Kanazawa’s
Traditional Crafts

The Crown Jewelof the Kaga Domain

Kanazawa’s Traditional Crafts and their History(of which Kanazawa was a part), encouraged samurai
warriors and the general public to take up cultural activities such as Noh theatre and tea ceremony. As a result,the production of traditional craft items used for these activities, such as clothing, tools, and accessories, ﬂourished
due to subsidies by the Maeda clan.
Even in today’s changing times, the artistic cultures ofNoh, tea ceremony, and other traditional aesthetics continue to be passed down, and traditional craft items havebecome an even closer presence in peoples’daily lives.
Kanazawa’s superb traditional craft items radiate a timeless dignified beauty, and are a gorgeous decoration toaccent and enrich one’s life-style.

In Japan, long-established culture and customs have been
passed down from generation to generation, and tangible
items from those traditions have been treasured in orderto pass them on to future generations.
Even within Japan, in particular, Kanazawa establisheda foundation for tradition to be passed down. Because ofthis, Kanazawa became a place in which great artistic
skills converged, and where one could see a multitudeof traditional crafts. A potential reason for this is that in
1583, the Maeda family, who governed the Kaga Domain
1

Photo credit：The City of Kanazawa

2See and Learn about
Kanazawa’s Traditional Crafts
Kanazawa Nakamura Memorial Museum
The museum exhibits Old
Kutani Ceramic Ware tea
cups, Kaga Maki-e lacquered
tea caddies, Edo-period paintings and hanging scrolls, andfolding screens, among otherantiques related to tea. The
art works exhibited at the
Photo credit：The City of Kanazawa
museum are the personalcollection of many generations of a well-established family who resided in
Kanazawa, the Nakamuras. For a small fee, you can also enjoy matcha green
tea and Japanese confectionaries at the museum.
Address / 3-2-29 Honda-machi, Kanazawa TEL / 076-221-0751
Hours / 9:30 a.m. - 5:00 p.m.（admission until 4:30 p.m.）Closings / During
Exhibit Changes, New Year holidays (12/29 -1/3) Admission Fees / General
Admission ¥300, Senior Citizens ¥200 (free on public holidays), Student (highschool or younger) Free

C

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Kanazawa’s

1 Traditional Crafts
and their History

E

N

T

S

See and Learn

3 about Kanazawa’s
Traditional Crafts

Kaga Yuzen
5
Silk Dyeing
Kanazawa Kutani
9
Ceramic Ware
13 Kanazawa Leaf

Kanazawa
Lacquer Ware
Kanazawa
21
Buddhist Altars
Kaga
25
Embroidery
17

29 Ohi WareDATA

21st Century Museum of Contemporary Art, Kanazawa
A museum built to connect
the region’s traditions withthe future, the Kanazawa 21stCentury Museum of Contemporary Art aims to be open
to the world. The Museum
seeks to explore the cultural
Photo credit：The City of Kanazawa
exchange possibilities for traditional crafts and other forms of Japanese culture in the 21st century. With adedication to modern art, the Museum features an exhibition zone introducing
Japanese and world artists and a free public zone with permanent exhibitions.
DATA Address / 1-2-1 Hirosaka, Kanazawa TEL / 076-220-2800 Hours,
Closings, Admission Fees /【Public Zone】9:00 a.m. - 10:00 p.m., Closed during New Year holidays, Free Admission.【Exhibition Zone】10:00 a.m. - 6:00
p.m., Closed Mondays (or the following day if Monday is a holiday) and during New Year holidays, Ticketed Admission

3

30 Kaga Inlaying
31 Gongs
32 Tea Kettles
33 Paulownia Craft

Kaga Mizuhiki
String Craft
Kaga Fly
35
Fishing Lures
Futamata Washi
36(Japanese Paper)
34

37

Kaga Temari

38

Traditional Crafts
Workshops

42 Shop Guide

45

Map

4

z

Kaga Yuzen Silk Dyeing
加

賀

友

禅

Kaga Yuzen and its History
Kimonos̶a traditional Japanese ethnic costume. In
Kanazawa, a city rich with cultural activities such astea ceremony, Noh theater, and traditional dance, kimonos are not only worn during weddings, festivals, andevents, but one can also see them being worn by people
throughout their daily lives. There are different typesof kimonos for diﬀerent places and occasions, and Kaga
Yuzen kimonos in particular are worn when attending awedding, party, or other high-class events. Kaga Yuzen
has an extensive history, and it is thought that its origins
date back approximately 550 years to a dyeing techniquecalled“ume-zome.”
Subsequently, Kaga Yuzen further developed throughthe eﬀorts of a painter named Yuzensai Miyazaki. Yuzensai studied the painting style of Rimpa School painter Korin Ogata and was summoned to Kanazawa by the Kaga
Domain, where he invented various dyeing patterns.
Yuzensai was not an artist however; instead, his eﬀorts
as a designer led to the development of the Kaga Yuzen’s elegant designs.
A characteristic of Kaga Yuzen that distinguishes its patterns from that of Kyoto Yuzen is that the former’s has
a more realistic image tone. A main motif of Kaga Yuzen
is each of the four seasons“beauties of nature,”and thedesigns are skillfully and vibrantly drawn using a variety
of techniques including gradation. For example, a design
called“mushi kui,”depicts leafs that have been partiallyeaten by bugs in a highly realistic fashion. Compared to
Kyoto Yuzen, Kaga Yuzen also boasts a rich color scheme
consisting of indigo, dark red, Chinese yellow, grass green,
and antique purple. These ﬁve colors are called the“KagaGosai,”and are the foundation for Kaga Yuzen.
In recent years, Kaga Yuzen fabric has gone from only
being used in kimonos, to being used in a variety of items
such as decorative fans and tapestries. It is particularly
popular with young women.
Photo credit：Kaga Yuzen Promotion Cooperative Association

5

6

The Process of Making
Kaga Yuzen Silk Dyeing

Traditional

1 Shita-e

The Late Master :Uzan Kimura
The paper containing the design is placed
under white cloth. Next, the design is lightly
traced onto the white cloth using a paint brushthat has been dipped into dye made from a
blue ﬂower called a dayﬂower.

「「Yuzenkimono decorated with ﬂowers andbirds」
Collection：Kanazawa Nakamura
Memorial Museum
A Yuzen kimono designedby Uzan Kimura, a Kaga
Yuzen master designated asa National Living Treasure in
1955.The kimono skillfully illustrates contrasts between
shades of colors using aunique technique.

▼

2 Nori-oki /Ji-ire
Rice paste is adhered along the lines thatwere drawn using the ink from the blue ﬂower.
Because these parts of the fabric will become
white lines at the end of the Yuzen production
process, this is a delicate process.

Contemporary▼

3 Sai-shiki
Color is added to the areas within the lines
where the paste was adhered using a variety
of brushes.

Kenji Maida「Visiting kimono witha design of plum blos-rs」
s」
soms and other ﬂowers」▼

4 Ji-zome
The color added during the sai-shiki process
is covered with paste to keep the backgroundcolor from entering its area, and then the entire bolt of fabric’s background is painted in
one shot with a brush.

▼

Hideki Yada

5 Mizu-arai
The fabric is steamed for 30 to 90 minutes in a
box that is approximately 100℃ to set the dye.
Afterwards, it is washed in water in order toremove the previously adhered paste and anyother impurities. Traditionally, this step was
performed in rivers, however it is now performed in an artiﬁcial river made from pumped
up well water.

7

Kaga Yuzen Promotionon
Cooperative Associationn
A realistically designed visitsitsly
ing kimono with luxuriously
ers.
decorated seasonal ﬂowers.

「Black Formal Kimono
with a design of Kenrokuen garden and aplum grove」
Kaga Yuzen Promotion
Cooperative Association
A black formal kimono typical of Kanazawa depicting
Kenrokuen garden’s characteristic winter scenery,
yukitsuri.

8Kanazawa Kutani
C e r a m i c Wa r e

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九

谷

Manufacturered by Kaburaki「Wine glass with gold decoration」
Kozan the 1st「Beautiful Woman with
Blooming Flowers」
Kataoka Kozan-do

A portrayal of a beautiful woman loved by its
western collector.“Beautiful Woman with Blooming Flowers”by Kozan the 1st

Kanazawa Kutani Ceramic
Ware and its History
Approximately 350 years ago, a type of ceramic warecalled“Old Kutani”was produced in the Kaga region of Ishikawa prefecture, however, after 50 years its production wasceased. In order to try to revitalize its production, the Kaga
Domain summoned Kyoto pottery master Mokubei Aoki toopen a kiln in Kanazawa in 1806. This event marks the beginning of Kanazawa Kutani Ceramic ware.
Mokubei Aoki formed the new works by blending the clay
used in the Old Kutani ceramic ware with clay made from
Kanazawa’s soil. Exquisite new designs were created that
included Chinese-style drawings of birds and ﬂowers using
a palate of green, yellow, red, purple, and indigo, and works
that were completely embroidered in gold. From that time
onward, Kanazawa’s Kutani Ceramic Ware culture flourished thanks to backing from the Kaga Domain.
9

Kutani-yaki Kaburaki Shoho
A wine glass with gold decoration. The printed ﬁgures on the glass were made by Kingyoku Nakata,a foremost leader in the traditional Kutaniceramic
ware technique called“ao-chibu.”

After Japan ended its policy of isolation in 1853, Kanazawa
Kutani Ceramic Ware was actively sent to domestic andinternational exhibitions. Kutani ceramic ware enjoyed highpopularity abroad due to its glitziness and beautiful decadentdesigns, and it became exported under the name of“Japan
Kutani.”In addition to the many artistic styles and traditions created by Mokubei, such as“aka-e kinsai,”“kin-ran-te,”and“hana-zume,”that continue to be used up until the present,
a number of artists today have created a variety of novel
Kanazawa Kutani Ceramic Ware designs. In recent years, inconjunction with the westernization of the Japanese lifestyle,Kanazawa Kutani Ceramic Ware has shifted from designs
that fit Japanese tatami mat rooms to plates and utensils
that go well with western-style dining rooms. Modern items,
such as Kutani ceramic ware wine glasses, take the user into
consideration in their form, color, pattern, and usage, andgive Kanazawa Kutani Ceramic Ware a new breath of life.

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The
Processof Making
金沢九谷の
金
沢九
谷の工程
Kanazawa Kutani Ceramic Ware

Traditional

1 Seikei
Pottery stone is ground into powder, upon which
it is turned into clay. The seikei process entails
taking the clay and shaping its design. This process can be done a variety of different ways,
including“rokuro seikei,”which uses a potter’s
wheel,“ikomi sekei,”which involves creating thedesign by casting, and“te-bineri,”which involves
forming the clay by hand.

▼

2 Suyaki
The shaped clay is fired in an approximately
800℃ kiln for eight hours. The fired clay iscalled“suji.”Suito Shimizu「Gyokuro (highest-quality) tea set decorated
with golden arabesque pattern」
Kataoka Kozan-do
A work by the late master
Suito Shimizu. A detailed
arabesque pattern adds
a commanding flair to thistea set, amply decorated
with gold leaf. Many works
attesting to Suito Shimizu’spainting abilijt y remain
including ones with depictions
of“beauties of nature”andlandscapes.

Bizan Shimizu「An orthodox ﬂower vasewith a realistic goldenchrysanthemum pattern」
Kutani-yaki Moroe-yaThis work is an orthodox
flower vase with a realistic
golden chrysanthemum pattern.

▼

3 Shita-e Tsuke▼

Contemporary
Shigetoshi Oka

The shita-e tsuke process entails drawing arough copy of the design on the ﬁred clay using
a liquid called“some-tsuke gosu.”The primary
component in this liquid is cobalt oxide. After being ﬁred, the liquid will turn indigo.
After this, glaze is applied to the surface and thepiece is ﬁred in a high-ﬁre kiln called a“hon-gama.”
After being ﬁred, the glaze becomes glassy, andit covers the ceramic ware with a beautiful luster.

「Blue pentagonal bowl」
Hokusan-doThis picture depicts blue
porcelain that has beenﬁred at high temperatures. A
minute quantity of iron has
been added to the enamel.
The work has a supple
beauty and unique warmth.

4 Uwa-e Tsuke

Kasui Okanemasa
K
「
「Sake
cup decorated with wild ﬂowers
eencompassed
by decorative patterns」
K
Kutani-yaki
Kaburaki Shoho
This sake cup acknowledges theT
traditionof Kutani’s five establishedtccolors, while also having a new fresh
design consisting of wild ﬂowers.
d

Iro-e

Kin-mori

Aka-e Sai-byo

Using the above three steps, a design is painted on top of the shita-e withvarious brushes using pigment that will come to prominence after being ﬁred.
After the pigment dries, the pottery is ﬁred at 800℃ to 1000℃ in a kiln called
an“uwa-e-gama.”The pigments, which are not prominent before ﬁring, melt andbecome glassy, and come to the surface with gorgeous coloration.

11

Shozan Yoshida× Machiko Maeda「Necklace with egret design」
Kutani-yaki Moroe-yaThis piece was created in a collaboration between famous Kutaniceramic
ware artist Katsuzan Yoshida andMachiko Maeda, an up-and-coming
metal smith.

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Kanazawa

Leaf

金

沢

箔

Photo credit：Hakuichi Main store： Hakuko-Kan

Kanazawa Leaf and its History
It is believed that the production of gold leaf began in
Kanazawa around 400 years ago. In 1696, the production ofgold leaf was banned outside of Edo (present-day Tokyo)
and Kyoto, but it is thought that the Kaga Domain secretly
continued gold leaf production during this time. When theban on gold leaf production was lifted in 1864, the Kaga
Domain was able to openly produce gold leaf, at which
point they were able to greatly develop its quality and expand the amount produced. After the Samurai era ended,
Kanazawa’s high-quality gold leaf took the place of Edo’s
gold leaf, the only gold leaf known to the world until thattime, at a great number of markets, and it currently holds
99% of Japan’s domestic gold leaf market.
In addition to the high skills of the gold leaf craftsmen,
it is thought that Kanazawa’s climate, which is ﬁtting forgold leaf production with its frequent rain and snow, is13

one factor why Kanazawa’s gold leaf ’s quality is superb.
It is also a key point that gold leaf is stretched to
1/10000mm thin. The gold leaf is sandwiched between
sheets of washi (Japanese paper) and tied into a bundle,
where it is pounded and stretched by a mechanical hammer in a process called“haku-uchi.”Washi is anotherspecialty product of Kanazawa, and is a traditional craft
which has passed down for generations. The washi issoaked in a mixture consisting of ash lye, persimmon juice
and eggs, and then struck and dried out. This process isrepeated to create a thin membrane, which gives the goldleaf sandwiched in between it a soft luster and smoothness.
Gold leaf has been used since old times in buildingssuch as temples and shrines, Buddhist statues, and Buddhist altar articles, among other things. In recent years its
versatility has increased, with it being used not only as abuilding material, but also in interiors and for accessories.

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The Process of Making
Kanazawa Leaf
1 Nobe-kin
A gold alloy containing trace amountsof silver and copper is put througha rolling machine many times where
it is stretched into a belt shape. At
this stage, the alloy becomes 5 to
6/100mm thin.

Set of picture panels with gold leaf decoration(copy of red and white plum trees painted by Korin)
Hakuichi Main store：Hakuko-kan
This set of three pictures panels borrows the designfrom Korin Ogata’s* national treasure“Red Prunis anddeWhite Prunis”folding screen as its motif. The design
is carefully drawn out in gold leaf.
ago* A painter who was active around 300 years ago.

▼

2 Hiki-ire▼

Before the step hiki-ire begins, four steps are
performed: kami-shikomi (the preparation of thepapers), zumi-uchi (the pounding of the nobe-kin),
shi-tate (presentation), kami-shikomi (the selection of
the papers). In these steps, the alloy from the nobekin is sandwiched between sheets of washi and isrepeatedly struck by a hammer. The hiki-ire step
involves taking the newly 3/1000mm thin gold foil
and putting it in between uchi-kami (pounding paper)so it can be made 2/10000 to 1/10000mm thin.

3 Uchi-mae
After hiki-ire, there is a step called uchimae, in which the foil is struck by amechanical hammer as many as 700
times per minute. The hammered koma
gold foil, is moved onto paper for the
final phase, in a step called watashishigoto, after which it is hammered
again.

「Black Leather Bag」
HAKUZA Hikarigura
Made from leather. A HAKUZA
original, with a simple platinum dot
design.

「Glassplateswith「llh goldld
d leafl f
decoration」
Imai Kinpaku
Each glass plate has a slightly
different feeling expressedin gold leaf.The cutting andarrangement of the gold leaf
provide an inimitable warmth
only handmade craftsmanshipcan provide.

「iPad
「iP
iPad
d cas
case」
e」
Sakuda Gold & Silver Leaf
An iPad case with an energetic design
boldly expressed in gold leaf.The case’s
denim gives it a vintage feel, and its rounded
corners
show the case’s attention to detail.
corn▼

4 Haku-utsushi
Haku-utsushi is the ﬁnal step in the goldleaf making process. The hammered
gold leaf is placed in a special goldleaf cutting device, where it is cut to aﬁxed size using a bamboo frame. The
cut gold leaf is then tucked between
sheets of handmade washi.

15「Maki-e folding
screen with peony」
Kinpaku kougei Tajima
A golden folding screen with
an elegant peony design madeby maki-e. Its compact design
makes it ideal for a living roomor entrance.

「“Kenrokuen Garden in Winter” Silver「“Ke
Leaf in Frame」
Kanazawa Katani (Gold Leaf application workshop)
A technique was developed in order tomake the design stand out on top ofthin silver leaf. This is a work of“foil art”
patented by Kanazawa Katani.

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K a n a z a w a
L a c q u e r Wa r e

Kanazawa Lacquer Wareand its History
The history of Kanazawa Lacquer Ware begins around
1630, when the third generation daimyo of the Kaga Domain, Toshitsune Maeda, focused his efforts into the promotion of artistic handicrafts. Doho Igarashi, a royal makie artist for the Ashikaga Shogunate and representativeof Kyoto’s Higashiyama/Momoyama culture, was invitedby the Kaga Domain to lead the movement. He was followed by Ichidayu Shiihara, an exalted inro maki-e artist
from Edo (present-day Tokyo). A foundation for Kanazawa
Lacquer Ware was created by combining the reﬁned aristocratic culture of Kyoto with the strong warrior culture ofEdo.
A large majority of Kanazawa Lacquer Ware is interior
furniture, tea paraphernalia, and other original works. The
17

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器

process of making the lacquer ware is largely broken up
into four steps:“kiji,”“shitaji/nuno-kise,”“nuri/togi,”and“kashoku (maki-e).”Ingenuity is used every step of theway in order to ensure the lacquer ware’s robustness.
The last step of the segmentalized process, kashoku, issaid to be most representative of the characteristics ofKanazawa Lacquer Ware. Lacquer ware is produced allover Japan, however, products that match the high qualityof the reﬁned and exquisite adornment of Kanazawa Lacquer Ware are few and far between. The adornment technique, called Kaga Maki-e, involves painting with lacquer
ware and sprinkling gold or silver dust on top of it, and isconsidered a high artistic value.
Kanazawa Lacquer Ware, a work of art that is meticulously crafted while being the pinnacle of the uniquely Japanese aesthetic of“wabi-sabi,”exudes luxuriousness. Everytime it is used, its distinct luster grows, and is magical inthat it becomes“accustomed”to its user over time.
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The Process of Making
Kanazawa Lacquer Ware

Traditional

1 KijiThe kiji process involves cutting
the raw timber to its target size, andforming its shape using a variety oftechniques. The person who oversees
this process is called a“Kiji-shi.”

Ikko Kiyose the 2nd「Writing and letter box set“Setsu-getsu-ka”」▼

Luxurious and gorgeous, while also delicate
and stylish. This set consists of writing andletter boxes with maki-e decoration in thestyle of Doho Igarashi, which has been
passed down for generations.

2 Shitaji・Nuno-kise
The shitaji process is conducted in order
to increase the strength of lacquer
ware as well as the beauty of its coat.
The kiji’s joints and any blemishes are
ﬁlled up using raw lacquer. In the“nunokise”process, washi (Japanese paper)or cloth is aﬃxed to the shitaji in orderto fortify areas that might damage easily
during use.

▼

3 Nuri/Togi
The nuri/togi process involves equally
alternating between lacquering thelacquer ware “nuri”() and burnishing it“togi”(). This process is repeated manytimes.

Ikkei Fukushima
Ichie Yokoyama「Red rectangular box
with chrysanthemum
maki-e pattern」
NosakuA modern feminine chrysanthemum is drawn on this red box
which utilizes mother-of- pearl.

「Maki-e Naka-tsugi (teacase) Yugao Pattern」
Kanazawa Lacquer Ware
Manufacturers Cooperative
Association
An outstanding piece
which inlays mother-ofpearl into black lacquer.
It outstandingly displays
natural beautiful.

Contemporary
Akihito Kiyose「Business card case with Shokko pattern」
Kanazawa Lacquer Ware Manufacturers Cooperative Association
This business card case features
luxurious Kanazawa maki-e inlayed in a
traditional“shokko”lattice-pattern.

▼

4 Kashoku（maki-e）
The kashoku (maki-e) process involves
the adornment of the lacquer warewith lacquer, upon which gold or silver
powder is sprinkled. This is followedby another coating of lacquer, which
is subsequently burnished.

19

Issyu Tamura「Maki-e fountain pens decorated with
Obi designs: Ayano No.3」
A fountain pen decorated with a precise
maki-e design. The fountain pen is madeof super engineering plastic̶a material
that can also be used to make rockets.
Because of its solid construction, thepens are estimated to have a working
lifetime of 200 to 300 years.

20

Kanazawa Buddhist Altars
金

沢

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壇

Kanazawa Buddhist Altars and their History
Around 1471, a Buddhist monk by the name of Rennyo
Shonin came to Ishikawa Prefecture and began to proselytize. His teachings spread, and as a result, places ofworship were built throughout the prefecture. Buddhist
altars also became a necessary part of the temples, andas proselytizing continued afterward, people began toplace altars in their homes.
Entering the feudal period of the Kaga Domain (15831868), the third generation daimyo of the Kaga Domain,
Toshitsune Maeda, brought in artisans from Kyoto andEdo (present-day Tokyo), and built a foundation for thearts. This was followed by the fifth generation daimyo
Tsunanori Maeda’s creation of the“Kaga Osaikusho,”aworkshop for the creation of art objects. Consequently,
many craftsmen settled in Kanazawa, including the sevenspecialized experts needed to create Buddhist altars. The
creation of the Buddhist altars was conducted according
to a system of complete division of labor.
Two large characteristics of Kanazawa Buddhist altars
are their exquisite designs, which take advantage of thetechniques of Kaga Maki-e, and their durable lacquer
coats which do not tarnish. The Buddhist altar’s ubiquitous gold leaf decorations also set its character as an object of art. Furthermore, the main body of the altar, madewith durable woods such as ginkgo biloba and Aomori
hiba (a type of cypress), is made using a building technique called“hozo-kumi,”which does not use a single
nail in the process and prioritizes a robust end result.
On the other hand, in recent years, changes in lifestyles
have led to people living in high-rises and houses without
Japanese-style rooms. Due to these shifts, miniaturized
and simpliﬁed Buddhist altars have begun to make an appearance. Kanazawa’s Buddhist altars continue to follow
the techniques passed down for generations in order tokeep them alive.

21

Gohei Zeniya's Buddhist altar：Collection of Zeniya Gohei Memorial Museum

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The Seven Processes ofKanazawa Buddhist Altars
Kanazawa Buddhist Altars are built using seven separate processes, with the altar’s complete assembly carried out last.

1 Kiji2 Kuuden

Kiji refers to the creation of the main body of the altar, using
woods such as gingko biloba and Kusamaki evergreen. It is
an important fundamental step in creating the altar.
Kuuden refers to the creation of the inner part of the altar
which lies under its top. Well dried wood is used, and over1000 detailed parts are chiseled using tools such as a chisel
and penknife. Among those parts, 300-400 small parts
are stylized using a technique called“masu-kumi,”a fineelaborate process.

3 Kiji-bori 4 Haku-bori
The kiji-bori process involves using hard woods such as,Japanese yew, tabunoki laurel, and Japanese boxwood,
while haku-bori process involves using soft woods suchas benimatsu pine and Japanese whitebark magnolia.
In both processes, the wood is cut to a prescribed size,
depending on its intended purpose, after which a design
is drawn upon it. After a rough cut, various types ofengraving knifes are used in diﬀerent ways to complete
the more detailed parts of the carving.

5 Nuri「New design Buddhist
altar No.2」
Kanazawa Buddhist Altar Manufacturers Association
This modern-type, reﬁned Buddhist altar features a beautiful contrast between vermillion
and black lacquering. The design is simple, but the manufacturing process used tocreate the altar is elaborate; it requires the traditional skills of Kanazawa Buddhist Altar
seven specialized experts. Pipe hinges welded with silver solder are used to improve thedurability of the doors.

“Sabi-shitaji,”a primer which consists of lacquer mixed
with soil, is applied to the finished product of the kiji,
kuuden, and haku-bori steps. The sabi-shitaji is applied
several times, which increases the wood’s strength.
Surface roughness is corrected by sanding, after which
a ﬁnal coat of lacquer is applied. The lacquer is put in a
steam bath where it is dried out by humidity, and after
it has dried out, the lacquer is applied in a way that will
result in a ﬁnal coat of even thickness.

6 Maki-e
After the ﬁnal coat of lacquer has been applied, gorgeous
designs are added to the altar using maki-e. This stepof production is unique to Kanazawa Buddhist Altars.
Pictures and patterns are drawn using lacquer, whichfunctions as an adhesive, upon which the powder ofprecious metals, such as gold and silver, are sprinkled.

By polishing the altar and applying many coats of lacquer to it after applying anintermediate and ﬁnal coat, the wood is strengthened. The altars are truly likeworks of art, with their vivid maki-e, and gorgeous gold, silver, and tin ﬁnish atestament of the profoundness of their tradition.

7 Kanagu
The kanagu process involves the creation of the metal
fittings which adorn the altar and give it a gorgeous
appearance. Paper patterns are placed on top of copper,
brass, or other metal plates, upon which contour lines
are drawn. The materials are struck with an edge-tool or
cutting graver (cold chisel), and a pattern is inserted into
them using a pattern graver. Lastly, after the metal has
been polished, it is gilded to complete the process.

23

A Buddhist altar’s door handle, the place in which a Kanagu-shi, one of theseven craftsmen involved in the process of making a Buddhist altar, can show
his skill. A graver or ﬁle is used to hand-strike copper plywood using traditional
techniques.

24

Kaga Embroidery加賀繡Kaga Embroidery and its History
Kaga Embroidery silk cloth, gorgeous delicate patterns,
and sleek beauty all characterize it. Its history begins
when Buddhism was brought to Kanazawa from Kyoto asa decoration for Buddhist altars.
Subsequently, many types of clothing, including battle
surcoats and kimonos worn by lords’wives and daughters, came to be embroidered. Kaga Embroidery wasdeveloped under the patronage of the Kaga domain. Theboom in popularity of having an embroidered han-eri (aneckpiece for a kimono collar), caused a sudden jump indemand for Kaga Embroidery one hundred years ago.
Moreover, in the postwar era, Kaga Embroidery wasproduced for overseas consumers in the form of handkerchief decorations.
A unique characteristic of Kaga Embroidery is that it
uses threads that are composed of a multi-hued coloration, such as gold and silver, among others. Additionally,
techniques such as“sashi-nui”and“niku-ire-nui,”whichgive the embroidery a three-dimensional eﬀect as well as
gradation, can also be found in Kaga Embroidery. Theseskills are obtained through painstaking practice andyears of experience. All steps of the process are done byhand. Recently, embroidered dresses, stoles, accessories,
interior goods, etc. are produced to bring the appeal of
Kaga Embroidery closer to common people.

25

26

Kumiko Nagahara
Small box ﬁlled with thoughts

The Process of Making
Kaga Embroidery

Nui-no-irodori
A paulownia wood box decorated
with embroidery of seasonal
ﬂowers. Please store your precious
items or presents in it.

1 Soko・Ura-zuri
The soko step involves drawing a sketchof the embroidery design on washi (Japanese paper) using a pencil and sumi ink.
In the ura-zuri step, a solution of crushed
shells mixed with water is coated to theback of the washi. It is then placed on topof the cloth fabric, where the design istraced onto the cloth using a stencil pen.

▼

2 Hai-shoku・Ito-yori▼

The hai-shoku step involves selecting thecolors for the threads that will stand out on
the fabric. The threads are placed on topof the fabric to assess their compatibility.
In the case that the desired thread color
is not available, there are times when
the thread is dyed to those colors by thecraftsman.
In the ito-yori step, threads are intertwined
using the palms of both hands. The
process increases both the string’s luster
and its strength.

3 Daihari・Nui-kako
The fabric is set in an embroidery frame,
and the needlework is stitched into thefabric along the sketched design using
15 traditional techniques. The string is
stitched into the cloth front to back, while
the artisan checks the work each step of
the way, and a raised three-dimensional
pattern is created.

「White satin kimono decorated withembroidered daﬀodils」
Owned by the City of Kanazawa
This is a restored kosode kimonothat Tamahime, the daughter of thesecond shogun Hidetada Tokugawa,
took along with her when she wasto be married to the third lord of
Kaga domain, Toshitsune Maeda in
1601.

27

Sachiko Yokoyama
Kaganui Cushion

Eri Kawahara「Hidari-uma Dai-gaku」

Kaga Nui IMAI
These cushions sport modern
designs highlighted by vivid hues.
All materials used are local to
Ishikawa, and a wide variety ofboth Japanese and Western
design requests can be catered to.

KagaNui Classico
An embroidered pattern consisting of themirrored image of the Chinese character for“horse,”this piece is meant to bring goodluck in business and to protect its user fromharm. It is made with a single piece of yarnusing a technique called ﬂat seaming.

Hitomi Miyakoshi
Kofukusa 「Fish Scale Pattern」(left)「Glistening Dew」(right)
Miyakoshi Hitomi Nui Craft Center
Small silk cloths created with the intention
to match its accompanying tea ceremonyutensils. The cloths feature seasonal patterns and are made with traditional embroidering techniques.

Setsuyo Anada“Kai-awase (shell matching)hina dolls”
Kaganui Kobo Tsubaki“Kai-awase”is a game ofsearching for matchingclamshells. These shells are
popular as lucky charms formatchmaking and couples
seeking happiness. Largeshells are covered withsilk cloth decorated withembroidered hina dolls.

28

O h iW a r eKaga Inlaying

大

樋

加

焼

賀

象

嵌

Ohi Ware and its History
The start of Ohi Ware begins around 350 years ago, when thefifth generation daimyo of the Kaga Domain, Tsunanori Maeda,
summoned Tea Master Senso（Sen-Soshitsu）ancestor of the
Urasenke School, who moved to Kanazawa from Kyoto with Ohi
Chozaemon, a skilled Raku Ware（apprenticed of the 4th RakuIchinyu）. Since then, 11 generations of craftsmen have createdtea ware with a unique style that differs from Raku Ware for theJapanese way of tea, including tea bowls, water container, vessels forconfectionaries, and other objects used for tea ceremonies.
A distinctive feature of Ohi Ware is its inimitable shiny caramel
brown color and its feel. Nearly all works are hand built without
using a ceramic wheel, and it has a warm feeling for the hand and lip
with Zen thought.
In 2011, the 10th Ohi Chozaemon（Toyasai）won an Order ofCulture from the Emperor of Japan.

Mamoru Nakagawa「Kanazawa Inlaying Matte Silver
Flower Vase ‒ “Mado Akari”」
A ﬂower vase which depicts
gentle moonlight comingin through a window intoa tranquil space. The piece
expresses feelings of healing
in a modern fashion.

Maki Hasegawa「Kaga Inlay pendant」
Kanazawa Craft Hirosaka
An accessory which inherits
the techniques and designof traditional Kaga inlay,
formerl y used in sword
fittings and horse stirrups.
You can enjoy its casual
fashionableness.

Kaga Inlaying and its History「Ohi tea bowl with Amberglaze」
Urasenke 15th Grand Tea
Master Hounsai carved
his spiral family crest andthe 18th Maeda Toshiyasu
carved the plum blossom
for his family crest by Collaborative work with the10th Ohi Chozaemon.
Ohi Chozaemon Ware / Ohi Museum「Ohi Tea Bowl with Amber Glaze“Shibu- gaki”」

29

Kaga Inlaying is the process in which a pattern is carved deep
into a base metal, upon which it is ﬁlled with another type ofmetal. The traditions of Kaga Inlaying have been passed down
by craftsmen summoned to Kanazawa from Kyoto by the Kaga
Domain in the 1600s. The main objects historically produced
were decorative sword ﬁttings and horse stirrups, which featurea technique called“hira-zogan,”that is, where the inlayed metal
called“mon-gane,”is it filled flush to the surface of the othermetal. This technique insures that the mon-gane will not comeoﬀ no matter what kind of attack is absorbed, and its strengthand digniﬁed design are masterful.
More recently, Kaga Inlaying techniques have been utilized tomake ﬂower vases, incense burners, and other types of accessories.
In 2004, Mamoru Nakagawa was designated in Japan as an Important Intangible Cultural Asset (National Living Treasure).
30

G

o

n

g

銅

s

Tea

鑼

茶

Kettlesの湯釜

Tea Kettles and their History
In 1583, Toshinaga Maeda, the second generation
daimyo of the Kaga Domain, summoned Noto metalfounder Hikokuro-Yoshitsuna Miyazaki to Kanazawa. His
grandson, Yoshikazu, studied casting tea kettles under
the instruction of Sen-no-Soshitsu Senso of the Urasenke
School, who was invited from Kyoto as magistrate of tea
ceremony. Yoshikazu became the clan's designated tea
kettle caster and produced a number of masterpieces.
He was conferred the title“Kanchi-an,”and became
known as the father of tea kettle making in Kaga. The
Miyazaki family, currently in its 14th generation, continues to preserve the traditional techniques passed downfrom their forefathers. The raw material used to makethese tea kettles is wa-tetsu, which is the product of
crushed iron from old pots and pans.

Iraku Uozumi the 3rd「Gong made of copper alloy with traces of silver, lead or tin」
A gong created by Iraku Uozumi the 3rd, who was mentored by his grandfather
Iraku Uozumi the 1st.

Gongs and their History
Gongs are used as a signal to indicate that the
preparations for tea ceremony have been completed.
They are a percussion instrument from Southeast Asia
(in particular ancient Java), and it is said that they werebrought to Japan via China. In Japan, in addition to theirusage in tea ceremonies, they were also used to indicate
departing ships.
The making of the gongs, which involves casting using
a bronze and tin alloy, followed by finishing the gongwith lacquer, requires high level forging technique, as
well as superior sense of pitch.
In 2002, Iraku Uozumi the 3rd was designated in Japanas an Important Intangible Cultural Asset (National
Living Treasure).
31

Kanchi Miyazaki the 14th
「Shinnari-type tea kettle with arare pattern」
Kanazawa Craft Hirosaka
A tea kettle with“arare”hail pattern on its surface. A traditional
Shinnari-type tea kettle featuring pine and plum trees.

32Paulownia craft

Kaga Mizuhiki String craft

桐加 賀 水 引 細 工

工芸Kaga Mizuhiki String Craft and its History「Paulownia chest of drawers
two-drawer chest」
Kiri-urushi Kogei Uesaka
A small chest of drawers
inl a y e d with K ana z a w amaki-e. A great place togently store important items.

Mizuhiki (string craft) is a type of decorative stringused to adorn presents and special envelopes. In Kanazawa, the string itself is not produced, however, handiwork
which utilizes the strings is made.
A particular attribute of Kaga Mizuhiki is its threedimensional handiwork and way the string is folded. Sokichi Tsuda the 1st came up with this original idea, whichchanged the hitherto ﬂat mizuhiki into gorgeous, realistic
depictions of cranes and turtles, as well as shochikubai(the auspicious grouping of pine, bamboo, and plum trees),among others. Mizuhiki are used in many applications, including as ornamentation to special envelopes, as well as
in decorative straps for cell phones and key chains.

「Paulownia tray」
Kanazawa Kirikogei Iwamoto
Kiyoshi Craft CenterA cute paulownia tray useful fortimes when you would like toserve tea to guests in a pinch.
Maki-e embellishes the wood
surface.

「Shugi-bukuro」
a special envelope
used to give money
to newlyweds at theirwedding.

Paulownia Craft and its History
Around 1890, due to paulownia hibachi (a heating device
fueled by charcoal) being decorated with Kaga Maki-e,wood grain’s beauty also became elegant, and paulownia
craft spread throughout Japan.
In recent times, the superior qualities of paulownia
craft, namely its techniques, ﬁre resistance, and humidity resistance, have been applied to create items such as
flower vases, plates, and small drawers. The wood possesses a warm quality, and can become a new part ofyour lifestyle.

33「Pochi-bukuro」
an envelope used whengiving money for presents or small tips.

「Yuino-kazari」
a betrothal gift given
to a bride by her
groom before thewedding ceremony.
All items from Tsuda
Mizuhiki Orikata

34

Kaga Fly ﬁshing Lures
加

賀

毛

針

F u t a m a t a Wa s h i( J a p a n e s e二俣P a p e r )和紙

Futamata Washi and its
History「Corsage」
Kanazawa Craft Hirosaka
A feather accessory which uses
traditional Kaga fly fishing luretechniques. Its distinctive design
is popular with young women.

「Kaga Fishing Lure for
Ayu (sweetﬁsh)」

From 1592 to 1596 in Kanazawa’s Futamata Area, highquality Kaga Hosho paper (traditional white Japanese paper) came to be manufactured owing to the patronage ofthe Kaga Domain. In order to make the paper, materials
such as mulberry wood, mitsumata (oriental paper bush)are collected and then the paper is crafted by hand using
integrated production that starts with the processing of
the wood’s bark.
A unique characteristic of Futamata Washi is its longshelf life. Even now, it is a preferred Hosho paper forJapanese calligraphers, and it is also used in graduation
certificates among other applications. Futamata Washi
postcards and letter sets also enjoy popularity.

Meboso Hachirobei Shoten
A Kaga fly fishing lurewith gorgeous feathers
that is said to be able tobe used in many typeso f f ishing t ime s andclimates.

Kaga Fly Fishing Lures and their History
During the feudal period of the Kaga Domain (1583-1868),
samurai warriors would often go ﬁshing for ayu (sweetﬁsh)
to build their physiques. As such, the samurais of thosetimes created ayu ﬂy ﬁshing lures. Ayu ﬁshing subsequently spread to the general masses, however, only the Kagaarea used fly fishing lures to catch the fish. After being
exhibited at the 1890 National Industrial Exhibition, Kagaﬂy ﬁshing lures vaulted to fame. Kaga ﬂy ﬁshing lures are
unique in that their needle does not have a hook, and that
their beautiful designs, which use materials such as goldleaf, and the plumage of green and copper pheasants, resemble aquatic insects, and have both style and practicality.

35「Futamata Washi postcard」
Kanazawa Craft Hirosaka
A handmade washi postcard
with mild coloring and a cutepattern.

36

K a g a Te m a r i
加 賀 手 ま り
Kaga Temari and its History
Kaga Temari (a folk art handball) has its roots in the
Edo Period (1603 ‒ 1867), when the Shogun Tokugawa
Ieyasu’s granddaughter Tama-hime is said to havebrought one with her when she was married into the
Maeda family at the age of three. Even now in Kanazawa,
there is still a custom of using a Kaga Temari as a talisman against evil when a bride gets married.
To make Kaga Temari, string is rolled tightly arounditself to make the base ball, upon which bright multicolored strings are manipulated into elaborate geometrical patterns. It is a very popular souvenir to bring backhome after a trip to Japan.

④

Make your own traditional crafts!

Traditional Crafts Workshops
Kanazawa’s traditional crafts consist of elaborate handiwork
and techniques passed down from the Edo Period. Our city
oﬀers craft workshops perfect for beginners and families, so
why not come to Kanazawa and try one?

金沢箔 KANAZAWA LEAF

Legend:Workshop Length:

Workshop Times: WT

Hokutetsu Bus:

HB

Reservation Required: RR
Telephone:
☎

WL

Fee:
Closings:

JR Bus:

JRB

Address:
Hours:

Parking Spaces: P
Public Transport: PT

A
H

aff
Kanazawa Le Workshops

FC

JR Kanazawa Station: JR KZ

See p.45-46 for map

WL: From

Imai Kinpaku☎ 076-223-8989

Kaga Yubinuki
Thimble③②①

30 min. ～WL: From
RR

Ａ 7-3 Saiwai-cho, Kanazawa

Kanazawa Katani (Gold Leaf application workshop) ～ 60 min.
☎ 076-231-1566 Ａ 6-33 Shimo-shin-cho, Kanazawa

WL: From

Kanazawa Craft Hirosaka

Sakuda Gold & Silver Leaf Main Store ～ 60 min.

This thimble is madeusing the same techniques as Kaga Temari.

☎ 076-251-6777

WL: From
RR

Ａ 1-3-27 Higashiyama, Kanazawa

Kinpaku Kogei Tajima

Kanazawa Craft Hirosaka

Kaga Temari with various patterns」「① Kagome ② Suzuwari③ Kikyo ④ Kasane-ume」

37

The playful designs of these KagaTemari makeyou want to put them in your hand, play withthem, and keep them close to you.

45 min. ～RR☎ 076-201-8486

Ｈ 9:00 a.m.- 6:00 p.m.（WT 9:00 a.m., 10:30 a.m., 1:00 p.m., Ａ Prasada Musashi 2F, 11-1 Musashi-machi, Kanazawa
3:00 p.m.）
Ｈ 10:00 a.m. - 5:30 p.m.（Workshop: Last entry 4:00 p.m）
Ｆ Small plate: 1,000 ￥, Chopsticks: 1,000 ￥ etc.
Ｃ Tuesdays (except holidays) and summer and winter holidays
Ｐ NonePT Take HB or JRB bound for Hashiba-cho from JR KZ(~4 min.) and get oﬀ at Musashigatsuji, walk about 2 min.
WL: From
WL: From

Ｆ Chopsticks: 600 ￥, Small box: 1,300 ￥ etc.
Ｃ Open year-round Ｐ 12
PT Take JRB bound for Naruwa from JR KZ (~10 min.)and get off at Higashiyama, walk about 2 min.

Kanazawa Bikazari Asano（Hakuichi） 20 min. ～ Hakuza Keiko Dokoro

Kaga Temari no Kai

RR

Ｈ 9:30 a.m.- 6:00 p.m.（WT 10:00 a.m.,1:00 p.m., 3:00 p.m.） Ｈ 9:00 a.m.- 5:00 p.m.
Ｆ Plum plate: 1,000 ￥; Reusable shopping bag: 1,250 ￥ etc. Ｆ Small plate: 900 ￥, Small box: 1,100 ￥ etc.
Ｃ Wednesdays, New Year’s holidays Ｐ 15
Ｃ Open year-round (except New Year’s holidays) Ｐ 5
PT Take HB bound for Hanazato Keiyu Tobu Shako from JR KZ PT Take HB or JRB bound for Hashiba-cho from JR KZ(~15 min.) and get oﬀ at Shian-bashi, walk about 1 min.
(~6 min.) and get oﬀ at Owari-cho, walk about 2 min.

☎ 076-251-8911 Ａ 1-8-3 Higashiyama, Kanazawa

RR

Ｈ 9:00 a.m.- 6:00 p.m.（WT 10:00 a.m.-3:00 p.m.）
Ｆ Post card: 500 ￥ Plum plate: 1,000 ￥ etc.
Ｃ Tuesdays (except holidays) Ｐ NonePT Take HB or JRB bound for Hashiba-cho from JR KZ(~8 min.) and get oﬀ at Hashiba-cho, walk about 4 min.

☎ 076-252-3641

15 min. ～RR

Ａ 1-13-18 Higashiyama, Kanazawa (Part of HAKUZA Hikarigura）
Ｈ 10:00 a.m. - 5:00 p.m.（WT 10:00 a.m., 11:00 a.m., 1:30 p.m.,
2:30 p.m., 3:30 p.m., 4:30 p.m.）
Ｆ Card: 600 ￥, Chopsticks: 972 ￥ etc.
Ｃ Sundays, Mondays, holidays, New Year’s holidays
Ｐ NonePT Take HB or JRB bound for Hashiba-cho from JR KZ(~8 min.) and get oﬀ at Hashiba-cho, walk about 4 min.

38

YUZEN
加賀友禅 KAGASILK DYEING

eing
Kaga Yuzen Silk Dy Workshops

加賀繡 KAGA EMBROIDERYyry
Kaga Embroide Workshops
See p.45-46 for map

See p.45-46 for map* Please be sureure to contact the following
follo
shops in advance to set up a reservation.
WL: From

WL: From

Kaga Yuzen Kimono Center

20 min. ～Nagamachi Yuzen Kan

WL: From

Kaga Nui IMAI

60 min. ～☎ 076-231-7595☎ 076-224-5511

RR
RR☎ 076-264-2811
Ａ 8-8 Kosho-machi, Kanazawa
Ａ 2-6-16 Naga-machi, Kanazawa
Ｈ 9:00 a.m.- 5:00 p.m.
Ｈ 9:00 a.m.- 5:00 p.m.（Workshop: Last entry 3:00 p.m.）
Ｆ Hand-Painting Workshop (handkerchief): 2,700 ￥Ｆ Hand-painting Workshop (small frame): 4,000 ￥(Reservation required for groups), Stencil Dyeing Workshop:
Kimono Try-on: 1,000 ￥, Kimono Rental: 4,000 ￥
1,620 ￥～ (Reservation required for groups),
Ｃ Open year-round（except New Year’s holidays）
Kimono Try-on: 2,000 ￥～ (Reservation required), etc.
Ｐ 3
Ｃ Wednesdays (except holidays) and New Year’s holidays PT Take HB bound for Korinbo from JR KZ (~8 min.) andＰ 8
get oﬀ at Korinbo, walk about 10 min.
PT Take Loop Bus from JR KZ (~18 min.) and get off
at Kenrokuen-shita, walk about 2 min.

120 min. ～WL: From

Kaga Nui Classico

60 min. ～☎ 076-256-3210
RR
RR
Ａ 3-4-19 Mitsu-kuchi Shin-machi, Kanazawa
Ａ 201 Park Residence I-18 Toriki-machi,Kanazawa
Ｈ 10:00 a.m. - 5:00 p.m. (Workshop: Last entry 3:00 p.m.） Ｈ 9:30 a.m.- 5:00 p.m. (Workshop: 9:30 a.m.-1:00 p.m.）
Ｆ Accessory, obi tie, etc. 2,500 ￥ ～Ｆ Magnet, Hair band etc. 2,160 ￥～Ｃ No regular holidays (Closed during New Year’s holidays) Ｃ Saturdays, Sundays, holidays
Ｐ 3
Ｐ 3
PT Take HB bound for Hanazato Keiyu Tobu Shako from JR PT Take HB bound for Utsugi or Saisei-kai Byoin from JR KZ
KZ (~25 min.) and get oﬀ at Akasaka, walk about 3 min.
(~15 min.) and get oﬀ at Shin-kanda, walk about 8 min.
＊ A special extended program is available (10 ~ 16 hrs total).
WL: From

Kaga Nui Kobo Tsubaki

120 min. ～ Ｆ Small frame, Hair band 2,500 ￥～Ｃ Saturdays, Sundays, holidays
RR
Ｐ 1
Ａ 3-4-22 Yamashina, Kanazawa
PT Take HB bound for Hikarigaoka/ Nuka-jutaku from JR KZ
Ｈ 10:00 a.m. ~ 4:00 p.m. (Workshop: 10:00 a.m.- 4:00 p.m.）(~30 min.) and get oﬀ at Enkoji, walk about 5 min.

☎ 076-272-8334

金沢漆器 KANAZAWA LACQUER WARE

加賀毛針 KAGA FLY FISHING LURES

arre
Kaga Lacquer W WorkshopsesresKaga Fly Fishing Lu Workshops

See p.45S
45 forf map

See p.45S
45 forf map

Nosaku☎ 076-263-8121

WL: From
60 min. ～RR

Ａ 1-1-60 Hirosaka, Kanazawa
Ｈ 10:00 a.m. ‒ 7:00 p.m.（WT 10:30 a.m., 1:30 p.m.）
Ｆ Tray 3,240 ￥Ｃ Wednesdays (except holidays, No closing days inAugust, Closed during New Year’s holidays)
Ｐ 2
PT Take HB bound for Korinbo from JR KZ (~8 min.)and get off at Korinbo, walk about 5 min.
＊Lacquer substitute is used in workshops (to avoid
allergic reactions).

39

Meboso Hachirobei Shoten

WL: From～ 90 min.

☎ 076-231-6371

RR
Ａ 11-35 Yasue-cho, Kanazawa
Ｈ 9:30 a.m.-5:00 p.m. (Workshop: 9:30 a.m.-3:00 p.m.）
Ｆ Brooch 2,000 ￥Ｃ Tuesdays (Open holidays, Closed during New
Year’s holidays)
Ｐ 4
PT Walk about 6 min. from JR KZ

40

加賀水引

Shop Guide

KAGA MIZUHIKI STRING CRAFT

fg Craft

Kaga Mizuhiki Strin

Workshops
See p
p.45
45 for map* Workshop available on weekdays only.
Groups of 4~12 accepted. Reservation
required at least one week in advance.

Tsuda Mizuhiki Orikata

WL: From

60 min. ～☎ 076-214-6363
RR
Ａ 1-1-36 Nomachi, Kanazawa
Ｈ 10:00 a.m. ‒ 3:00 p.m
Ｆ Straps: 1,080 ￥, neckless: 2,700 ￥ ~Ｃ Sundays, holidays (Closed during New Year’s holidays)
Ｐ 3
PT Take HB bound for Arimatsu or Heiwamachi from JR KZ(~10 min.) and get oﬀ at Katamachi, walk about 5 min.

Kaga Yuzen Silk Dyeing

Kanazawa Kutani Ceramics Promotion Associaton
Kutani-yaki Kaburaki Shoho☎ 076-221-6666
E-mail kanazawa@kaburaki.jp

1 Kaga Yuzen Kimono Center
Ａ 8-8 Kosho-machi, Kanazawa 920-0932☎ 076-224-5511
E-mail center@kagayuzen.or.jp
Ｈ 9 a.m.-5 p.m.
Ｃ Wednesdays (except holidays), Closed

during New Year’s holidays

9 Kataoka Kozan-do
Ａ 2-1 Kenroku-machi, Kanazawa 920-0936☎ 076-221-1291
E-mail kouzandou@po4.nsk.ne.jp

Ａ 2-6-16 Naga-machi, Kanazawa 920-0865

Workshops
available☎ 076-221-3365
E-mail info@maida-yuzen.com

See p.45
p 45 for map

Kanazawa Chamber of Commerce☎ 076-263-1157 Ｃ Saturdays, Sundays, holidays

Ｃ Thursdays
PT Take HB bound for Kami-yasuhara from JR KZ(~20 min.) and get off at Irie, walk about 5 min.

☎ 076-221-6666
E-mail kanazawa@kaburaki.jp
Ｈ 9 a.m.-10 p.m.(Sundays, holidays : 9 a.m.-6 p.m.)
Ｃ No regular holidays

11 Kutani Tomoe Shokai

Kanazawa Lacquer Ware Manufacturers
Cooperative Association

RR
Ａ 2-401 Irie, Kanazawa
Ｈ 1:00 p.m. - 9:00 p.m.（Workshop: 2:00 p.m. ‒ 5:00 p.m.,
7:00 p.m. -9:00 p.m.）
Ｆ Pottery-making using a potter’s wheel: 3,500 ￥;Hand-forming: 2,500 ￥, etc.

(Kanazawa Kutani Ceramic Ware Museum)

Ｃ Saturdays, Sundays, holidays

www.maida-yuzen.com

Workshops

60 min. ～10 Kutani-yaki Kaburaki Shohokaburaki.jp/

Kanazawa Lacquer Ware

WL: From

November-March / Wednesdays

Ａ 1-3-16 Naga-machi, Kanazawa 920-0865

Ａ 3-9-19 Honda-machi, Kanazawa 920-0964☎ 076-291-2533

Ｈ 9 a.m.‒6 p.m.
Ｃ April-October / Open year-roundwww.kataoka-kouzandou.co.jp/

3 Kaga Yuzen Maida Somega Kogei

Toan

Ｃ Open year-roundavailable

2 Nagamachi Yuzen Kan

Ｈ 10 a.m.-5 p.m.

Ａ 38-1 Abura-guruma, Kanazawa 920-0996☎ 076-221-2904
E-mail showngama-38@arrow.ocn.ne.jp
Ｈ 9 a.m.-6 p.m.

www.kagayuzen.or.jp/☎ 076-264-2811
E-mail mail@kagayuzen-club.co.jp

8 Ohiyaki Sho-un-gamaWorkshops

www.kagayuzen-club.co.jp/

Craft

Kanazawa Kutani Ceramic WareKaga Yuzen Kimono Center☎ 076-224-5511
E-mail center@kagayuzen.or.jp
Ｃ Wednesdays (except holidays), Closed during
New Year’s holidays(except New Year’s holidays)

金沢九谷 KANAZAWA KUTANI CERAMIC WARE

A
☎
H
C

Kaga Yuzen Promotion Cooperative Association

Ｈ 9 a.m.-5 p.m.
Ｃ Open year-roundreKaga Kutani Ceramic Wa

Legend:Address:
Telephone:
Hours:
Closings:

Ａ 2-13 Kenroku-machi, Kanazawa 920-0936☎ 076-231-0474
E-mail akira23@guitar.ocn.ne.jp
Ｈ 10 a.m.-6 p.m.

Ｃ Open year-round

12 Kutani-yaki Moroe-ya
Ａ 1-3-22 Kata-machi Kanazawa 920-0981☎ 076-263-7331
E-mail kutani@moroeya.com

4 Akachi Shikki-ten

Ｈ 9 a.m.-8 p.m.

Ａ 12-2 Kogane-machi, Kanazawa 920-0805

www.moroeya.com/☎ 076-252-8939
Ｈ 9 a.m.-7 p.m.

13 Kokuryu-do

Ｃ Sundays, holidays

5 Ishida Shikki-ten
Ａ 1-7-21 Kata-machi, Kanazawa 920-0981☎ 076-261-2364
E-mail ishida@e-katamachi.com
Ｈ 10 a.m.-7 p.m.

Ｃ Wednesdays

Ａ 1-1-60 Hirosaka, Kanazawa 920-0962

Ｈ 10 a.m.-7 p.m.
Ｃ Wednesdays (except holidays,

Ａ Rifare 1F 1-5-3 Hon-machi, Kanazawa 920-0853☎ 076-221-2039
E-mail kutani@kokuryudo.com
Ｈ 9 a.m.-6 p.m.

Ｃ Tuesdays (except holidays)

www.kokuryudo.com/

14 Toan

6 Nosaku☎ 076-263-8121
E-mail nosaku@kanazawa.gr.jp

Ｃ Wednesdays

Ａ 2-401 Irie, Kanazawa 921-8011☎ 076-291-2533
E-mail info@to- an.jp
Ｈ 1 p.m.-9 p.m.

Workshops

Workshops
available

Ｃ Thursdays

to- an.jp

available

No closing days in August, Closed during
New Year’s holidays）

www.kanazawa.gr.jp/nosaku/

7 Wakou
Ａ 7-43 Yokogawa, Kanazawa 921-8163☎076-247-4455
E-mail wakou@nsknet.or.jp

15 Hokusan-do
Ａ 1-2-33 Hirosaka, Kanazawa 920-0962☎ 076-231-5288
E-mail office@hokusando.co.jp
Ｈ 9:30 a.m.-6 p.m.

Ｃ Mondays

www.hokusando.co.jp/

Ｈ 9 a.m.-6 p.m.
Ｃ Sundays, holidays, 2nd and 4th Saturday of eachmonthkanazawa-wakou.jp

4142

Kanazawa Leaf

Kaga Embroidery

Cooperative Association of Leaf Tradeand Industry of Ishikawa Prefecture

Ishikawa Kaga embroidery Association☎ 076-257-5572

Kuratsuki, Kanazawa 920-8203☎ 076-268-8115 Ｃ Saturdays, Sundays, holidays
E-mail kaganui@soleil.ocn.ne.jp
www.kaganui.or.jp/
When visiting stores 22 ~ 26, please call ahead.

Ｃ Saturdays, Sundays, holidays

16 Imai Kinpaku
Ａ 7-3 Saiwai-cho Kanazawa 920-0968☎ 076-223-8989
E-mail shop@kinpaku.co.jp
Ｈ 9:30 a.m.-6 p.m.
Ｃ Wednesdays, New Year’s holidays

Workshops
available

www.kinpaku.co.jp/

17 Kanazawa Katani (Gold Leaf Application Workshop)
6-33 Shimo-shin-cho, Kanazawa 920-0910☎ 076-231-1566
E-mail officedotcom@katani.co.jp
Ａ

Ｈ 9 a.m.-5 p.m.
Ｃ Open year-round (except New Year’s holidays)

Ｃ Open year-round☎ 076-251-8955
Ｈ 9 a.m.-6 p.m.

Workshops
available

available

www.imai 1912.com/

available

Ｈ 9:30 a.m.-5 p.m.
Ｃ Saturdays, Sundays, holidays

Ａ 3-4-22 Yamashina, Kanazawa 921-8175

Accepts
reservations
for main store
workshops

Ｃ Open year-roundWorkshops
available

25 Nui-no-irodori

available

summer and winter holidays

www.tajima-kinpaku.com/

Workshops

Kanazawa Bikazari Asanoavailable

Ａ 1-8-3 Higashiyama, Kanazawa 920-0831☎ 076-251-8911
Ｈ 9 a.m.‒6 p.m. (Workshop: 10 a.m. - 3 p.m.)
Ｃ Tuesdays (except holidays)

www.hakuza.co.jp/

HAKUZA Keiko Dokoro

Workshops
available

Ａ 5-5-17 Tera-machi, Kanazawa 921-8033☎ 076-241-8690
Ｃ Sundays, holidays

Ｃ Open year-roundwww.ohimuseum.com/

Ａ 13-3 Yasue-cho, Kanazawa 920-0854☎ 076-221-2306
E-mail info@yamadabutsuguten.co.jp

Other
44 Kanazawa Noh Museum

yamadabutsuguten.co.jp/

Ａ 1-2-25 Hirosaka, Kanazawa 920-0962☎ 076-220-2790

35 Yonenaga Butsudan
Ａ 1-10 Shimeno-naka-machi, Kanazawa

920-0058☎ 076-221-1930

Ｈ 10 a.m.-6 p.m.
Ｃ Mondays (or the following day if Monday is a holi-days) Closed during New Year’s holidays

www.kanazawa-noh-museum.gr.jp/

Ｃ Thursdays

w2223.nsk.ne.jp/̃yonenaga/

Ａ 1-3-10 Higashiyama, Kanazawa 920-0831☎ 076-251-8950☎ 076-243-2992
E-mail hitomi_m428@yahoo.co.jp

Ｈ 9:30 a.m.-5 p.m.

☎ 076-261-3919
E-mail bisho-k@amber.Plala.or.jp

Ｃ Closed during New Year’s holidays (12/29-1/3) andＣ No regular holidays

Ｈ 10 a.m.-5 p.m.

www.kanazawa.museum.jp/kinpaku/

exhibit changes

Ｃ Sundays, holidays

www.kaganui.or.jp/atelier/atelier03.html

bisho-koubou.com/

Kanazawa Buddhist Altars

37 Kanazawa Kirikogei Iwamoto
Kiyoshi Craft Center☎ 076-223-4914
E-mail info@kanazawa-butsudan.or.jp
Ｈ 9 a.m.-5 p.m. Ｃ Saturdays, Sundays, holidays
kanazawa-butsudan.or.jp/

27 Ikeda Daibutsu-do

www.ikedadaibutudo.com/

Ａ 178-1 Nishi-kanazawa Shin-machi, Kanazawa

921-8055☎ 076-249-1366

Ｈ 10 a.m.-6:30 p.m.

Ｃ Tuesdays

www.kirikougei.com/

38 Kiri-urushi Kogei Uesaka
Ａ Ishikawa Souvenirs and Gift shop 2F 2-20
Kenroku-machi Kanazawa 920-0936☎ 080-5853-1241
Ｃ Tuesdays

39 Chitose Mizuhiki
Ａ 1-9-26 Owari-cho, Kanazawa 920-0902☎ 076-221-0278
E-mail info@chitosemizuhiki.com
Ｈ 9:30 a.m.-5 p.m. (Saturdays and holidays: 10 a.m.-4 p.m.)
Ｃ Sundays(Please call ahead for visits during holidays

and extended holiday periods.)

Ｃ Thursdays

www.chitosemizuhiki.com/

Ａ 3-15 Yasue-cho, Kanazawa 920-0854☎ 076-221-2212

Ａ 1-1-36 Nomachi, Kanazawa 921-8031☎ 076-214-6363
E-mail info@mizuhiki.jp

Ｈ 9:30 a.m.-6:30 p.m.

Ｃ Tuesdays

Ａ 2-121 Okuwa-machi, Kanazawa 921-8046☎ 076-244-4069
E-mail bigbamboo@hotmail.co.jp

Ｈ 10 a.m.-6 p.m. (Closed 12a.m.on Saturdays)
Ｃ Sundays, holidays（Closed during New

Year’s holidays）

Ｈ 10 a.m.-6 p.m.
Ｃ Mondays (or the following day if Monday is a holi-days) Closed during New Year’s holidays（Part of HAKUZA Hikarigura）☎ 076-252-3641

30 Shoraku Otake Butsudan
Seisakusho

Ａ 1-2-25 Hirosaka, Kanazawa 920-0962(in Kanazawa Noh Museum)☎ 076-265-3320
E-mail info@crafts-hirosaka.jp

www.crafts-hirosaka.jp/

40 Tsuda Mizuhiki Orikata

2:30 p.m., 3:30 p.m., 4:30 p.m.)

46 Kanazawa Crafts
Hirosaka☎ 076-231-5421
E-mail info@kirikougei.com

Ｈ 11 a.m.-4 p.m.

Ｃ Tuesdays, New Year’s holidays

28 Imamura Butsudan-ten

Ｈ 9 a.m.-7 p.m.

Ａ 3-2 Hyotan-machi, Kanazawa 920-0845

29 Sawada Butsudan-ten

Ｃ Sundays, Mondays, holidays, and New Year’s holidays

Ａ 2-17 Hashiba-cho, Kanazawa 920-0911☎ 076-221-2397
E-mail info@ohimuseum.com
Ｈ 9 a.m.-5 p.m.

34 Yamada Butsugu-ten

Ａ 1-13-18 Higashiyama, Kanazawa 920-0831

Ｈ 10 a.m.-5 p.m. (Workshop: 10 a.m., 11 a.m., 1:30 p.m.,

43 Ohi Chozaemon Ware / Ohi Museum

Ａ 8-33 Hyotan-machi, Kanazawa 920-0845

Ｈ 9 a.m.-6 p.m.

Ｈ 9:30 a.m.-6 p.m. (until 5:30p.m. during winter)
Ｃ Open year-round

33 Hayashi Butsudan-ten

Ｈ 9 a.m.-6 p.m.

available

New Year’s holidays）

www.meboso.co.jp/

36 Metal crafts Kazawabisyou studio☎ 076-222-5550

Ａ 1-13-18 Higashiyama, Kanazawa 920-0831☎ 076-251-8930
E-mail hikarigura@hakuza.co.jp

Ｈ 9:30 a.m.-5:30 p.m.
Ｃ Tuesdays (Open holidays, Closed during

Ｃ Saturdays, Sundays, holidays

Ａ 1-12-12 Izumino-machi, Kanazawa 921-8034

Ａ 5-7 Yasue-cho, Kanazawa 920-0854

21 HAKUZA Hikarigura☎ 076-241-0795
E-mail nushi@helen.ocn.ne.jp

26 Miyakoshi Hitomi Nui Craft Center

Ａ 8-2 Musashi-machi, Kanazawa 920-0855

kanazawa.hakuichi.co.jp/

Ａ 11-35 Yasue-cho, Kanazawa 920-0854☎ 076-231-6371
E-mail webmaster@meboso.co.jp
Workshops

45 Kanazawa Yasue Gold Leaf
MuseumKanazawa Buddhist Altar Manufacturers Association

Ｈ 9 a.m.-6 p.m.
（Workshop: 9 a.m.- 4 p.m.）
Ｃ Open year-round (except Jan. 1)

42 Meboso Hachirobei Shoten

Rare Traditional Crafts

20 Hakuichi Main store：Hakuko-Kan
Ａ 2-1-1 Morito Kanazawa 921-8061☎ 076-240-8911
E-mail contact@hakuichi.co.jp

nttbj.itp.ne.jp/0762532201/☎ 076-243-2439

Ａ 8-33 Hôshima-machi, Kanazawa 921-8101

Ａ Prasada Musashi 2F, 11-1 Musashi-machi,
Kanazawa 920-0855☎ 076-201-8486
Workshops
E-mail info@tajima-kinpaku.co.jp

Ｃ Saturdays, Sundays, holidays

32 Masahide Nushioka Butsudan-ten

Ｈ 9 a.m.-6:30 p.m. (Closed 4 p.m. on Tuesdays)
Ｃ Open year-round24 Kaga Nui Kobo Tsubaki

Ｈ 8 a.m.-5 p.m.

Ｃ Thursdays

www.geocities.jp/hayashi_butsudan/

Kanazawa 921-8016☎ 076-256-3210
Workshops
E-mail kaganui.classico@email.plala.or.jp

Ｈ 10:00 a.m.-4:00 p.m.
Ｃ Saturdays, Sundays, holidays

Ｈ 8:30 a.m.-6 p.m.

Ｈ 9 a.m.-6 p.m.

☎ 076-272-8334

19 Kinpaku Kogei Tajima

Ｈ 10 a.m.-5:30 p.m.
Ｃ Tuesdays (except holidays) and during

Workshops

Ｃ No regular holidays

Ａ 201 Park Residence I-18 Toriki-cho,Kinpakuya Sakuda
Ａ 1-3-40 Higashiyama, Kanazawa 920-0831

Ｈ 10 a.m.-5 p.m.

Ａ 30-20 Nakamura-machi, Kanazawa 921-8022☎ 076-241-2544

Ｈ 9 a.m.-7 p.m.

23 Kaga Nui Classico

Ａ 1-3-27 Higashiyama, Kanazawa 920-0831

Ｈ 9 a.m.-6 p.m.

Ａ 3-4-19 Mitsukuchi-shin-machi, Kanazawa

available

18 Sakuda Gold & Silver Leaf Main Storewww.goldleaf-sakuda.jp/

22 Kaga Nui IMAI
920-0944☎ 076-231-7595
E-mail yokomitsu7788@yahoo.co.jp

41 Hirose Kiri-Kogei

Ａ 2-1-29 Moriyama, Kanazawa 920-0843☎ 076-253-2201
E-mail nushiokakenjibutudan@gmail.com

Ａ 1-2-36 No-machi, Kanazawa 921-8031

Workshops

www.k-katani.com/☎ 076-251-6777
E-mail kinpaku@goldleaf-sakuda.jp

Ａ Ishikawa Industrial Promotion Center 2F, 2-20

31 Kenji Nushioka Butsudan-ten

Displays and sales of rare Kanazawa traditional crafts. Pleasefeel free to come in and browse. Specializing in accessories
and straps (for key-rings, mobile phones etc.)

Workshops
available

www.mizuhiki.jp/

Ｈ 10 a.m.-8 p.m.
Ｃ Open year-round (except New Year’s holidays)

ootakebutsudan.com

43

44

in

ish

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Otomarumachi

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Kinpakuya Sakuda

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Akachi Shikki-ten
Asanohonmachi

359

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Ishida Shikki-ten
Hiro-oka

Kutani-yaki Moroe-ya
Takahashi Hokusan-do

tG

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Creative lacquerware Wako

Kutani-yaki Kaburaki Shoho

Horikawamachi

Kanazawa
Ekimae Chuo

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Kanazawa Citizen’s
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Workshops●

37

Motoguruma

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HakuzaMain store

31

Higashi Chaya District

17 -ohashi●Omi-choMarket Chitose

39

BridgeWorkshops●

Mizuhiki
Izumi Kyoka
Kinenkan
MuseumKanazawa Castle Park

Oyama Jinja Mae

18 Kinpakuya SakudaWorkshop Reservations●
Hashiba-cho

Minami-cho

SaKenji Nushioka Butsudan-ten

Hikoso-ohashi
BridgeBakuro-machi●

Nagamachi Yuzen Kan

14 Toan Workshops

Utatsuyama
Moriyama-kita

HikosoKamitsutsumi-cho

Naga-machi Buke
Yashiki District●

Omameda-ohashi
Bridge27

Yamanoue

Workshops
Yamada● Yokoyasue-cho●
Kanazawa Yasue Gold Leaf Museum
Kanazawa Katani
Shotengai
Rifare Butsugu-ten(Gold Leaf application
Higashiyama
Sakuda Gold & Silver Leaf Main Store Workshops
34 29 Sawada workshop)
45 ●Butsudan-ten
Musashi Nishi
21
Higashi Chayagai 18
HAKUZA
Hikarigura/HAKUZA Keiko dokoro Workshops
Kanazawa
Mae
Meboso Hachirobei Shoten 42●
Phonograph
Asanogawa20 Kanazawa Bikazari Asano Workshops
Workshops
Meitetsu M’za Musashi
MuseumDept. Store ●HoOmamedaBashi Bridge

36

Ikeda Daibutsu-do

Kokuryu-do 13

Nakabashi

Minami
Hirooka-machi

Metal crafts
Kazawabisyou studio●

Hirooka-naka

Kanazawa
Kirikogei Iwamoto
Kiyoshi Craft Center

Nakajima-ohashi
BridgeateGate）K a （Weswa Po
n t rtKe S t a a z Gate gatena ）（E roku t i o w
as en n a

Hyakuwan Hyakuzen Nosaku

Irie

ku
uri

sen

Oge-bashi
BridgeHakuichi

●

ail

aR

aw

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Ish

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wa

● Tokuda Shusei

Umeno-hashi

43

Bridge●Mr.Kurando
Terashima’s House
Ote-machi

Kanazawa
Bungeikan(Literary Hall)

Oyama

Tenjin-bashi Bridge

Kazue-machi Chaya District

Ohi Chozaemon Ware /Ohi Museum

Utatsu Tunnel.

Kutani Tomoe
Shokai

Kenrokuenshita

Kataoka
Kozando 11

Naga-machi- Nino-hashi-Bridge

Kinenkan Museum

Tokiwa-bashi Bridge

Kanazawa Shinise
Ishikawa Fourth High School
38 Kiri-urushi Kogei Uesaka
9
10 Kutani-yaki
Kinenkan Museum
Kaburaki Shoho
Memorial Park●
Mikage-ohashi
Bridge Maeda Tosanokami-ke●
Daiwa Kanazawa Crafts Hirosaka
Mikage-ohashi
1 Kaga Yuzen Kimono Center Workshops
Minami-zume
Dept. Store
Kanazawa Noh Museum
Shiryoｋan Museum Nagamachi
Nakamura● ●Hokusan-do
41
machi
Korinbo Tokyu
Shinbashi
Kenrokuen Garden
KorinboSquareHirosaka
Hirose Kiri-Kogei BridgeiverSuzumi-bashi
Bridge159

To Komatsu

Kutani-yaki Moroe-ya

12 6

Masuizumi

Nishi Chaya District

Saigawa-ohashi
Bridge5● 21st Century Museumof Contemporary Art,
Kanazawa
●

●

i- do

●

Kata-machi

Kanazawa
City Hallach

Muro Saisei
Kinenkan Museum

46 44 15m
Tate

Workshops Nosaku●

KentokuSakaue
Dewa-machi

Great People of Nakamura
Kanazawa

35
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KanazawaNishi Interchange(To Fukui) ay
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157

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Workshops
Main store:
Kaga
Nui
Classico20
Hakuko-kan
23

Imamura 28
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16 Imai Kinpaku Workshops

Hayashi Butsudan-ten

Yonenaga Butsudan

8

No

Hokuriku
gakuin-mae

33

Sai
gaw

KanazawaNishi Interchange(Toyama)ri

Memorial Museum
8
Ishida Shikki-ten
Memorial ●D.T.Suzuki Museum
OhiyakiMuseumNomachi Hirokoji 40
Workshops Tsuda Mizuhiki Orikata
Sho-un-gamaKaga Yuzen Maida
3
Masahide Nushioka Butsudan-ten 32
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25 Nui-no-irodori
Heiwa-machi

Yokogawa
Izuminodemachi

157

Mikkaichi

Okuwa-bashi Bridge

30 Shoraku Otake Butsudan Seisakusho
24 Kaganui Kobo Tsubaki Workshops● Nonoichi City Hall Forte

Kubo-machi

45

46

Access to Kanazawa
NerimaInterchange
Ichinomiya
Junction
Suita
Interchange●Car Routes Tokyo
NagoyaOsaka

Kanazawa Morimoto
Interchange
Kanazawa Morimoto
Interchange
Kanazawa Nishi
Interchange

Approx. 6 hrs & 30 min
Approx. 2 hrs & 50 min
Approx. 4 hrs●Inquiries／Central Nippon Expressway Company Kanazawa Branch TEL 076-249-8111●Air Routes

HanedaAirportHanedaAirportTokyo

Komatsu

Approx. 1 hr Airport

Kanazawa
StationKanazawa
StationApprox. 40 min(Komatsu Airport Limousine Bus)

Noto Satoyama
Approx. 1 hr Airport
Approx. 2 hrs (Express Bus)●Inquiries／Komatsu Airport Information Counter TEL 0761-21-9803
Noto Airport Terminal Building TEL 0768-26-2000●JR Routes

Tokyo

Tokyo
Kanazawa
Station Approx. 2hrs＆ 28min（The fastest express train“Kagayaki”） Station

NagoyaNagoyaStationOsaka
Station(via Nagano：Hokuriku Shinkansen)

Osaka

Kanazawa
StationKanazawa
StationApprox. 3 hrs (Limited Express“Shirasagi”)
Approx. 2 hrs & 40 min (Limited Express“Thunderbird”)●Inquiries／JR West Japan's Hokuriku Information Center TEL 076-251-5655

Noto Satoyama
Airport

SapporoNoto Airport

Seoul

Anamizu
N
N
o
to
ana
Sat
oL
oya
ine
ma
Kaid
o

Shanghai

Komatsu
Airport

TaipeiAwagasaki
Kaga Hot
Spring Komatsu Kanazawa

Takayama
Okaya

Hokuriku
Shinkansen
Joshin
ets Karuizawa
uE
xpre
ssw
ay
Chuo Expressway

Shizuoka

Chuo Main Line
Tomei Expressway

NagoyaTokaido Shinkansen

TakasakiJoetsu Shinkansen

Fujioka
NaritaHanedaUeno

Ichinomiya

MaibaraEchigoYuzawaKanetsu Expressway

KomakiIiyamaNaganoMatsumoto

Nagaoka

ku Line
HokuhoOsaka Kyoto

Wakura Hot
Sendai
Springs
Nanao
NadauraHanedaHimi
Kurobe-Unazuki-onsen
Takaoka
Joetsu-Myoko
Takaoka Toyama Itoigawa Naoetsu Saigata

Shin Takaoka
Toyama Joetsu
Fukumitsu
Koshoku
Gokayama

Line

Meishin Expressway

MaibaraTakayama Main

Kosei Line

Suita

Toka
i Hok
uriku
Expressway

Naha

Kanazawa
Morimoto
Kanazawa Higashi

Hokuriku Expressway

TsurugaKanazawa Nishi

Hokuriku Main Line

Oyabe Tonami

Fukui

Fukuoka

Noto Railway

ShizuokaTokyo【Production】

The City of Kanazawa【Editing・Publication】

Kanazawa Craftwork Business Creation Agency【Editing・Publishing】

Kanazawa crafts Hirosaka
1-2-25 Hirosaka, Kanazawa 〒 920-0962
TEL. 076-265-3320 FAX. 076-265-3321
FUKUOKA
E-mail info@crafts-hirosaka.jp
http://www.crafts-hirosaka.jp【Editorial Assistance】
Kanazawa Lacquer Ware Manufacturers Cooperative Association
Kanazawa Kutani Ceramics Promotion Associaton
Cooperative Association of Leaf Trade and Industry of Ishikawa Prefecture
Kaga Yuzen Promotion Cooperative Association
Ishikawa Kaga Embroidery Association
Kanazawa Buddhist Altar Manufacturers Association
Kanazawa International Exchange Foundation【Editing Production・Printing】
Yoshida Printing Inc.

JAPAN

KANAZAWA
KYOTO

TOKYO
OSAKA

NAGOYA

Second editionof March 2018 version
English