaki ❻Hyakumanben ❼Sun-drying of daikon

National amikumizaiku exhibition

Mar.
Splitting woodfor next winterSnow begins to melt

Apr.

Gifu butterflies emerge

Dogtoothviolets andcherry trees
bloom

Mountain stream fishing▼ Bark is cut from basswood trees andForaging of edible
wild plants

Swallows returnCollecting
walnuthusks

MayRiver mist (Hayato)
May–June

Chestnut trees flower▼ The outer layer of

yamabudo vines can be
stripped off easily for avery short window ofjust two weeks in
mid-May.

Kojin Matsuri

Planting
seedlings

Pickling
Takadaplums◀ Festival tocelebrate
the goddessof childbirthand children(Nishikata).

Gatheringbamboo shoots

Kishibojin festival

Planting rice

Start of Mt. Shizukura
climbing season◀ Stands of 400-year-old
beeches and 500-year-old
horse-chestnut trees cover theslopes of this sacred mountain.

Sanaburi ❾Paulownia trees bloom

Gathering mowada

Gathering yamabudo vines

Sasamaki ❽▶ Gathering mugwort

Hollyhocks bloom

and fish-leaf plants.
Their nutritional value
is highest in mid-July.

Jul.
Silverline butterflies
emergeJune–July

Gathering akaso
nettlesJune–July

Gathering wild plants

Sunflowers bloom

Mushi okuri▲ Children carrying paper

Collecting nuts

lanterns wend their way
through the village of Oishida,shouting to frighten away
crop-eating insects. At last theyburn their lanterns and tiny
cages with insects inside.

Planting
buckwheat seedsAug.

▼ Juicy Mishirazu
persimmons, an Aizu
specialty, ripen.

▼ Thousands of small

Washing mowada◀ The blades of hiroro sedge
are gathered for weaving.

Mishirazu persimmonschrysanthemums
bloom on one zarugiku
plant. Viewings areheld at Nairi Kikuen(Nairi).

Jugoya ❿Foraging of wildmushrooms

September–October

Gathering hiroro

Zarugiku
chrysanthemums(Nairi)Aizu amikumi-zaiku craft exhibition

First frost

Cutting trees at the
new moon

Harvesting rice

Town sports day▼ Prayers are offered

for the repose of insects
exterminated to protect
crops (Hayato).

Harvesting buckwheat
Gathering matatabi

October–November◀ Matatabi silver vine can be
harvested for more than one
month—the longest-lasting
supply of all amikumi-zaiku
materials.

Nov.
Snow begins to fall

November–December

Tadami River winterscapes◀ On crisp clear
mornings after the firstsnowfall, the landscapesparkles with swirled
patterns of frost.
Snow starts toaccumulate

Thanksgiving rite
for mountaindeities

Summerfestival

Autumn foliageDec.

of paper and floateddown the Tadami River
along with prayers forthe healthy growth ofyoung daughters.

Gatheringfiddlehead
ferns

Jun.

Oct.

the death anniversaryof the historical Buddha.
Nehan dumplings are
distributed among
worshippers (Otani).

▲ Hina dolls are madeApril–May

Trees leaf out

Sep.

Hina nagashi▲ Temple rites markApril–September

soaked in water. After six weeks it iswashed in the river to remove the outerlayer. The inner bark, called mowada, isthen used for basketry.

Nehan dango

Cottage crafts

December–March

Mushi kuyo

Preparing for snow
Newbuckwheat
Opening day of
hunting season

End of vegetablegardening
Makingpickles

Shovelingsnow
Setchu natto ⓫Mishima cultural festival
Daihannyae ⓬Shimenawa ⓭❶ Guests who visit at the New Year “eat” a special offering of food by making a sign of thanks with their right hand. ❷ A ritual is performed to give thanks to farm tools and other implements. ❸ Dogwood branches are decorated
with colorful balls of steamed rice flour to wish for a good harvest. ❹ Rice straw is “planted” in a bed of husks on the snow, symbolizing the first planting and expressing wishes for a bountiful year. ❺ Children walk throughthe village singing songs to protect the fields and rice paddies from birds. ❻ On the first day of spring, roasted soybeans are scattered to ward off evil spirits and bring good luck. ❼ Residents guard others from misfortune bymoving from house to house with a giant string of prayer beads while chanting the Nembutsu, a Buddhist devotional prayer. ❽ Fragrant sasamaki rice wraps steamed in bamboo grass are enjoyed. ❾ After the rice paddies areplanted, people celebrate and give thanks with a sanaburi picnic. ❿ Plump round dumplings are served, and silver grass displayed, at moon-viewing parties. ⓫ Natto is prepared by wrapping boiled soybeans in straw and burying
the bundles in snow to promote slow fermentation. ⓬ The complete Heart Sutra is recited. ⓭ A shimenawa rope marking the bounds of a sacred place is made and presented to Takao Jinja, the local shrine.

Top: An offering of thanks is madebefore felling the tree to be used forthe sainokami effigy.
Above: The tree is wrapped in straw
and stood upright in the snow.
Right: Residents carry pine torches
lit with divine fire from the local
shrine to the sainokami site.
Left: The bonfire begins at 7 PM. A
close to the New Year celebrations, itlights the way for the new year ahead
as onlookers pray for good healthand abundant harvests.

Mountain living
Throughout Japan, any number of deities, from mountain kami
to those who protect the fields, are venerated in rites and rituals
that have carried on over the centuries, observed in a variety ofways from one community or household to the next. The oldmountain ways remain especially strong in the Oku-Aizu region.
Mishima in particular is unusual for the sheer number of ceremonies that are observed throughout the calendar year.
The biggest annual event for residents here is sainokami, aritual recognized by the national government as an Important
Intangible Folk Cultural Property. It is observed in a few locations
during koshogatsu (“little New Year”), a short span of days around
mid-January. A tree cut from the forest is wrapped in straw, set
upright in the snow, and topped with paper decorations. Aftersundown it is set on fire while those gathered around it pray forsound health and bumper crops in the coming year. Many visitors come to Mishima to see this event.
Like an archetypal image of a not-so-distant past, therhythms of daily life in Mishima unfold in concert with nature, instep with the cycling seasons from month to month throughout
the year. Those with an interest in “getting back to the land” andliving more simply would do well to start their explorations here.

Local foods of Nishikata
Mori no Kosha Katakuri, a poetic name evoking spring in the woods,
is a hotel that operates in an abandoned school. Women of the Nishikata district show their hospitality here with foods they have madethemselves, using vegetables from their own fields. The photo at bottom right shows a tray of celebratory foods eaten at the New Year. It
includes ohira, a dish of simmered vegetables, tofu, and kombu seaweed; and kozuyu, a hearty soup made with scallop stock. In the photoat top left are a jelly made from egogusa, a type of seaweed; dried andsimmered cod; and herring cooked with Japanese sansho pepper.

13

Sericin, a protein secreted by silkworms that has proven benefits in skincare, istypically removed when silk filaments are harvested and refined. In Gunma,
however, a range of attractive products, such as these silk-mesh washcloths,
are made with the sericin left on the threads. Effective in promoting skinelasticity and hydration, sericin has many cosmetic and medical applications
and is hailed for its anti-wrinkle and antiaging properties. In Japan, products
made with it are popular among people with sensitive skin. Throughout theprocess, from raising silkworms to silk reeling and manufacture, Gunma silk
products are gentle on the environment.

GunmaSilk

Annaka and Midori, Gunma

Brand Highlights• Washcloths and soaps made with sericin, highly effective in skincare• Environmental commitment: no formalin used in silk reeling• Support of local sericulture farms through original product development

Cocoons flow over a light table in the inspection
area at Usui Raw Silk Company in Annaka, Gunma.
Each one is visually inspected. The quality of thecocoon is affected by the health of the silkworm,
which in turn is influenced by the climate. The
hotter the summer, for example, the smaller the
cocoons. Those whose pupae have expired, or
cocoons that may cause problems in reeling, suchas double ones formed by two or more silkworms,
are removed by hand.

Japan’s top silk producer, Gunma ishome to the “Tomioka Silk Mill and Related Sites” recognized by UNESCO on
its World Heritage list. Despite theseachievements, sericulture farms andsilk mills in the prefecture have declined
drastically in number, pressured by thelower prices of synthetic fibers and raw
silk threads made abroad. Yet when it
comes to quality, Gunma silk has clear
advantages over such competition.
Sericin, a natural protein secreted by
the Bombyx mori silkworm larva to coatthe outer layer of the silk filament, is notremoved in the production of Gunma silk.

This valuable polymer is rich in serine,
an amino acid with a similar composition to human skin. Its biocompatibility
makes serine well suited for cosmetic
and medicinal applications. An effective
antioxidant, it has excellent moisture release, water absorption, anti-wrinkling,
and antibacterial properties, and can beused for UV protection as well as woundhealing. Silk products made in Gunma
are especially popular among people
with allergic or sensitive skin.
All steps in production, from growing the mulberries on which the Bombyx
mori larvae feed to raising them, breed-

ing new varieties, and harvesting andreeling their silk, are performed entirely
in Gunma. The small carbon footprint
and sustainability of Gunma silk are additional competitive advantages.
In Japan alone more than one million
tons of clothing are disposed of eachyear. As worldwide concern about oceanic microfiber pollution grows, fashion
brands must engage in responsible procurement at all stages of production.
Gunma silk is gentle not only on the skin,
but on the environment as well. It is justthe kind of industry we need to preserveand pass on to future generations.

15

Moisturizing bath infusions by Shimoyama Housei Co., Ltd. make clever use of
the kibiso layer of filaments produced by the larvae to form the outer surface ofthe cocoon. Because these are thicker and stiffer than the inner layers of thecocoon, they are not suitable for silk textile production and are typicallydiscarded—a shame as they are especially rich in sericin. Shimoyama Housei
retrieves the filaments and dyes them with turmeric, a proven antibacterial andanti-inflammatory agent that helps improve circulation. The bright yellow
all-natural strands are then packaged in sachets that can be used in the bath for
up to one month.

Gentle skincare items madewith sericin, a silk by-product
The filament of a silkworm’s cocoon is made of two types of protein: fibroin, the structural center accounting for 70 to 80 percent, and sericin, the adhesive binder that coats the latter withsticky layers to aid in the cocoon’s formation. In the textile industry sericin is typically removed during raw-silk production anddischarged into the water system as waste. In Gunma, however,methods have been devised to retrieve this valuable all-naturalpolymer for optimal use of its many properties listed below.
1. Moisturizing
Serine, which accounts for some 20 to 30 percent of the sericin
protein, is the most abundant amino acid in the protective chemical coat produced by the outer layer of our skin. A natural humectant, it facilitates water absorption and enhances elasticity,
making it effective in both hair conditioning and anti-wrinkle
treatments.
2. Protective Coating
Sericin creates a thin film on the surface of skin and hair, reducing moisture evaporation and preventing drying.
Handmade plant-derived soap bars by Kiryu Silk Soap Factory contain natural
olive oil, palm oil, coconut oil, and sericin and absolutely no petroleum-based orsynthetic surfactants. They are cold-process cured over time without added
water or heat to preserve the full cosmetic efficacy of their active ingredients.
They are gentle on the skin and leave it feeling moisturized.

Original silkworm varieties developed in Gunma

Gunma 200 The Bombyx
mori variety that yields themost commonly produced
silk thread in Gunma iseasily cultivated. The thread
is 3 denier and is used inboth traditional Japaneseand Western-style apparel.

Seiki Niichi This strong andhardy variety of silkworm
produces fine fiber of 2.5
denier and up to 1,500
meters in length. It has
excellent dyeability with agood texture and an elegant
sheen.

Shinkoishimaru A triplecross hybrid of Koishimaru,
grown at the Imperial Palace
farm, and the Chinese
varieties 1 and 2. It yields afine silk of uniform consistency suitable for use inhigh-end kimono.

Shinseihaku This is a firstgeneration hybrid of theChinese variety 200, raisedat the Gunma Sericultural
Technology Center, and theJapanese breed Seihaku. The
raw silk is glossy with adistinctive light-green hue.

Gunma Gold Another
Chinese-Japanese firstgeneration hybrid, Gunma
Gold crosses the Si-125 andGunma varieties. Its glossy
raw-silk thread is approximately 2.5 denier, and true toits name in color.

17

grra
gra
g
ravvidviida
iid
da at esstt a sag
agi
a
giitt
g
ttti
ttiis.
s. 1
10
100
00
00W
Silk washcloths developed by Miyama Zenshoku Ltd. are knit on German
Raschel machines capable of producing fine lace and tulle. The natural sericin
coating is left in place, and no formalin is used. The fabric is gentle on the skin,a boon for those with allergies or other sensitive conditions.

Shinsuke Nagatake (right) of Miyama Zenshoku
and Haruo Kubozuka of Kubozuka Textiles in Kiryu
discuss an order of washcloths that Kubozuka will
make. The city of Kiryu has a long tradition of textile
production in Gunma.

0%
Redness / inflammation (n=18)

100%
39% (7)75% (15)25% (5)

Pimples (n=13)

69% (9)31% (4)

Evidence of scratching (n=11)

73% (8)27% (3)

Rash (n=20)

Erosion (n=4)

50% (2)

50% (2)

Dampness (n=8)

50% (4)50% (4)56% (9)44% (7)

Dryness / scaling n=16
Swelling (n=5)
Hardening (n=6)

80% (4)20% (1)67% (4)33% (2)
71% (10)Overall absolute evaluation (n=14)

29% (4)
9% (1)

91% (10)Overall relative evaluation (n=11)

Improved

3. Antioxidant Qualities
The antioxidant power of sericin is equivalent to that of vitamin C,
helping to prevent wrinkles and pigmentation.

61% (11)

No Change

Worse

This chart shows results by type of symptom
for tests of 31 women with atopic and contact
dermatitis who wore brassieres coated with sericin.
The variable n indicates the number of subjects
affected. Many subjects showed improvement, andthere were no cases where symptoms worsened,
indicating that undergarments containing sericinhave beneficial effects.
Source: “Study of Patients with Atopic and/or
Contact Dermatitis Wearing a Sericin-Coated
Undergarment (Brassiere),” Osaka Dermatology
Regional Association Journal Skin Research 41, no.
4 (August 1999).

4. Brightening
Sericin inhibits tyrosinase, an enzyme that catalyzes the production of melanin and other darkening pigments in response toenvironmental factors.
5. UV Defense
The silk amino acids tyrosine and tryptophan absorb harmful UV
rays and protect the skin. The yellowing of silk over time is anindicator of this effect: the protein fibers turn yellowish-brown in
response to light.
6. Static Electricity Prevention
Sericin has excellent absorbency. Its ability to retain moistureeffectively discharges static electricity.
It’s no surprise that the silkworm’s cocoon, built to shelter the
pupa from natural elements as it develops, is equipped withnatural defense capabilities—just like the skin of a fruit.

Established in 1955, Miyama Zenshoku Ltd. of Midori, Gunma,
is an avid developer of silk products that contain sericin. In addition to washcloths, the firm markets shawls, socks, and gloves.
For one of its lines, open-mesh cloths are knit at slow speedon Raschel machines developed in Germany for the productionof fine lace and decorative trimmings. The thread used is raw
silk with the sericin left intact. Compared to conventional refinedsilk, it has a crisp, slightly stiff texture that can be softened withprocessing as needed.
Many studies show that sericin has numerous beneficial effects and applications. New branding initiatives are underway at
Miyama Zenshoku for other products made with natural sericinrecovered from the silk manufacturing process, such as bath infusions and gentle soaps.

19

When mature silkworms are placed on latticed wooden frames, each moves inturn to the highest compartment available and begins to build its cocoon. The
larva then spins a single continuous filament as it bends its body and flexes its
neck in a figure-eight pattern. After one to two hours, an elliptical outline of that
trajectory arises, as if by magic.

20

Shinsuke Nagatake of Miyama
Zenshoku and his family stand withmembers of a sericulture farm inMidori. Years ago in this area, silk
harvesting was conducted bimonthly,
but now it is conducted just twice ayear.

Supporting Sericulture Farms in Decline
In Japan, sericulture farmers reverently call silkworms—kaiko—“Okaiko-san.” In decades past, many rural households engaged
in sericulture. The larvae, a valuable revenue source, shared thefamily’s living space. The number of sericulture farms in Gunma
prefecture peaked in 1970 at 66,200. As prices for cocoons
plummeted, that number dropped to just 1,930 farms by 1999.
As of 2017, a mere 121 farms remained. With only 336 farms left
nationwide now, the fate of the silk industry in Japan rests largely on Gunma. To this end, the prefectural government offers support to new entrants.

Four years ago Miyama Zenshoku financed operations at an
abandoned sericulture farm. The first order of business was tosecure the proper temperature, humidity, and ventilation of therearing house. When we visited in September, preparations were
underway for the mature silkworms’ fifth and final molt, when
they build cocoons. The larvae are placed in rotating wooden
frames split into 12-centimeter square compartments. These
are stacked in groups of ten and suspended from the ceiling. In
due time each silkworm finds and occupies the highest spot
available and begins to spin its nest.

In the last week before cocooning, the silkworms
are fed mulberry leaves four times a day, frommorning to night. They eat ravenously, increasing
their weight 10,000-fold in just seven days. A small
truckload of the leaves, which are grown without
the use of pesticides, is brought in for each feeding.

21

Usui Raw Silk Company, Japan’s largest silk mill, is nestled in the low foothills
surrounding Annaka. The craggy peak in the background is Mount Myogi,
renowned for its striking rock formations. The Usui River flows behind themill. This abundant source of water allows the company to operate withoutburdening the environment.

Gunma Silk is Environmentally Friendly
Usui Raw Silk Company in Annaka, Gunma, is Japan’s largest
silk mill. In 1970 there were 106 silk mills operating in the prefecture. Now, Usui is the only one left. It is the last bastion of
support for sericulture farms producing high-quality cocoons inGunma.
Each cocoon is spun of a single strand of silk. The reeling, or
extraction, process unravels those individual filaments andspins them together to make one much thicker thread. A hugereeling machine—like something you might imagine from the
Machine Age of the early 20th century—is used for this. Nothingis computerized. With people operating the reeler and carefully
tending the process, the silk rendered is of far higher quality.

Silk making at Usui is environmentally conscious. Sustainability is emphasized; waste is minimized. The mill obtains
cocoons only from sericulture farms that use no chemical pesticides in cultivating their mulberry trees. Once the silk filament
has been harvested the expired pupae are used as food for monkeys at the Japan Monkey Centre, and for carp. Silkworm feces
are collected and returned to the earth as fertilizer. No formalin
or other disinfectants are used in the reeling process. Waste
yarns are graded for quality and repurposed as spun silk. Suchsustainable measures taken throughout the production process
heighten the intrinsic quality and appeal of Gunma silk.

Silk Reeling 1

Silk Reeling 2

Cocoons, softened in hot
water to make them easierto unravel, flow into a tankwhere rotating brushes
tease out the end of eachfilament for automaticgathering.

The machine rolls thefilaments of several cocoons
into a single thread. When it
senses a knot in the line, it
stops. A worker then quickly
cuts out the knot and rejoins
the thread by hand.

Re-reelingTo make skeins of standard
size, the thread is re-reeledon larger reels of about 150
centimeters in circumference. This also ties up
broken ends and makes thethread continuous.

FinishingWith their sericin coating left intact, the newly
minted threads are gathered into 250-gramskeins. These in turn are bundled into lots of 20
and shipped as raw silk.

23

Scanning down from top left:
Square plates by Kofutoen (small,medium, large); tiny bowl by
Kofutoen; bowls by Tsubakigama(small, medium, large); rectangularwhite plate by Hantoen; round plates
by Tsubakigama (small, medium,large); hexagonal plates by Sanpoen(small, large); round white plates by
Sojuen (small, medium, large); sakecup by Tsubakigama; small bowl by
Tsubakigama); three small hexagonal plates by Sanpoen

24

Seto
Ceramic WareSeto, Aichi

Brand Highlights• Setomono, or Seto ware, is synonymous with ceramics in Japan. The influence of this“Land of Pottery” surpasses that of all other pottery-producing areas in the country• Clay, tools, diverse technical know-how, and educational facilities: everything to do with theceramics trade is found in Seto
• Eight Seto potteries are open to the public for tours to see the quality firsthandSeto, in the north central part of Aichi prefecture, is the place forpottery. Indeed, the generic term in Japanese for ceramics issetomono—wares from Seto. It’s a household name found literally in the cupboards and on the tabletops of just about every
home in the country. Archaeological evidence suggests thathigh-temperature kilns capable of firing ash-glazed works were
here as far back as the late 10th century. By the 12th century,
Seto and Mino in Gifu prefecture were the only places in Japan
able to produce glazed ceramics. Today some 300 business concerns make up the prefectural ceramics association. There is no
knowing the number of potters who have worked in Seto, or how
many tons of wares they have made. Seto has everything related to pottery: high-quality clay, shops for equipment and glazes,
museums, and vocational schools.

Local legends address the development of kilns in
Seto for high-fired glazed ceramics. One tells of
Shirozaemon Kato, who went to China in the early
13th century and brought back the techniques helearned. Inspired by a dream, the story goes, hefound high-quality clay in Seto and establishedhis kiln there. The first person to begin making
porcelain in Seto was Tamikichi Kato, the son of a
local potter. After learning porcelain methods inKyushu, Kato was central to advancing manufacture of the Seto sometsuke blue-and-white style.
The two men are enshrined at Fukagawa andKamagami Shrines, respectively.
Kilns that could fire clay to a high temperature andproduce ash-glazed pottery were first establishedin Seto in the 10th century. By the 12th century,
Seto and Mino in Gifu prefecture were the only
places in Japan capable of making glazed pottery.
There have been ups and downs, but even in theearly postwar years of the late 1940s, Seto washome to more than 500 workplaces related to theceramic industry. Seto’s potters have established avibrant base for the mass production of a diverse
range of pottery, as well as a solid distribution
network both domestically and abroad.

Left: Two Seto scenes; below them, tools used in
making pots on the wheel at Sanpoen. Such
implements are typically handmade by pottersthemselves, but many shops in Seto offer all theequipment one needs for making pottery.
Above: Wielding a large brush, Mayuki Kato ofSingama demonstrates how she uses surface
tension to apply cobalt-oxide pigment to a whiteground for a sometsuke piece. This technique, called
dami, achieves a superb gradation of blue.

25

26

Hiromasa Yamamoto

Mayuki Kato

Dai Shimakura

Aichi Pref. Pottery Industry Cooperation

Singama

Chikudoen

Tatsunobu Kato

Eiji Hayashi

SanpoenTsubakigama

These 10 elite potters at the forefront of today’s Seto ware areshown in a quarry located in the city’s center. One of Seto’s
strongest assets as a pottery-producing area is the superb
quality of the clay found at this site—it puts Seto in a class of its
own.
The vast amounts of clay extracted from this quarry over the
past thousand years or so have been shaped and fired into Seto
ware that has been dispatched across Japan and throughout theworld. Known as “the heart of Seto,” the location is carefully
guarded; even those directly involved in the local industry have
limited access to it.

Indeed, to potters in Seto this is a sacred site. It represents
the spirit and talents of countless artisans whose porcelain
wares have brought functional beauty to the lives of everyday
people.
One day, when all its clay deposits have been mined, thequarry will be filled with soil from another place. Eventually theland will be transformed into a forest or community park or residential area. It’s not so commonly known, but other clay pits
from times past now serve their communities as open fields,
wooded lands, and recreational sites, showing no hint of theirformer role.

Hiro Ikeda

Keiichi Ishikawa

Imaruyo Co., Ltd.

Sojuen Inc.

Akimasa Azechi

Shigetoshi Kato

Masao Kato

Aito Co., Ltd.

Hantoen

Kofutoen

27

Uwae-kashoku: Overglaze enamel
decoration (hand-painted)

Oribe

Kinsai: Gold overglaze enamel

This type of pottery is named after Furuta Oribe, a feudal
lord of the Momoyama period (1568–1603) who favored it.
Pots of Oribe design are often asymmetrical and boldly
decorated. Nowadays “Oribe”
generally refers to pieces coloredwith a bright green copper
glaze.

Gold overglaze enamel is applied to glazed pieces thathave already been fired. They are then fired at a lower
temperature for the third time. Pottery with gold or silver
overglaze enamel decorations is very
popular outside of Japan, and alarge amount of it is made in
Seto for export overseas.

Doban tensha: Copperplate-printed transfer

Kakewake: Double glaze

Furitto-yu: Fritted glaze

With this technique, the design is copperplate printed onJapanese washi paper. The paper is then stuck onto
bisqueware and water applied to transfer the design. The
technique requires some skill, but is well suited tohigh-volume production of pots withdetailed decorations. The
transfers can be applied toseamlessly cover the entire
surface—curves and handles
and all.

Applying a transparent glaze on top of a fritted crackle
glaze enhances the translucent quality and brings out theinherent beauty of the color. The crackle glaze is appliedby brush. If it is too thin, the color will
not turn out properly; too thick,and the glaze will run. Skill isrequired to achieve just theright balance.

This clear-gloss crackle glaze is difficult to achieve,
because it requires a low temperature and can only be
fired in a limited area of the kiln. The glass-like glaze
crackles after unloading from the kiln.

Paddo insatsu: Pad printing

Ame-yu: Amber-colored glaze

Rasuta shiage: Luster finish

In the pad-printing process, zaffer, or cobalt-oxide
pigment, is applied to a copperplate etched with a design.
A machine then pushes a silicone pad onto the copperplate to pick up the pigment pattern andapply it to the surface of the piece.
When a mold is used to produce
pieces in large quantities, theprocess allows detailed
designs
to be applied toexactly the same
specifications.

So-called tenmoku (natural wood) glazes are obtained bymixing iron with various natural wood ashes. In oxidation
firing they achieve a deep amber color, but they aretemperamental, demanding expertise inboth glazing and firing.

True to its name, a luster overglaze brings unique colorand shine to a piece. The glaze is purposely applied
unevenly, so the final effect catches the light in ways thatreveal beautiful color variations.

Kushime: Combed decoration

Sometsuke: Blue-and-white

Hai-yu: Ash glaze

The surface of a piece is scraped as though by a comb.
Sometimes the purpose is not just for decoration, but isalso functional, as in the case of this mortar for grinding
sesame seeds and spices.

Decorations painted on a white ground with zaffer, acatchall term for cobalt-oxide pigments, are fired at a hightemperature. The shades of blue and white vary from kiln
to kiln. Blue-and-white ware from Setois fired with a special techniquecalled nerashi (soaking), whichyields a soft, warm effect.

This glaze is made from natural pine ash and feldspar.
Reduction firing yields green and, in places where theglaze has pooled, a deeper glossy emerald. With oxidation
firing, the iron inherent in the glaze
turns yellow.

Kuro Oribe: Black Oribe

Hori + Yuyaku: Carving and glaze

Tetsu-e: Decoration brushed with iron pigment

Black Oribe refers to works with a white clay body that ispartially covered with a black glaze, and with someelement of decoration. The decoration may rendered withengraving, so the white body shows
through, or by painting the black in
sections and then brushingiron-oxide designs between
them. In olden days, paper
stencils were used to createsuch decorative patterns.

This form of decoration is achieved by carving a design
and applying glaze over it. After firing, the pattern shows
clearly, as the glaze has pooled inside it. Such designs
have a softer look than hand-painted
decorations.

Decorations are brushed onto bisqueware with iron-oxide
pigments derived from rusted iron. Depending on the
thickness of the glaze and the amount of iron in thepigment, the color after firing will
range from yellowish to nearly
black browns.

Kizeto: Yellow Seto

Tetsu-yu: Iron glaze

Uwae tensha: Overglaze decals

Yellow Seto ware is derived from oniita and bengara, twokinds of iron oxide, as well as other iron content in the clay
and glazes. Carved or stamped decorations are often used
and are given a green accent with theapplication of tanpan, a sulphatemineral. Kizeto pots may have aglossy or rough surface. Each
Seto kiln has its own
particular style.

The main components of this glaze are iron and manganese. The color after firing is determined by the thicknessof the glaze, its manner of application, where the pot isplaced within the kiln, and how quickly
the kiln is cooled after firing. Thus
various effects can be achieved.
The glaze contains a numberof minerals and so gains a
metallic finish, providing anice contrast to the ceramicmaterial.

An image on a paper decal is transferred to a fired pot,
which is then fired again to temperatures of 750 to 800°C.
Suited to mass production, this technique makes it
possible to render intricate designs ina variety of vivid colors.

After pots have been fired, they are decorated withoverglaze enamels and fired a third time at a lower
temperature. Decorations are painted
by hand, just like the iron or cobalt
pigment decorations that aredone before glazing. A diverse
range of vivid colors is thedistinguishing feature of thistype of decoration.

28

The 20- to 30-meter-thickgeological stratum of the Seto
area is believed to be graniterock that eroded from Mount
Mikuni and Mount Sanage fivemillion years ago. Washed into alake that no longer exists, thesediment accumulated to form
the Seto stratum. The highquality clays used in Seto warederive from different kinds ofdeposits captured in it.

Gairome type A (frog’s eye)A typical example of granitederived Seto clay withquartz particles. This
extremely plastic sedimentary kaolinitic clay is a main
ingredient in porcelain andtableware.

Odo (yellow ocher)Contains about 80 percent
good-quality clay, but theshrinkage rate is high. Usedto fashion ceramic hot pots,tiles, and flower pots.

Shirotsuchi (white clay)
Close to kibushi kaolin clay
but without as much organic
matter, shirotsuchi vitrifies
at a lower temperature. It is
used to make mortars andlarge storage pots.

Fuka
This diatomaceous clay,
found in the layer between
gairome and silica sand, iscommonly used for tiles.

Kibushi type A
Derived from feldspar andmica eroded from granite,
this finest of clays contains
carbonized fragments ofwood. Fine-grained, it has
high plasticity and heat
resistance, and is used in the
manufacture of ceramic dolls.

The Vast World of Seto WareThe 18 samples on the opposite page, made by nine members of
the Local Creators’ Market Seto Ware team, reveal the great
variety of expression possible. From traditional Oribe and yellow
Seto glazes to pad printing and luster finishes, there is practically no design or technical challenge that Seto potters cannot
meet. These artisans draw from a long and varied tradition, andwhether their wares are produced in bulk quantities or for smalllot orders, the artistic human touch is always present. Flat rectangular or hexagonal plates cannot be made by machine, andeven bowls or pots fashioned by the thousands on slab rollers
each have their edges neatly rounded off by hand. Such attention
to detail is a great part of the appeal of Seto ware.

Gairome type C (frog’s eye)This clay, which contains
sericite mica, is somewhat
lower in quality thangairome type A.

A rainbow of colors
At the Seto Mizuno shop in the center of town, large glass sake bottles filled with liquids of many different colors are on display. At firstglance the offerings seem a rather unusual assortment of sake, but
this is no liquor shop. It is an enoguya, a place where those in the pottery business obtain their glazes. The colored liquids are the concoctions of shop owner Yasuharu Mizuno. A chemist of sorts, he gauges
what his clients need with the assistance of color chips, and prepares
the glazes accordingly for their review. He is a storehouse of experience and advanced knowledge on the subject.

29

Places to Go in the Land of Pottery
Swing by a few potteries in charming Seto to meet the experts
and learn directly from them about their wares.

Shinano Koban-mae

Mizuno River

Hantoen 3

Seto-Shinano IC
Roadside station“Michi no eki” Seto-Shinano

Anada Industrial Park

Aichi Prefecture
Forest Park

248

Clay mine（closed to visitors）

Forest Park

SETO

Kamimatsuyama-cho

MizunoCenter of Seto

Seto
Shiyakusho-mae

Shin Seto

e
Li
n
to
M
ei

te
ts
u

Se

o
Set

Owari Seto

Sanpoen 7

Kamagaki no Komichi
PathAkazu-choHigashi Park

Seto City Art Museum

Seto-Akazu IC

Minami Park

8 Aito Co., Ltd.

155

Harusame Cemetery

363

xpr

OWARIASAHI

Ri

248

ve

r

Aich

i Loo

Minamiyamaguchi-cho

y

da

wa

Setoguchi

Ya
Ida-choes s

Nishihara-cho 2

p Ra

ilway

Yamaguchi

Seto Ceramic Research Institute

Ceramic Vocational Training Institute of Aichi Prefecture

Otsubo-cho

Aichi Prefectural
Ceramic Museum
9

NAGAKUTE

Center of Seto

Suehiko Shrine

Tohso-dooSetParti Seto

su S

eto

155

Owari Seto

Aichi Pref. Pottery
Industry Cooperation
363

Kamagami
BridgeLin

eGlass Art Center

Higashihonmachi

Kamagaki no Komichi
Path

Kamagaki no Komichi Museum

15 Seto Blue-and-White

Ceramics Center

Koryuji temple
16 Imaruyo Co., Ltd.

N

17 Murakami Hardware StoreMinami
Park

155

Classic Seto scenes

30

Hosenji temple
14 Sojuen Inc.

13 Seto Ceramics andNishi-honmachi

Togen-choNaka Bridge

Manekineko
MuseumMiyamae Bridge
Kinen Bridge

155

18 Kajita Ceramic Pigment Store

Aichi Prefectural Seto
Pottery Senior High Schoolr
Rive

Miyamae Park

Higashikoseto-cho

Koen Bridge

The Seto-Gura Museum, pictured at right, is located close to
Owari Seto station. One of its features is an impressive installation reproducing the town of Seto in olden days, completewith climbing kilns and pottery shops. Visitors can learn agreat deal about the history and skills involved in Seto ware.
Those looking for a scene unique to Seto should head overto Kamagaki no Komichi in the Hora-machi district. Climbing
kilns once dotted this area, formerly a bustling hive of pottery
production. A 400-meter footpath is lined with a wall built ofold shelves, props, and other kiln items.

Akiba ShrineW
0

Potteries
Chikudoen ❻ 1-101 Shinano-cho
T: 0561-42-0322 (Jpn. only) F: 0561-41-3424
chikudouen@tohki.co.jp
Closed weekends and public holidays. No
reservation required
Hantoen ❸ 62 Suihoku-cho
T: 0561-48-0489 (Jpn. only) F: 0561-48-1411
Closed weekends, public holidays, andyear-end/New Year holidays. Reservation by fax
Imaruyo Co., Ltd. ⓰ 1-58 Higashi-honmachi(Production area not open to public)
T: 0561-82-6121 F: 0561-82-6123
104@imaruyo.jp
Closed weekends, public holidays, and year-end/
New Year holidays. Reservation by fax or email
Kofutoen ❶ 1309 Sono-cho
T: 0561-48-1035 (Jpn. only) F: 0561-48-1035
mail@sonegama.com
Closed weekends, public holidays, and year-end/
New Year holidays. Reservation by email
Sanpoen ❼ 123 Kamamoto-cho
T: 0561-82-3256 (Jpn. only) F: 0561-87-1351
sanpouen-kama@outlook.jp
sanpouen-kama.com
Reservation by email or through website
Singama ❹ 330 Nakashinano-cho
T: 0561-41-0721 (Jpn. only) F: 0561-41-0721
singama@gctv.ne.jp
Closed irregularly. Reservation by phone or
email
Sojuen Inc. ⓮ 24 Sugitsuka-cho
T: 0561-82-6428 (Jpn. only) F: 0561-82-6428
info@souzyu-en.com
Closed weekends, public holidays, August
13–15, and year-end/New Year holidays.
Reservation by fax or email
Tsubakigama ❷ 532 Suihoku-cho
T: 0561-48-1265 (Jpn. only) F: 0561-48-1538
tubakigama@nifty.com
Closed weekends, public holidays, andyear-end/New Year holidays. Reservation by
fax or email
Companies
Aito Co., Ltd. ❽ 1-1 Karijukushin-cho, Owariasahi
T: 0561-54-2111 F: 0561-52-0746
akazechi@aito.co.jp
Business appointments only. Closed weekends
and public holidays

248

11 Seto Mizuno Shop

Seto-gura Museum 12

1km

Toso Park(Hexagonal Ceramic Monument)

Seto Novelty Childrenʼs 10
Ceramic Center

Hounji temple

itet

E
S
0.5

0

Jiso Park

TOYOTA

N
W
155

Kamagami Shrine

Me

njo E

Seto-Akazu IC Nishi

Hanano-cho Kita

Tokai-Ka

Sango

Kaido

Seto

Umagajo Dam

Fukagawa Shrine

Seto City Hallr
Rive

Shinano-cho 6

Chikudoen 6

Seto City Park

Setoshi

363

Shimo-Shinano Elem. School

Hachiman Shrine
Kamimizuno-cho

155

4 Singama

Yamada Ceramic Raw Materials 5

Sonoguchi

Nakamizuno

KASUGAI

Shinano Jr. High School

Tsubakigama 2

Hongo-cho

Whether you are visiting for business orleisure, the best way to see the appeal of Seto
ware and its many production techniques
firsthand is to visit some potteries. The eight
listed here are open to the public.

248

Kofutoen 1

E
S
100

200m

Museums
Aichi Prefectural Ceramic Museum ❾234 Minamiyamaguchi-cho T: 0561-84-7474
Hours: 9:30-16:30.* Closed Mondays (ifMonday is a public holiday, then closed the day
after) and year-end/New Year holidays. Opendaily during Golden Week
Seto Blue-and-White Ceramics Center ⓯98 Nishigo-cho T: 0561-89-6001
Hours: 10:00-17:00. Closed Tuesdays (ifTuesday is a public holiday, then closed the
day after) and year-end/New Year holidays
Seto Ceramics and Glass Art Center ⓭81-2 Minaminakanogiri-cho T: 0561-97-1001
Hours: 10:00-18:00.* Closed Tuesdays (ifTuesday is a public holiday, then closed the
day after) and year-end/New Year holidays
Seto Novelty Children’s Ceramic Center ❿74-1 Izumi-cho T: 0561-88-2668
Hours: 10:00-17:00. Closed Mondays (if Monday
is a public holiday, then closed the day after)
Seto-Gura Museum ⓬1-1 Kurasho-cho T: 0561-97-1190
Hours: 9:00-18:00.* Closed fourth Mondays
and year-end/New Year holidays*Admission ends 30 minutes prior to
published closing time
Shops
Kajita Ceramic Pigment Store ⓲ 2-22 Togen-cho
Tools, glaze components, and other materials
for making pottery
T: 0561-82-2765 Closed Sundays and public
holidays
Murakami Hardware Store ⓱ 56 Ichonoki-cho
Tools and materials for pottery
T: 0561-82-2749 Closed Sundays and public
holidays
Seto Mizuno Shop ⓫ 4 Haneda-cho
A wide range of glazes
T: 0561-21-820 Closed weekends, public
holidays, and year-end/New Year holidays
Yamada Ceramic ❺ 6-161 Shinano-cho
Seto and other clays
T: 0561-42-0121 Closed Sundays

Aito Co., Ltd.

Chikudoen

HantoenTableware, ovenware, pottery for tea, vessels for drinking sake, crafts, designer
items

Tableware, dishes for children, dishes for pets

Traditional Japanese, Chinese, and Western tableware, interior goods

The trading firm Aito Co., Ltd.
works with pottery designed
in-house as well as commissions. Of all the companies in
Seto, it has the most items
geared to young professionals.
CEO Akimasa Azechi says that
if what people eat changes, then
the tableware they use will, too.
Across the design process fromdraft proposals to final product,
Aito creates solutions that meetcontemporary tastes andlifestyles.

Established in 1924, Chikudoen
specializes in small-lot
consignments. In 2018, its
fourth-generation head Dai
Shimakura created Sucuu, acolorful range of attractive
pottery with rounded edges
and easily graspable handles
designed for children. Chikudoen
also personalizes dishes with ahand-painted name or message,a service that’s proven popularin the baby-shower and petmarkets.

Highly diversified production is
Hantoen’s strength, and thecompany maintains a successful
export business to the UnitedStates. Between 10 and 20
production lines of a dozen orso pieces each are launchedeach year, each one based on atheme. Some include designs
conceived by fourth-generation
head Shigetoshi Kato himself.
Despite that volume, each piece
undergoes careful finishing
touches by hand.

Imaruyo Co., Ltd.

Kofutoen

SanpoenNovelty items and interior goods

Personalized dishes for children, tableware with crackled glazes, Oribe
tableware

Tableware, vases, pottery, Oribe, and yellow-glazed ware

Established more than a century
ago by the grandfather of CEO
Hiro Ikeda in 1917, Imaruyo
developed porcelain figurines in
the postwar years. The company
did much to establish the Seto
name abroad through its
exports to Europe and theUnited States. Ikeda is shown
holding the highly lauded
Seto-ne, a ceramic speaker thatcan more than double thevolume of music played on asmartphone, using no electricity.

In the early days following its
inception in 1964, Kofutoen
produced much pottery with
fritted glazes and also forgednew markets by developing
products for the wedding trade,
specifically gifts to be presented
to guests. Second-generation
head Masao Kato is steppingup the firm’s consignment
production. Particularly adept atusing notoriously difficult
glazes, Kofutoen has created awide range of colors.

The first generation of Sanpoen
potters fired Oribe pots in a
climbing kiln. Tatsunobu Kato,the sixth-generation head, has
successfully expanded thepottery’s customer base with amodern style of tableware
featuring single-glaze mugs,
hexagonal plates, and otherpieces. Sanpoen pottery, whichfeatures crackling accentuatedby horse-chestnut tannin, isentirely handmade, and includes
greens, yellows, and whites.

Singama

Sojuen Inc.

Tsubakigama

Tableware and vases (porcelain, traditional craft, Seto blue-and-white ware)

Tableware (rice bowls, tea cups, plates, etc.) for personal and commercial use(catering, hotels, airlines, etc.)

Tableware, tableware for the catering trade, blue-and-white porcelain,
ash-glazed pottery, interior goods, vases

The deep blue rendered fromglaze mixed with cobalt-oxide
pigment is a distinctly Seto
color. After studying ceramic
design, Mayuki Kato entered theworld of Seto blue-and-whiteware as the heir apparent to
her parents’ Singama Pottery,where she is now mastering theart of painting on porcelain.
From the molds to the designs,
much of the pottery produced
at Singama is original.

Sojuen uses a slab roller for fastand efficient production of as
many as 1,000 to 2,000 items perday. It’s no surprise that theirwares are found throughout Japan.
Still, president Keiichi Ishikawa
ensures that the production line
keeps the human touch withhand-painted designs, screen
printing, and pad printing. Sojuen’s
high-strength, shatter-resistantporcelain is sought after by clientsin the medical and social-service
fields, and airline companies.

After apprenticing at a pottery
in Kyoto, Eiji Hayashi returned
to Seto to take over as thesecond-generation head of
Tsubakigama, makers of simple
yet beautiful Seto blue-andwhite ware. “A vessel is complete
once it has food arranged on it.
How appetizing the food willappear when it’s on the dishis our focus, so we keep ourdesigns understated,” says
Hayashi of their contemporary
take on old-style Seto pottery.

Total coordination of pottery production from design onward

Subtle shapes for adding flair to interiors

A beautiful contrast between pure white and cobalt blue

Colorful, personalized dishes for children

Creation of a wide range of colors

High-strength porcelain, pad printing, and screen printing

Diverse designs from porcelain to overglaze-enamel-decorated pieces

Handmade pieces embellished with crackled glaze

Modern tableware with natural ash glaze

31

32

Top shelf: Three cups (Sojuen), three small bowls(Kofutoen)
Second shelf: Mug (Tsubakigama), cup and teapot
set (Aito Co., Ltd.)

Third shelf: Six mugs (Sanpoen), sake flute (Kofutoen), large cup (Aito Co., Ltd.)
Bottom shelf: “Seto-ne” smartphone speaker, threecontainers with fine Japanese patterns (Imaruyo)

Top row:• Leaf-shaped and square dishes in various sizes by Singama• Plates for grilled fish by Hantoen; small
bowls with spouts by Kofutoen• Coffee cups by Singama
Middle row:
• Clockwise from upper left: Small bowl
by Hantoen; oval plate by Tsubakigama;plates by Aito Co., Ltd. (small, medium,large)• Upper shelf: Cups and bowls for children
by Chikudoen. Lower shelf: Two teapots by
Imaruyo; five sake cups by Sojuen• Plates with fine Japanese patterns by
Kofutoen (small, medium, large)
Bottom row:
• Square plate by Kofutoen; floral plate by
Aito Co., Ltd.
• Cups that can be fitted with plastic lids
by Sojuen

33

Kishu
Lacquerware

Kainan, Wakayama

Brand Highlights• Plant-derived lacquer depletes no fossil materials and uses no harmful organic solvents• Exclusive trading rights in the late 1700s propelled the area into an innovative centerof lacquerware production, as Kishu products became accessible throughout Japan• Our focus here is on certified traditional artisans* who use only natural materials
Kishu lacquerware hails from the city of Kainan in northern
Wakayama prefecture. Together with Aizu in Fukushima and
Wajima in Ishikawa, Kainan is one of the three major centers oflacquerware production in Japan.
Kishu lacquerware got its start in the late 1600s, whenwoodturners from present-day Shiga came to live in the Kuroe
area of Kainan, drawn by its plentiful cypress wood. Lacquerers
and painters of makie designs rendered with gold, silver, andother powders followed them. Shibuchi bowls, which used persimmon tannin in place of costly raw lacquer when forming theprimer paste, helped to put Kishu products in the reach of commoners. In 1760 the artisans of Kuroe were granted exclusive
trade rights from the domain. Fast-forward two centuries, andKishu lacquerware was recognized by the national government as a traditional craft in 1978.
Synthetic polymers and coatings arrived in Kainan in the
1960s, opening the floodgates for cheaper, more easily produced wares. Today 90 percent of the lacquerers here use synthetic resin and polyurethane paints in place of natural lacquer.
We introduce three certified traditional artisans who, eschewing plastics, work to revive the old ways: Katsuhiko Hayashi
and the father-daughter duo Toshifumi and Kumiko Tanioka.

Opposite page, top: Natsume tea caddy by traditional
artisan Katsuhiko Hayashi with designs raised in relief.
In this most complicated of makie techniques, thelacquer is gradually built up to make the image risefrom the ground. Hayashi lavished three different
types of gold on this caddy, which is used in the tea
ceremony to hold matcha powdered tea. In the
portrait Hayashi stands in one of the mikan citrus
fields for which Wakayama is known—the prefectureis the leading producer of the fruit in Japan.
Left: The wood grain of this low table in the studio oftraditional artisan Toshifumi Tanioka has taken on a
deep amber hue from years of use in spreading lacquer.

Opposite page, bottom: Traditional artisan Kumiko
Tanioka on the beach at Wakanoura. Her lidded
incense burner pictured here employs the Zuiunnuri method, named after the phenomenon ofiridescent clouds. To create this look, a layer ofthick roiro reduced lacquer is applied to multiple
colored base coats and then polished down to yielda glowing, shimmering effect.
Above: Those who venture along the Kishu trail
leading to the Kumano Kodo pilgrimage route willbe treated to this view of Kainan, taken from the
Gosho no Niwa garden at Jizobuji temple. The
hamlet of Kuroe lies in the valley at lower center.

*National certification as a traditional artisan is bestowed upon those who endeavor to preserve a traditional craft native to their area. Holders of
this title are devoted to the study of the craft’s techniques and skills, and play an active role in transmitting the vocation to the next generation.

35

This whimsical katakuchi sake flask is made from acalabash gourd cut lengthwise, dried, and layered
with multiple coats of lacquer. The use of gourds
and even citrus peels as a base for Kishu lacquerware finds delight in nature’s shapes, no two of
which are exactly alike.

Katsuhiko Hayashi

Katsuhiko Hayashi is a makie artisan, like his Kishubased father and grandfather before him. Among
his works are sake cups and flasks fashioned out ofhollowed-out gourds, as well as cups made of citrus
peels. Just as is done when working with wood, heapplies layer upon layer of lacquer to these all-natural materials to create a thoroughly unique piece.
Hayashi’s interest in makie grew from aroundthe age of 12, when he attended a lacquer-making
workshop in which his father was involved. The
event was filmed for television, and Hayashi wasshown making his first makie design. The scene
might have been the idea of the TV producers, or it
might have been his father trying to involve him in
the family business. Either way, it worked: he washooked.
He attended a fine-arts high school in Kyoto
where he focused on lacquerware, and after graduation remained in Kyoto as an apprentice to makie
artisan Shunsho Hattori. After ten years studying
under the master, Hayashi returned to Kainan.
Hayashi began crafting products from citrus
peels around 2013. Lacquerers had experimented
with using these as a base for their wares as far
back as the Edo period (1603–1867), most likely tomake resourceful use of the abundant local crop.
Plastic was introduced to Kishu in the 1960s.
Its use as a base material, as well as that of synthetic resin and polyurethane paints in place of raw
natural lacquer, soon became widespread among
artisans here. Today, 90 percent of those producing
wares in Kainan use such chemical coatings.
Hayashi, however, prefers the far more temperamental raw lacquer, because it feels alive.

Top: These finely dimpled sake cups owe their unique
texture to citrus peel. The pulp is removed and the peelsoaked in warm water for two days to draw out its oils.
Then it is dried for half a year before lacquering. Thickskinned varieties work best.
Above left: Katsuhiko Hayashi at work on a piece in his
Funoo studio. “I want the things I make to be used. The
natural luster of lacquer improves over time, with use.
And you can’t enjoy the texture of a piece without actually
taking it up in your hands,” he says.
Above right: Small and large cups made from gourds
glisten with their lacquered black sheen. As each one is adifferent size and depth, they don’t stack neatly—but
therein lies their appeal. They are as versatile as they are
one of a kind.
Third row: Hayashi applies lacquer to the inside of acitrus-peel cup using a handmade brush. The inside of thecup will receive a total of ten coats, hardening thematerial and enhancing its thermostability. The outside iscoated just three times so that the texture of the peelremains. Each application must be dried and polished
before the next, so the work demands patience. The resultof the painstaking process is an original cup with abrilliant luster that belies just how tough it is.
Bottom: This detail of a finely rendered makie piece byHayashi shows the nuanced effects he achieves with goldand silver powders. For many lacquerers, the art of makie
becomes a natural extension of their work.

37

38

Kumiko Tanioka
Kumiko Tanioka is the first woman in Kishu to earn the nationally certified title of traditional artisan. She also represents thefifth generation of Tanioka Lacquerware, founded in 1883 by awoodturner who came to Kishu for its abundant wood and eventually added lacquer work to his trade.
The family workshop was on the second floor of her childhood home, so Tanioka grew up watching artisans come and goeach day. All of her friends came from lacquerer families. She
herself, however, was not interested in work that meant staying
indoors most of the time.
Her view shifted in college, when a friend asked her aboutlacquerware. She realized she didn’t know enough about the history or techniques of her hometown tradition to explain them.
After getting her master’s degree in economics she returned toKainan, where she participated in a program set up to train successors in the lacquerware trade. She spent three months in theworkshop of a makie expert and was fascinated. For the next ten
years she apprenticed at various studios while holding down ateaching job at a cram school.
She earned her certificate as a traditional artisan just as thebase of the local industry was floundering. “I worked hard to become a traditional artisan. With so many veterans in the field
stepping down, I knew that something had to be done to preserve the craft—if only for the sake of those who had come before me,” she says.
Tanioka considers herself an artisan, not an artist. She takes
pride in filling orders for multiple quantities of the same item,
each piece in the set as beautifully rendered as the next. Her workfeatures on the tables of upscale restaurants in Tokyo’s Akasaka
district, and most of her tsubo pots are purchased by foreigners.

Opposite page: A Negoro-nuri pot by Tanioka Lacquerware. In this style,which is one of the foundational techniques of Kishu lacquerware, layers ofvermilion are applied over base layers of black. When the top coats arerubbed away—either by long years of use or by the hand of the artisan—thecontrasting beauty of both colors is revealed. The style is said to haveoriginated at Negoro Temple in Wakayama, where monks used to maketheir own lacquered trays and bowls, layering the two colors. After years ofuse the red would wear down in places, a look that caught on as an
attractive design. The effect is sometimes likened to the sky at dawn, whenclouds are lit from below.
Top left: Traditional artisan Kumiko Tanioka in her hometown. “I don’t wantpeople to equate Kishu lacquerware with synthetic pieces,” she declares.
Top right: Softly curving lines meld in this simple form uniting round andlozenge-shaped vases. The piece looks striking in a contemporary space.
Above, left and right: As the vermilion top coats are rubbed with Suruga
charcoal, a superb polishing material made from the wood-oil tree, theblack lacquer beneath is revealed. No two pieces are the same.
Left: A makie detail by Tanioka, who found her path to lacquer workthrough her fascination with this art form. She is one lacquer artisan tokeep an eye on.

39

Wood substrate

Surface smoothing

Primer coat

Base to middle coats

Base coat polish

Wood is turned on alathe to create thebase for the lacquered
piece. At Tanioka
Lacquerware, Kishu
cypress is used.

Irregularities in thewood surface arechiseled out and filledin with a mixture of
raw lacquer, rice flour,and sawdust.

A paste made of waterand fired-clay or shale
powder is kneaded,then mixed with raw
lacquer and applied tothe surface.

The piece is painted
with lacquer. Aftereach coating it isplaced in a humiditycontrolled drying
chamber to harden.

Suruga charcoal isused to remove brushmarks from thehardened lacquer film
and to polish thesurface.

Why lacquerware?
To the uninitiated, lacquerware can look just like plastic. This
perception typically prompts the question, “Why is it so expensive?” Even among Japanese, who see and use lacquered bowls
and trays regularly, there are many who are unaware of just how
time-consuming and labor-intensive the art of lacquering is.
The craft process shown above for an item of Negoro-nuri
lacquerware is in fact a condensed version of all that is involved.
A piece is coated, allowed to harden, and polished repeatedly. It
takes a seasoned artisan to accomplish the dozens of tasks involved. The higher price reflects this.
But why all the fuss—is it really worth it? The answer lies inthe stellar properties of lacquer as a coating and the beauty of its
lustrous coat. Made from the sap of tall deciduous trees of the
cashew family, this all-natural varnish creates a hard, durable
film that repels water, heat, salt, acids, and alkalis. It can even
withstand nitrohydrochloric acid, which dissolves gold. Natural
lacquer also has superior antiseptic and antibacterial qualities.
Lacquered items several thousand years old have been excavated intact, their sheen unblemished. Its only vulnerabilities are
extremely dry conditions and the UV rays in direct sunlight.
The dewy look of lacquer is owed to its molecular pliability.
Indeed, the surface has a silky, almost wet quality. Note the feelof a lacquered cup when you bring it to your lips, and compare its
texture to that of plastic. Viewed under high magnification, thesurface of hardened lacquer has an uneven grain structure. That“give” accounts for its plump feel and soft luster.
It seems contradictory that a material rivaling epoxy resin interms of sheer toughness and durability should feel so soft tothe touch. No other coating boasts this combination of qualities.
That, essentially, is the enduring appeal of this all-naturalwonder material.

40

Above: The raw lacquer that isessential to Kishu lacquerware.
Left: The handles of these brushes
used by traditional artisan Toshifumi
Tanioka shine with their long yearsof use in lacquering.
Tajima Lacquer in Kainan refines
natural sap and colors it. The shop
carries lacquers harvested in Japan,
China, Vietnam, and Myanmar. By far the most lacquer used in Japan today
comes from China—40 tons are imported annually. In contrast, just 800
kilograms of sap are collected domestically each year. The main component of both Japanese and Chinese lacquer is urushiol, an oily mixture oforganic compounds. Vietnamese sap, by contrast, mainly contains laccol,
while the main component of lacquer from Myanmar is thitsiol. The surface
durability and clarity of urushiol and non-urushiol lacquers differ.
Raw lacquer is not a material that lends itself to convenience or efficient
harvesting. Only 200 grams of sap can be collected from a tree that’s
been cultivated for 10 to 15 years. Cuts are made in the trunk by hand, andthe sap is collected as it slowly seeps out. The trade-off, of course, is thatonce it is harvested and processed, natural lacquer yields a coating thatremains durable and beautiful for thousands of years.

Vermilion coat

Polishing

FinishingCompletion!

Raw lacquer reduced 95
percent is called roiro.
This thick, translucent
coating is blended withvermilion pigment for
the top layers.

The surface is polished
down in places toreveal the blackunderneath. This is theclassic look of Negoronuri lacquerware.

A long final polishingprocess yields a
mirror-like sheen,bringing out the full
luster of the multiple
lacquer coatings.

Made entirely ofnatural materials, thefinished piece comeswith a stand and ispacked in a wooden
box—a lovely gift.

Above, right, and far right: Toshifumi Tanioka,
Kumiko’s father, is the fourth-generation
proprietor of Tanioka Lacquerware. Each day
before he sets to work on a new coating, hefirst strains the lacquer to remove any dust
or other impurities—the surface of eachcoating must be rendered absolutely clear.
Lacquer itself has no natural color, so
Tanioka blends pigments to yield the desired
hue. A number of lacquered clay and wooden
objects from prehistoric Jomon times havebeen excavated in Japan. The basic colors
used then, too, were vermilion and black.
Raw lacquer hardens through a chemical
reaction between laccase, an enzyme
present in the sap, and the oil urushiol, thesap’s main component. At an adequate
temperature and ambient humidity, laccase absorbs oxygen from the moisturein the air and supplies it to the urushiol in a process called oxidative polymerization; this is what effectively hardens the liquid lacquer. Laccase activates attemperatures of 20 to 25ºC and humidity of 60 to 80 percent. The drying
chamber maintains these optimal conditions.

41

These elegant chopsticks by Katsuhiko Hayashi
showcase a variety of techniques, including
Negoro-nuri and makie. Each pair is the result ofmany patient layerings of lacquer, and their varied
designs speak to Hayashi’s skills as an artist.
Thanks to the antibacterial properties of natural
lacquer, the chopsticks require only a quick rinse inwater after use.

Opposite page: The wall behind the head councilman’s seat in Kainan City Hall is graced by a
Negoro-nuri panel made by Toshifumi and Kumiko
Tanioka. The work brings a bright warm accent tothe understated browns and grays of the modernist
chamber. Other commissioned works by the two
are found at the reception desk and in the hallwaysof the building, which was completed in 2017.

42

43

Central to the washi-making process is sheeting,when the pulpy solution of fibers in water isscooped, shaken, and drained to form a single
paper. Here, fibers of the paper-mulberry tree aresuspended evenly in a water bath without sinking
thanks to the addition of a viscous extract derived
from the root of the sunset hibiscus. These basematerials will be caught up and sieved, at eventhickness, to form a single sheet of Sekishu washi.
The intricate, random meshing of the plant fibers
yields the uniquely beautiful texture of the paper
and is also the reason for its strength.

44

Sekishu
Washi Paper

Hamada, Shimane

Brand Highlights• Crafted of non-wood plant fiber and truly sustainable: paper made from a one-year-old
shrub can last 1,000 years• Versatile applications for art projects• Nature’s purpose for the phloem and cortex base materials—bringing rigidity andflexibility to the stem—is rendered as a durable, resilient, and beautiful productSekishu washi, paper made from non-wood plant fibers, is a
product of Hamada in western Shimane prefecture. This method of papermaking is said to have been introduced to this areaby the poet Kakimoto no Hitomaro around the years 704 to 715.
Today Sekishu washi is recognized by the Japanese government as a traditional craft.
Four studios continue to produce washi just as in olden
times—by hand, one sheet at a time, primarily using the fibersof the paper-mulberry tree, as well as also those of the Oriental paper bush and the gampi plant. In Hamada any number of
products are made from the fibers: calligraphy and drawing
papers, stationery, and colored papers for art and decorative
use in addition to the standard individual sheets called banshi.
There is even growing interest among photographers in using
Sekishu washi for their fine-art prints.
Notable for its sturdy yet malleable body, Sekishu washi
ranks among the best of high-quality Japanese papers. It canbe crumpled, rolled, and folded repeatedly without tearing. Its
natural suppleness and durability are why it is often the preferred paper of choice in the restoration of cultural properties.
It is water resistant, too. Sekishu washi also lends itself tosculpture. The elaborate demon, deity, and serpent masksworn in Iwami Kagura, a colorful performance art of the western Shimane region with deep folkloric origins, are made of it.
Still another characteristic of Sekishu washi is that it isecologically sustainable, being fashioned from locally cultivated plants. Paper mulberry, for example, is ready for harvest
as quickly as one year after planting. Nonetheless, stewardship is required to ensure a healthy and sufficient supply.
Hamada’s artisans face shortages of this critical material as
the median age of their population increases and fewer hands
are available to nurse the trees.

An order of standard white Sekishu-banshi is shown packaged and bound withpaper-mulberry bark. Japan has more than 100 washi-producing traditions. Of
them, Sekishu-banshi is recognized by UNESCO as an intangible cultural
heritage, along with Hon-minoshi paper from Gifu prefecture and Hosokawa-shi
paper from Saitama prefecture.

Paper-mulberry fibers immersed in a fune water-holding vat are scooped up
and shaken onto a papermaking screen made variously of bamboo and reed.
The fibers entwine as they are expertly shaken to uniform thickness. Fromthe left are Masaru Nishita of Nishita Washi Kobo, So Kubota of Sekishu Washi
Kubota, and Isao Kawahira of Kawahira. These young paper artisans are thefuture of Sekishu washi.

45

Shrinking, blotting

Writing, drawing

Twisting

Sheeting othermaterials

Modulating
textureCrumpling,creasing

DyeingScreening, filtering,manipulating light

Stenciling, silkscreening, printing

A versatile art material
Part of the great appeal of washi paper is how easily it lends itself to any number of secondary processes, whether during its
manufacture or afterwards. Because it is handmade from start
to finish, artisans can easily improvise any step of production.
And the finished paper’s natural strength and resiliency accommodate its tailoring in a range of different ways. Such versatility
makes washi an attractive material for artistic expression.
Splicing, known as kuisaki, is one such creative use. Strips
are ripped by hand to render rough edges. As the plant fibers will46

readily reknit themselves, two sheets of different colors can be
combined to create two-toned papers, or multiple strips can be
united to form a single sheet, with seamless gradations of one
color blending into the next.
Hamada artisans are now working on a project that willbring overseas designers and artists to the locale for masterclasses in washi making. Once they have learned the basic techniques, these individuals will be invited to propose new and original designs for Sekishu washi.

Combining, layering

Gradating thickness

Cutting, tearing

Folding

Rolling, sculpting

Above: Sekishu washi is made to order in various sizes, the most common
being 1 meter by 60 centimeters. Here, an unbleached sheet of that size rests
atop a less refined grade known as jadoshi. Literally “snake’s body,” its name is
owed to the fact that this is the paper used to sculpt the eight-headed serpent in
the popular Iwami Kagura dance, “Orochi.” Although technically the quality ofjadoshi is ranked lower due to its rougher fiber content, this very attribute iswhat enables the paper to hold up to the snake’s writhing, gyrating motions.
Opposite page, top, and right: Sekishu washi designs by Shinya Kobayashi.

Splicing
47

Sekishu washi: in a word,sustainability
The wood pulp used to make Western-style papers from the mid19th century onward was taken from any species of tree, of any
age. Branches, limbs, even mighty trees that had grown for 100
years were all reduced to pulp. Such papermaking consumed
large swathes of forestland, and yet the useful life of those acidic
papers turned out to be only 50 to 100 years. By the 1970s, paper
degradation had become a real problem for many libraries
abroad. In response to that crisis, non-acidic papers made withalkaline buffers were developed. Such papers are said to have auseful life of 300 to 400 years.
By contrast, washi is made from non-wood plant fibers harvested from shrubs that grow 2 to 3 meters a year. Papers madefrom a one-year-old plant can last more than 1,000 years. Clearly,
a great strength of Sekishu washi is its sustainability.

Paper-mulberry plant

Stalks harvested in winterBoiled and stripped stalks

Phloem fibers after the epidermis and much of thecortex layer have been removed
The roots of sunset hibiscus are crushed to obtainneri, a viscous liquid. When added to the paper-making
vat it helps to suspend the paper-mulberry fibers in
the water solution evenly, and also works to bind them
together as they are shaken, pressed, and dried.

Western papers(wood pulp)

Phloem fibers give rigidity and flexibility to the stem—they are a plant’s living innerbark. Surrounding them are the protective cortex and epidermis. In some washi
traditions the cortex is removed together with the epidermis. Sekishu artisans,however, leave it on to varying degrees, depending on the desired strength.

100 years

Growth Period Useful Life

Washi (non-woodplant fibers)

48

1 yearMasaru Nishita of Nishita Washi Kobo at work in afield of paper-mulberry shrubs. The plants are cut
down to the roots each winter. New shoots emerge
in the spring and the plant soars to 2 or 3 meters inheight over the summer. Its vitality is proof of thesustainability of Sekishu washi. To obtain goodquality fiber, however, the branches must be
regularly pruned by hand.

300–400 years

In the manufacture of high-end books, at least, acid-free papers are now common
in Japan. Yet while this material is said to have a shelf life of 300 to 400 years, no
one knows for sure, as mere decades have passed since its introduction. The shelf
life of washi, however, is already proven: in the holdings of the Shoso-in treasure
house at Todaiji temple in Nara is a census register written on Minoshi paper thatis dated 702—the oldest extant sample of washi on record. That’s a useful life ofsome 1,300 years and counting.
In other words, paper made of wood pulp harvested from a 100-year-old tree
may last 300 years, while the paper obtained from a one-year-old paper-mulberry
bush can last for more than a millennium. Unlike Western-style papers, however,washi cannot be mass produced. The paper-mulberry crop must be tended and,whether the paper is sheeted by hand or machine, the pulp must be refinedmanually.

1,000 years

49The freshly sheeted papers are transferred fromthe papermaking screens one by one and placed
atop one another to form beds known as shito.
Because the fibers of each sheet are so tightlyintertwined, the layers magically remain separate
without sticking. They will be left to dry overnight
and then will be pressed to drain any remaining
water. The batch shown here will be used to fashion
the butterfly hinges of multi-panel byobu screens—a task for which supple and sturdy Sekishu washi
is optimally suited. The artisan left a fair amount of
the plant’s amakawa cortex layer in the pulp foradded strength; this explains the warm goldencolor.

50

A winter craft
From cultivation of the paper-mulberry shrubs to drying of thefinished sheets, washi-making entails at least 20 separate processes. Although Sekishu washi will never be a product destined for large-lot orders, the hands-on focus at every step of its
manufacture ensures that each individual sheet is of the highest quality.
The plant fibers are harvested in December. The papermaking follows from January to March, when the ambient temperature is just right for neri, the root extract used as a formation aid, to effect its magic. The artisans work in cold studios,
dipping their hands into the icy pulp bath over and over again to
craft up to 250 sheets a day. The luminescence of their productseems to capture the very quality of winter’s soft light.

1

The outer bark of thestalk is scraped off to thephloem. A small amountof the cortex is left on.

2

The phloem fibers areboiled in an alkaline
solution and thensteamed, for softening.

Assay
Paper mass
Paper thickness

WeightThickness
TensilestrengthTearstrength
Folding
endurance

Unit
Sekishu Washi Hon-minoshi Echizen Hosho
g/m2
22.0
34.0
64.9
mm
0.14
0.07
0.17
Vertical
2.86
3.80
3.20
Break strength when
kgf
load is added
Horizontal
1.32
2.30
1.20
Vertical
179
239
347
Force at time of tearing gf
Horizontal
243
211
389
Vertical
3,600
3,517
5,165
Number of times paper 1kgf/
folds before breaking
foldHorizontal
86
1,741
197

Excerpt of a physical assessment of washi conducted by the Sekishu Washi Engineers’ Society

The table above shows the test results of strength comparisons between
Sekishu washi, Hon-minoshi from Gifu, and Echizen Hosho from Fukui. The 0.07
thickness of the Sekishu washi used in the comparison was less than half thatof the other two, underscoring its strength. The numbers also suggest thatvertical shaking of the screen in Sekishu papermaking increases its durabilityon the vertical axis. Anecdotal evidence points to the resilience of Sekishu washi
in water, too: it’s said that in times of fire, Osaka merchants would protect theiraccount books by tossing them into wells until the danger passed.

3

The fibers are inspected
and impurities removed.
This work, too, is done
completely by hand.

4

The fibers are struck withwood to loosen them. The
batch will be flipped andpounded again.

5

The fibers are placed in awater vat with the hibiscusroot extract. The solution isstirred with a bamboo pole.

6

A paper-making screen islowered into the solution,
shaken just so, and liftedto form a uniform sheet.

7

Each newly made sheet
is laid flat, with successive ones layered on top
to form a bed.

8

After pressing, thesheets are separated
and placed on boards to
dry outside in the sun.

To the clean, cold water in the fune vat the artisan adds the papermulberry fibers and the mucilaginous neri. The soup-like solution isthen stirred with a pole to spread the fibers evenly. Sekishu papermaking typically leaves some of the protective cortex layer on thefibers for added strength. For the batch shown here, which will be
used to fashion hard-working paper hinges, a relatively large amountof the cortex was left—thus the pronounced yellow color.
The thickness of an individual sheet of paper is determined witheach dip of the screen. Only practiced hands and eyes can gauge thisto form multiple numbers of uniform, even sheets.

51

Hamada’s living paper
cultureSekishu washi is used to make a range of attractive products,from stationery that showcases its texture to cushion covers
that take advantage of its resilience and durability. These items
and more can be purchased at the Sekishu Washi Center in
Hamada, a community center where visitors can also try theirhands at making washi.
The traditional performing art of Iwami Kagura has an inseparable connection with washi: its masks are sculpted of it.
Based on ancient myths and performed at shrines to entertain
the gods, the folkloric dance features fast-paced taiko drumming and lively flute melodies that delight young and old alike,as do the colorfully expressive masks. Lighter than wood andwith a natural plasticity, washi lends itself well to shaping thedramatic faces. Sturdy jadoshi paper is layered many times tofashion the serpent’s lightweight, glossy body.

Above: Zabuton cushions made fromwashi crumpled by hand and coatedwith persimmon juice, by Nishita
Washi Kobo. From bottom to top, they
have been in use for one, two, andthree years, respectively.
Center: Book covers and coin purses
made of dyed washi by Sekishu Washi
Kubota and macramé woven of
twisted washi yarn by Kawahira sit
atop sheets of indigo-dyed washi.
Top right: Bread baskets made ofwashi cured with persimmon juice, by
Nishita Washi Kobo.
Bottom right: Kuisaki washi wall at theMisumi Library in Hamada.

52

Far left: A shrine stage where night
performances of Iwami Kagura areenjoyed by young and old. Nearly all
30 kilograms of the eight-headed,eight-tailed “Orochi” serpent are madewith Sekishu washi.
Left: At their Kakita Mask Workshop,
father and son Katsuro and Kenji
Kakita fashion masks like that of
Shoki, the plague-quelling god shown
opposite.
Opposite page: Tiny pieces of rippedwashi are pasted on a clay mold inlayers (3). When the paper has dried
and hardened, the mold is broken (5)and the decorative finishing begins.

1

2

3

4

5

6

7

8

9

53

54

Kurashiki
CanvasKurashiki, Okayama

Brand Highlights• Seventy percent of the canvas produced in Japan is made in Kurashiki• A high-density weave yields the luxury look and fine quality of made-in-Japan canvas• The extra-thick, leather-like No. 2 canvas and the versatile No. 8—the preferred choiceof many bag makers—are woven on vintage shuttle looms

Kurashiki, located in south central Okayama prefecture, iswell known for its historical district and picturesque canal
lined with white-walled storehouses. A lesser-known fact isthat the city produces 70 percent of the canvas made in all ofJapan. From truck canopies and industrial gear to the fabrics
used in name-brand backpacks and bags, two Kurashikibased concerns, Takeyari Co., Ltd. and Marushin Industry
K.K., carry the lion’s share of canvas production in Japan.
While much of their output is sold as raw material to othermanufacturers, the firms also sew and fashion a wide variety
of finished products under OEM license. Baistone, a popular
retail shop established by the two manufacturers, carries
original brands.
The beauty of Kurashiki canvas lies in its high-density
weave. The fabric’s unblemished, uniform surface shows
clearly when compared with American-made canvases. Of
special note are the extra-thick No. 1, 2, and 3 fabrics. Wovenon old-fashioned shuttle looms, these high-quality weaves
are unlike any canvas product made elsewhere in the world.
The No. 2 especially, densest of them all, enjoys a cult-likefollowing among lovers of Kurashiki canvas.

Opposite page: A bolt of thick, extra-durable No. 2 canvas rests atop a lengthof the versatile No. 8 fabric used in the manufacture of handbags and otheritems. Both are by Takeyari. Note the tight, dense weave made possible bycarefully tuned old-style looms. Fine-textured as well as durable, high-quality
Kurashiki canvas is used in all manner of items that become treasured, longlasting personal accessories.

Above left: The white-plaster designof kura-style architecture adorns abuilding at Marushin Industry inKurashiki’s Sobara district. The
Baistone shop, a favorite haunt of
those seeking out Kurashiki canvas, isdown a side street just a minute away.
Above right: Immaculate piles offreshly woven canvas await shipment
at Marushin Industry.
Left: Automated Picanol looms from
Belgium like this one are no longer
made. Lovingly cared for in the
Takeyari factory, they are key players
in the production of Kurashiki’s quality
canvas. With each flight of the shuttle
through the warp, another piece offine white canvas comes closer tocompletion.

55

56

From cotton fields to canvas weaves
Cotton cultivation began in Kurashiki and the surrounding Bizen
region in the late 16th to early 17th centuries and flourished inthese areas reclaimed from the sea, where the salty soil was
unsuited to rice production. Manufacture of plain-weave, undyed
sailcloth made from handspun cotton developed from the Meiji
era (1868–1912) onward. Takeyari was founded in 1888 by afarmer named Ishigoro Takeyari. His wife, Ume, was an accomplished weaver whose cloth was much sought after in the area.
They started the business to market the products of her loom.
The Takeyaris’ concern expanded when a cotton wholesaler
began to order Ume’s cloth to make men’s obi sashes, tabi-socksoles, and other products. In due course the cloth won prizes atfairs in Osaka and Tokyo and then in industrial exhibitions.
Second-generation head Takue Takeyari oversaw the shift
from handwoven cloth to machine-loom weaving, and then fromwater-wheel- to steam-engine-driven power. During his time
production also shifted from tabi-sock bottoms to sailcloth,
marking the advent of Takeyari canvas. In 1933, Takue’s brother
Shin’ei founded Marushin Industry.
In 1968, third-generation head Kazuo Takeyari introduced
Picanol shuttle looms to Takeyari’s operations. They remain in use
today, right alongside their high-speed modern counterparts.

Opposite page: Natural light streams in from the windows of the canvas
warehouse at Takeyari, bathing piles of pure-white canvas awaiting shipment.
Top three photos: At top left is Ishigoro Takeyari, founder of the company, and atright is his wife, Ume, an accomplished weaver. The canvas specialty shop
Baistone takes its name from the couple—“bai” being an alternate reading of thecharacter for her name, ume, and “stone” a translation of ishi. The lower photoshows a mechanized power loom installed at Takeyari in 1909.
Above left: A Belgium-made Picanol loom in action at Takeyari. The machines
are fondly maintained by skilled technicians who make adjustments as needed
to keep them running smoothly.
Above right: The “sawtooth roof” of the Takeyari factory, now an architectural
rarity. The face beneath each pent roof is fitted with windows, drawing ample
natural light into the floors below.
Right: The younger generation is charged with getting the word out about
quality Kurashiki canvas. Pictured here are Manami Edamatsu and Shota
Kagawa of Takeyari, and Ayaka Takeyari of Marushin Industry.

58

No. 1

No. 8

30 warp x 20.0 weft/inch; thickness 1.45 mm; weight 980 g/sq m;horse tack35 warp x 25.0 weft/inch; thickness .80 mm; weight 484 g/sq m;bags, satchels, shoes, upholstery cloth

No. 2

No. 9

30 warp x 19.5 weft/inch; thickness 1.62 mm; weight 932 g/sq m;conveyor belts, wheel dolly storage bags; rescue tool storage bags

46 warp x 33.5 weft/inch; thickness .82 mm; weight 517 g/sq m;
vehicle canopies and cover sheets, white denim, sumo belts

No. 3

No. 1030.5 warp x 21.0 weft/inch; thickness 1.37 mm; weight 846 g/sq m;
sumo belts; boat hatch covers

46 warp x 35.5 weft/inch; thickness .65 mm; weight 434 g/ sq m; truck
canopies and tacks, ship sails, martial-arts uniforms, mochi cloth

No. 4

No. 11

31 warp x 20.5 weft/inch; thickness 1.31 mm; weight 787 g/sq m;
gymnasium floor coverings; boat tackle, boat hatch covers

43 warp x 39.0 weft/inch; thickness .65 mm; weight 333 g/sq m;
shopping totes, aprons, jackets

No. 6

No. 79A

34 warp x 25.0 weft/inch; thickness 1.12 mm; weight 656 g/sq m;
totes, gymnasium practice mats

63 warp x 43.0 weft/inch; thickness 0.5 mm; weight 280 g/sq m;bags, aprons, shoes, karate uniforms, noren curtains

Sturdy, versatile canvas

Left and below:
Striped canvas by Marushin,popular for handbag andcoaster designs. The patternis created by weaving precolored yarns, rather thanprinting or dyeing finishedcloth. Made mainly for OEM
products, this fabric can beproduced in any combinationof colors, and the widths andnumbers of the stripes can bealtered to customer specifications. The threading of theloom is entirely manual anddemands great skill andpatience, but discerning eyes
can see the difference in the
final product. Because thedesign is generated by the
weave itself, the colors remain
sharp and the pattern appears
on both sides of the fabric.

In the heyday of sailing ships vast amounts of canvas were
produced for sailcloth. Today this durable fabric is found in everything from kitchen goods to stylish street fashions and eventhe canopies of trucks. At Takeyari, both vintage and modernday looms are used to weave all grades of canvas from No. 1 toNo. 11. All are JIS compliant; in fact, the firm adheres to thestricter standards that were in place before these industrial
provisions for textile engineering were relaxed.
The versatile No. 8 canvas is the choice of many clients foruse in making backpacks and bags. The extra-thick No. 2 madeon Takeyari’s Belgian looms is strong enough to equip conveyor belts, but its application to bag designs has generated
new interest in and appreciation of canvas among fashionconscious consumers. The No. 1, 2, and 3 fabrics, produced
only in Kurashiki, are sturdy enough to stand up on their own,
opening up a realm of interior design possibilities such as colorful storage bins and shelf organizers.
Canvas is a 100 percent natural fabric that becomes more
attractive the longer it is used. Its eco-friendly qualities are instep with the growing inclination on the part of makers andconsumers alike to favor designs that stanch the environmental damage wrought by fast fashions.

Opposite page: Canvas of different
weights is used across all areas of life.
Samples by Takeyari are shown with
their density, thickness, weight, andmost common uses listed.
Above left: Freshly finished canvas
woven on a vintage shuttle loom is softand silky to the touch. (Marushin)
Left: Warping in sections is a usefultechnique for small-lot production andstriped products. (Marushin)
Right: A collaboration between
Takeyari and British designer Faye
Toogood produced “ABCD”—outsized
canvas cushions in the shape of thoseletters. The cushions can be used
separately or assembled easily with asimple rope to form an armchair or
modular sofa. ABCD was exhibited at
Milan Design Week as a new interior
design product highlighting the attractive
texture and durable nature of canvas.

59

Bag collection
A variety of bags feature in the original productlineups offered by the Takeyari and Baistonebrands. Some are made from extra-thick canvas,
others make resourceful use of the selvage produced by the old-style looms, and still more stylish items unite canvas fabric and leather. Bags
made of the No. 2 weight are classic Kurashiki
canvas, favored by fans for the way the fabricages over time and deepens in character.

Takeyari production manager Chizuru
Ooka holds a tall tote made of No. 2
canvas.
Opposite page: The bags shown
against a dark background are from
Takeyari’s own line; the others arebranded by Baistone.
• Top row: Standard flap tote, coatedcanvas bag, selvage flap tote
• Middle row: Tall No. 2 canvas tote,vertical selvage tote, extra-thickchambray tote made of cloth woven
with charcoal-gray weft
• Bottom row: Standard flap tote,
extra-thick chambray one-strap
shoulder bag, tall selvage tote

60

61

62

Expert quality control
No matter how remarkable the looms used to produce Kurashiki canvas might be, their capabilities would be nothing without the practiced hands and eyes of the veteran technicians on
the floor.
At Marushin, the weaving process begins with formation of
the cotton thread. Two to eight strands are combined to makeeach one, the number determining the thickness of the finished canvas. The thread is then twisted and measured off into
the right lengths for loading onto the loom. The warp is wound
onto the beam and placed on the machine.
The condition of the thread is affected by the season andweather. Relatively high levels of humidity are best, as thethreads become brittle when dry. The technicians make adjustments as necessary. True artisans, they keep their hands
constantly in touch with the process, feeling the condition andtension of the thread as it moves through the machines andmoving nimbly to prevent unevenness or breakage.
Every inch of the fabric is visually checked to identify any
flaws in its weave. Repairs are made by hand. Whether thecanvas has been woven on a vintage Picanol shuttle loom or amodern-day high-speed loom, it is the product of people committed to fine workmanship.

Opposite page: Multiple strands of cotton thread are twisted together toincrease their strength and prevent the warp and weft threads from napping.
Above left: The warp to be loaded onto the loom is first wound onto giant drums
in 6 to 10 bundles of 200 to 300 threads each.
Above right: Threading the warp through the comb-like reeds is painstaking
manual work. For a striped canvas, the threads are inserted one at a time inaccordance with the color and width of the stripe. The process can takeanywhere from one to three days. (All photos on this page: Marushin)

1

2

3

4
A careful visual inspection of the woven canvas ismade to locate any flaws in the weave—knots
resulting from tangles in the thread, set marks thatcan occur when the loom is stopped, dust or fluff
lodged in the fabric during weaving, and so on.
In one corner of the well-lit Takeyari factory,
workers examine each new roll of cloth, checking
carefully yard by yard. The fabric is stamped
wherever a flaw has been found. Takeyari further
grades the fabric as class A for bolts with few flaws
and class B for those with relatively more. No
machine produces perfect results, so minimizing
the number of class B bolts also depends on how
many flaws can be removed through touch-up andrepair.

Flaws that can be easily fixed are taken care ofat the inspection stage. Some, such as the repair ofset marks and other more intricate errors, will
require the skills of another artisan, a next step inthe finishing process.
As shown in the five photos at right, if the weft
has skipped a few warp ends, the resulting “float” iscarefully removed with a needle and the fabricsmoothed with a special tool, leaving no trace ofunevenness.
Such attention to the finer details of workmanship explains why Kurashiki canvas accounts for 70
percent of the canvas produced in Japan. From thethread formation to weaving and finishing, hands-on
dedication shapes each step of the process.

563

Shinsuke Nagatake (rear) of Miyama Zenshoku
inspects the finished Gunma silk products woven
by Kubozuka Textiles, a small workshop run by ahusband-and-wife team.

Kofutoen is located in a peacefulrural setting in the Sono-cho districtof Seto. Masao Kato is shown at workin the pottery.