KUMANOFUDE
Artisans
熊野筆伝統工芸士

2024

Colophon
KUMANOFUDE Business Cooperativen
Cooperation
KUMANOFUDE Traditional Craftspersons’ Association
KUMANOFUDE Master Association
3-13-19 Nakamizo Kumano-cho,Aki-gun, Hiroshima-ken 731-4214 Japan
URL

http://www.kumanofude.or.jp/

TEL+81-82-854-0074

All rights reserved.

Usui Shinko ・・・・・・・

01

Aratani Jyosyu ・・・・・・

03

Niimoto Seiken

・・・・・

05

Sanemori Tokuzen

・・・・

07

・・・・・・

09

Kagawa Suikou ・・・・・・

11

Kotorida Koyu ・・・・・・

13

・・・・・

15

Katahira Yutetsu ・・・・・

17

・・・・・

19

Teragauchi Yusui ・・・・・

21

Okubo Jyunkei ・・・・・・

23

Nakagawa Seiho ・・・・・

25

Nanbu Touei

Minato Gosetsu
Sanemori Tokuo

KUMANOFUDE Artisans, the pride of Kumano
Kumanocho, Akigun, Hiroshima prefecture is a well-

Brush-related work continues from the generation to

known brush production area, boasting the highest

generation brush making traditions. Traditional skills

production volume in Japan. About 10% of the residents

would disappear if they were not handed from one

in Kumanocho (Kumano Town) work in brush related

generation to the next. For preserving and passing on

industries. Brushes are closely connected with the lives

these skills, the KUMANOFUDE Business Cooperativeof Kumano residents. There are brush material traders,has committed itself to the certification of Traditional

brush manufacturing companies, brush distributors,

Craftspersons and nurturing future generations. We

people writing with brushes, people drawing with brush-

published this booklet with expectations of nurturing

es, and Fudeshi (Brush makers). Fudeshi at the highest

successors in future generations by passing on the skills

professional level are Traditional Craftspersons.

and thoughts of the Traditional Craftspersons.

She hopes to create peace with Japanesebrushes that supported people’s lives after
the wars.

Usui Shinko

Certified as Traditional Craftsperson on
December 11, 1981

Shinko’s Present

work, Bokutoryu, released in 1950, is a favorite of pro-

Shinko quickly but carefully sorts raw material hair withhair absorbs the ink and allows brushstrokes to adjust

the remaining animal skins and says, “The right brush is

the right amount of ink. Proficient skills are required

found for every hair at the stage of natural hair.”to make Bokutoryu using fine, thin hair that is often re-

fessional calligraphers as the brush is soft, and the thin

moved and discarded by an inexperienced Fudeshi during
The quality of a brush depends on the initial prepara-

the process to remove the hair facing wrong direction

tion work for making a brush including Senmo,* whichand damaged. Even though only a limited number of cal-is a process to sort hair by length and texture. Shinko isligraphers can skillfully use Bokutoryu due to its extreme-

skilled at making goat hair brushes. Her representative

ly soft texture, the brush has a strong following.

01*Senmo: the process of selecting high quality hair appropriate for a brush from natural hair

Shinko’s Past

by information from communication equipment but also

Finishing middle school, Shinko began working at a stu-

so as to create harmony,” Shinko says.

by their moving hands to write letters or draw pictures

dio excelling in goat hair brushes. She learned how tohandle hair. As trainees at that time had no way to learn
other than observing and imitating skilled professionals,
she had some difficulties. Shinko supported herself making brushes during the postwar period when people inJapan had extreme supply shortages.
The KUMANOFUDE was certified by the government as
Traditional Crafts in 1975, and Shinko had sufficient experience and technique but could not take the certification exam because she was a woman. Despite the adverse
circumstances, she became the first woman certified as
Traditional Craftsperson in 1981.
Her words carry considerable weight for the generation“I might have been competitive when I was younger,”that experienced the war. Shinko has made a variety

she smilingly says.

of proposals such as planting flowers and introducing
English signs on the premises of Fudenosato Kobo, which

Shinko has step by step created a foothold in the brushhas activities and events in Kumano, and establishing an

making environment with her ability to facilitate othereducational system for nurturing future generation suc-

women entering the male-centered Fudeshi world.

cessors.
“Decades of effort are required to do something well,”she says.
Shinko supports the future of brush making by continuing grassroots activities while making high-quality
brushes.

Shinko’s Future
Since certified as Traditional Craftsperson, Shinko hascommitted herself to activities for disseminating thebenefits of KUMANOFUDE. Visiting various countries
to include the United Kingdom, the United States, andFrance for promotion activities, she felt the breadth of
the world.
“I hope that people around the world are linked not only

02The heart of KUMANOFUDE lies in the
traditional calligraphy brushes. Craftedfrom select hairs, brushes deliver “Exceptional writing performance”

Aratani Jyosyu

Certified as Traditional Craftsperson on
February 25, 1994

Jyosyu’s Present

hair preparation process at his studio by rarely using

Jyosyu focuses on making brushes by being carefully incame to better understand brush quality as he worked,

tune with a calligrapher’s writing style. He starts withresulting in further enhancing the quality of his brush,attentive listening to the calligrapher or brush whole-although the quantity of brushes he makes has de-saler with the order from the calligrapher about thecreased. Jyosyu repeatedly runs a brush tip on the basedesired writing style and strokes. A brush with a strongof his thumb to check and remove the hair facing wrong

resiliencet slightly under the brush tip has been recent-direction and damaged.

Sokumo,* which is already prepared and bundled hair. He

ly growing in demand. To precisely address customer
demand, Jyosyu undertakes brush making from the03“I am confirming the writing feel. It takes around thirty*Sokumo: prepared hair purchased in a bundled stateyears to make a brush with perfect writing feel,” he smilingly says.

Jyosyu’s Past
Jyosyu has been involved in brush making since he was achild when he helped his father, a Fudeshi. He began towork at the studio in his home after finishing junior highschool. When he was young, he thrived on late hours
and would sometimes fall asleep at his work in the studio. When he fell asleep, he felt his father’s whack from acomb, one of the brush making tools. Instructions froma brush production area.

his father or from a brush wholesaler did not always
convince him what to do, but Jyosyu obediently followed

Jyosyu has taught brush making to many apprentices,

their instructions and gradually mastered the skills andbut only a small number of those apprentices could

began to enjoy brush making.

become full-fledged Fudeshi. Whether or not someone
can succeed as a Fudeshi is revealed only after a decade

Jyosyu was certified as Traditional Craftsperson in hisof training in the craftsperson world. Only those loving

fifties. Several years after certification, he became sen-

the work can continue to do it and do it well. Jyosyu cansitive to making a brush that matched the user’s writing

give the important core skills he gained through his longstyle. For a long time he served as the chairman of theyears of experience to the apprentices he recognizes

KUMANOFUDE Traditional Craftspersons’ Association.

as his successors. He does hope that apprentices in theThat meant he often appeared in the media to promote

training workshop become full-fledged Fudeshi.

KUMANOFUDE.

Jyosyu’s Future
Jyosyu is an instructor at the calligraphy brush making
technique training workshop for nurturing successors.
Although makeup and paint brushes are also important, he thinks KUMANOFUDE are based on calligraphy
brushes. He strongly hopes that the attractiveness of calligraphy and calligraphy brushes will be widely disseminated and that Kumano Town will continue to evolve as

04

He faces the brush without compromise
and keeps pursuing the best workmanship.

Niimoto Seiken
Certified as Traditional Craftsperson on
February 25, 1994

Seiken’s Present

processes he followed during the day in his mind in bed“Brush making is a battle against myself and my life. I

among the 73 processes, he cannot help but go back tohave consistently made efforts to improve my skills. I

the studio at four in the morning to correct the brushthink I can achieve a satisfactory brush every time I com-and make it perfect.

every night. If he finds even one less than ideal processplete a brush,” Seiken says with a soft smile.
Seiken makes each brush for a specific individual whenOnce beginning his work, Seiken’s expression changes

he gets an order from a brush wholesaler or calligrapher.

to seriousness. He always does his best in brush mak-He has earned high trust for his superb skill in achieving

ing without compromising. He replays one by one thethe same comfortable writing feel even when the natural05

hair have changed.

the calligraphy brush making technique training workshop hosted by KUMANOFUDE Business Cooperative,

Seiken’s Past

but it takes longer to nurture Fudeshi skilled at making

While dedicating himself to brush making, he had ana young Fudeshi, for example, to shorten a bit of a brush

opportunity to work at something else. After finishingpart, Seiken is asked why, but explaining is difficult as his

junior high school, Seiken continued brush making

advice is based on his experience and intuition.

a satisfactory brush for calligraphers. When he advises

training for a decade on the recommendation of his father, a Fudeshi. He married young, and after marriage, hebegan working in a private company to support his family. He continued there for 17 years and then returned to
Kumano Town after his father’s death and started work
again as a Fudeshi. Three years later, he was able to makea superb mass-produced brush but could not yet achievea brush meeting calligrapher demands. With tears offrustration in his eyes, he told the brush wholesaler, hisclient, that he would leave brush making. The wholesaler suggested Seiken to learn under a Fudeshi in Sendai.
What Seiken relearned from the master in Sendai wastechniques and strategies he had learned from his father,giving him a chance to review his father’s teachings.

“So was I, when learning brush making. Some are expected to naturally understand the reasons for my advice
when they reach the next higher level. I want to nurturesuch Fudeshi into full-fledged craftspersons,” Seiken says.
His challenge will continue.

Seiken’s Future
Seiken continued to send his brushes to the master in
Sendai to have his brushes evaluated for two years after
he returned to Kumano Town from Sendai.
“When the master said that my brush was satisfactory, I
was so happy,” Seiken says.
Seiken’s next challenge is nurturing successors. He takes
apprentices and provides guidance to young Fudeshi at

06

What and how to pass on to the next generation in a brush-crafter family line overgenerations.

Sanemori Tokuzen
Certified as Traditional Craftsperson on
February 25, 2000

Tokuzen’s Present

more difficult to get. Enjoying golf, fishing, baseball and“The quality of a brush is understood only after using it.

absorbed in something he is interested in, which contrib-

I hope you first use a brush to know what kind matches

utes to his disciplined brush making.

softball, Tokuzen has a wide range of interests and gets

your needs, so then you can select the right brush foryourself,” Tokuzen says.

Remembering his father’s words, “Fudeshi learning calligraphy tend to make a brush matching his own prefer-

He has tried for 20 years to recreate the inherent writ-ence,” Tokuzen has been eager to make brushes appro-ing feeling of a brush using various measures in Senmo

priate for those using the brush.

and Kegumi,* when the natural hair gradually became

07*Kegumi: process to combine the correct amount of hair selected in the Senmo processHe makes all brush sizes from small to exceptionallylarge. As only a few brush makers can make large brushes, he often gets orders for large. He frequently appears
in the media as the chairman of KUMANOFUDE Traditional Craftspersons’Association and makes efforts topromote his craft and Kumano Town.

Tokuzen’s Past
Tokuzen was born into a brush making family with astudio inherited from his grandfather. His grandfather
would often hold Tokuzen in his lap. When his grandfa-

from his university and has earned certification as Tra-

ther fell and died, Tokuzen felt that inheriting a family

ditional Craftsperson due to the change allowing morebusiness was his future. He decided to become a Fudeshi.

than one member of a family to have certification.

Although he thought his eventual future was as a Fudeshi,
he loved making things and got a job at a major automo-

Tokuzen places expectations on his son and says, “I amtive manufacturer after finishing a machinery course atlooking forward to seeing his challenges. He has some

his high school. Tokuzen worked in engine development

ways of thinking differently from me, but I hope he tries

and made efforts towards high-quality products by sug-things. I want to watch over his growth without interfer-

gesting improvements for some of the processes.

ing by following my father’s approach to teaching.”
Increasing the number of brush users is important forcontinuing and maintaining brush making tradition.
Tokuzen thinks that grassroots activities that increase
opportunities for children to become familiar withbrushes are required so that many people become interested in calligraphy.
Children participating in the brush making experience
program often say, “I keep this brush as my treasure,” or“I will keep this brush without using it.” On such an occasion, he tells them, “A brush is a writing tool and thetrue value of the brush is understood only after using it.

He left his automotive job after three years and became

So please use it.”a brush maker. His father placed importance on learning by observing and corrected him only when he waswrong. Tokuzen had to grope for better skills requiredfor brush making. The custom then was only one Traditional Craftsperson in a family. Tokuzen could not becertified as Traditional Craftsperson until two years after
his father’s death.

Tokuzen’s Future
One of Tokuzen’s sons became a Fudeshi after graduating08

He is specialized in goat hair, which his master was greatat. Brush-craftmanship with Karate skills, which he has
been training, waking up at 3 am.

Nanbu Touei

Certified as Traditional Craftsperson on
February 25, 2000

Touei’s Present

eighties.

Touei is known for goat hair brushes with a gentle writ-

He can break eight to ten roof tiles with his hand, anding feeling. Orders to his studio are mostly for goat hair

he enjoys playing tennis. The master of the studio wherebrushes. The brush tip is a vital part of the goat hair

he learned brush making is also dedicated to goat hairbrush. He purposefully works in the process to remove

brushes and advised him to use finger strength in karate

downward-pointing or worn hair. Since he was young,training for Kemomi.* Deft kneading in Kemomi is unique

Touei has continued a daily routine of practicing Karate

to Touei. He also researches other than traditional brush

Kata for three hours from three o’clock every morning

making using boar hair or dyeing white goat hair brownto keep up his strength for making brushes even in his

using onion skin.

09*Kemomi: process to iron out raw material hair sprinkled with ashes of rice straw and to scratch the surface of the ironed hair by kneading to
remove oil and make the hair absorb a sufficient amount of ink

Touei’s Past

tained thanks to brush manufacturing companies en-“Friends in my childhood did part-time brush making

However, only individuals able to execute all processes ofwork after school,” Touei says.

brush making themselves can be certified as Traditional

abling mass production using a division of labor system.

Craftsperson.
Touei is the third generation in his family-operated
brush making studio and grew up closely watching brushmaking. He got a job at a manufacturing company afterworking as an apprentice under a Traditional Craftsperson for a several years. Touei had a reputation forbeing second to none in cutting a thick iron plate at the
manufacturing company because he so decisively cuts
the plate. He left the manufacturing job when he was in
his thirties and returned to the world of brush making
when an acquaintance offered him a job. Thanks to hischildhood experiences, he easily returned to brush making. Continuing training for ten or so years, he became
skilled at making quality brushes and is highly evaluatedby calligraphers and brush wholesalers.

“Taking new apprentices now and in the future is difficult for me, but I want to support young Fudeshi andtheir efforts to become a Traditional Craftsperson. I
hope all of Kumano flourishes,” he says with expectations.

Touei’s Future“What is required of me is a goat hair brush. I want tocontinue carefully making high-quality goat hair brushes
meeting calligrapher expectations,” Touei says.
Although new materials and new methods for brushmaking have emerged with advances in scientific technology, Touei places absolute trust in the traditional
techniques inherited and cultivated over time by many
craftspersons.
The market share of KUMANOFUDE has been main-

10She found a skill that would last a lifetime
after raising her children and works hardto hear that “this is the best brush ever.”Kagawa Suikou
Certified as Traditional Craftsperson on
February 25, 2007

Suikou’s Present

Suikou has tried to make new types of brushes by mixing

Suikou’s representative work is Ryokufu, which was re-es using peacock, ostrich, or swan feathers in response

leased in commemoration of her certification as Tradi-

calligrapher demands. After a decade of training, Suikou

tional Craftsperson. Suikou is skilled at handling goatacquired the techniques necessary to make the desired

hair. Ryokufu, made of soft goat hair, is combined withbrushes, finding enjoyment in her brush making work.

boar hair into Amao (horse tail hair) or specialty brush-a bit of Sambar deer bristles to absorb sufficient ink.
Ryokufu has sufficient resilience. Consequently, Ryokufu is“The more effort I make, the more favorable reaction I

easy to handle and popular. Not a few devotees use thiscan get from users. Making brushes is rewarding,” shebrush for ink brush painting. Besides regular products,

says and devotes herself to the work.

11

Suikou’s Past

“I enjoy working and want to continue and take care of

Suikou’s mother was a Fudeshi and as a child, she helped

my health and stay physically sharp so I can continue. I

her mother’s work. As she liked making things, Suikou

want to nurture the young until they become full-fledged

studied at a dressmaking school and became a dress-

brush makers,” says Suikou.

maker. After marriage and children, she sought work
she could do while raising the children. She got a job ata brush manufacturing company when she was 35 andcontinues working at the same company. Initially she
worked as directed and developed and accumulated skills
in combining different types of hair and reproducing theappearance and writing feel of her brushes.
The messages surrounding her at work were, “Factory
workers in the company can engage only in a part ofbrush making processes, so it is difficult to become a
Traditional Craftsperson,” but she could acquire certification due partly to the policy of the company to nurturea Fudeshi.

In Kumano Town, calligraphy class starts for first gradersin elementary school and all fourth graders experience

Suikou improved her skills from a sense of responsibility

brush making. A brush has been a familiar item for Suik-as Traditional Craftsperson.

ou.

As her father had said, “No one can steal skills you“Although the population of the town has decreased andlearned with your hands.”

the number of Fudeshi is also decreasing, I want to maintain the culture centering on KUMANOFUDE forever by

Suikou was able to develop her brush making career.

managing to achieve a proper balance,” she says hopefully.

Suikou’s Future
Suikou instructs young Fudeshi and continues making
brushes every day. In addition to two female Fudeshi, amale Fudeshi has recently joined the company.

12

From a 60-year-old trainee to a Traditional
Craftsperson. His mission is to promote thecharm of KUMANOFUDE.

Kotorida Koyu

Certified as Traditional Craftsperson on
February 25, 2007

Koyu’s Present

As a good brush cannot be made from hair in poor

“The core of brush making is Senmo,” Koyu says.

essential for growth as a Fudeshi. Koyu’s ideal brush has

condition, developing an eye for selecting better hair is
the writing feel of a weasel-hair brush that is easy for

Koyu stands out as being strongly built. After finishingcalligraphy beginners and professionals to handle. He

junior high school, he dedicated himself to Sumo andbelieves that making such a brush requires imagination

Judo training and participated in a national Sumo tour-

and creativity in the combination of hair and handles.

nament. Koyu says he can take advantage of his experience in person-to-person sports in brush making.

“I keep in mind that I make the right brush for a user byconsidering the user’s feelings based on their requests,

13such as a little thinner, harder, or softer brush,” he says
as he manages a delicate task.

Koyu’s Past
Koyu’s father went to Manchuria during the war. He wasdetained and died in Siberia. His mother raised threechildren while making brushes in her family business.
Koyu was the oldest son and took the lead in helping
with domestic chores and brush making. Although he isa well-built athlete, he has committed himself every day
to delicate basic processes such as Kemomi and Kushinuki*
since he was in junior high school.

is an important mission of the Traditional Craftsperson.
He meets many celebrities in political and business cir-

Koyu began working at a major automobile manufac-

cles and hands them his business card to promote KU-

turer at age 21 and resigned at age 55 for his dream of

MANOFUDE. He became aware of the global situation

becoming a Fudeshi. He got a part-time job at a brushwhile abroad with the company representative to pur-manufacturing company and was promoted to a full-chase and promote the culture of brushes with associates

time position two years later after being recognized asof Fudeshi in various countries. Koyu places high hopesa steady worker. He restarted brush making for the firston the development of artificial hair in view of the short-time in a few decades. His hands remembered the knackage of natural hair. He suggests looking for methods infor brush making he had learned. Koyu observed andline with the times and not following what he calls thesimulated the techniques of the company representative

traditions connected with common sense.

he respected. Hating to not get what he wanted, he madeextra effort and was certified as Traditional Craftsperson“It is too late to develop artificial hair when natural hairat age 68.

cannot be obtained. We should act by looking ahead,”he says.
He believes now is the time to change for the future.

Koyu’s Future
Koyu deeply loves his hometown, Kumano, and says, “I
want to do everything to contribute to the town.”
He believes that making KUMANOFUDE better known*Kushinuki: process to make hair easily align using a comb to untangle material hair and remove the fluff unusable for a brush14

From Kawajiri Town to Kumano Town.
Things that he found outwhile making
brushes across different production areas.

Minato Gosetsu
Certified as Traditional Craftsperson on
February 25, 2008

Gosetsu’s Present

before trimming the bundle to make a brush with a

Gosetsu carefully makes brushes by sticking to the basics

hair. Otherwise, hair remain entangled, making it neces-

and avoiding shoddy work.

sary to adjust the brush shape by changing the amountbeautiful shape formed from the minimum necessaryof hair, and that affects the writing feeling. After twenty“When the initial process, Kemomi, is not satisfactorily

or so years making brushes, he realized this fact while

executed, a brush does not absorb sufficient ink,” heobserving his father’s work, also a Fudshi. After further

says.

training when Gosetsu was in his forties, he began to seehimself as a full-fledged Fudeshi, but he got a complaint

Gosetsu always combs a hair bundle after Kemomi and15from a customer and admonished himself not to docareless work. He carefully works and realizes that eachtraining, while Fudeshi in Kumano take apprentices fromprocess of brush making has its respective meaning.

each other and teach each other skills. He hopes that
Kumano, the town where he grew up, will have more

Gosetsu’s Past

Fudeshi and flourish.

Gosetsu was born and raised in Kawajiri Town, anotherbrush production area in Hiroshima prefecture. After
finishing junior high school, he started brush making
under his father with his brother who had already started brush making training. Gosetsu struggled to learn
by observing his father’s work, but he was often in tears
and could not relax or play outside. He hit a turning
point after a decade. Invited by a brush manufacturing
company in Kumano, he moved to Kumano. His brotherbegan working for the same company. As brushes werein high demand at that time, Gosetsu had various tasks
including travelling outside Japan to purchase naturalhair and instructing factory staff. At the same time, heSome apprentices he has instructed had a good aptitudecontinued to learn by observing the work of his father infor making brushes, but it takes a decade just to acquire

his hometown and realized the importance of each pro-the skill to sort natural hair. The Kegumi skill for balanc-cess in making brushes. Supported by his company, heing the amount and length of hair can be acquired only

was certified as Traditional Craftsperson in his fifties.

by accumulating experience.
“Whether you can become independent or not depends
on you. The preference is that those capable of instructing others instruct,” Gosetsu says and puts his hopes in
the next generation.

Gosetsu’s Future“I grew up and was raised in a brush making world, so
brush making is a treasure for me. I want to continue tomake brushes that meet both my expectations and customers’ expectations,” Gosetsu says.
He achieved beyond his expectations to include becoming certified as Traditional Craftsperson. Many Fudeshi
in Kawajiri go to the other brush production areas for16

He pursued a Traditional Craftspersoncareer that headmired cool. Evolving proposals not to change the tradition.

Katahira Yutetsu
Certified as Traditional Craftsperson on
February 25, 2013

Yutetsu’s Present

price.

Yutetsu is skilled at making Kengo brushes* made by

Yutetsu makes a brush used by a high student in a cal-

blending more than ten types of hair. The desired brushligraphy class by blending hair so as to be easily handled

can be made only by understanding the characteristics

by beginners. Yutetsu had failed in blending brush hairof each hair type and understanding change in resiliencein the past and having to discard a brush without being

when blending hair. He believes that the value of a brushable to remedy the problem, but currently he has no

depends on its ability to express brushstrokes corre-such failures.

sponding to the styles of calligraphy--Kaisho, Gyosho, andSosho, or modern poems--and cannot be expressed by a17

Yutetsu finds his job rewarding and says, “The most ex*Kengo brush: a brush made by blending various hair types

citing process is designing the hair blend and making a
brush closer to my ideal brush.”

Yutetsu’s Past
Yutetsu liked making things and worked as an automobile technician. As his mother had a job related to brushmaking, he was offered work in sales by the president ofa brush wholesaler. Then he was reminded of a Traditional Craftsperson he had previously met.
When he was in elementary school, he knew that a Traditional Craftsperson in his hometown preserved the

Securing successors is often pointed out as an issue

traditional industry that was well known in Japan andin traditional crafts, but Yutetsu feels that developing

thought, “How cool! I want to become a Traditional

markets is necessary first for KUMANOFUDE. Securing

Craftsperson in the future.”markets and profit will lead to successor candidates. For
this purpose, he proposes how to sell and demonstrate

The job offer reminded him of his old dream, and hebrushes by approaching end users, which facilitates

stepped into the world of brush making. He had trouble

Fudeshi thinking and persistence in making brushes

at the beginning because he was not skillful with his fin-known.

gers, but he needed only a short time to learn the brushmaking processes. Yutetsu feels that what is important in

Yutetsu says, “Continuing to change is required to pre-brush making is intuition rather than hand dexterity.

serve and pass on traditional crafts in an unchanged
state.”The letter ‘yu’ in his pseudonym means “out-of-the-box,”
representing his thinking.

Yutetsu’s Future
Yutetsu sometimes tries to write with a brush. His father
is an assistant instructor of calligraphy.
As a brush user exists near him, he is aware of and pursues making “a brush capable of providing satisfactorybrushwork and expressing ideal brushstrokes.”

18

He hopes to create new values in suitableways to show its pure quality and challenges the very nature of the brush.

Sanemori Tokuo
Certified as Traditional Craftsperson on
February 25, 2013

Tokuo’s Present

to hold in both hands.

“Regardless of whether mass-produced or customized, aCalligraphers are often unfamiliar with hair types, so hebrush is equally evaluated by a user,” Tokuo says.

asks them about their calligraphy style and letters anddevises brush specifications by considering their feelings

Keeping this concept in mind, Tokuo makes brushes

and requirements. Tokuo focuses not only on writingby checking the model at hand to prevent inconsistentfeeling but also on the appearance and coordinates of abrush quality and repeatedly confirms the core strength

handle, Daruma* and Kotsu.*

and writing feeling. He has made various sized brushes
from a delicate small brush to an extremely large brush19“I imagine the brush as one step ahead of a task, the*Daruma: a portion fixing the head and handle of a brush*Kotsu: a portion at the end of a handle

brush as a tool beyond a tool,” he says as he creates beau-tion of his house into a gallery to always display various

tiful brushes able to excite users just by picking them up.

types of brushes achieving both a writing feeling andappearance. Japanese miscellaneous goods such as um-

Tokuo’s Pastbrellas and bamboo baskets for ornamental purposes

The Sanemori family has a time-honored brush making

as luxury interior items, which Tokuo considered as hestudio established by Tokuo’s great-grandfather, Sirou,

created ways of showcasing.

are popular outside Japan. Brushes also have potential

in 1907. Familiar with brush making from childhood,
Tokuo grew up aware of becoming a successor. He took acalligraphy class near his college when he was a student
to understand calligraphy for making brushes. Getting
acquainted with a famous calligrapher through the class
was a major turning point. Tokuo began brush making
training by asking for requests from the calligrapher.
His expanded network gave him opportunities to meetvarious types of calligraphers with different styles anddifferent preferences for brushes, leading him to focus
on making brushes tailored to users. Tokuo thought
about working at a private company but decided to train
for making brushes when he was young. He began working in the Sanemori studio immediately after finishing“I devote a great deal of time and care into making acollege and was certified as Traditional Craftsperson inbrush, which is one of a kind, and that is why I want to

his thirties.

make the brush look better. Showing children the beautyof brush making will lead to a prosperous future for KUMANOFUDE,” he says.

Tokuo’s Future
A brush made by pursuing a writing feeling has a naturalfunctional beauty and attractiveness. Tokuo began devising ways to showcase brushes through exchanges withcalligraphers and through promotion activities connected to KUMANOFUDE.
He proposed in-store display ideas and renovated a por-

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Possibilities of new materials broughtwith technological innovation. Flexibility
to discover the future of the brush.

Teragauchi Yusui
Certified as Traditional Craftsperson on
February 25, 2013

Yusui’s Present

flexibility, and brush hair can be opened or closed ac-

Good at making goat hair brushes, Yusui can make any

a major issue in the brush making industry, he has alsokind of brush on request. A Kengo brush made by blend-

used hair removed at the process of removing poor qual-

ing several types of hair requires the Nerimaze process toity hair for parts other than a brush tip as much as heblend hair by wetting and thinly spreading hair flat andcould.

cording to brushstrokes. As a shortage of natural hair isrepeatedly folding the hair. In this process, he spreads
the hair alternating from both sides so as to be evenly“Some hair is inappropriate for a brush tip but has suffi-

blended is his unique style. Yusui adjusts hair blending

cient quality for the part near the brush base. I want toand layout so that a brush has moderate resilience andappreciate and use all the natural hair we can get with-21

out wasting anything,” Yasui says.

ing, he as Traditional Craftsperson actively engages inwelcoming educational trips and offering a brush mak-Yusui’s Past

ing experience to make the attractiveness of KUMANOFUDE widely known and to pass on the culture.

Finishing an electrical course in his high school, Yusui
became an electrical worker. His uncle, who had established a brush manufacturing company, offered him a
job making brushes when Yusui was 24.
“Unlike electrical work that is completed by satisfying
the electrical standard, making better and better brushes is required in brush making,” he says.
Yusui began in the studio at eight in the morning andworked until past midnight every day during the training period. He learned brush making from his uncle. As
calligraphy brushes were high in demand at that time,the more brushes he made, the more he sold. They wereFacing the shortage of natural hair, he expects theselling like hot cakes. When the company launched pro-emergence of artificial hair achieving the writing feeling

duction of makeup brushes in anticipation of reduction

equivalent to natural hair through technical innovation.

in demand for calligraphy brushes, he was involved in

Even though he wants to pass on the skills to work withthe development of makeup brushes. Yusui retired ten

high-quality hair--weasel and goat hair--an opportunity

years after being certified as Traditional Craftsperson

to have such hair is difficult in the current situation. Yu-

but works part-time now and sometimes works at home.

sui suggests that the brush producing district may need

He is dedicated to making calligraphy brushes.

to work together in research and development for the
future.

Yusui’s Future“Each brush is made from different natural hair. That
is why I can keep trying to make a new brush all my life.
Very exciting,” Yusui says smilingly.
As the demand for brushes as a writing tool is decreas-

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Thorough verifications of typefaces of
his calligrapher clients. Ideal brushes thatare created theoretically.

Okubo Jyunkei
Certified as Traditional Craftsperson on
February 25, 2018

Jyunkei’s Present

first thoroughly researches the calligrapher’s work andSurrounded by radio sounds from a smartphone on a

calligrapher made such a request, what kind of brush-stand, Jyunkei makes brushes. Since he was young, hestrokes the calligrapher desires, or what types of hair

liked to disassemble and reassemble a vacuum-tube radio

should be blended at what ratio to achieve the desired

and a disposable camera to understand their mecha-

brushstrokes. He has made brushes he could confidently

nisms.

provide by theoretically understanding the minute de-writing style through the internet to understand why thetails of each brush. He participates in demonstrations
When Jyunkei gets a request from a calligrapher for
making part of a brush little longer or a little thicker, he

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and incorporates comments from users into his brushes.

Jyunkei’s Past

crafts to future generations, Jyunkei hopes that theAfter finishing high school, Jyunkei learned to makeexporters to secure natural hair because shortages are asmall brushes for around a year from his father who

serious issue in the brush making industry.

national government and administration approach hair

was a Traditional Craftsperson and skilled at handlingweasel hair. Then Jyunkei joined a brush manufacturing
company where he learned skills by observing the professionals around him. As he liked to make things, helearned to make various types of brushes including goat
hair brushes and Kengo brushes at a high pace by making
extra effort and repeatedly making trial models.
Getting accustomed to the work, Jyunkei conducted
research to make marketable brushes by buying or borrowing brushes from other brush producing districts orbrushes made by other companies. He worked for forty
years for the brush manufacturing company but left after being certified as Traditional Craftsperson and start-

Securing successors is a major issue for passing on brushed his own studio several years ago. He makes brushes

making culture. Jyunkei instructed young workers at theand pursues his research by disassemble and reproduc-company. Some of them were cut out for brush mak-ing a paper-covered brush that had been a major brushing but others were not. Only a few people can reach a

until the Edo era and making a brush with a handle fromcertain level. He expects the government to proactively

the stem of a Jerusalem artichoke in his studio at his

make efforts to secure natural hair for helping young

home.

Fudeshi engage in training with peace of mind.

Jyunkei’s Future
Jyunkei came to think of a brush as a tool as the foundation of the traditional culture while associating with
Traditional Craftspersons in various fields at Traditional Craftspersons’ Associations across Japan. Excellent
brushes are essential for painting lacquer crafts, ceramics, or dyed goods. To pass on a diversity of traditional

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Nakagawa Seiho
Certified as Traditional Craftsperson on
December 11, 1981

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