Japan Heritage Storybook

Awa - The Home of “Ai”
Searching for the Supreme Blueof Japanese indigo

Japan Heritage Storybook

Awa - The Home of “Ai”
Searching for the Supreme Blue of Japanese indigo

Tokushima Prefecture (Tokushima-Shi, Yoshinogawa-Shi, Awa-Shi, Mima-Shi, Ishii-Chō,
Kitajima-Chō, Aizumi-Chō, Itano-Chō, Kamiita-Chō)

Supervised by Promotion Council for “Ai no Furusato Awa(Awa-the home of Ai)”C on tents

2

Introduction 

3Chapter 1：Indigo and the World 6Chapter 2：Indigo in Japan 

11Chapter 3：Awa and Indigo 18

Chapter 4：The Rise and Fall of Awa-Ai 

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Chapter 5：The Cultural Assets Constituting Our Japan Heritage 

43Chapter 6：People and Places Passing Down Awa-Ai 

76Introduction
In May 2019, “Awa – The Home of “Ai”,” a story from our homeland, wasrecognized as a Japan Heritage.
Blue – or ao – is one of the most ubiquitous amongst the traditional colors
of Japan. It is a color produced through indigo dyeing, a traditional craft of thecountry. In the past, indigo dyers – or kōya in Japanese – practiced their craft
all over Japan, coloring the whole country blue. Foreigners who visited Japan
during the Meiji era admired Japan as “a country of mysterious blue.” The blue
coming from natural indigo exhibits rich variation, captivating the world withits multitude of shades and hues.
Where, then, did the source of that “mysterious blue” come from? The answer is the Awa Province, or present-day Tokushima Prefecture.
Tokushima is home to a traditional technique called “Awa indigo production(Awa ai seizō)” which has been chosen as a Selective Conservation Technique(sentei hozon gijyutsu) by the state. “Awa-Ai” refers to the indigo dye – or sukumo – produced in Tokushima. Even today, craftspeople called Ai-Shi continue
their production of traditional Sukumo, maintaining the foundation of Japan’s
textile culture.
This book tells the story of Sukumo production. Loved by many as “authentic
Japanese indigo (Hon-Ai)” in olden days and as “Awa indigo (Awa-Ai)” today,
Sukumo has been produced by people who preserved and passed down the technique for generations. In addition to this history, we will also introduce you tothe landscape and culture of Tokushima brought about by indigo production.

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Rediscovering the charm of Japan through Japan Heritage
The Japan Heritage certification is an initiative by the Japanese Agency for
Cultural Affairs. Its aim is to rediscover the historical charm of various domestic regions by packaging together disparate tangible and intangible cultural
assets. Between its launch in 2015 and 2020, 104 entries have been accepted
and recognized.
The Agency expects Japan Heritage recognitions to boost regional vitalization efforts while functioning as opportunities for sharing the appeal of Japan
with international tourists.
Components of our story: the 32 cultural assets from the Yoshino River basin’snine cities and towns
Awa – The Home of “Ai” came to life from a joint application effort between
nine cities and towns – Tokushima-shi, Yoshinogawa-shi, Awa-shi, Mima-shi,
Ishii-chō, Kitajima-chō, Aizumi-chō, Itano-chō, and Kamiita-chō – located in
the Yoshino River basin of Tokushima Prefecture. The story features tangible
and intangible cultural assets which have been cherished and passed down in
the region. For detailed explanations of each asset, please refer to Chapter 5.
A Japan Heritage Story: Awa – The Home of “Ai”: Searching for the Supreme
Blue of Japanese indigo
Indigo, hailed as the mysterious blue, has been an integral part of Japaneselife since the olden times. The basin of the Yoshino, a majestic river flowing
through the north of Tokushima Prefecture, produces the largest amount of indigo dye in Japan. The plain area of this region is home to estates of wealthy
farmers surrounded by high stone and white-plaster walls. The old town of
Wakimachi boasts a gorgeous streetscape decked with Udatsu barriers. The

4Introduction

region is also famous for the lively rhythms of the Awa-Odori dance. All of theabove allow us to taste the past glory of the indigo merchants who distributed
their product all over Japan. Even today, the region uses traditional techniques
to produce indigo dye whose colors continue to captivate the hearts of many.

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Chapter 1: Indigo and the World
The Japanese “ai” is a general term for plants from which we can source bluedye. It also refers to dye made from such plants as well as the color from thedye. Aigusa, or indigo plants, grow naturally around the world and have beenused in the daily lives of various peoples. Before we begin the story of Awa-Ai,
let us explain the basics of “ai/indigo” and the practice of dyeing.
The history of mankind and coloringFirstly, when did humankind begin to color things?
The global history of coloring goes way back. The oldest evidence is 60,000
years old, which equates to the Paleolithic Age* in Japanese history. What firstcomes to your mind might be the vivid colors used in European cave paintings.
The colors come from mineral pigments sourced from minerals such as red ironoxide or loess. These pigments are believed to be the oldest colorants used by
mankind.
Such coloring practices gave birth to textile dying, believed to have started
around 3,000 BC. (i.e., about 5,000 years ago). The oldest indigo-dyed product,
which is the bandage of a mummy found from the ruins of the historical Egyptian city Thebes, dates to 2,000 BC. (i.e., about 4,000 years ago).
Indigo around the globe
There are several species of plants from which we can source indigo dye, such
as Persicaria tinctoria (Aiton) H. Gross, Syn: Polygonum tinctoria Lour fromthe buckwheat family (used for Awa-Ai), Indigofera tinctoria L. and Indigofera
suffruticosa Mill from the pea family, Strobilanthes cusia O. Kuntze from the
The Paleolithic AgeThis term refers to a period when humans used knapped stone tools and survived by means of hunting and gathering.
Later, in the Neolithic Age (about 9000 years ago), humans started using earthenware and polished/ground stone tools
while engaging in agriculture and stock raising.

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Chapter 1: Indigo and the WorldPersicaria tinctoria (Aiton) H. Gross, Syn: Polygonum tinctoria Lourfamily Acanthaceae, and Isatis tinctoria L. from the family Brassicaceae, all ofwhich contain the blue pigment “indigo.” Each species of indigenous indigo plantis adapted to the unique natural conditions in their corners of the world, from hot
and humid areas to cold-weather regions. In Japan, China, Indonesia, Taiwan,
India, Middle and South Americas, and Europe, people began cultivating theseplants for use in daily life. Such practices eventually evolved into industries.
⬥IndiaIn India, the native Indigofera tinctoria L. has been used as a dye since approximately 2,000 BC, when cotton cultivation had already begun in the Indus
Valley Civilization. By 600 BC., chintz emerged as one of India’s representative
textiles.
Since Indigofera tinctoria L. thrives under strong sunlight in the equatorial
tropics, it contains a large amount of pigment that results in a deep-colored dye.
As the vivid colors of Indigofera tinctoria L. spread globally to Asia, Europe,
the Middle East, and Africa through the Silk Road* trade, the word “indigo,”
derived from Indigofera tinctoria L., became the general term for indigo plants
around the world.
The Silk Road

While the trade route connecting China and Europe varied between time periods, traffic was especially active via theSteppe Route, the Oasis Route, and the Maritime Route. Unique regional goods, techniques, and culture from the Eastand the West came and went through each pathway. The term “Silk Road” was coined by 19th-century German geographer
Ferdinand von Richthofen. In 2014, it was named a World Heritage along with adjacent ruins.

7⬥AsiaIn China, indigo-dyed clothes were widely worn by different classes including those in power as well as the commoners. And so, such clothes were prevalent amongst commodities traded along the Silk Road. In countries such as
Indonesia and Vietnam, textiles such as Java chintz are dyed with indigo. In
Central Asia, there are peoples who wear indigo-dyed clothes and scarfs withunique patterns and embroidery. These beautiful products are passed on as daily
wear as well as traditional festive clothes.
⬥Europe
The Isatis tinctoria L. plant is native to Europe and was used not only fordyeing but also as medication. The plant was widely cultivated along the Mediterranean coast since the sixth century, and merchants amassed great wealthfrom the trade. However, in the 16th century, people started importing the Indigofera tinctoria L. which enabled more vivid coloring, and Isatis tinctoria L.
cultivation died out. This was a huge blow to the region, causing some countries
to ban Indigofera tinctoria L., calling it “devil’s dye.” Still, it was Indian cotton
textile and advanced dyeing techniques that catalyzed the development of textile culture around Europe.
Starting from the 17th century, the region saw a series of warfare that boosted
the demand for blue dye which were used to dye military uniforms. This led tothe increase of indigo plantations* across regions such as India, America, andBrazil.
⬥North America
In the North American continent which was discovered by Europeans during
the Age of Explorations*, the indigenous peoples dyed their clothes with native
Plantations

Large-scale farms that major powers such as England and France established in tropical colonies from around the Age of
Exploration. Coffee, tobacco, cotton, and fruits were produced in large quantities by locals working for a low wage as well
as by slaves.

The Age of Exploration

A time period between the mid-15th and mid-17th centuries when European countries, especially Spain and Portugal,found their way into the Americas, Africa, and Asia. The world known to the Europeans expanded with the discovery of
the American continents as well as the publication of The Travels of Marco Polo which described “Zipang (Japan)” to its
readers.

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Chapter 1: Indigo and the Worldindigo plants. Since indigo-dyed clothes repelled bugs and snakes, they dyed
durable cloth to make work attire. This is said to be the origin of the widely
loved jean trousers.
Indigo plants as medicinal herbs
Indigo plants have been utilized not only for dyeing but also in medicine.
Shennong Bencaojing, believed to be the oldest Chinese text on herbal medicine, describes the benefits of Persicaria tinctoria (Aiton) H. Gross, Syn: Polygonum tinctorium Lour “Ranjitsu* detoxify the body from the inside. If taken
for a long period, your hair will not turn gray, and your bodily movements will
be nimble.” In Japan, Honzō Wamyō* describes the seeds as an antipyretic,
while Wakan Sansai Zue* from the Edo period states that they improve thecondition of internal organs.
In the 1st century BC, Julius Caesar* stated, “[Celtic] Briton* warriors painted their bodies in blue to intimidate their enemies.” Since Isatis tinctoria L.
leaves have hemostatic potentials, it can be assumed that the warriors painted
their faces and bodies not only to scare their enemies but also to treat battle
wounds.
In such ways, we humans have experientially learned the power of indigo
plants which naturally grow in our immediate surroundings. Such knowledge
integrated into cultures where indigo plants are not only used in daily jobs ofdyeing and healing but also on the battleground.
Column: Classifying indigo dye
Dyes are grouped into natural dyes and synthetic dyes, and dyes made fromindigo plants belong to the former. Natural dyes are further classified into thosethat are mineral-derived, plant-derived, and animal-derived. Dyes made from
Ranjitsu

The name for indigo seeds as herbal medicine. Leaves are called “ranyō” in the same context.

Honzō Wamyō

The oldest existing Japanese medicinal dictionary.

Wakan Sansai Zue

The first Japanese illustrated encyclopedia published in 1712. Terajima Ryōan, a doctor, complied the encyclopedia modeled on the Chinese Sancai Tuhui. It covers a variety of topics including nature, medicine, the lives of ordinary people,
and entertainment.

9indigo plants are plant-derived dyes. Indigo dyes are especially suitable for dyeing cotton with the extra perk of increasing the durability of the fabric. This
made indigo dyes widely popular around the world.
Column: Indigo, the origin of “pastel”
The genus Isatis, native to South Europe, contains the blue-colored indigo
pigments. Isatis tinctoria L., which belongs to said genus, was alternatively
called “pastel” and was powdered to manufacture paints. Artists used a stickshaped paint which was made with indigo from Isatis tinctoria L. and calcium
carbonate. As time passed, people started calling any paint made with the sameprocedure “pastel” regardless of color. This is the origin of what we know as“pastel crayons” as well as the word “pastel colors.”

Julius Caesar

A Roman Republican politician and general who was active around the 1st century BC, known for quotes such as “Āleaiacta est” and “Et tu, Brute?”

Celtic Britons

The indigenous people who lived in Great Britain around the 5th-3rd century BC.

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Chapter 1: Indigo and the WorldChapter 2: Indigo in Japan
Indigo plants have been used around the world since the ancient times fordyeing and medicinal purposes. Persicaria tinctoria (Aiton) H. Gross, Syn: Polygonum tinctorium Lour, the most common variety of indigo plants in Japan,
was introduced from the Asian continent in or before the Nara period. Its cultivation became a full-fledged industry in the Edo period which continues to thepresent day. Despite its many ups and downs, cultures pertaining to indigo still
live on, adapting to the unique circumstances of each region – just like in othercountries.
The history of indigo in Japan⬥The Asuka, Nara, and Heian periods (late 6th century – 1185)
In ancient Japan, mud was used to dye a primitive type of cloth woven fromthinly shredded grass and bark. Later, people started coloring fabrics by scrubbing flowers and leaves onto them. Madder and Tyrian purple pigments havebeen detected in silk goods excavated from the Yoshinogari Ruins*, which tells
us that natural dye was already in use around the mid-Yayoi period.
In the year 603, Prince Shōtoku established the Twelve Level Cap and Rank
System, assigning specific colors (purple, blue, red, yellow, white, and black) todifferent ranks of government officials. The dyeing technique used at the time
is said to have been brought to Japan by immigrants from continental Asia. It isalso worth mentioning that hanadanoru, a silk cord dyed in a light indigo color,is counted as one of the treasures of Shōsōin*. Used in the consecration ceremony of Tōdai-ji’s Great Buddha Statue, the cord is believed to be the oldest
existing indigo-dyed article in Japan.
The Yoshinogari Ruins

The Yayoi-period historical ruins lying across Kanzaki-shi and Yoshinogari-chō of Saga Prefecture. The ruins represent
a sedentary life anchored in rice cultivation typical of the Yayoi period which continued for about 600 years from aroundthe 3rd century BC. Sparked by the construction plan of Kanzaki Industrial Park during the Shōwa 50s (1975-1984), great
strides were made in excavation and conservation of the ruins as well as the development of a historical park with restored
buildings.

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Restored half-buried jars used by kōya (Ichijōdani Asak- Samurai armor dyed withura Family Historic Ruins)indigoIn the Heian period, culture unique to Japan flourished, which brought aboutjūnihitoe, a gorgeous type of dress for noblewomen consisting of layered colorful robes. This era also saw the emergence of techniques like kasanezome*
using plant-based dyes as well as shading.
⬥Kamakura, Muromachi, and Azuchi-Momoyama periods (1185-1603)
In the Middle Ages, people started producing sukumo, an indigo dye madeof fermented indigo leaves, and forming Neaiza which were guilds that held
the exclusive right to sell the dyes. The most famous among such guilds was
Kujō-Neaiza of Kyoto. The area used to boast a large-scale indigo cultivation,and the southern wetlands where the Kamo river and Katsura river met was
especially well known for it.
The earliest mentions of kōya appears in the Medieval literature. Kōya refers
to craftspeople who dye fabrics with ai-eki (indigo solution) produced by fermenting sukumo in aigame (indigo-dye vats). Records also show that peasants
sold ash which was one of the ingredients needed for ai-eki production. Excavations of ruins from this era reveal remnants of jars half-buried in the groundin a systematic order, which is thought to have been a kōya workshop. These are
Shōsōin

The treasure house of Tōdaiji Temple, Nara, known for its takayuka-shiki (“raised floor”) architectural style. It is home tothe personal items of Emperor Shōmu (701-756) dedicated to the temple by his mourning wife Empress Kōmyō. Since hisreign was unstable with plagues and domestic strife, Emperor Shōmu erected the Great Buddha Statue of Tōdaiji to relyon the power of Buddhism. In addition to the emperor’s belongings, Shōsōin holds approximately 9,000 valuable goods
including daily items used by noblemen as well as articles that came to Japan through the Silk Road

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Chapter 2: Indigo in Japanevidence of the flourishing indigo-dyeing industry. The Middle Ages was also
the time of samurais. Kachi-iro, a type of indigo blue, was favored and used
for battle attire by samurais since the name was a homonym of kachi (victory).
Like indigo plants around the world, Japanese indigo was also used outside
the purpose of dying. For example, there seems to have been folk medicine utilizing indigo plants from around the Muromachi period. Moreover, in regions
where indigo has been grown traditionally, there are indigo-related folk medicinal beliefs such as dressing babies in indigo-dyed underwear to prevent heatrashes or eating fresh Sukumo to cure pufferfish poisoning.
⬥The Edo period (1603-1868)
The Edo period is when cotton became popular among commoners. Cotton
cultivation was introduced to Japan in the mid-15th century. The easy-to-weave,easy-to-dye, soft yet warm fiber became extremely popular, and domains acrossJapan encouraged their people to grow cotton.
The demand for indigo dye grew rapidly due to its great compatibility withcotton. From cotton clothing to noren curtains for shops to furoshiki wrapping
cloths, various commodities were dyed with indigo. The town name Kōyachō,
which still exists in more than 40 locations around Japan, signifies that manykōya, or dyers, lived in the area. This is another proof of how indigo-dyeing
craftspeople were thriving throughout Japan.
The natural dye crisis after the Meiji period⬥Meiji and Taishō periods (1868-1926)
The opening of Japan during the final years of the Edo period marked thestart of full-scale trades with foreign countries. International indigo trades alsobegan during this time; in the 1866 Tariff Convention between Japan, Britain,
Kasanezome

Kasanezome, or layered dyeing, refers to the technique of layering several different colors of dyes. Indigo dye was indispensable for this practice since colors like green, purple, and black were made by combining blue with yellow and/or reddye. In the book Engishiki, which describes political customs of the Heian era, details out the amount and ratio of dyes
needed for kasanezome.

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France, USA, and Russia, “Indian indigo” is listed as one of the imported items.
The deep-colored and cost-effective Indigofera tinctoria L., which had already
impacted indigo cultivation in Europe, started affecting the industry in Japan
too.
Japan tried to regulate Indigofera tinctoria L. at the national level, and chaosensued between those who supported importing them and those who pushed forregulation. Entrepreneur Godai Tomoatsu*, who led the business community ofOsaka, attempted to aid indigo producers in Awa who were facing a crisis due
to imported Indigofera tinctoria L. In 1874, he opened an indigo dye factoryin Myōdō-gun, Awa Province, which adopted the efficient production methods used for Indigofera tinctoria L. However, since the production methods of
Persicaria tinctoria (Aiton) H. Gross, Syn: Polygonum tinctorium Lour dye andIndigofera tinctoria L. dye were fundamentally different, the factory’s products
were inferior in quality, technique, and cost. The factory ended up short-lived.
Later, in 1900, the import of Indigofera tinctoria L. hit an all-time high.
Another big blow to domestic indigo production was the imported syntheticdyes. Synthetic dyes were first discovered by British chemists in 1856. In 1880,
German scientists successfully synthesized indigo which were only found innatural indigo plants. From around 1902, cost-effective synthetic indigo dyes
(artificial indigo) started coming into Japan in place of Indigofera tinctoria L.
This was a time when the Meiji Restoration introduced Western techniques
into the dyeing/textile industry to enable mass production. Artificial indigo,which allowed for a significant abbreviation of the dying process, met the needsof the time.

Godai Tomoatsu (1836-1885)

A samurai from the Satsuma domain who succeeded as an entrepreneur in the Meiji period. As a leading figure in the
Meiji Restoration where Japan opened itself to new technologies and ideologies from the West, he worked in a variety offields including mine development, spinning, and education, and ran an indigo factory called Nishi-Chōyōkan in Osaka.
He is also known as the first president of Osaka Chamber of Commerce.

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Chapter 2: Indigo in Japan

⬥The Showa period (1926-1989)
With the outbreak of World War I, the import of artificial indigo halted. However, there still were demands for dyes for military uniforms among others. The
state worked on producing artificial indigo domestically, successfully self-supplying them by 1932. Even the Ai-Shōnin* who made a fortune by trading natural indigo could not swim against the tide of the time and shifted away to artificial indigo production or other businesses. Despite its convenience, however,the dyeing quality of artificial indigo was a far cry from that of natural indigo.
The kōya who prided themselves in using natural indigo branded themselvesusing terms like a shōaizome (genuine indigo dyeing) or honzome (authentic
Japanese indigo dyeing).
During World War II, the government prioritized cultivation of edible plants,
therefore banning indigo. After the War, Ai-Shi* who knew the traditional production techniques revitalized the industry. However, since the companies thatonce thrived with indigo dye trading were all gone by then, the now small number of Ai-Shi started covering the entirety of the industry’s process, from indigo
cultivation to production and sales of dye.
⬥From the Heisei era to today
As described in earlier sections, indigo dye production and indigo dyeing
have been practiced all over Japan from ancient times. However, areas that
produce commercially available indigo dye have steadily shrunk.
According to a 2018 survey (conducted by the Tokushima Prefecture Lucrative
Brand Promotions Division), Japan’s indigo hectarage amounts up to 24.6ha, nearly
70% of which belongs to Tokushima. Tokushima still has professional Ai-Shi who
make a living by production and sales of indigo dye, which is very rare even on a
global scale. In recent years, people of younger generations drawn to the appeal of
Ai-Shi and Ai-Shōnin

Ai-Shi refer to craftsmen who produce indigo dyes. There even were Ai-Shi who grew indigo plants themselves. Ai-Shōnin
refer to merchants who bought dye from Ai-Shi to sell them around Japan. Some merchants broadened the scope of theirbusinesses, such as by working on indigo cultivation themselves, to great success.

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natural indigo are working to inherit the techniques of indigo cultivation and dye
production.
Hokkaido Prefecture is the largest producer of indigo after Tokushima. The
history of indigo cultivation in Hokkaido goes back to the Meiji era when settlers from Tokushima, who knew how to grow indigo and produce dyes therefrom, started their craft in the area. Additionally, the Harima area (a part of present-day Hyōgo), where Hachisuka Iemasa was posted before he became the firstlord of Tokushima Domain, used to be another big producer of Indigo dye. The
craft then fell into a decline but was later revived. Today, traditional production
techniques are still passed on in Harima, just like in Tokushima and Hokkaido.
Column: Does the color blue represent Japan?
Robert William Atkinson, a British chemist who was invited to Japan by the
Meiji government in 1875, praised the beauty of blue curtains and kimonos hewitnessed all around town. The writer Lafcadio Hearn (1850-1904), known inJapan as Koizumi Yakumo, also writes of how the abundance of blue in the cityscape surprised him. Moreover, the official emblem of the Tokyo 2020 Olympic
and Paralympic Games features a dark blue checkered pattern. Blue seems to
evoke nostalgia and reassurance in the hearts of Japanese people, so much sothat we could say the color represents the country.
Column: Traditional colors: A Japanese sense of beauty
Japanese traditional colors have beautiful names using kanji (Chinese characters) that represent a uniquely Japanese sense of beauty. Even if we simply
focus on indigo-dyed blue, the lightest and darkest shades have different names(aijiro and tomekon), and there are various color names in between –kamenozoki, shirahana-iro, shira-ai, shikon, nasukon, and kachigaeshi to name a few

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Chapter 2: Indigo in Japan– that describe subtle differences. Indigo dying consists of repeatedly dipping
fiber or fabric in a vat filled with dyeing solution, then extracting them. The
fact that a quickly dyed pale blue is called kamenozoki (“peeking in the vat”)
is quite playful.
Column: The Mingei Movement’s rediscovery of indigo handwork
The Mingei Movement, initiated by philosopher Sōetsu Yanagi (1889-1961)
in the early Shōwa era, recognized yō-no-bi (the beauty of usage), meaning thatcrafts are the most beautiful when used in daily life. Yanagi’s book Teshigoto
no Nihon includes his remarks on indigo handwork which can be summarized
as below: “While artificial indigo is convenient, it is no match to natural indigo
when it comes to the beauty of the colors and durability. We should seriously
reflect on the fact that, until about 50 years ago, even the poorest people used towear real indigo-dyed kimono as daily wear in Japan. The fact that there once
was a time where the fake stuff did not exist while the real things were affordable poses a huge question for us.”
Column: Kusakizome
Novelist Akira Yamazaki (1892-1972), who found it regrettable how imported synthetic dye was replacing natural dye such as indigo, started a movement in1929 which was aimed at restoring traditional methods of dyeing and weaving.
The now commonly used term “kusakizome (vegetation dying)” was coined by
Yamazaki to further classify the different methods of natural dyeing. Kusakizome Nihon Shikimei Jiten (The Encyclopedia of Japanese Kusakizome Colors)compiled by his son, Seiju Yamazaki, includes 432 entries, 102 of which are
indigo-based colors. This is great evidence of how indigo is indispensable in theworld of Japanese traditional colors.

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Chapter 3: Awa and IndigoIn this chapter, we will talk about the history of indigo production in Tokushima and the culture that materialized from it.
Tokushima* is largely divided to Kitakata and Minamikata regions basedon commonly accepted area classifications. The plains of the Yoshino River*basin area is called Kitakata and was mainly used for dry field farming. Meanwhile, if you trace the coastline to the south, you will reach the plain areas of
the Minamikata. This area equates to the basins of the Katsu’ura River and thedownstream of Naka River and was mostly used for rice cultivation. Indigo was
produced in the Northern area, and the region is home to a townscape that isreminiscent of its prosperity in the olden days. We can even say that the cultureof Tokushima was nurtured through indigo production.
The townscape of the indigo country and the history of dye production intertwined with the climate
Coexisting with harsh natural conditions
As you walk through the pastoral scenery of the plains of Kitakata, Awa, youwill find estates here and there whose grounds are raised with high stone walls.
The mansions are surrounded by imposing structures with honkawarabuki-style
tile roofing and white plastered walls, giving off an impression similar to acastle. Such estates are called Ai-Yashiki and form a characteristic part of thelocal townscape. Ai-Yashiki fulfilled many roles for Ai-Shi and Ai-Shōnin who
worked on indigo dye production, processing, and distribution between the Edoand Meiji periods. The estates were their places of residence, manufacturing
Tokushima Prefecture

The prefecture is home to 723,524 residents and is constituted of eight cities, fifteen towns, and one village (as of May2020). 80% of the total area (4146.79 km2) is forest land. Tokushima prefecture came to existence in 1871 with the abolition of the han (feudal domain) system in the Meiji era. Since ancient times, the Kitakata area in the north of the Yoshino
River (consisting of seven commanderies: Myōdō, Myōzai, Itano, Awa, Oe, Mima, and Miyoshi) has been a dry field
farming area while the southern Minamikata area (consisting of three commanderies: Katsuura, Naka, and Kaifu) produced rice.

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Chapter 3: Awa and Indigofacilities for indigo dye, and spaces for business negotiations.
The Yoshino, a river which flows through the Kitakata area of Awa, is counted
amongst the three “raging rivers*” of Japan and is nicknamed Shikoku Saburō (“thethird son from Shikoku”). The basin area of the Yoshino repeatedly suffered greatdamage from floodings until continuous embankment was put in place during theearly years of the Showa period. Also, since the difference between maximum andminimum flow of the river is drastic, it is difficult to utilize the water resources of
the Yoshino even with modern technology. It used to be impossible to draw waterfrom this river for irrigation*, making the area of Kitakata, Awa, unsuitable forrice cultivation. Thus, Kitakata used to be a dry field farming area. However, theabundant underflow and the fertile soil brought about by the floodings were perfect for indigo plant farming which, in turn, boosted the local indigo dye industry.
Since the people who worked on indigo plant cultivation and indigo processing needed to stay on this land, they put many creative ideas into practice whenbuilding their estates. Let us take a quick look.
⬥Premises raised with high stone walls
Using high stone walls to raise the grounds upon which the estates are built isa measure against flooding. In the case of the Tanaka Family Residence in Ishiicho, the walls go as high as 2.7 meters. Most notably, when it comes to the Nedoko buildings where the indigo dye is produced, the floors inside the buildings
are also raised high to minimize damage from flooding. Moreover, Mainakashima island of Mima-shi, which used to be a big producer of indigo, is home toresidential buildings and temples surrounded by high stone walls in addition tojizō statues with high pedestals. Mainakashima is a river island in the middle of
the Yoshino, and as a measure against the recurring floods, the mansions evenhave an emergency bathroom to use when the residents are flooded.
The Yoshino River

The source of the Yoshino is Mt. Kamegamori (summit elevation: 1897m) of the Ishizuchi mountains located in the northof Kōchi prefecture. The river flows towards the east along the Shikoku Mountains and es the Tokushima plains into theKii Channel. The 194km-long river’s basin spreads across all four prefectures of the Shikoku Island. The wider part of
the river which starts at the Tenth Weir (approx. 14km from the mouth) is an artificial discharge channel which took from1907 to 1927 to complete. Before the channel was created, another river called Bekku River meandered here from north tosouth without an embankment, which made its basin prone to inundation when upstream area flooded.

19

Ai-Yashiki (Okumura family residence)

Yoshino River (Kawashima beach)

20

Chapter 3: Awa and IndigoTanaka Family Residence

An estate of the Mainakashima District⬥Boats hung from the eaves of Nedoko
To prepare for the frequent flooding, people hung boats from the eaves of the
Nedoko buildings. When actual floodings happened, they evacuated by boat oreven rowed out to rescue victims.
⬥Even the roof is prepped for floods
The Tanaka family residence has a thatched roof which, surprisingly, doubles
as a measure against flooding. The four corners of the roof are secured withropes, and although the family has never done this in real life, cutting the ropes
will allow the roof to float and function as a boat.
Let us look at how a typical Ai-Yashiki is configured. In the middle of thepremises, there is the main building with a spacious courtyard in front. People
used to dry indigo leaves and prepare indigo dyes for shipping in the courtyards.
Indigo dye production facilities called Nedoko surround the courtyard with theircharacteristic, largely protruding eaves.
Since these estates were also a place for business negotiations, they also built
tea rooms and reception parlors so that they could give the best welcome to
The “Raging Rivers”

Japan has been a flood-prone country throughout its history, and riparian improvement has always been an issue. The
Tone River of the Kantō area, the Chikugo river of Kyūshū, and the Yoshino of Shikoku are collectively called the Three
Raging Rivers of Japan. These rivers were treated as “brothers” and were each nicknamed Bandō Tarō (“the first son from
Kantō”), Tsukushi Jirō (“the second son from Kyūshū”), and Shikoku Saburō (“the third son from Shikoku”).

Irrigation

Managing water by, for example, drawing necessary water for plowing fields from waterways.

21

The evacuation boat (Tanaka Family Residence)

Drying indigo leaves in the courtyard of an Ai-Yashiki(Takechi Family Residence)

merchants who come to purchase indigo dye from all over Japan. To gain theircustomer’s trust, the Ai-Shi and Ai-Shōnin vied with one another to build themost gorgeous estate and used a lot of money for hosting purposes.
Such is the historical background behind the castle-like Ai-Yashiki found allover this region.
The beginning of indigo cultivation and processing
We do not know for certain when indigo cultivation in Awa started. In 1445,
during the Muromachi period, the Hyōgo Kitaseki Irifune Nōchō records statethat a massive amount of “indigo” was shipped from Awa and unloaded at
Hyōgo Kitaseki (near present-day Kobe port). There are no records of indigo
being shipped from any area other than Awa, and we can speculate that “indigo”
was already a specialty of Awa. There also is a record of kōya (indigo dyers) donating to the Ōasagū temple (Ōasa-chō, Naruto-shi) in the 1487 Ōasagū Konryū
no Shidai, which tells us that indigo dying took place in Awa back then.
The existence of neaiza in Kyoto around this period is enough for us toassume that people already had the technology to produce sukumo. However,
it is unclear whether the “indigo” shipped from Awa back then was in sukumo

22

Chapter 3: Awa and IndigoThe inside of an Ai-Yashiki (The Okumura Family Residence)

The inside of an Ai-Yashiki (The Okumura Family Residence)

23

The outside of a Nedoko (Takechi Family Residence)

A massive Nedoko (an Ai-Yashiki of Suwa, Yamakawachō)form or indigo leaves. According to one theory, the techniques of Sukumo production were bought to Shōzui, which was the center of Awa back then, aroundthe latter half of the Muromachi period.
Although the lack of historical records leaves us guessing, it can be said that
the Muromachi period is when the basis was built for Tokushima to become agreat producer of indigo dye.
Awa indigo establishing its position in the Edo period thanks to the Tokushimadomain’s* protection and promotion
In the Edo period, the Tokushima domain protected and promoted indigo production as an important source of revenue and actively worked on improving its
quality. In the mid-Edo period, as a result of the popularization of cotton throughout Japan, the production of indigo dye was boosted. An appraisal of Awa indigo
back then is found in the Wakan Sansai Zue which was compiled in 1712: “Basedon consideration, those produced in Kyoto Rakugai are superior. Those producedin the Higashinari commandery, Sesshū, are the [next] best. Those produced in
Awa and Awaji follow.” In other words, indigo dye produced in the outskirts of
Kyoto were thought to be the best. Dye produced in Higashinari, Osaka, was
The Tokushima Domain

The domain was established by Hachisuka Iemasa. In 1585, Iemasa and his father Hachisuka Masakatsu, who used to beretainers of Toyotomi Hideyoshi, built the Tokushima Castle. Iemasa were further gifted the Awaji Province for his distinguished service in the Siege of Osaka and became a daimyō (lord) with an income of 257,000 koku.

24

Chapter 3: Awa and Indigocrowned second, and dye from the Awa and Awaji areas ranked third. However,later in 1781, Inubushi Kyūsuke improved the production method of Sukumo, resulting in a stable production of high-quality dye. Indigo dye from Awa started toreceive higher recognition; it was dubbed as “authentic Japanese indigo (Hon-Ai)”and captured all the attention in markets around the country. The Ai-Shōnin of Awa,
who were granted monopoly rights, started bringing in huge profits to the domain.
The techniques of Sukumo dye production
In the Kitakata region of Awa, people continue to produce indigo dye using
the same methods from back in the Edo period.
In early spring, when the swallows fly over to Japan, the nursery beds areseeded. When it is no longer covered in frost, the grown seedlings are plantedin the fields. Around when the rainy season is over, we can see a vast expanse of
fully green-colored indigo fields. From early summer to the end of the season,
indigo leaves are harvested, chopped finely, and dried under the sun. The driedleaves are piled up inside the Nedoko – the dye processing facility – and are watered and mixed for fermentation. The fermenting process is repeated again andagain between fall and winter, and thus indigo dye is created. This process does
not happen without the craftspeople who put their hearts and souls into creating
indigo dye that produces the most beautiful color.
The indigo leaves are fermented at over 60 degrees Celsius. The inside of the
Nedoko during the fermentation process is filled with steam, warm air, and thepungent smell of fermenting leaves. The temperature and the smell are, in fact,indicators of how well made the dye is. Around the time when we have the first
frost of the season, the indigo leaves fully fermented through the manual workof the Ai-Shi turn into what looks like black chunks of dirt. This is how Sukumo,
an indigo dye with greatly concentrated blue pigments, are made.

25

Piles of indigo leaves inside a Nedoko

Ai-Shi checking the indigo leaves

26

Chapter 3: Awa and IndigoReplanting seedlings

An indigo field

The production process of Awa-Ai⬥Cultivating and harvesting of indigo
Early March
Around the time when swallows fly over to Japan, Persicaria tinctoria (Aiton)
H. Gross, Syn: Polygonum tinctorium Lour seeds are sown in nursery beds on
auspicious days. These seeds are as small as sesame seeds. About a month later,
the two-to-three-centimeter-tall sprouts are thinned out.
Mid-April to early May
When the seedlings are about 20 centimeters tall, four or five of them are bundled together and pulled out of the bed. The bunch of seedlings are then boundwith straw and replanted to the main fields at intervals of 40 centimeters. Prior
to the replanting, the main fields composted, sprinkled with lime, and plowed
well.
Late June to early July
The fields are composted, weeded out, and earthed up. Pest control measures
are also taken. When the rainy season ends, the leaves will have grown, and the27

Ai-Konashi

Watering the indigo leaves

seedling will be as high as 60 centimeters. Then, the first harvest (ichiban-gari)takes place on a sunny day.
Late July to early August
The post-ichiban-gari root clumps are composted and weeded out, followed bypest control measures. This allows the leaves to grow again for another roundof harvest (niban-gari). In some cases, harvests are done thrice (sanban-gari)until around early September.
After harvesting
The harvested indigo plants are cut and sorted into stems and leaves by wind
power by weight. The leaves are then dried for about two days when the weather is good (this process is called “Ai-Konashi”). The dried indigo leaves are
stored in a straw bag called Zukin.

28

Chapter 3: Awa and IndigoThe process of Kirikaeshi

A pile of indigo leaves with a Futon over it⬥Sukumo production in the Nedoko
Early September
In the Nedoko, the ichiban-gari leaves (indigo leaves, Ha-Ai) are wetted with anadequate amount of water and mixed. The leaves are piled up to about a meterhigh and left to ferment (Nesekomi).
Mid-September to early December
Once every five days, the pile of leaves are broken down with a wooden fourtooth rake (Yotsu-Kumade), turned with a shovel called Hane, and mixed andpiled back to the original height with another rake called Komazarae. This process is called Kirikaeshi (literally “cut and turn”) and is repeated about 20 times
in total. When the temperature starts to go down, the leaves are covered with astraw mat called Futon to support the fermentation.
At the time of the fourth of fifth Kirikaeshi, the niban-gari leaves are added
before further Kirikaeshi takes place.
In late October (after Kirikaeshi is repeated about 13 times), indigo leaf clumps
are loosened up so that fermentation will take place thoroughly (this process iscalled Tōshi).

29

Sukumo

A stone lantern donated by Ai-Shōnin who did businessin Osaka (Kotohira Shrine, Seimi, Tokushima-shi)

The Tōshi process takes place again in late November (after the 17th or 18th
Kirikaeshi) to finetune the indigo. Kirikaeshi takes place for an approximate
total of 20 times until the dye production is complete.
Around October to November, the indigo plants regrown after niban-gari will
have bloomed. While Sukumo production continues in the Nedoko, seeds are
harvested.
After early December
Sukumo production takes about a hundred days after the Nesekomi takes place.
The finished product is packed into a straw bag called Kamase stamped with the
Ai-Shi’s name and are shipped to clients such as dyers around Japan. One bag ofKamase is as heavy as 56.25kg.
February to March
After the shipping is complete, the Nedoko floor is prepped for next year. Ingredients are layered in the order of crushed stones, sand, rice husk, sand, and clay
to create an environment suitable for fermentation.

30

Chapter 3: Awa and IndigoThe distribution of Awa indigo and the prosperity of the area
Awa indigo dye spreads across Japan
Indigo dye from Awa spread across Japan, thanks in part to aid from theTokushima domain as well as improvement in quality. In the earlier years of
the trade, Awa dye was mainly sold in Osaka and Edo (present day Tokyo).
However, major merchants already held power in these cities, which was a disadvantage for Awa Ai-Shōnin (indigo merchants). Nevertheless, the Tokushima domain supported the merchants from Awa, even though it meant causing
friction with the shogunate. Initially, indigo dye were consigned to wholesale
dealers in Osaka and Edo. However, this method did not bring much into theTokushima domain since the wholesalers had the rights to determine the priceand thus the Ai-Shōnin did not get much in profit. In 1731, the domain decided to authorize direct and wholesale distribution of Ai-Dama (Japanese indigo
cakes) and started dealing directly with the kōya. This allowed the Ai-Shōnin togain wealth and power, and they started expanding nationally beyond the twolargest markets of Osaka and Edo.
The Awa Ai-Shōnin, who expanded their business across Japan, went on business trips to Edo and Osaka. When in the cities, they invited their clients tokabuki and bunraku (puppet theater) performances and entertained them enthusiastically. The extravagant ways of the Ai-Shōnin apparently were the subjectof envy from ordinary people and even became a topic of a kabuki play.
Ai-Shōnin as the fosterers of Awa as “the land of performing arts”
The Ai-Shōnin did not spend all of their time amassing fortune; they also
were leaders of cultural exchanges with other areas of Japan.
Take the Awa-Odori dance for example; this dance incorporates various
FuriuriA style of peddling where a merchant puts products like fish or vegetables in wooden buckets or baskets and hangs themfrom both ends of a shouldering pole to carry them around.

31

Present-day Awa Odori

Present-Day Awa Ningyō Jōruri

elements from across Japan, starting with the niwaka-odori (impromptu skits)that used to be popular in the Kamigata (Kinki) area. “Awa Yoshikonobushi”,
a popular folk song to dance to, is said to have its roots in “Itakobushi” from
Ibaraki prefecture. The rhythm of Awa Odori has similarities with those of“Rokuchō” from Amami Yaeyama, the Okinawan “Kachāshī”, “Haiyabushi”
from Kyūshū, and “Yassabushi” from Hiroshima. The dance is a testament to
the fearless ventures of the Ai-Shōnin of Awa.
The Ai-Shōnin also frequently invited puppet theaters from Awaji to Tokushima. It seems that Awa-Ningyō-Jōruri (puppet theater) was already performedin the early Edo period. The merchants often invited the theater groups to their
Ai-Yashiki courtyards to perform. The towns had training halls for gidayū-bushi(a style of Japanese narrative music used in ningyō jōruri), and some merchantseven enjoyed performing on the side. There also were those who employedpuppet theaters themselves, had them give brief performances in parties (thispractice was dubbed “Awa’s one-bite jōruri”), and sponsored tours.
Awa-Ningyō-Jōruri is a puppet theater which consists of gidayū-bushi jōruri
songs, shamisen music, and san’nin-zukai puppets where three people are required to move one puppet. Since outdoor performances were common, large

32

Chapter 3: Awa and IndigoUdatsu barriers

Shamisen mochitsuki

puppets with a lustrous finish are used. The movements of the puppets are also
big and pronounced (the technique is referred to as Awa-no-te or “the hand ofAwa”). Moreover, there still are many craftspeople who make the puppets.
Due to such popularity of puppet theater, Awa is home to a strong deko (puppet) culture. One example is a form of folk performing art called Awa-Deko
Sanbasō-Mawashi which is still practiced today. The puppets used for this performance are of Sanbasō (an old man) and Ebisu (a god of fishing and luck).
The puppets are put in two wooden boxes which are then hung from a shouldering pole. Two performers – a puppeteer and a drummer – carry the boxes aroundtown and perform yoshuku* wishing for sound health and good business. Even
today, these performers visit nearly a thousand houses on new year’s. They also
visit Nedoko to wish for successful indigo dye production.
The townscape of the indigo distribution hub
Wakimachi-Minamimachi of Mima-shi, which used to be a distribution hubof indigo, is home to a classic townscape built by the Ai-Shōnin since the Edo
period and is recognized by the “Preservation District for Groups of Important Historic Buildings” scheme. The townscape has beautiful details including
Yoshuku

The custom of celebrating something in advance in the hopes of bringing happiness and realizing wishes.

33

white plastered walls, abundant use of lattices, shitomido*, and mushikomado*.
The roofs are honkawarabuki style where curved tiles and flat tiles are used in
combination. Most notably, the buildings have Udatsu barriers on both endsof the second-floor level. The Udatsu were originally fire barriers for blocking
fire from neighboring houses. However, they gradually turned decorative forthe purpose of flaunting prestige and wealth, and merchants of Minamimachi
started installing gorgeous Udatsu as if it were a competition. That is why manybuildings have luxurious Udatsu decked with dignified honkawarabuki tilingand topped off with a oni demon tile glaring down at passersby. The townscape
represents the wealth of the merchants who flourished through the Awa indigo
trade. Since installing a Udatsu cost a considerable sum of money, the Japanese
expression “Udatsu ga agaranai”, or “there’s no sign of Udatsu”, was born todescribe someone who struggles to succeed in life.
Looking at the townscape with the luxurious Udatsu or wealthy merchants’estates that comes with a wharf, the prosperous lives of the olden days areevident. And on New Year’s Eve, the jaunty rhythm of Shamisen mochitsuki(mochi pounding), which is accompanied by a song about the thriving indigo
business, tells us about the past prosperity.

Shitomido

A door consisting of a board attached to a wooden lattice. The structure is meant to block rain and wind like a window
shutter. The board was flipped up during the daytime for natural lighting. Shitomido were originally used in mansions of
the nobility but were later introduced to shrines, temples, and houses of commoners.

Mushikomado

A window with lattice as fine as insect cages (mushiko).

34

Chapter 3: Awa and IndigoThe Historic Udatsu Area

A wharf which used to be a distribution hub

35Inugai Nōson Butai playhouse (Goō Shrine, Hata-chō,
Tokushima-shi)

Column: Locally enjoyed Awa-Ningyō-Jōruri
In the indigo cropping area of the Yoshino basin, professional puppeteers
invited from the Awaji region used to hold paid performances in makeshift
playhouses. Meanwhile, in the rural farm villages, puppet theater took place
on stages put up in shrine grounds for occasions such as spring and fall festivals. Such performances entertained the farmers during their brief breaks fromharsh agricultural labor. It is said that about 70 puppet theaters were active inthe height of the culture. Even today, there are about 40 active puppet theaters.
From homemakers and people with day jobs to students involved in theater as
an extracurricular activity, the puppeteering culture connects locals from various walks of life.

36

Chapter 3: Awa and IndigoA statue of Inubushi Kyūsuke

Teitagami paper

Chapter 4: The Rise and Fall of Awa-Ai
Quality: the reason behind Awa indigo’s prosperity
When fermenting indigo leaves to produce Sukumo, deciding the amount ofwater to use, regulating the temperature, and determining when to stop fermentation is extremely difficult. Due to these factors, the production of Sukumo
had been unstable. Seeing this, an Ai-Shi named Inubushi Kyūsuke decided towork on improving the production techniques. He studied the use of water for
optimal fermentation and trained mizushi, technicians dedicated to managing
the watering process.
Also notably, there was a unique method used in the Edo period when scientific quality control was unavailable. This method for appraising the dye, which
contributed to improving techniques and consequently upkeeping the quality, iscalled Teitahō (“the hand-board method”). First, a small amount of Sukumo iskneaded with a few drops of water. The feel against the hand while kneading
will tell the quality and characteristics of the Sukumo. The liquid produced bykneading the Sukumo is applied to a glass board for appraisal. The liquid is37

Indigo appraisal (reconstructed model)

then stamped onto washi paper (Teitagami) to look at other aspects such as thestrength of color. The result of the Teitahō appraisal was used not only to improve production techniques but also as standards to identify exceptional Ai-Shi
and to decide the market price through the coming year. It is said that indigo
wholesalers across Japan, who traded with many different Ai-Shōnin, referredto the Teitahō results to make business decisions.
The Sukumo indigo dye from Awa, produced through such a process, waspraised as Hon-Ai (“authentic Japanese indigo”) in the Edo period due to beautyof the dye job using them. Kōya from all over Japan are said to have inquired
about the Sukumo from the region. An 1848 petition submitted to the Hiroshima
Domain by a group of kōya from the castle town of Mihara clearly proves the
popularity of Awa indigo. Back then, the Hiroshima Domain had banned theuse of Awa indigo dye as a part of their economic policy. However, the kōyaof Mihara, which was a part of Hiroshima Domain’s territory, came together torequest for permission to use Awa-produced dye. They petitioned that, since theneighboring Fukuyama Domain allowed the use of dye from Awa, customers of
Mihara were being stolen by kōya of Fukuyama to the detriment of the Hiroshima Domain. The low indigo content of Hiroshima indigo was also a problem

38

Chapter 4: The Rise and Fall of Awa-Ai

The Ai-Ōichi (reconstructed model)

Shōhaiban

since it resulted in a significantly higher dyeing cost. The earnest petition tells
us indeed how acclaimed Awa indigo dye was.
The beginning of Ai-Ōichi and the growth of the Awa indigo industry
The Awa indigo industry saw a great deal of growth after Hachisuka Shigeyoshi, the 10th lord of the Tokushima Domain, started Ai-Ōichi as part of his
economic policy during what is called the Reform of Hōreki and Meiwa.
The Ai-Ōichi, or the Great Indigo Market, was a week-long event held in the
castle town of Tokushima. Wholesalers and brokers from Osaka, Edo, Kyoto,
and other locations all around Japan gathered in Tokushima to decide on thebest product of the new fiscal year from among the Awa indigo dye which wereappraised using the Teitahō method. The standard price for the coming year was
also decided here. It was a competition and an occasion for business. The winning dyes were divided into three categories: Zuiichi, Junichi, and Tenjō. The
Ai-Shōnin who won were gifted a shōhaiban which equates to a modern trophy.
Winning in this contest was the biggest honor for them.
During the Ai-Ōichi, decorative lanterns and nobori banners were put out
around the venue where free sake and snacks were served. The Ai-Shōnin never39

failed to ask the wholesalers and brokers from Osaka, Edo, and Kyoto to votefor them, and the requests always came with an invite to dinner or a packageof sweets. When a business deal was struck, the merchants hosted their clientslavishly in restaurants or their Ai-Yashiki mansions. This reception was calledirozuke (“coloring”).
Thus, the town of Tokushima flourished. There were more than 40 high-classrestaurants in town at the end of the Edo period.
The decline of the indigo economy and the career changes of the Ai-Shōnin
Even in the Meiji period, the demand for indigo dye continued to grow. When
Tokushima-shi was born based on the new municipal organization system of
1889, the population of the city counted 60,861, establishing itself as the 10th
most populous city in Japan back then. This is a proof of how the city was flourishing with indigo dye production. In 1903, the crop acreage and indigo leaf
production marked an all-time high. The acreage amounted to 15,000 chōbu;
this was more than twice the acreage at the end of the shogunate era (approx.
7,000 chōbu) and amounted to nearly 70% of all domestic acreage. Indigo dye
production was booming.
However, when the country opened up for international commerce upon
the Meiji Restoration, the import of Indigofera tinctoria L. started to increase.
Moreover, in 1900, affordable synthetic indigo dye (artificial indigo) started
coming into Japan. Back then, the Ai-Shōnin had already embarked on diversifying their business; examples include setting up banks, soy sauce and sakebrewing businesses putting the Nedoko to new use, silk-reeling, railway business, electric lamp business, and agricultural land development. Following thechange in circumstances surrounding import, the merchants quickly shifted to
new business focuses. Around the end of the Meiji era, most of the Ai-Shōnin

40

Chapter 4: The Rise and Fall of Awa-Aidiscontinued their indigo business. However, some of the merchants overcame
recessions and wartime chaos and continued to grow their business domestically and internationally, growing into companies that influence not only the
economy of Tokushima but also that on the national level.
The Kujime family, who built a fortune trading indigo and timber, opened aprivate bank in 1879. The bank boasted the second largest capital domesticallyafter the Mitsui Bank, and the family always ranked high in the list of the richest people. The bank was run alongside the family’s indigo business and was
an attempt to modernize the business practices of the Ai-Shōnin. The Kujime
family were later forced to suspend their banking business due to Japan’s firsteconomic crisis, but the bank later became the present-day Awa Bank.
The history of Nishino Kinryo Corp. of Kagawa Prefecture, known for theirbrand of refined sake “Kinryo”, goes back to an Awa indigo merchant who
launched their business in 1658. They started sake brewing as their second business in 1779. In the Taishō period, the company was separated into two branches, one working on sake brewing and the other specializing in chemical dye andindustrial chemicals.
The Miki family started their business in 1674. In 1904, they became the firstin the industry to acquire the rights to sell artificial indigo in the Kantō region.
After briefly directing a joint venture that was set up out of concern towards
the disarray in the industry, the family worked on selling dyes and industrial
chemicals. They later set up a stock corporation in 1918. The company thenexperienced some stagnation, but their business results recovered after the war.
They focused their efforts into overseas operations, establishing themselves as a
trading company with 300+ years of history that specializes in chemical goods.
Today, the Ai-Shōnin of the olden days are no more. Nevertheless, the enterprising spirit of the Ai-Shōnin are inherited by the people of Tokushima Prefecture.

41

Column: Agriculture, manufacturing, and distribution: Ai-Shōnin and the modern “senary sector of industry*”
The business practices of Ai-Shōnin were diverse; while some specialized
in selling the indigo dye they purchased, others took on the entire process ofcultivating indigo plants (agriculture), producing the indigo dye (manufacturing), market development and sales (distribution and service). Managing agriculture (the primary sector) and manufacturing (the secondary sector) as well
as distribution and service (the tertiary sector) altogether equates to what iscalled “senary sector of industry” in modern Japan. Since indigo plant cultivation and indigo dye production took place in the middle and lower basins of
the Yoshino River, the river also functioned as a transportation route to ship out
the products. With regional resources and geographical advantages utilized to
the fullest, streamlined and cutting-edge management and sales strategies wereformed in the area.
Column: The protection and succession of indigo by the Ai-Shi of Awa
While indigo cultivation was banned during World War II, a small numberof Ai-Shi secretly grew indigo plants to pass down indigo dye production techniques. In 1966, the indigo acreage decreased to a mere four chōbu, and people realized the need to protect and promote the industry. In 1967, Tokushima
Prefectural Awa Indigo Production and Conservation Society was establishedto study indigo cultivation, processing, and new usages. As a result, the indigo
acreage quadrupled within a year and quintupled by 1985. PR efforts and study
sessions also took place thanks to groups like research societies and technicalpreservation societies. Thus, indigo dye production in Awa rose from its ashes.
Today, there is a heightened interest in passing on the genuine work by Ai-Shi
and dyers to posterity.
Senary sector of industry

A business form encouraged in Japan since the announcement of the Senary Industrialization and Local Production for
Local Consumption Law in 2010. The aim is for businesses to handle the entire process of agricultural/forestry/fisheryproduction (the primary sector of industry), manufacturing the produce into food items (the secondary sector), and distribution and sales of the products (the tertiary sector). The word “senary”, or 6th, comes from adding the numbers associatedwith the primary, secondary, and tertiary sectors.

42

Chapter 4: The Rise and Fall of Awa-Ai

The Tanaka Family Residence

The view of the yard from the front gate

Chapter 5: The Cultural Assets Constituting Our Japan Heritage
In relation to our story Awa – The Home of “Ai”: Searching for the Supreme
Blue of Japanese indigo joint-submitted by nine cities and towns located in the
Yoshino River basin of Tokushima Prefecture (Tokushima-shi, Yoshinogawa-shi,
Awa-shi, Mima-shi, Ishii-chō, Kitajima-chō,Aizumi-chō, Itano-chō, and Kamiitachō), 32 cultural assets that constitute the story were recognized as Japan Heritage.
1. The Tanaka Family Residence[Nationally Designated Important Cultural Asset. Designated on 3rd February
1976]
The Tanakas are a family of Ai-Shi and Ai-Shōnin who produced and soldindigo dye for generations. The history of the family started when Harimaya
Yoemon settled in Awa around 1624-1645 during the early Edo period.
The Tanaka Family Residence was built over nearly 30 years from 1854 (lateEdo period) to 1887 (Meiji period). The estates of Ai-Shi and Ai-Shōnin are
called Ai-Yashiki (“indigo estates”). The Tanaka estate is structured in a style

43

The Takechi Family Residence

The main building and the garden

called Shiro-Gamae that is unique to Ai-Yashiki; in the estate grounds with awidth of 50m from north to south and 40m from east to west, Ao-Ishi (greenschist) and Muya-Ishi (sandstone) from Tokushima are piled high, and the mainbuilding is built in the ctnter surrounded by Nedoko and warehouses. Upon entering the front gate, you will find yourself in a big yard which is indispensable
in indigo production. You will also see the Nedoko which comes with Obuta (aspacious annex). The whole view might indeed look like an indigo production
factory. The estate also comes with many measures against floods including astone wall that towers towards the northwest, a thatched roof that floats, a boat
hanged from the roof of the obuta. It is a breathtaking Ai-Yashiki optimized forthe location that is the indigo country of Awa.
2. The Takechi Family Residence[Nationally Designated Important Cultural Asset. Designated on 25th December
2018]
The Takechi family started its indigo business in 1726 (mid-Edo period)
when Motobē, a local peasant, established a branch family and renamed himself
Temmaya Motobē. The family has produced and sold indigo dye as Ai-Shi and

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Chapter 5: The Cultural Assets Constituting Our Japan Heritage

Ai-Shōnin until today. Their residence was built over about 25 years between
1851 and 1876.
Like the Tanaka estate, the Takechi estate is structured in a style unique to
Ai-Yashiki; high stone walls enclose the estate grounds which is 80m wide from
north to south and 70m wide from east to west, and the main building at thecenter is surrounded by other buildings. The main building is especially known
for its majestic appearance which shows the wealth of the Ai-Shōnin backthen. The estate is also home to historical documents about the indigo business
which formed the economical basis for building and maintaining this Ai-Yashiki. These documents are also a part fo the cultural assets that constitute ourJapan Heritage. The estate is also a rare example where traditional Sukumo production takes place even today with the workplaces, tools, and methods of thegolden age of Awa-Ai integrally passed down. The Takechi Family Residence isa highly important cultural asset not only because of its value as a building but
also because of its multi-faceted historical significance including the historical
documents and the Sukumo production practice.
3. The Okumura Family Residence[Tokushima Prefecture Designated Tangible Cultural Asset (Building). Designated on 3rd April 1987]
The Okumura family grew its business since the Bunka years (1804-1818)
under the trade name “Yamaka” and “Aiya.” In addition to selling Ai-Dama(Japanese indigo cakes) in Osaka, they continued to expand their market byacquiring Chikuzen-uri* rights around the end of the shogunate era and later
opening a branch in Fukagawa, Tokyo in 1873.
The Okumura Family Residence is a representative example of Ai-Yashiki which are the magnificent estates of Ai-Shi and Ai-Shōnin. Its construction
Chikuzen-uri

Refers to selling merchandise in the Chikuzen area (present-day northwest Fukuoka).

45

The Okumura Family Residence

begun around the Bunka years (1804-1818), which is when the family’s indigo
business picked up, and was completed in 1887. The south-facing main building is located on the northern side of the wide estate grounds and is surroundedby 13 buildings on the south, east, and west sides. The surrounding buildings
include Nedoko which are the manufacturing spaces for indigo dye, an extravagant parlor on the west side, and a room for employees which is quite rareeven in the whole prefecture. The 19.8m-wide and 9.9m-long main building
is a two-story structure with a hip-and-gable roof that comes with honkawarabuki-style tiling. According to the munafuda* sign left on the building, it was
originally built in 1808 and the second floor was added in 1827. The three Nedoko are buildings unique to Ai-Yashiki, and various measures are put in place
to facilitate the Nesekomi (fermenting) process.
Ai-Yashiki with buildings preserved nearly in their entirety are rare, and thus,
the Okumura Family Residence is an important asset that tells us about theindigo-producing culture.

Munafuda

A wooden sign hanged on higher spots (such as ridgepoles or beams) inside temples or residential buildings to keep records of construction and repair projects.

46

Chapter 5: The Cultural Assets Constituting Our Japan HeritageThe Wariishi Family Residence

4. The Wariishi Family Residence
The Wariishi family has a long history which goes back to the Empō years(1673-1681). After establishing themselves as a branch family during this era,
the Wariishis practiced agriculture in the southern foot of the Sanuki Mountains until the fourth family head, Wauemon, decided to move to their current
location that is the north bank of the Yoshino River. The family’s trade name
“Bōshiya (Hatter)” comes from the cotton headwear business they started. In
the Kansei years (1789-1801), the fifth head, Takichi, started manufacturing
and selling gaiters. The family also started a sake brewing business during the
Bunka years (1804-1818).
The Wariishi Family Residence, reconstructed between 1888 and 1898, is atypical modern-Japanese architecture which, while preserving the tradition of
upper-class residential buildings from the Edo period, adopts complex floorplans and decorative features in addition to making excellent use of newer
design techniques. The main building is located slightly off the center of thegrounds. Situated on its south side is a nagayamon gate constituting of a barn,a room for servants, and the main entrance. On the north edge of the grounds,
there is an east-west oriented inuikura warehouse and some rooms. The west

47

The Fujita Family Residenceedge is home to a north-south oriented nishikura warehouse and Nedoko used
for Sukumo production.
5. The Fujita Family Residence[Nationally Registered Tangible Cultural Asset. Registered on 29th November
2016]
The Fujita Family Residence is located on the alluvial plain of the Yoshino
River estuary. The estate grounds feature a main building in the center witha garden to its south, a stowage-cum- annex to its north, a warehouse to its
west, another stowage to its east, and a nagayamon to its southwest. The buildings were constructed between the mid-1890s and the early Showa era. The
two-story main building has a gable roof with honkawarabuki tiling, and thesecond floor comes with a large storeroom which allows residents to swap doorand window-fittings as the seasons change. The warehouses are well preparedagainst floods with floors raised by high-piled foundation stones and the outerwalls plastered up to the eaves.
Surrounded by the old Yoshino River and Imagire River, Kitajima-chō hasbeen blessed with plentiful water and fertile soil and used to be a great indigo

48

Chapter 5: The Cultural Assets Constituting Our Japan HeritageThe Ai-Yashiki of Suwa, Yamakawa-chō

cropping area. With the rivers being highly navigable, large-scale factories wereinvited to set up plant during the Showa era. As a result, the town has flourished
as an industrial area. Now that the town is establishing itself as a residential area
too, houses with traditional features unique to the area are becoming rare. The
Fujita Family Residence is praised as “a great example of a modern farmhousein our area which hands down the rural townscape to today’s generation.”
6. The Ai-Yashiki of Suwa, Yamakawa-chō
The Oe District (present-day Yoshinogawa-shi) used to be a significant indigo cropping area between the Edo and Meiji periods, during which the crop
yield per one tan (991.7m2) ranked at the top level within the prefecture. An
estate of a wealthy farmer remains at a location near the Yoshinogawa River in
Yamakawa-chō, Yoshinogawa-shi. This is an Ai-Yashiki built in the Meiji era
when the production of Awa-Ai hit an all-time high. The main building at thecenter is surrounded by adjunct facilities including Nedoko used for indigo dye
production plus a gate at the south of the estate grounds. To protect the estatefrom floods, an elongated Nedoko is situated on the west side, and the floors of
the buildings on the estate grounds are raised by approximately one meter.

49

The Kudō Family Residence

The Nedoko of this Ai-Yashiki measures 15 ken* (approx. 30m) long, making
it one of the largest in the prefecture. The two-story Nedoko uses thick timber
for pillars and beams, enabling a sturdy structure that can take a significant
amount of weight. From the spectacle of the grand estate, we can see the success of the Ai-Shi and Ai-Shōnin who built the foundation of Awa’s prosperity.
7. The indigo-related cultural assets centered around the Kudō Family Residence[The Kudō Family Residence, Nishioe station, Nishioe Hachiman Shrine]・The Ryōbu-Torii gate of Nishioe Hachiman Shrine[Yoshinogawa-shi Designated Tangible Cultural Asset (Building). Designatedon 15th July 1982]
・The arched bridge of Nishioe Hachiman Shrine[Yoshinogawa-shi Designated Tangible Cultural Asset (Building). Designatedon 15th July 1982]
・The Komainu of Nishioe Hachiman Shrine[Yoshinogawa-shi Designated Tangible Cultural Asset (Craftwork). Designatedon 1st December 1981]

Ken

A unit for measuring length in the Japanese traditional shakkanhō measurement system. According to the 1891 Meteorological Standard Law, six shaku makes one ken, and one ken approximately amounts to 1.82m.

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Chapter 5: The Cultural Assets Constituting Our Japan Heritage

Nishioe Hachiman Shrine

The Kudō family of the Nishioe area established themselves as Ai-Shi and
Ai-Shōnin. The elegant atmosphere of the Ai-Yashiki is a testament to the prosperity of the olden days. In 1903, Kudō Torakichi who sent his Ai-Dama to the
5th National Industrial Exhibitions won the first prize and was awarded with agold cup. The Nishioe station situated near the Kudō Family Residence wasbuilt thanks to Kudō Gensuke and Torakichi footing most of the expense. The
tamagaki fence surrounding the inner sanctuary of Nishioe Hachiman Shrine isengraved with the names of Ai-Shōnin such as Kudō Gensuke, Kudō Torakichi,
Kudō Wakita, and Oe Shōtaro as well as Kondō Renpei who was the president of Nippon Yusen. Moreover, the Bizen ware komainu statues, the arched
bridge, and the Ryōbu Torii gate of Nishioe Hachiman Shrine (all designatedas Tangible Cultural Assets of Yoshinogawa-shi) were all donated by powerful
Ai-Shōnin of the area. The stone monuments commemorating donations andsacred lanterns are also engraved with the names of local Ai-Shōnin. These are
all proofs of how Ai-Shi and Ai-Shōnin, including the Kudō family, have greatly
contributed to the development of the region.

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Randen Kansui no Zu

8. Color-on-silk agricultural painting “Randen Kansui no Zu”[Awa-shi Designated Tangible Cultural Asset. Designated on 19th January 1999]
Randen Kansui no Zu was painted by Ōhara Donshū in 1843. Depicting
youngsters watering an indigo field with a shadoof and estates with a number of
Nedoko lined up on stone walls, the picture indicates what the area looked likeduring the golden age of Awa-Ai.
The picture comes with a san* (caption) by Gyokkan, the chief priest of
Kōgenji Temple. According to him, the picture was painted to tell future generations of the hardship that the Ōiso family of the Kakuen village (present-day
Ishii-chō) went through in their inception. When the elder of the Ōiso family
was young, he worked for other indigo farmers to help his poor family. Therefore, presumably, one of the young men depicted in the picture is the elder
himself. He later accumulated enough wealth to build the Ōiso family and theirestate with the many white-plastered Nedoko.
It is likely that indigo cultivation as Awa’s main industry was draped in secrets, since there are very few documents that describe the actual process of
growing indigo plants as crop. Considering this, this picture which tells us ofindigo cultivation back then is a significant historical source.
San

Eulogy added to a work of art, mostly by an appreciator, and considered a part of the original work as a calligraphic orliterary work.

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Chapter 5: The Cultural Assets Constituting Our Japan Heritage

Ainōkōsaku no Fūkei Ryakuzu

Kenshō-ji Temple Documents

9. Ainōkōsaku no Fūkei Ryakuzu
Ainōkōsaku no Fūkei Ryakuzu is a picture scroll about Awa-Ai cultivationand production drawn in 1943 by Sakase Senshū, a painter of Kamojima-chō,
Oe District. On 38cm-wide and 511cm-long washi paper, Senshū depicted theentire process of seeding, indigo leaf harvest, “Ai-Konashi” (chopping and drying leaves), Nesekomi (fermenting), and indigo pounding. Each process flow
comes with a legend (description) by the painter. The scroll is a rare source of
information where scenes from traditional indigo production are depicted witha lively, light, and witty tone.
10. Kenshō-ji Temple Documents[Aizumi-chō Designated Tangible Cultural Asset. Designated on 10th January
1988]
The Kenshō-ji Temple Documents are a cluster of documents owned by
Ryūon-zan Kenshō-ji in Aizumi-chō. One of the documents titled Kenshō-ji
Kiroku contains a sentence that says “Zuikei Sōzu planted dye leaves from China.” It is assumed that “dye leaves” refer to indigo plants.

53

Shōzui Castle remains and Shugo-machi Shōzui ruins

Zuikei is a monk who established Hōju-ji Temple in present-day Iwakura,Mima-shi in 1247. Later during the Eishō years (1504-1521), Hōju-ji was
moved to Shōzui (present-day Aizumi-cho) by samurai Miyoshi Motonaga as aplace for Miyoshi Yukinaga’s grave and was renamed Kenshō-ji after Yukinaga’s Buddhist name.
11. Shōzui Castle remains and Shugo-Machi Shōzui ruins
・Shōzui Castle remains[Nationally designated historical site. Designated on 29th January 2001]
Shōzui, Aizumi-cho, which used to be the stronghold of the Hosokawa family as Awa’s Shugo Daimyo as well as the Awa Miyoshi family, flourished as thecenter of Medieval Awa’s politics, economy, and culture.
In Miyoshiki, a war chronicle written in the Edo period, it is documented
that a dyer called Shirobē became rich by successfully importing indigo dying
techniques from the Kamigata area to Awa. However, there is proof that indigo
dyeing techniques had already existed in Awa by the time of Shirobē. Therefore,
it can be assumed that the “techniques” brought from Kamigata at this point
were for producing Sukumo indigo dye.

54

Chapter 5: The Cultural Assets Constituting Our Japan HeritageTokushima Castle remains and Tokushima castle town
remains

Additionally, Niki Yoshiharu, a former vassal of the Hosokawa family, wasappointed Head of the Kōya Office upon the Hachisuka family’s takeover of
Awa. These historical records all show the strong relationship between indigo
and Shōzui as the center of Medieval Awa.
Excavation efforts have been taking place in Shōzui since 1994, and its relics
and artifacts remind us of Awa’s most glorious days under the Awa Hosokawa
and Miyoshi families. Accordingly, the Shōzui Castle remains are an importantsite in the history of Medieval Awa.
12. Tokushima Castle remains and Tokushima castle town remains[Nationally Designated Historical Site. Designated on 26th January 2006]
The Tokushima Castle was built in 1585 by Hachisuka Iemasa who became
the lord of Awa Province and remained Tokushima Domain’s political basethroughout the feudal era. The castle town of Tokushima flourished thanks to
the Awa-Ai economy, and when the new municipal organization system was put
into effect in 1889, the town’s population ranked 10th in Japan.
Indigo, which was protected and promoted by the Tokushima domain, wasgathered to the castle town of Tokushima, and the wharf of the castle town

55

Statue of Inubushi Kyūsuke

became the foothold for Ai-Shōnin merchants. The Shinmachigawa River functioned as the main artery of water transportation around Tokushima Castle.
The river’s wharf used to be a huge indigo business area with indigo wholesale stores, indigo and fertilizer warehouses, and the Great Indigo Market. The
wharf today is home to Awa Bank’s main building. Awa Bank’s predecessor is
the Kujime Bank established by the Kujime family, famous indigo merchantsof Awa. The current main building of the Awa bank is a modern architecture
inspired by sailboats going up and down the Shinmachigawa River, reminiscentof the prosperity of the olden days. Also, to wish for safe maritime trades tothe Kotohira Shrine of Seimi, merchants who used to ship Ai-Dama to Osaka
donated a large stone lantern. The lantern is nicknamed the “brother” of anotherstone lantern in Osaka Sumiyoshi-Taisha Shrine. This is yet another relic thatquietly speaks of the dynamic nature of the Ai-Shōnin.
13. Aizen-An and the Statue of Inubushi Kyūsuke
・Statue of Inubushi Kyūsuke
[Itano-chō Designated Tangible Cultural Asset. Designated on 1st February
1974]

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Chapter 5: The Cultural Assets Constituting Our Japan Heritage

In the Aizen-An monastery of Matsudani, Itano-chō, there is a wooden statueof Inubushi Kyūsuke who was a key figure to the development of the indigo industry in Awa. Born to an indigo farming family in Itano-chō, Inubushi
Kyūsuke worked on indigo cultivation and dye production and was nicknamed“Aikyū-san.” Seeing that indigo dye production methods were highly varied,Kyūsuke worked on improving those methods and succeeded in 1781. This inturn resulted in the improvement of quality, and indigo dye from Awa became
known throughout Japan as Hon-Ai (“authentic Japanese indigo”). Instead of
keeping the methods to himself, Kyūsuke trained disciples, educated peers, andworked hard to spread the new techniques, contributing greatly to the development of indigo production in Awa.
The name of Aizen-An monastery is now written using the kanji “藍 (indigo)”, but originally, the kanji “愛 (love)” was used instead after the deity
Rāgarāja (Aizen-Myōō). People working in the indigo industry worshipped
Rāgarāja, believing that offering the deity indigo leaves will grant them fineindigo dye. Later, Kyūsuke’s disciples set up their mentor’s statue to commemorate his work. At some point, people started worshipping Kyūsuke himself as a
guardian deity of indigo, calling the monastery “Aizen-An” as in “indigo-dyeing
monastery.” The indigo merchants who accumulated great wealth thanks to theimprovement of indigo dyes gathered to Aizen-An from all around to pray, give
thanks, and repay for protection.
14. The Okumura Family Documents[Aizumi-chō Designated Tangible Cultural Asset. Designated on 10th January
1988]
The history of the Okumura family goes back to the Meireki years (16551658) with Keikōin Chiryū-Koji being the founder. The sixth head of the family,

57

The Okumura Family Documents

Kadoya Nikki

Kazō, went into the indigo sales business during the Bunka years (1804~1818)
and acquired Ōsaka-uri* rights. This allowed the Okumuras to grow into a greatfamily of indigo merchants.
The Okumura Family Documents are a set of documents that were donatedby the family to the town. It is a massive collection involving approximately
130,000 historical records. Various complete sets of records documenting thefamily’s business operations are included, ranging from their Ai-Shi and AiShōnin business to the fertilizer, sake brewing, and land-leasing businesses they
started between 1877-1887. It is also noteworthy that there are a significant
number of records on the locality and the feudal government since the Okumuras became guntsuki-rōnin (i.e., de facto samurais) and took on the role of land
tax collectors. Further including records on politics and education as well as
30,000+ letters, it is an extremely rich collection like no other.
15. The Motoki Family Document: Kadoya Nikki[Ishii-chō Designated Tangible Cultural Asset. Designated on 13th April 2004]
The Motoki family, based in Takahara-son village, was a powerful Ai-Shōninfamily that had already expanded into the city of Edo during the Kyōhō yearsŌsaka-uri

Refers to selling merchandise in Osaka.

58

Chapter 5: The Cultural Assets Constituting Our Japan HeritageThe Takechi Family Documents(1716~1736) which equates to the mid-Edo period. The family rises to greater
power around the late-Edo period, having been appointed to the samurai classas kodakatori in 1829. The Motoki Family Document, also known as Kadoya
Nikki, is a three-volume personal diary which used to be the possession of thefamily. The memoir was written from 1808 to 1872 by the fifth head Motoki
Usaburō and his successor Motoki Rinbē. Penned by apparently ready writers, Kadoya Nikki describes various topics from their daily lives from businessmemoranda, culture and arts, and social landscapes in shrewd style. The diaryis an extremely significant historical material for learning what the folk culture
was like around the end of the shogunate.
16. The Takechi Family Documents
The Takechi family, based in Tenjin-mura village, produces and sells indigo
dye as Ai-Shi and Ai-Shōnin ever since their founder, Tenmaya Motobē, started
his own branch family in 1726 (mid-Edo period). In 1838 (late Edo period), thefamily rose to the samurai class as kodakatori while working on diversifying
their business, expanding their indigo sales to the provinces of Sanuki, Bizen,
Bicchū, Bingo, and Iyo. The Takechi family owns several tens of thousands

59

The Hayashi Family Documentsof archival documents spanning from the late Edo period to the early Showaera. While the majority of the documents are account books on the family’sbusinesses including indigo sales, it also includes records on domain and village politics as well as land-books. The documents are extremely significant
in learning about the early-modern and modern history of the indigo industry
through the actual practices of indigo production and sales back then.
17. The Hayashi Family Documents
The Hayashis are a wealthy farmer-cum-landlord family of Ishii-mura thatheld important posts such as mandokoro, shōya, kumigashira-shōya, dairichō,and kuchō between the early feudal era and the Meiji era. As Ai-Shōnin, thefamily joined the Kantō-uri* Ai-nakama association in 1812. The collectionof documents stored by the Hayashi family include indigo- and village politics-related records. An example of the latter is Myōzai-Gun Bungen-Gunzu
which is a Tangible Cultural Asset designated by the town of Ishii-chō. MyōzaiGun Bungen-Gunzu is a map created in June 1812 which depicts the entirety of
Myōzai commandry including Ishii-chō. With accuracy that bares comparison
with modern counterparts, the map is a valuable source of information.
Kantō-uri

Refers to selling merchandise in Kanto.

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Chapter 5: The Cultural Assets Constituting Our Japan HeritageThe Tezuka Family Documents

Other unique features include documents from the “Yatsugamura lawsuit”
related to flood control projects of the Yoshino River. The lawsuit was filed by
Hayashi Motoshige who was one of the regional leaders from the around theend of the shogunate to the Meiji era. As such, the Hayashi Family Documents
include significant records regarding river improvements and industry in modern Tokushima.
18. The Tezuka Family Documents
The Tezuka family flourished as a large landowner of Kakihara-mura, Awa
Commandry, as well as a major indigo merchant whose business spanned to
Kagoshima and Miyazaki. Heizaburō (previously known as Chūzaburō), whobecame the second family head in 1905, is known not only as a businessperson
but also as a philanthropist* who was later awarded the Medal with Purple Ribbon from the state. His known contributions include donating land for the newly
opened Prefectural Awa Junior High School (present-day Awa High School).
The Tezuka Family Documents are business records from the Meiji 30s(1897-1907) to the Taishō era. The records show the wide sales practices of
Tezuka Kagoshima and Miyazaki branches during the late Meiji era as well as
Philanthropist

A passionate practitioner and/or supporter of social service and charities.

61

The Indigo-related documents owned by Kitajima-chō

how the family embarked on dyeing businesses and sales of medicine sourcedin Osaka.
While Awa indigo dominated the market during and after the Edo period,
there aren’t many documents that tell us of the actual business practices of AiShōnin during this era, and the Kyūshū market is virtually untouched in paststudies. In this respect, the Tezuka Family Documents are extremely valuable
as historical materials.
19. The Indigo-related documents owned by Kitajima-chō
These are old archival documents on indigo cultivation, dye production,
sales, purchase, and distribution between the mid-Edo period and modern
times, mostly donated by Mr. Yasuhira Miki, a local historian of Kitajima-chō.
The collection includes not only documents on the Shinoharas which is Kitajima-chō’s local Ai-Shi family but also on other various areas around the country.
Kitajima-chō is a town in the downstream basin of the Yoshino River, sandwiched between the old Yoshino River and the Imagire River, and was prone
to flooding before modern times. However, the flooding granted the town fertile soil which is indispensable in indigo cultivation. Moreover, the town’s

62

Chapter 5: The Cultural Assets Constituting Our Japan HeritageThe Takahashi Family Documents

closeness to rivers turned out to be greatly beneficial when shipping goods,
allowing the town to prosper. The documents, which show how the Ai-Shōninof Kitajima-chō worked all around Japan, are kept and displayed at the Kitajima-chō
Town Library and Sōsei Hall.
20. The Takahashi Family Documents
The Takahashi family, based in Takahara-son village, used to be a mid-scale
farmer. However, after shifting their focus to indigo farming, they flourished
as an Ai-Shōnin family active in the Hokuriku market. The family simultaneously worked on accumulating land and grew into the biggest indigo merchant-cum-landlord in Takahara-son by the late Edo period. The Takahashi
family owns about 700 old archival documents, starting with records on Awa
indigo production and sales between the late Edo and Meiji periods. The collection further includes business documents of the family, such as those on landleasing and tenant farming, which indicate how the Takahashis accumulated
land as a landlord, in addition to documents regarding loaning and finance.
These are all significant materials for studying the ways of a typical wealthy
farmer and landlord who, while placing indigo sales at the core, diversified their63

Sukumo production

business focuses by leasing land to tenant farmers and delving into financial
services such as loaning.
21. Awa Indigo Production[National Selective Conservation Technique. Selected on 9th May 1978]
Indigo, which has been widely adopted as dye since ancient times, is usedin many historical textiles. This makes indigo indispensable for restoring suchworks as well as keeping traditional dyeing techniques alive. Therefore, the advanced processing techniques of Awa-Ai, which was touted as Hon-Ai (“authentic Japanese indigo”) in the late Edo period, was recognized as one of Japan’s
National Selective Conservation Techniques in 1978. Awa Indigo Production
Technique Preservation Hozonkai, whose members constitute of Ai-Shi within
Tokushima Prefecture who has kept the tradition alive, is in charge of conserving the techniques.
Today, high-quality Sukumo (indigo dye) is hard to come by, and it is nearly
impossible to obtain indigo dye from outside Awa. Nevertheless, the Hozonkai
members are working hard to preserve the Sukumo production techniques, handdown the traditional methods, and train the next generation of Ai-Shi.

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Chapter 5: The Cultural Assets Constituting Our Japan Heritage

Some tools used for Awa-Ai cultivation and processing

Tools for collecting insects

22. Tools used for Awa-Ai cultivation and processing[Nationally Designated Important Tangible Folk-Cultural Property. Designatedon 22nd April 1955]
Indigo is a representative cash crop of Tokushima and used to play a significant role in the prefecture’s industrial economy. While Awa’s Minamikata area
was famous for rice cultivation, the Yoshino River basin in the Kitakata area
was known for its extensive indigo farming. Indigo was the defining featureof Kitakata’s local characteristic. Indigo cultivation starts in early March whenseeds are sown to the nursery bed. When the spring wind blows, the seedlings
are replanted to the main field. After earthing up the roots, fertilization, andwatering, the leaves are harvested during the midsummer period. The harvested
leaves are minced and dried (Ai-Konashi), and the dried leaves are packed into astraw bag and stored in the Nedoko building. In September, the leaves are takenout of the bag, piled up in the Nedoko, watered, and left to ferment. A process
called Kirikaeshi is repeated for approximately a hundred days. The resulting
Sukumo dye is appraised and distributed nationally. A set of tools used for theindigo cultivation and sukumo production processes is archived and displayedin “Ai-no-Yakata” Aizumi Town History Museum. These tools from back when65

Awa-Odori

everything was done manually is a testament to the struggles, wisdom, and ingenuity of the people back then.
23. Awa-Odori
Awa-Odori, a dance to comfort ancestral spirits during Bon (Festival of theDead), is said to have its roots in a type of Bon-Odori dance enjoyed in andaround the castle town of Tokushima during the beginning of the early modern
era. In the mid-Edo period, people practiced Kumi-Odori which was derived
from Fūryū-Odori that was popular in the Kyoto/Osaka area around the endof the early modern times. Every town around the Tokushima castle preparedelaborate stage performances, dances, and gorgeous costumes. By the end of theEdo period, the practice shifts to Zomeki-Odori where everyone dances freely
to the exhilarating rhythm of Zomeki*.
The popularization of cotton during the Edo period revolutionized fashion
and boosted demands for Awa indigo to the extreme. The Ai-Shōnin merchantsbustled about the country to distribute Ai-Dama dyes. While forming markets
in various locations such as Osaka, the merchants also became active mediatorsof entertainment around the country. Additionally, Ai-Ōichi (“the Great Indigo
Zomeki

Originally meaning “noisy”, zomeki is a name for flamboyant and lively dances.

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Chapter 5: The Cultural Assets Constituting Our Japan HeritagePerforming the “Pilgrim Song” scene from Keisei Awa no
NarutoMarket”) took place in the castle town, and customers from all around the country flocked to purchase high-quality Ai-Dama. In the geisha district where thosecustomers were hosted, performing arts from around the country were widely
appreciated, and Awa-Odori was formed as Awa’s own style of entertainment.
24. Awa-Ningyō-Jōruri
[Nationally Designated Important Intangible Folk-Cultural Property. Designated on 21st December 1999]
Awa-Ningyō-Jōruri is a type of stage performance where three elements
come together: gidayū-bushi jōruri song which tells the storyline and dubs
the character’s lines, shamisen music which accompanies the storytelling, andningyō puppets that are worked along with the story. The three elements haveunique histories of independent development until the Bunroku and Keichōyears (1592-1615) when they merged to form the art of Ningyō-Jōruri.
After distinguishing themselves in the Siege of Osaka, the Tokushima Domain was awarded the land of Awaji. The domain created a new social rank
called Dōkunbōmawashi-Hyakushō (“puppeteer peasants”) exclusively for thepeasants of Awaji and allowed them to travel around Japan for puppet theater67

Awa-Deko Sanbasō-Mawashi

performances. In 1693, Uemura Gennojō-Za, a puppet theater company withthe longest history in Awaji, put up a 25-meter-long makeshift playhouse at“Higashi-Tomida Sōjōsho” in the castle town of Tokushima to perform withauthorization from the Domain. In the castle town of Tokushima as well as
the wealthy indigo-farming area of the Yoshino River basin, puppet companies from Awaji performed frequently in similar makeshift theaters. Thus, AwaNingyō-Jōruri became a part of the indigo farmland’s landscape as entertainment for the commoners.
25. Awa-Deko Sanbasō-Mawashi[Tokushima Prefecture Designated Intangible Folk-Cultural Property. Designated on 12th February 2015]
Awa-Deko Sanbasō-Mawashi is a type of puppet theater performed at thedoors of residential houses. Four Deko puppets – namely Senzai, Okina, Sanbasō,and Ebisu – are put in two wooden boxes, and a puppeteer and a drummer carrythem around as a pair to perform. A traditional puppet theater where Ebisu isadded to the Shiki-Sanbasō trio is exclusive to this area. From the beginning of
the early modern period, people living in the middle basin of the Yoshino River

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Mainakashima District

actively cultivated cash crops such as indigo leaves and Sukumo dye, tobacco
leaves, and sugar. The monetized economy of the area then gave birth to uniquetypes of performing arts.
Between the Edo and Meiji periods, the most notable industry in Tokushima
had been indigo dye production and sales. In Ai-Yashiki estates, Sanbasō was
performed to wish for high-quality Sukumo. The dance of Sanbasō was performed in special parlors where only VIPs of the domain and important clientswere invited in, and Ebisu gave advance blessings in the accounting office.
Since the quality of Sukumo dyes greatly influenced an Ai-Shōnin’s income,having a great indigo leaf harvest and producing high-quality Sukumo were thebiggest interests of Ai-Shōnin. Therefore, Sanbasō devotions at the altar where
the family worships the god of indigo dyeing as well as the Nedoko buildings
where Sukumo is made were taken extremely seriously.
26. Mainakashima District
Mainakashima of Anabuki-chō, Mima-shi is a river island sandwiched between
the Yoshino River (one of Japan’s three “raging rivers”) and its tributary, Myōren
River. The island is situated across the river from Wakimachi-Minamimachi

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Preservation District for Groups of Historic Buildings of Mima-shi (also known
as “The Historic Udatsu Area”). The unique location of Mainakashima as ariver island has made it prone to flooding. At the same time, people were able tofully utilize the fertile soil brought about by the flooding of the Yoshino. This,in addition to the convenient water transport over the Yoshino, made Mainakashima a significant area for indigo production between the Edo and Meiji
periods. People delivered indigo leaves and medicine to other areas including“The Historic Udatsu Area” on the opposite bank.
After indigo farming saw a decline, the indigo fields were repurposed as mulberry fields for sericulture and were further turned into rice paddies following
the completion of irrigation canals. In present-day Mainakashima, you can stillfind estates in slightly elevated areas with high stone walls as anti-flooding
measures. Main buildings, Nedoko, and traditional warehouses are available fortours. The island is also surrounded by simple embankment and trees for flood
control.
27. The landscape connecting indigo farmland and its distribution hub
This refers to the landscape between Mainakashima of Anabuki-chō, Mima-shi which was famous for indigo production and Wakimachi-Minamimachi
Preservation District for Groups of Historic Buildings of Mima-shi which wasa distribution hub for indigo. The riverbank used to be home to Mainakashima
Ferry which helped the people from both sides of the river go back and forth.
Hiratabune boats travelled across the river carrying indigo leaves, Sukumo dye,and daily supplies.
In 1961, a low-water crossing was constructed, which is still used daily by the
local community. When the river swells with storms or typhoons, the low-watercrossing gets submerged under the turbid waters, hinting us at the power of the70

Chapter 5: The Cultural Assets Constituting Our Japan HeritageThe low-water crossing of Yoshino River

Yoshino as one of the “raging rivers” of Japan. When the weather is calm, we
can enjoy a beautiful view of the Yoshino with the Shikoku Mountains in the
background, allowing us to reminisce of the days when indigo brought prosperity to this land.
28. Wakimachi-Minamimachi Preservation District for Groups of Historic
Buildings of Mima-shi[Nationally Designated Preservation District for Groups of Important Historic
Buildings. Designated on 16th December 1988]
Wakimachi-Minamimachi Preservation District for Groups of Historic Buildings of Mima-shi, also known as the “The Historic Udatsu Area”, is a merchanttown which flourished with distribution of indigo dye. This area was a transportation hub where the Muya Highway extending from east to west on the north bankof the Yoshino River crosses another highway running towards Sanuki. Thanks to
the Yoshino located on the south of the town, people were also able to utilize watertransportation by building a river port. Moreover, on the other side across theYoshino,
there was Mainakashima island which used to be a major indigo production area.
This allowed the town to flourish as a hub for distributing products such as indigo.

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“The Historic Udatsu Area”

The indigo merchants built luxurious mansions with Honkawarabuki tiling,
plastered walls, mushikomado windows, lattices, and Udatsu with dignified andmagnificent decoration. Udatsu refers to fire barriers installed on the edges ofthe second floors of buildings. Since it cost a significant amount of money to install these barriers, this gave birth to the Japanese idiom “Udatsu ga agaranai”(“there’s no sign of Udatsu”) which describe someone who is struggling to succeed in life. Even today, people continue to lovingly maintain this townscapethat once flourished with the indigo industry.
29. The Yoshida Family Residence[Mima-shi Designated Tangible Cultural Property (Building). Designated on
2nd April 1999]
The Yoshida Family Residence is an Ai-Shōnin mansion in Wakimachi-Minamimachi Preservation District for Groups of Historic Buildings of Mima-shi
or “The Historic Udatsu Area.” The Yoshidas, known by their trade name “Sanao”, was a family of great wealth that worked on distributing indigo via thewaters of the Yoshino River. From the main building facing the Minamimachi
Street towards the Yoshino River, there is a row of buildings including two

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Chapter 5: The Cultural Assets Constituting Our Japan HeritageThe Yoshida Family Residence

Shamisen mochitsuki

mortar-walled storehouses, an indigo warehouse, and an annex. To the southof the back gate next to the annex, there remains a port in complete form. All
in all, the mansion indicates what a typical Ai-Shōnin house in “The Historic
Udatsu Area” looked like during the area’s golden age. Today, the mansion is
open to the public as Designated Tangible Cultural Property of Mima-shi. The
main building is used as a venue for various events, and the indigo warehouse
houses a souvenir shop and a café.
30. Shamisen mochitsuki[Mima-shi Designated Intangible Folk-Cultural Property. Designated on 28th
December 1972]
This practice started amongst wealthy merchants including Ai-Shōnin whocame up with various ideas to liven up the end of the year through an extravagant mochitsuki (mochi rice cake pounding) event. While preparing mochi forthe coming new year, the merchants made skilled performers play the shamisen,
sing songs, and accompany the music with other instruments such as flutes,
drums, and bells. This became today’s Shamisen mochitsuki which is still practiced on special occasions such as events or the final business day of the year.

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A dyer working on the aidate process

31. Lye- fermented aidate dyeing
Aidate refers to the practice of producing liquid dye by dissolving indigo inwater. Since indigo does not dissolve in water on its own, people originally fermented Sukumo indigo dye in lye obtained from wood ash to perform the aidate
process. In the olden days, the only option people had was obviously to perform
aidate using Sukumo and natural ingredients. However, now that it is possible
to dye with non-Japanese indigo or chemicals, people started using the word
Shō-Aizome (“genuine indigo dyeing”) and Hon-Aizome (“authentic Japaneseindigo”) upon designating indigo dyeing as a Cultural Property.
Similarly, in recent years, the term “lye-fermented aidate dyeing” is used torefer to a dyeing process where aidate is performed using lye instead of chemicals. Other natural ingredients, such as wheat bran, alcohol, lime, and shell lime
can also be added to aid the fermentation. Due to the difficulty of handing down
traditional techniques that do not rely on chemical dyes and other chemicals,
lye-fermented aidate dyeing once neared extinction in the face of synthesized
and chemical indigo dyeing. Nevertheless, people today are starting to take a
fresh look at the charm of natural materials.

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A dyer working on chūsen

32. Awa-Ai chūsen[Tokushima Prefecture Designated Intangible Cultural Property. Designated on
22nd March 2018]
Awa-Ai chūsen, which started in the early Meiji period, is a type of resist-paste
dying using a mid-sized pattern paper. Using the pattern paper, the resist paste
is applied by stages to the fabric which is folded after each application step.
The fabric is then sandwiched between cloths and placed on a duckboard workbench, and liquid dye is poured from above to complete the dyeing.
The chūsen technique is for dyeing both sides of a fabric and involves inverting the pattern every 98cm. When made into a yukata (a type of kimono), thislength of 98cm allows the wearer to hide the areas where the pattern ends. The
chūsen technique is mainly used for dyeing yukata. Since the resulting fabrichas no right or wrong sides, chūsen-dyed products were found very useful backin the days when people altered and wore the same kimono for a long time.
Furushō Toshiharu, who has mastered the Awa-Ai chūsen technique, uses
wood ash lye, shell lime, lime, molasses, and hard flour for the aidate process.
Furushō’s indigo dyeing is characterized by the vivid contrast of white and indigo blue, the rich shading, and the deep and warm texture.

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Chapter 6: People and Places Passing Down Awa-Ai
Ai-Shi and dyers passing down the Awa-Ai tradition
The craftspeople of Awa, who inherited professional pride from their predecessors, are working towards building a new era.
Real Sukumo and reliable dyeing techniques come together, immortalizing
the tradition of Awa-Ai.
Ai-Shi
The traditional Sukumo production technique of Tokushima was recognizedas Japan’s National Selective Conservation Techniques in 1978 by the Agencyof Cultural Affairs. In charge of conserving the techniques is Awa-ai Seizō Gijutsu Hozonkai whose members consist of four Ai-Shi workshops. Despite thedisappearance of indigo-related jobs after the Taisho period, these craftspeople– who used to be indigo farmers, Ai-Shi, or Ai-Shōnin in the Edo and Meiji
periods – have continued their family business until today. Since Ai-Shōnin likein the olden days do not exist anymore, Ai-Shi work on the entire process fromgrowing indigo plants, processing them to make Sukumo, and selling them to
Sukumoshi (Sukumo producers) and dyers across the country.
From seeding in early March to the completion of Sukumo production in early December, an Ai-Shi’s job proceeds along with the change in nature as wellas the traditional seasonal calendar cherished by people of the past. Families
that have been aishi for generations all have their own traditions. For example,
one family says that one should move on to the next step of Sukumo production
when the ginkgo trees of the mountain seen from their window turn yellow.

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The farming and production steps are especially susceptible to the weather andenvironment, which means that they cannot do the same things on the same day
each year. In the indigo production house we visited, the head Ai-Shi worked
along with about ten craftspeople, directing them with the wisdom handed
down by their predecessors, his own experience, and intuition.
Except for the now-automated cutting and sorting of indigo plants, the present-day Sukumo production process is no different from what people did in thedays past. People spread out indigo leaves in the spacious courtyards like in theolden days. The Nedoko and estate buildings that surround the courtyard arerenovated but still looking almost exactly like when they were first built. Even
when working on the Kirikaeshi process of the indigo leaves, which are heatedto 60-70 degrees Celsius because of fermentation, Ai-Shi still continue work
barefoot with knee-length trousers. The leaves touching the bare soles are extremely hot. Regular people will not be able to handle the heat, but experienced
Ai-Shi continue their work in utter silence. This is because they uphold the

Nedoko after Sukumo production is completed77teaching handed down from their ancestors: An Ai-Shi should feel everything
through their skin as they work.
Sukumo production is a process that continues through almost the entire year.
In December, people work on shipping the Sukumo out to Kyoto, Kantō, andKyūshū as well as prepping the nedoko for the coming new year. After that,they pray to the god of the Nedoko and prepare for New Year’s celebration. The
act of giving thanks for a smooth year of Sukumo production and praying foranother fruitful year is proof of the Ai-Shi’s gratitude towards all things under
the sun and their strong desire to protect and pass down the tradition that wasestablished by their predecessors.
Dyers
The colors, textures, strength of the materials, and benefits on the skin uniqueto natural indigo dye are only achieved when real Sukumo is used by reliably
skilled dyers. One dye-production technique to achieve such results is “lye-fermented aidate.”
In “lye-fermented aidate”, lye from wood ash is added to Sukumo and left
to ferment for about a week. As the fermentation progresses and the liquid dyenears completion, if you mix the liquid with a bamboo stick, bubbles resulting
from fermentation will gather around the center of the jar. This concentrationof bubbles is called ainohana, or “indigo flowers.” Dyers check the conditionof the indigo dye through the state of the “indigo flowers”, the temperature andsliminess of the liquid, the fading of color on the skin, and the scent coming out
upon opening the lid of the indigo jar. As they dye pieces of fabric, pigments
are taken from the dye liquid inside the indigo jar. Since using up the pigments
entirely will weaken the indigo, they need to let the indigo rest before that happens. After resting, the dyers will adjust the liquid dye with lime and shell lime.
They resume dyeing when the color starts comes back. Fermentation happens
thanks to microbes, which means that liquid dye is alive. To deal with a living
creature that is liquid dye, a dyer needs to have solid techniques.
A dyer’s job is to elevate the Sukumo received from Ai-Shi to the best liquid
dye possible. They put their all into the task of dyeing with indigo.

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Chapter 6: People and Places Passing Down Awa-Ai

“Indigo flowers” floating in indigo jars

Pieces of fabric dyed with Awa-Ai

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Ai-no-Yakata

Visit Ai-Yashiki estates and museums to learn about the history
Here are some museums and cultural facilities where you can learn about the
profundity of Awa-Ai culture as well its history.
⚫“Ai-no-Yakata” Aizumi Town History Museum
A museum where you can learn about the history of indigo dye making. The
museum neighbors the Ai-Yashiki estate of the Okumuras, an indigo merchantfamily, where you can see the tools and Nedoko buildings that were used in reallife as well as the inside of the mansion. You can also try indigo-dyeing handkerchiefs and scarfs yourself.
Hours: 9:00-17:00
Closed: Tuesdays (except national holidays), between 28th December and 1st
January
Admission: Adults – 300yen / Junior high and high school students – 200yen /Elementary school students – 150yen / Infants – free
Address: 172 Tokumei-aza Maezunishi, Aizumi-chō, Itano-gun. 771-1212

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Chapter 6: People and Places Passing Down Awa-AiMima Tourism Center⚫Mima Tourism Center
A tourist facility in “The Historic Udatsu Area” where you can try indigo
dyeing and Japanese traditional parasol making. The facility also houses a
restaurant that servers dishes made with local produce.
Hours: 9:00-17:00
Closed: Every second Wednesday of the month
Address: 45-1 Wakimachi Ōaza Wakimachi, Mima-shi, Tokushima. 7793610

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WAZA NO YAKATA⚫WAZA NO YAKATA
Kamiita-chō boasts the biggest acreage for indigo and is the biggest producer
and shipper of Sukumo dye. Located in such a town, the WAZA NO YAKATA
facility houses a workshop where visitors can try indigo-dyeing and an exhibition on indigo. Additionally, there is a closed-type LED plant factory on thefacility grounds where you can learn about cutting-edge Awa-Ai production.
Hours: 9:00-17:00 (indigo dyeing desk closes at 15:30)
Closed: Mondays (Tuesdays if Monday falls on a national holiday), New
Year holidays (29th December – 3rd January)
Address: 32-4 Izumidani-aza Harahigashi, Kamiita-chō, Itano-gun,Tokushima.
771-1310
Cultural facilities about cultures and arts brought about by Awa-Ai⚫Tokushima Prefectural Awa Jūrōbē Yashiki
A facility where you can enjoy Awa-Ningyō-Jōruri, Japan’s Nationally Designated Important Intangible Folk-Cultural Property. In addition to regular performances held every day, there are special performances featuring a variety of82

Chapter 6: People and Places Passing Down Awa-Ai

Tokushima Prefectural Awa Jūrōbē Yashiki

A Jōruri performance

programs. The facility is also home to a permanent exhibition on the history of
Awa-Ningyō-Jōruri.
Hours: 9:30-17:00 (9:30-18:00 between 1st July and 31st August)
Closed: 31st December – 3rd January
Admission: Adults – 410 yen (330 yen) / High school and university students –310 yen (250 yen) / Elementary and junior high school students –200 yen (160 yen)
*The brackets ( ) indicate rates for a group of 20 or more.
Address: 184 Miyajima-Honura, Kawauchi-chō, Tokushima-shi, Tokushima.
771-0114⚫Awa Wooden Puppet Hall
A general exhibition hall displaying approximately hundred Deko puppets
along with materials on these puppets. You can learn about the history of Deko
puppets and their mechanism.
Hours: 9:00 – 17:00
Closed: Sundays, the first and third Mondays of the month, 30th December –4th January *Temporary closings may occur

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Awaodori Kaikan

Admission: Adults – 500 yen / Students – 400 yen / Children – 300 yen
Address: 226-1 Miyajima-Honura, Kawauchi-chō, Tokushima-shi. 771-0114⚫Awa Wooden Doll Museum
A facility inside Tokushima Arts Foundation for Culture which showcases
Awa-Deko puppets and Ningyō Jōruri. The number of materials owned by themuseum – more than 600 in total – is one of the largest in the country. Enjoy
narrative-centered exhibitions, including the one about Awa-Nōson-Butai playhouses.
Hours: 9:30-17:00
Closed: 29th December – 3rd January (plus temporary closings once every
two months)
Admission: Free
Address: 2-14 Aibachō, Tokushima-shi, Tokushima. 770-0835⚫Awaodori Kaikan
A facility where visitors can enjoy Awa-Odori throughout the year. AwaOdori performances are held every day in the Awa-Odori Hall – you can even84

Chapter 6: People and Places Passing Down Awa-Aidance along with the performers. Other attractions include a museum where
you can learn about the history and culture of Awa-Odori, a shop selling souvenirs from around the prefecture, and a cable car station.
Hours: Awa-Odori Museum: 9:00-17:00
Awa Odori Hall: 11:00-21:00 (depending on the performance schedule)
Admission: Awa Odori Museum: Adults – 300 yen / Elementary and juniorhigh school students – free
Awa Odori Hall: Adults – 800-1,000 yen / Elementary and junior high school
students – 400-500 yen *Different between performances
Address: 2-20 Shinmachibashi, Tokushima-shi, Tokushima. 770-0904⚫Tokushima Castle Museum
A museum exhibiting historical materials regarding the Tokushima Domain
and the Hachisuka family. The permanent exhibition displays significant cultural assets such as a restored model of the Tokushima Castle’s state chamber, art
materials related to the Hachisuka family and Awa, and more.
Hours: 9:30-17:00
Closed: Mondays (except for national holidays), the day after national holidays (except for Sundays and national holidays), the New Year holidays
Admission: Adults – 300 yen / High school and university students – 200 yen/ Junior high school students and younger – free*Fees for special exhibitions not included.
Address: 1-8 Tokushima-chō Jōnai, Tokushima-shi, Tokushima. 770-0851

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Written and Produced by
Promotion Council for “Ai no Furusato Awa(Awa-the home of Ai)”
Translated byMana Sato

Japan Heritage Storybook

Awa - The Home of “Ai” Searching for the Supreme Blue of Japanese indigo
Tokushima Prefecture (Tokushima-Shi, Yoshinogawa-Shi, Awa-Shi, Mima-Shi, Ishii-Chō,
Kitajima-Chō, Aizumi-Chō, Itano-Chō, Kamiita-Chō)

Supervised by Promotion Council for “Ai no Furusato Awa (Awa-the home of Ai)”
Published by Promotion Council for “Ai no Furusato Awa (Awa-the home of Ai)”
Contact information Social Education Division,
Aizumi Town Board of Education ☎️ 088-637-3128