Craft exhibitions this week: Tokyo & Kyoto. For the full month’s schedule—see our website. #japancraft21 #japan #kogei #Craftexhibitions

kuska fabric interacts with each material, and takes the fluffiness, shade, and gentle texture created by the handiwork of artisans, alternating one right twist and one left twist of the weft yarn at a time, to the future. kuska fabric aims to be the one and only global brand “with the pride of 300 years of beautiful manufacturing of tango textiles. — Kyoto’s Tango district has been producing woven silk fabrics since the 700s. For the past 300 years, they have been a center for white chirimen crepe silk production, which is used for kimono dyeing processes such as yuzen brush dyeing and stencil dyeing. Crepe is a plain weave product with a characteristic crimpled texture created with loosely twisted warp threads and weft threads tightly twisted 3000 - 4000 times per meter.  Water scouring causes the fabric to shrink 30%, resulting in a lovely bumpy surface. The production line of KUSKA, has evolved from producing white chirimen crepe for kimono dyeing to a high value-added process based on hand-weaving rather than automated weaving.  Greater warmth and quality are achieved by hand weaving on old-fashioned wooden looms.  The slow and gentle weaving pace places air into the weave and results in three-dimensional fabric that highlights the natural qualities of silk. Silk threads are shaped like translucent glass rods with a round, triangular cross-section and prismatic structure. Slow hand weaving increases the transmission and reflection of light through their structure, increasing the complex diamond-like brilliance that is emitted. In addition to silk weaving, Kuska also produces a line of woven leather.  While the long warp yarn on the loom may be silk, the weft is produced from thinly sliced leather. The result is a leather textile that can be used for shoes, bags, and other accessories. @kuska1936 #japancraft21 #japan #kogei #craft

【Research about Traditional Japanese Crafts】 東京琴　TOKYO Koto The koto is a traditional Japanese musical instrument, primarily used for accompaniment. However, during the Edo period, a player named Yamada Kengyō created music that placed the koto at the center, leading to a flourishing production of the instrument in Edo. It is characterized by its loud volume and clear tone, producing a beautiful sound and rich resonance. Silk threads are used for the strings, and the body is typically made from paulownia wood. Skilled craftsmen meticulously adjust the instrument, considering the player's proficiency to achieve the ideal sound. 琴は和楽器の一つで、主に伴奏に使われていましたが、江戸時代に活躍した奏者・山田検校が琴を中心とした楽曲を作ったことで、江戸での生産がさかんになりました。特徴は音量の大きさと明瞭な音質で、美しい音色と余韻が生み出されます。素材は、弦には絹糸、胴体には桐などが用いられ、理想の音が出せるよう、奏者の力量を踏まえながら、職人による緻密な調整が施されます。 その他＜Bamboo and Wood＞ ▼Research about Traditional Japanese Crafts https://encustomisehp.wixstudio.com/jc21researchproject #japancraft21 #japan #kogei #TraditionalJapaneseCrafts

【Zoom presentation】 Discover the beauty and ingenuity of Japan’s regional crafts in Part VI of JapanCraft21’s continuing exploration series. In this free, one-hour Zoom session, Steve Beimel will guide you through captivating traditions uncovered through JapanCraft21’s extensive research. Experience the artistry of woodworking, papermaking, textiles, dyeing, urushi lacquer, and more. Enrich your understanding and take part in celebrating the timeless heritage of Japanese craftsmanship. ・Date & Time: ーNorth America West Coast: Wednesday, November 5, 5 pm ーNorth America East Coast: Wednesday, November 5, 8 pm ーJapan: Thursday, November 6, 10 am ・Registration: https://forms.gle/KmUXHs3duuGraMQt9 #japancraft21 #japan #kogei

【Craft Leader】Yuriko TOKUNAGA  Furniture / Hyogo Yuriko TOKUNAGA is the daughter and disciple of Toshio Tokunaga, an acclaimed master of woodworking and planesmanship. Seven years ago, after completing her university education and living for a year in France, she returned to her family home to apprentice with her father.  This decision came naturally to her, having been born and raised in the atmosphere of a woodworker’s studio.   Yuriko entered the JapanCraft21 Traditional Craft Revitalization Contest in 2022 and became the first-place winner of the Ronnie Prize.  Her contest application focused on three points: promoting and developing plane use in furniture making, the expansion of the Tokunaga concept of hand-crocheted cushions using Japanese washi paper, and the revitalization of Satoyama.** A few years ago, she purchased a ricefield adjacent to her family’s property that bamboo had overtaken for the past 60 years. Through her perseverance and by attracting like-minded volunteers, she has restored the rice patty to its original condition.                                                                                                                                           **An iconic Japanese agricultural valley surrounded by forested mountains and bamboo groves, where traditional rural life utilizes local nature in ecologically sustainable agriculture and cottage industry. @tokunagafurniture #japancraft21 #japan #kogei #craft #funiture

Cushioning is made from handmade ganpi washi paper that is cut into strips, twisted into paper cord, dipped into traditional persimmon tannin, and then twisted again. The cord is then crocheted into cushioning for this chair, resulting in comfortable, durable cushioning. w 610 × d 820 × h 950 Mulberry — Washi paper from Ganpi - The washi paper-making process was introduced into Japan from Korea in the early 600’s. Though most washi is made from Kozo, the paper mulberry tree, a smaller amount is made from the Japanese native ganpi tree, a member of the Zingcho flower family. The slow-growing and slow-generating gampi tree is harvested in the wild. Unlike wood pulp paper, which requires the felling of trees, washi production from ganpi is sustainable since the same trees can be repeatedly harvested over time.  The process begins with stripping the outer bark to access the inner bark, then soaking it in water to remove impurities. After boiling, the softened fibers are pounded and broken down into fibers, then placed in a vat of water.  Adding a gelatinous fluid from a special plant root keeps the fibers in solution so they can more easily be scooped up on a bamboo screen and bound together. The screen size depends on the size of the paper being made.  Rocking the screen causes the fibers to settle on the surface with a consistent thickness and facilitates the fiber bonding, resulting in strong and durable paper. Ganpi washi has shorter fibers, making it smooth and shiny. It is durable and insect-resistant and often used in art for painting.  @tokunagafurniture #japancraft21 #japan #kogei #craft #funiture

Craft exhibitions this week: Tokyo & Kyoto. For the full month’s schedule—see our website. #japancraft21 #japan #kogei #Craftexhibitions

US Ambassador's Residence Dining Chair — The Tokunaga studio is located in an idyllic satoyama.** The mood of the workspace is very meditative in that the process is done almost completely without electric tools.  Their three-person workshop iincludes founder Yoshio Tokunaga, his long-term first disciple, and his daughter and heir apparent, Yuriko.  Together, they produce original wooden furniture using the senior Tokunaga’s unique, highly refined hand-wood plane process that produces a natural wood sheen and luster that increases over time. Tokunaga collaborated with a steel blade craftsman to create a series of tiny, two-way planes central to their furniture-making concept.  Convention planes are moved in one direction -  pulled in Japan, pushed in the west. Tokunaga’s planes work in both directions, allowing them to work rhythmically and continuously, moving planes back and forth without having to interupt the flow to change directions.  A consistent line resulting from smooth back-and-forth movements is subtly seen on the surface of their finished work, regardless of the angle at which it is viewed. Completely rejecting any use of sandpaper because it severely scars the surface of the wood, their plane process opens the “pores of the wood.”  A clear comparison between planed and sandpapered wooden surfaces can be seen via microscope.  Surprisingly durable, hand-crocheted cushioning made from Japanese washi paper by the Tokunaga Studio adds softness and texture to their furniture. The studio’s vision is to re-invigorate and expand the culture of traditional, local hand-plane finishing while ensuring the sustainability of essential domestic raw materials through reforestation and supporting the resurgence of local satoyama culture for future generations.    **An iconic Japanese agricultural valley surrounded by forested mountains and bamboo groves, where traditional rural life utilizes local nature in ecologically sustainable agriculture and cottage industry. @tokunagafurniture #japancraft21 #japan #kogei #craft #funiture

Feel the beauty and softness of conifer trees. Vibrato chair aligned like a sound with dynamics, imagined as if the forests are moving with the wind. w 695 × d 530 × h 795 — The Tokunaga studio is located in an idyllic satoyama.** The mood of the workspace is very meditative in that the process is done almost completely without electric tools.  Their three-person workshop iincludes founder Yoshio Tokunaga, his long-term first disciple, and his daughter and heir apparent, Yuriko.  Together, they produce original wooden furniture using the senior Tokunaga’s unique, highly refined hand-wood plane process that produces a natural wood sheen and luster that increases over time. Tokunaga collaborated with a steel blade craftsman to create a series of tiny, two-way planes central to their furniture-making concept.  Convention planes are moved in one direction -  pulled in Japan, pushed in the west. Tokunaga’s planes work in both directions, allowing them to work rhythmically and continuously, moving planes back and forth without having to interupt the flow to change directions.  A consistent line resulting from smooth back-and-forth movements is subtly seen on the surface of their finished work, regardless of the angle at which it is viewed. Completely rejecting any use of sandpaper because it severely scars the surface of the wood, their plane process opens the “pores of the wood.”  A clear comparison between planed and sandpapered wooden surfaces can be seen via microscope.  Surprisingly durable, hand-crocheted cushioning made from Japanese washi paper by the Tokunaga Studio adds softness and texture to their furniture. The studio’s vision is to re-invigorate and expand the culture of traditional, local hand-plane finishing while ensuring the sustainability of essential domestic raw materials through reforestation and supporting the resurgence of local satoyama culture for future generations.    **An iconic Japanese agricultural valley surrounded by forested mountains and bamboo groves, where traditional rural life utilizes local nature in ecologically sustainable agriculture and cottage industry. @tokunagafurniture #japancraft21 #japan #kogei #craft #funiture

【Research about Traditional Japanese Crafts】 小久慈焼　Kokuji Yaki Kokuji Yaki is from Kokuji city, Iwate prefecture. Unlike the Tsugaru Yaki previously mentioned, the Kokuji Yaki is known for its white and smooth finish that many describe to look like women’s skin. Kokuji Yaki has been around for more than 200 years, but it struggles to find a successor. The clay and glaze used for the Kokuji Yaki has not changed and are all made from locally sourced materials. Due to the low percentage of iron in the Kuji clay, it has to be smashed into fine pieces, then mixed with orthoclase and water to make the base. Pottery made from Kokuji Yaki is typically used as Sake vessels due to its signature shape. The typical design used for Kokuji Yaki is kata-kuchi, which has a narrowed, mouth-like spout on only one side so that it can be used to pour liquid. 小久慈焼のはじまりは約200年前、江戸時代後期に遡ります。主に日用の雑器として用いられ、八戸藩に納められたとの記録も残っています。やがてどの家庭にも必ずひとつふたつはあると言って良いほど地元に親しまれるようになり、明治時代には、この地を訪れた民藝運動家柳宗悦によって高く評価されました。時代は変わっていっていますが、原点である地元の粘土と釉薬を使うこと、それだけは変えずに守り続けています。 陶器＜Ceramics＞ ▼Research about Traditional Japanese Crafts https://encustomisehp.wixstudio.com/jc21researchproject #japancraft21 #japan #kogei #TraditionalJapaneseCrafts

【Craft Leader】Tohru TSUJI Urushi (Lacquer) / Ibaraki Tohru TSUJI is master of urushi (lacquer). He raises his own lacquer trees, harvests and refines the sap, and applies it to wood vessels that he creates. Typically, these five distinct jobs are done by five different people.  His woodworking skills include lathe wood turning, carving in relief, kurinuki scooping or hollowing out blocks of wood, joining pieces of wood barrel-style, and wood inlay.  He believes in “healthy production,” and is committed to consistency from the beginning to the end of his work, using only high-quality wood and continuously producing lacquer from seedling to refined urushi. Carefully and methodically producing works that he, himself, wants to use and enjoy is an important and essential part of his “healthy production” credo. Tsuji’s work clearly demonstrates his strong university-inspired design background. An innovator, he developed a process that combines tin powder with Japanese lacquer, resulting in a durable silver finish.  @tsuji.tohru #japancraft21 #japan #kogei #urushi #craft #漆

A wooden cold water mizusashi jar for the Way of Tea; 12 vertical wood pieces are fused and coated with multi-layered urushi lacquer; partially visible wood grain; original silver-like finish of tin powder and urushi. — Urushi 漆, a completely natural lacquer coating, has been in use in Japan for 9,000 years. It is the world’s hardest and most durable coating, and can be applied to wood, metal, bamboo, glass, even over hemp cloth (known as “dry lacquer”). Not only it is a protective coating but it has anti-bacterial properties, is easy to clean, and increases the longevity of whatever it is applied to. Clear urushi coating on wood appears more lustrous and beautiful over time, and the wood grain becomes more prominent. The clear, honey-colored sap from the lacquer tree (Rhus vernacifera) is collected by hand from incisions on the tree trunk; total output of the precious substance which can ever be extracted from one tree is only six ounces (177 cc).  Mineral pigments can be added to create any color, such as iron oxide for black urushi or red iron oxide for red urushi.  During the Heian period (792 - 1185), lacquer-coated wooden functional ware was very popular and Japan became Asia’s undisputed lacquer master during the Golden Age of lacquerware which followed. The Portuguese introduced it to the west in the 16th century and it was widely spread in the 17th century by the Dutch East India Company, enthralling royalty and nobility alike. Marie Antoinette amassed a famous collection of lacquerware items. Japanese urushi ware dazzled the west as Japanism spread during the Belle Époque. @tsuji.tohru #japancraft21 #japan #kogei #urushi #craft #漆

The design and the materials for this traditional Japanese letter box are completely original. The carved-in-relief pattern comes from the culture of the Ainu people, indigenous to Japan. Both the construction and carving of the box as well as the complex multi-layered urushi lacquer application were done by one person, Tohru Tsuji, who originated the silver-like tin and urushi finish. — Urushi 漆, a completely natural lacquer coating, has been in use in Japan for 9,000 years. It is the world’s hardest and most durable coating, and can be applied to wood, metal, bamboo, glass, even over hemp cloth (known as “dry lacquer”). Not only it is a protective coating but it has anti-bacterial properties, is easy to clean, and increases the longevity of whatever it is applied to. Clear urushi coating on wood appears more lustrous and beautiful over time, and the wood grain becomes more prominent. The clear, honey-colored sap from the lacquer tree (Rhus vernacifera) is collected by hand from incisions on the tree trunk; total output of the precious substance which can ever be extracted from one tree is only six ounces (177 cc).  Mineral pigments can be added to create any color, such as iron oxide for black urushi or red iron oxide for red urushi.  During the Heian period (792 - 1185), lacquer-coated wooden functional ware was very popular and Japan became Asia’s undisputed lacquer master during the Golden Age of lacquerware which followed. The Portuguese introduced it to the west in the 16th century and it was widely spread in the 17th century by the Dutch East India Company, enthralling royalty and nobility alike. Marie Antoinette amassed a famous collection of lacquerware items. Japanese urushi ware dazzled the west as Japanism spread during the Belle Époque. @tsuji.tohru #japancraft21 #japan #kogei #urushi #craft #漆

Craft exhibitions this week: Tokyo & Kyoto. For the full month’s schedule—see our website. #japancraft21 #japan #kogei #Craftexhibitions

【Research about Traditional Japanese Crafts】 象嵌細工　Zougan Zaiku Zougan-Zaiku is a form of marquetry in which a wood surface is finely carved and then inlaid with shells or wood. Shells are trimmed into various shapes before inlaying, while wood pieces are carefully molded before being carefully fitted into the base material to create a decorative surface. The completed surface is then often lacquered to enhance the colors and protect the wood. Chopsticks, tableware, and other types of Japanese goods are made using these methods. 木の表面を細かく彫り、そこへ貝や木を嵌め込む。宝石のような輝きを持ちつつも品のある奥ゆかしい美しさを見せる日本の伝統的な技法です。貝を様々な形に「象（かたど）」って、木に「嵌（は）」める貝象嵌。木を様々な形に「象」って、嵌め込む木象嵌。 木製のテーブルウェアや和雑貨等がこの二つの製法で作られています。 金工品・石工品＜Metal and Stone＞ ▼Research about Traditional Japanese Crafts https://encustomisehp.wixstudio.com/jc21researchproject #japancraft21 #japan #kogei #traditionaljapanesecrafts

【Japan living arts】 Elizabeth Andoh – A Taste of Culture 残暑 ZANSHO Lingering Heat On the ancient, lunar-based koyomi almanac, risshū 立秋 marks the start of autumn. This year (2025) on the Gregorian calendar, risshū arrived on August 7. When hot weather continues beyond risshū the phenomenon is referred to as zansho 残暑, literally “lingering heat.” No doubt about it, brutal heat has lingered well beyond early August this year and zansho prevails in September. Indeed, the heat has been really relentless throughout Japan since late May. The projected weather report is for continued (dangerously) high temperatures (38-40 C = 100-104F) through the end of September. And although this year has been record-breaking (as has each of the past few years been — climate change is real!), Japan has had hot summers from time immemorial. ーRead more here https://japanlivingarts.com/ #japancraft21 #japan #kogei #japanlivingarts

【Craft Leader】Takuya TSUTSUMI
Urushi (Lacquer) Art / Kyoto Takuya TSUTSUMI creates wooden lacquer surfboards and skateboards, and is involved in craft-based rural community revitalization. The First Prize winner of the 2021 Japan Traditional Craft Revitalization Contest, Tsutsumi grew up as a 4th-generation lacquer dealer in a very traditional Kyoto neighborhood where his family has worked for 114 years. His prize-winning vision centers on the expansion of Perspective, an NPO eco-community he helped create which focuses on raw materials, crafts people, and users.  Tsutsumi holds a great enthusiasm for the outdoors; he has been an avid snowboarder, skateboarder, and surfer since his early years. With the financial support and mentoring of JapanCraft21, he established Siita (a surfboard and skateboard manufacturing business) which combines his passion for the outdoors with a viable business to support Perspective’s development. Using domestically grown Paulownia and Japanese cedar, the surfboards are not only lightweight, but when coated with Japanese urushi  漆 (lacquer) they last longer, are more durable and are easier to repair than conventional chemical-based boards. Tested by surfers internationally, these boards have even been found to surf better.  In addition to Tsutsumi’s reasonably priced boards with a standard urushi finish, he produces specialty boards using traditional Japanese craft techniques, such as mother-of-pearl, gold leaf, and many kinds of wood inlay. Wooden urushi-coated skateboards also come in both standard and highly crafted versions.  @tsutsumi_urushi @takuuuututu #japancraft21 #japan #kogei #urushi #craft

A paulownia wooden surfboard coated with many layers of translucent urushi lacquer, for a deep mirror-like shine. — Mother-of-pearl inlay is a process of embedding pieces taken from the iridescent inner layer of mollusk shells (abalone or oyster shell, etc.) into urushi. The pieces of shell are arranged in decorative motifs and most often cover a wooden base.  The Japanese adopted this methodology from the Chinese in about the 7th century CE. Maki-e, the most famous urushi decorative technique, is a 1200-year old, native Japanese process involving the sprinkling of gold or silver power on a decorative design of still wet urushi. Makie motifs can either be in burnished, flat or 3-dimentional raised form. Hyomon is the embedding of metal sheet as an inlay on an urushi surface Chinkin is the application of gold into decorative patterns which are incised into the surfaces of urushi vessels.  Kinma involves incising decorative motifs in an urushi surface and filling it with colored urushi. It is believed to have originated in Southeast Asia. Choshitsu is carved lacquer achieved by applying many layers of colored lacquer, usually to a wooden surfaces, then using a metal carving knife to engrave 3-dimensional designs.  It takes at least 100 layers of urushi to achieve 3mm for carving. The technique most probably came from China about 800 years or more ago. @tsutsumi_urushi @takuuuututu #japancraft21 #japan #kogei #urushi #craft

【ラジオ出演】エフエム京都 α-STATION、およびradikoで放送される、ナガオカケンメイさんのラジオに、バイメルが出演いたします。 LONG LIFE DESIGN RADIO～もののまわり～ 9月28日（日）18:00-19:00放送 ぜひお楽しみください。 番組説明---- 【もののまわり】をテーマにした対談を軸に、月替わりである一つの「もの（プロダクト）」に注目し、その「もの」と継続的につながる「地域、暮らし、産業、環境、仲間」等の現状を複数組のゲストと語り合います。 また、これまでにお届けしてきた京都ゆかりのゲストとの「京都談義」「ものづくり談義」の一部も【京都のつづく】として、再編集してオンエアしています。 ＜9月28日 のオンエア＞ ゲストは、工芸支援団体「JapanCraft21」創設理事のバイメル・スティーブエンさんです。 キーワード: 日本伝統工芸熱烈ガイド企画「BEIMEL'S VISION（バイメルビジョン）」 樺細工/板や細工/葛布/引箔/乾漆/鎌倉彫 LONG LIFE DESIGN RADIO～もののまわり～ 日程毎週日曜18:00から放送中 時間18:00～19:00 場所 エフエム京都 α-STATION #伝統工芸 #japancraft #jaganculture #kogei #japan #radio #ナガオカケンメイ #エフエム京都

This surfboard was constructed with native Japanese paulownia wood, known for the greatest strength-to-weight ratio of any commercially used wood in the world. The wooden board is then coated with layers of thick, precious urushi lacquer paste. Finally, seashell is embedded into the still wet urushi, creating an original mother-of-pearl surfboard. — Urushi 漆, a completely natural lacquer coating, has been in use in Japan for 9,000 years. It is the world’s hardest and most durable coating, and can be applied to wood, metal, bamboo, glass, even over hemp cloth (known as “dry lacquer”). Not only it is a protective coating but it has anti-bacterial properties, is easy to clean, and increases the longevity of whatever it is applied to. Clear urushi coating on wood appears more lustrous and beautiful over time, and the wood grain becomes more prominent. The clear, honey-colored sap from the lacquer tree (Rhus vernacifera) is collected by hand from incisions on the tree trunk; total output of the precious substance which can ever be extracted from one tree is only six ounces (177 cc).  Mineral pigments can be added to create any color, such as iron oxide for black urushi or red iron oxide for red urushi.  During the Heian period (792 - 1185), lacquer-coated wooden functional ware was very popular and Japan became Asia’s undisputed lacquer master during the Golden Age of lacquerware which followed. The Portuguese introduced it to the west in the 16th century and it was widely spread in the 17th century by the Dutch East India Company, enthralling royalty and nobility alike. Marie Antoinette amassed a famous collection of lacquerware items. Japanese urushi ware dazzled the west as Japanism spread during the Belle Époque. @tsutsumi_urushi @takuuuututu #japancraft21 #japan #kogei #urushi #craft

Craft exhibitions this week: Tokyo & Kyoto. For the full month’s schedule—see our website. #japancraft21 #japan #kogei #Craftexhibitions

【Craft Leader】Asako TAKEMI Textile Dyeing / Kyoto Asako TAKEMI is a textile producer who is bringing contemporary design to Japan’s legendary hand dyeing and weaving arts. She is dedicated to preserving the best dyeing techniques in the Kyoto kimono industry, single-handedly saving the lifelong skills of 10 venerated elderly Kyoto dyers. With Takemi’s deep and soulful love of fabrics and strong design background, she creates original kimono and Western-style ensembles for her clients, whose personal tastes influence the designs.  Currently she is spearheading JapanCraft21’s hand-dyeing apprentice program. It is her vision to rescue and revitalize these centuries-old dye techniques, clarifying and reassessing dye culture to meet current needs in an ever-shifting apparel market.  By choosing already experienced mid-level dyers as apprentices for intensive training by master dyers, bringing them up to master level takes about two to three years’ time rather than the decade it would take to train beginners. JapanCraft21 provides cost-of-living stipends to the apprentices so they can concentrate full time on their training. #AsakoTAKEMI #japancraft21 #japan #kogei

The color of the natural white silk was further enhanced with a rich white dye. The white fabric is slightly dipped onto the surface of water upon which floats black sumi ink (made from pine soot and a natural binder) in suspension to achieve this original marbling effect introduced by Takemi. This multi-layered bento box begins as a finely crafted wooden box. It is then coated with numerous layers of precious urushi lacquer creating a matte finish. — Silk Dyeing. Silk is said to be the strongest natural textile in the world. Silk production (sericulture) was introduced to Japan from China around the 4th century. Of the four main silk types (Tussah silk, Muga silk, Spider silk, and Mulberry silk), Mulberry silk (silkworms fed on mulberry leaves) is mostly used in Japan as it creates the softest fabric.  Asako TAKEMI is working with ten of Kyoto’s most skilled silk dyers (aged from 70 to mid-90s) to save  legendary dye processes from extinction through an accelerated apprentice program that she created with JC21. Combining these ten specialty techniques results in an almost endless number of variations. For example, stencil-dyed patterns can be combined with hand-brushed gradation dyeing. Or suminagashi (floating ink, marbling) can be combined with brush-dying resulting in an endless range of color combinations. The Craft of Silk Dyeing Silk threads are shaped like translucent glass rods with a slightly round triangular cross-section and prismatic structure, so they transmit and reflect light through their structure and emit a complex diamond-like brilliance.   #AsakoTAKEMI #japancraft21 #japan #kogei

This white kimono begins with an extremely thin undyed white silk woven in a very subtle pattern. The silk is then dyed a more subtle shade of white. An outline is then drawn of the banana leaf motif with a fine brush and a water-based dye. The outline is then traced over using a resist paste, making a 3-dimensional line around each leaf. The outlined leaves are then filled in with oyster shell white dye, which is followed by the addition of darker white to create appropriate shading. The silk is presented in two layers, so we see the banana leaf motif on both the surface silk and on the second layer, creating a sense of depth. — Silk Dyeing. Silk is said to be the strongest natural textile in the world. Silk production (sericulture) was introduced to Japan from China around the 4th century. Of the four main silk types (Tussah silk, Muga silk, Spider silk, and Mulberry silk), Mulberry silk (silkworms fed on mulberry leaves) is mostly used in Japan as it creates the softest fabric.  Asako TAKEMI is working with ten of Kyoto’s most skilled silk dyers (aged from 70 to mid-90s) to save  legendary dye processes from extinction through an accelerated apprentice program that she created with JC21. Combining these ten specialty techniques results in an almost endless number of variations. For example, stencil-dyed patterns can be combined with hand-brushed gradation dyeing. Or suminagashi (floating ink, marbling) can be combined with brush-dying resulting in an endless range of color combinations. The Craft of Silk Dyeing Silk threads are shaped like translucent glass rods with a slightly round triangular cross-section and prismatic structure, so they transmit and reflect light through their structure and emit a complex diamond-like brilliance.   #Asakotakemi #japancraft21 #japan #kogei

【Craft Leader】Masakuni SEKI Lacquer / Fukushima Award-winning designer and producer of Japanese urushi (lacquerware), Masakuni SEKI is working to revitalize a traditional lacquer district in Fukushima by inspiring collaboration among crafts people, developing new products and markets, and bolstering local tourism. Additionally, he is striving to expand use of urushi in architecture, apparel, and accessories.  Seki has created a rural collective where 50 young lacquer-related crafts people share space, machinery, marketing, and distribution resources. By adding a bakery, café and retail space to the workplace, he has created a popular local destination with an urushi focus. Seki’s work includes a broad range of urushi finishes, including deep and glossy, translucent, opaque, matte, gold makie embellishment, and mother of pearl inlay.  He is expanding the lacquer concept beyond “delicate and expensive” to include durable and affordable lacquerware for everyday use, both indoor and outdoor. His works with matte finish or with prominent grain are ideally suited for picnicking and camping because they are light weight and because scratches from normal use are hardly noticed.  Additionally, urushi lacquer has antibacterial properties and is light weight. “Unlike chemical-based plastics, urushi products are very appropriate for use in the forest,” says Seki, a passionate camper. @sekibikodo1946 #japancraft21 #japan #kogei

This multi-layered bento box begins as a finely crafted wooden box. It is then coated with numerous layers of precious urushi lacquer creating a matte finish. — Urushi 漆, a completely natural lacquer coating, has been in use in Japan for 9,000 years. It is the world’s hardest and most durable coating, and can be applied to wood, metal, bamboo, glass, even over hemp cloth (known as “dry lacquer”). Not only it is a protective coating but it has anti-bacterial properties, is easy to clean, and increases the longevity of whatever it is applied to. Clear urushi coating on wood appears more lustrous and beautiful over time, and the wood grain becomes more prominent. The clear, honey-colored sap from the lacquer tree (Rhus vernacifera) is collected by hand from incisions on the tree trunk; total output of the precious substance which can ever be extracted from one tree is only six ounces (177 cc).  Mineral pigments can be added to create any color, such as iron oxide for black urushi or red iron oxide for red urushi.  During the Heian period (792 - 1185), lacquer-coated wooden functional ware was very popular and Japan became Asia’s undisputed lacquer master during the Golden Age of lacquerware which followed. The Portuguese introduced it to the west in the 16th century and it was widely spread in the 17th century by the Dutch East India Company, enthralling royalty and nobility alike. Marie Antoinette amassed a famous collection of lacquerware items. Japanese urushi ware dazzled the west as Japanism spread during the Belle Époque. @sekibikodo1946 #japancraft21 #japan #kogei

【Japan living arts】 Mayumi Tachikawa – Interview #1 When Thought Takes Shape: Introduction — Craft as a Form of Thought Craft is not merely about making things. So says David Tonge, a London-based designer who has worked with Japanese companies and craftspeople for over two decades. What captivates Tonge is not simply the finished object, but the thinking behind it — the approach to materials, the philosophy of process, and the cultural significance embedded in technique. He is drawn to how these invisible elements are made tangible through Japanese craft. This interview marks the first in a new series exploring the spirit and evolution of Japanese craft through conversations with global designers, curators, and cultural practitioners. In this inaugural piece, Tonge discusses wabi-sabi, imperfection, handcraft philosophy, and the cultural contrasts that shape how we perceive and create. Q1 — The True Appeal of Craft Lies in Its Thinking, Not Just Its Materials Q: When you think of Japanese craft, what materials or techniques come to mind? Honestly, it’s really hard to choose just one. Of course, lacquer, indigo dye, gold leaf — they’re all fascinating. But what draws me in more than the specific technique or material is the thinking behind it. Japanese craft embodies a mindset that embraces meticulous attention to detail, an uncompromising commitment to the process, and a deeply respectful relationship with materials. Rather than asking what a technique is, I find it more interesting to ask: Why is it made this way? That question reflects the very spirit of Japanese craftsmanship. For example, I love gold leaf and lacquer, but what matters more to me is why a certain method was chosen, and how the maker arrived at the final form. It resonates more to say “I’m drawn to this thinking” than “This is my favorite technique.” ーRead more here https://japanlivingarts.com/ #japancraft21 #japan #kogei #japanlivingarts

Craft exhibitions this week: Tokyo & Kyoto. For the full month’s schedule—see our website. #japancraft21 #japan #kogei #craftexhibitions

【Craft Leader】Kohei MURATA Hikibaku (Metal Leaf) / Shiga Kohei MURATA is a 3rd-generation metal leaf artisan (gold, silver, etc.), an integral part of the internationally renowned Nishijin weaving process which combines silk, metal leaf and paper into obi sashes for kimono.  Fifty years ago there were about 40 hikibaku 引箔 metal-leaf masters working in Kyoto, but because of changing market trends only a very few remain today. In response, the award-winning Murata has been developing other applications and designs as well as previously untried materials and tools with a commitment to pass down his craft to future generations.  Murata produces leaf finish on a variety of items.  This highly innovative artisan recently applied metal leaf to thinly sliced leather which was then woven with silk to create a dazzling and durable armrest for a custom BMW. He also creates decorative panels for interior designs.  Says Murata, “The only surfaces to which I cannot apply leaf are air and water.”  Murata strives to evolve his process with continuous refining. “I feel a responsibility to move tradition forward by always exploring, adapting and innovating, challenging myself to try new applications and push the boundaries of my craft.” @koheimurata.9 #japancraft21 #japan #kogei

Japanese washi paper to which different kinds of metal leaf (gold, etc.) and urushi lacquer colored with natural mineral pigments.are affixed. — Metal Leaf. Such metals as gold, silver and platinum can be applied to nearly any surface (wood, metal, glass, paper, bamboo, etc.) in leaf form, using urushi lacquer. Hikibaku 引箔:  Precious metallic thread, a type of paper yarn, has been used for the legendary hikibaku weaving process of Kyoto’s Nishijin weaving district for over 500 years.  The yarn is made by affixing gold, silver, or platinum leaf to handmade washi paper in artistic patterns using Japanese urushi (lacquer). The washi paper is then cut about 0.02-inch thickness (about 0.5 ml) and woven into silk to create luxurious kimono obi (belt sashes) of Kyoto. The warp of the weave is silk, and the weft is washi paper; the obi can be up to 50 percent washi paper.  This is a process done only in Kyoto, and is not understood by most of the world, including most Japanese. It is truly one of the world’s most rarefied weaving arts of the past 500 years. @koheimurata.9 #japancraft21 #japan #kogei

The application of silver leaf at various stages of oxidation to Japanese washi paper in layers creates the illusion of depth. The paper is then sliced into strips of 1/64 inch (.4 mm) and is then woven as a weft into a silk warp. The floral design is then added by embroidery. Therefore, the piece is 50% silk and 50% paper. — Metal Leaf. Such metals as gold, silver and platinum can be applied to nearly any surface (wood, metal, glass, paper, bamboo, etc.) in leaf form, using urushi lacquer. Hikibaku 引箔:  Precious metallic thread, a type of paper yarn, has been used for the legendary hikibaku weaving process of Kyoto’s Nishijin weaving district for over 500 years.  The yarn is made by affixing gold, silver, or platinum leaf to handmade washi paper in artistic patterns using Japanese urushi (lacquer). The washi paper is then cut about 0.02-inch thickness (about 0.5 ml) and woven into silk to create luxurious kimono obi (belt sashes) of Kyoto. The warp of the weave is silk, and the weft is washi paper; the obi can be up to 50 percent washi paper.  This is a process done only in Kyoto, and is not understood by most of the world, including most Japanese. It is truly one of the world’s most rarefied weaving arts of the past 500 years. @koheimurata.9 #japancraft21 #japan #kogei

【Craft Leader】Sachi KITAGAWA
Woven Silk / Silk Interior Designs / Kyoto Sachi KITAGAWA's family business has been supplying fine woven silk for Japanese kimono to yuzen* dyers, stencil dyers, & other artisans for generations. Made in tan* (rolls), there are literally thousands of subtle, culturally and aesthetically significant weaving design variations of this white silk.  * Yuzen 友禅. Dye applied with tiny brushes. Tan 反. Standard size for a kimono roll, generally 35 cm in width x 12 meters in length.   Though local production in the 1970s was about 11,000,000 tan per year, current annual production has dropped to just under 170,000 tan. The number of weaving design variations has dwindled, accordingly. In response to the changing market, Kitagawa has developed a line of panels, partitions and furniture made from woven or embroidered silk sandwiched between layers of glass or plexiglass. These can be seen in hotel lobbies, galleries, restaurants, and other architectural installations.  Kitagawa has been active in revitalizing domestic silk production, an important part of Japan’s cultural history. Today less than one percent of the silk used in Japan is locally grown. By using domestic silk in her installation elements, Kitagawa is contributing to Japan’s cultural preservation. Finally, by providing meaningful and challenging work for highly skilled master crafts people, Kitagawa is keeping rarefied dying and gold leaf techniques alive.  @sachi_kitagawa_itoko #japancraft21 #japan #kogei

Hanging silk panels, Yuzen hand-dyed with small brushes, set in a public showroom. — A highly complex yuzen dye process that begins with an undyed white base tanmono silk roll (typically 40 cm wide x 13 meters long) which has been woven in a subtle pattern. The outline of the peony design is then painted onto the silk with a fine brush using a water-based dye. Then the outlined leaves and flowers are filled in with a resist paste. The piece is then dyed black using small brushes. The resist paste is removed by steaming, then the flowers are dyed with white oyster shell dye. Next, each leaf and petal is further dyed by a small brush with a color gradationshading technique. Then a liquified gold is applied to the outline of the leaves and petals. To achieve the variegation in gold-accented areas, a very loose gauze (dyed in persimmon juice to give it strength) is affixed to the surface of the piece, over which gold leaf is applied. Pulling the gauze off results in a crackled effect. @sachi_kitagawa_itoko #japancraft21 #japan #kogei

【Zoom presentation】 Explore the artistry and innovation of Japan’s regional crafts in Part V of JapanCraft21’s ongoing discovery series. Join Steve Beimel for a complimentary one-hour Zoom presentation highlighting remarkable traditions revealed through JapanCraft21’s in-depth research. Encounter the worlds of woodworking, papermaking, textiles, dye techniques, urushi lacquer, and beyond. Deepen your appreciation and share in the enduring legacy of Japanese craftsmanship. ・Date & Time: ーNorth America West Coast: Monday, September 29, 5 pm ーNorth America East Coast: Monday, September 29, 8 pm  ーJapan: Tuesday, September 30, 9 am   ・Registration: https://forms.gle/iMwM3H66Q4Fkkats7 Reserve your spot today and be inspired by the artistry already shaping Japan’s craft future! Together we can ensure the survival of Japan's extraordinary master craft culture for generations to come. #japancraft21 #japan #kogei

A master textile dyer applies gold leaf to a silk kimono with bamboo tongs. — A highly complex yuzen dye process that begins with an undyed white base tanmono silk roll (typically 40 cm wide x 13 meters long) which has been woven in a subtle pattern. The outline of the peony design is then painted onto the silk with a fine brush using a water-based dye. Then the outlined leaves and flowers are filled in with a resist paste. The piece is then dyed black using small brushes. The resist paste is removed by steaming, then the flowers are dyed with white oyster shell dye. Next, each leaf and petal is further dyed by a small brush with a color gradationshading technique. Then a liquified gold is applied to the outline of the leaves and petals. To achieve the variegation in gold-accented areas, a very loose gauze (dyed in persimmon juice to give it strength) is affixed to the surface of the piece, over which gold leaf is applied. Pulling the gauze off results in a crackled effect. @sachi_kitagawa_itoko #japancraft21 #japan #kogei

Craft exhibitions this week: Tokyo & Kyoto. For the full month’s schedule—see our website. #japancraft21 #japan #kogei #craftexhibitions

【Craft Leader】Katsumi KAKO Ceramics / Hyogo Katsumi KAKO is a third-generation, Kyoto-born potter living in Sasayama, a charming provincial town outside of Kobe in Hyogo prefecture.  Throughout the production process, he resonates with clay as a natural material, culminating with works completed by fire in the kiln. Kako’s pots have a keen, cutting-edge sense of form, while maintaining faithfulness to traditional shapes and the tsuchi aji (the “flavor” of the clay) of traditional ash glazes and earthy skin textures.  Kako is always pushing himself to expand the range of his work and creates a new series on a regular basis. While he is best known for his chawan tea bowls, he also creates large, innovative, and timeless sculptural works that show his deeper creative side. His work retains the rusticity of the traditional pottery of his district but with a contemporary sensibility. A modest man, Kako will ask others for ways to improve his work. Listening to others sharpens his senses.  He continues to mature, testing his horizons as an artist and building on the foundations of his previous success. In addition to his own clay work, he holds a vision of a collaborative of local Sasayama crafts people, specializing in ceramics, glass, woodworking, amongst others, with the goal to develop markets internationally, domestically as well as locally. #KatsumiKAKO #japancraft21 #japan #kogei

Colorful arabesque designs in a tri-color scheme on this stoneware vase. — Japan is home to some of the world’s oldest ceramics dating back about 12,000 years. There are possibly more ceramic styles and techniques in use in Japan today as well as more working master ceramists than most of the world combined. Japan produces earthenware, stoneware, and porcelain, for both functional and non-functional purposes.  In addition to pottery by Master Artisans who create in small quantities, those by Master Artists making one-of-a-kind or very limited editions can be found in significant collections throughout the world.  Whether it is distinctively Japanese unglazed works, porcelain, or stoneware for tea ceremony or fine food presentation, folk-style functional ware or celadon works at the pinnacle of human achievement, we see shapes, colors, and textures of almost limitless variety, making Japan a true Mecca of ceramics for the 21st century.  #KatsumiKAKO

This stoneware tea bowl created with wax-resist silver glazed patterns is fired three times. The first is a bisque firing at 800 C. Next comes a high-temperature glaze firing. A wax resist is then applied to the glazed surface in a decorative pattern. After the bowl is coated in silver, it is fired at a low temperature. This affixes the silver to the ceramic surface while the wax-resist melts away, exposing the original glaze. — Japan is home to some of the world’s oldest ceramics dating back about 12,000 years. There are possibly more ceramic styles and techniques in use in Japan today as well as more working master ceramists than most of the world combined. Japan produces earthenware, stoneware, and porcelain, for both functional and non-functional purposes.  In addition to pottery by Master Artisans who create in small quantities, those by Master Artists making one-of-a-kind or very limited editions can be found in significant collections throughout the world.  Whether it is distinctively Japanese unglazed works, porcelain, or stoneware for tea ceremony or fine food presentation, folk-style functional ware or celadon works at the pinnacle of human achievement, we see shapes, colors, and textures of almost limitless variety, making Japan a true Mecca of ceramics for the 21st century.  #KatsumiKAKO

【Craft Leader】Tomoya HYODO Sashimono (Fine Wood Crafting) / Kyoto Sashimono master Tomoya HYODO lives in the idyllic country town of Keihoku-cho, outside of Kyoto, in a simple traditional wooden house. It is his dream to revitalize the refined culture of traditional Kyoto.  There are very few sashimono (fine wood crafting) artisans left in Japan today,  especially at his level, and he wants to train young apprentices to continue this tradition in the future.  Hyodo was born in 1974 and raised in Kyoto. While studying furniture making at a trade school, he encountered a small sashimono box while visiting a producer of wooden boxes for tea-ceremony untensils. The passion for "precision beauty" he experienced on that visit changed his life's course, and he became completely engrossed in sashimono. Sashimono is wood crafting at its highest level. Produced without nails, it includes fitted boxes for especially fine masterworks of craft such as ceramics, metal, bamboo, figurative art, lacquer ware, kimono and more.  Sashimono also includes various stands and furniture and the intricate parts of fine scrolls. @hyodo.zepp

Craft exhibitions this week: Tokyo & Kyoto. For the full month’s schedule—see our website.

This low table is made from paulownia wood, a versatile material favored by Japanese craftspeople for both its beauty and durability. This strong and stable wood is warp-resistant and has the highest strength-to-weight ratio of any forest product. The joinery is accented with a thin layer of black persimmon wood. — Sashimino 指物 is wood crafting at its highest level. Produced without nails, sashimono includes fitted boxes for especially fine masterworks of craft such as ceramics, metal, bamboo, figurative art, lacquerware, kimono and more. Sashimono also includes various stands and furniture and the intricate parts of fine scrolls. This craft is based on a reverence for wood, working in cooperation with nature rather than fighting it. Precise joinery construction results in remarkable durability and longevity. Historically, Japanese craftsmen relied on joinery because originally iron was not readily available in Japan. Hozo grooves are carved into the wood to join two pieces with perfect slots (mortises) in a way that is not visible. Though often thought of as simple, the wood joints can be highly complex, such as with tsunagi that incorporates highly refined geometric patterns. There are dozens of joint types, ranging in complexity from very simple to highly complicated. @hyodo.zepp

This paulonia chabako box was made to hold a tea bowl and simple implements. The calligraphic carving is a lovely poem from the 1000-year-old Tales of Ise, of Japanese classic literature, giving voice to a young couple exchanging their mutual love from afar, where they recall their youth and reflect on how they have since grown. — Sashimino 指物 is wood crafting at its highest level. Produced without nails, sashimono includes fitted boxes for especially fine masterworks of craft such as ceramics, metal, bamboo, figurative art, lacquerware, kimono and more. Sashimono also includes various stands and furniture and the intricate parts of fine scrolls. This craft is based on a reverence for wood, working in cooperation with nature rather than fighting it. Precise joinery construction results in remarkable durability and longevity. Historically, Japanese craftsmen relied on joinery because originally iron was not readily available in Japan. Hozo grooves are carved into the wood to join two pieces with perfect slots (mortises) in a way that is not visible. Though often thought of as simple, the wood joints can be highly complex, such as with tsunagi that incorporates highly refined geometric patterns. There are dozens of joint types, ranging in complexity from very simple to highly complicated. Sashimono boxes are known for their precision closing lids. Unlike hardwoods that lock out air, paulownia wood boxes allow the air to flow through into the box; it is also heat and moisture resistant. On very humid days the paulownia wood absorbs the moisture but does not allow it to enter the box. When humidity drops the wood dries allowing air to flow through into the box again. This is important for reducing mold or mildew inside the boxes.  @hyodo.zepp

【Craft Leader】Kenta HIRAI Wood Furniture / Nara Kenta HIRAI combines exceptional design sensibility with high-level designer skills to produce contemporary wooden furniture using local Yoshino cedar* from Nara Prefecture. Almost knot-free, this wood is known for its fine and uniform annual rings and exceptional color, luster, and fragrance. “I've always had a strong interest in design and am especially passionate about making things by hand.” Years ago as an art university student, “I was obsessed with questioning conventions and stereotypes, and longed to make furniture that changes our mindsets” — furniture that has not been seen before. Using free-form lamination, an evolving methodology, Hirai can make furniture in unprecedented shapes. Because his process does not use molds, it allows for a more flexible forming methods that exceeds the limitations of molds.  Japanese cedar is generally considered unsuitable for furniture because of its light weight and softness. Taking inspiration from his love of Yoshino cedar, Hirai has successfully employed the technique of layering and crimping many thin veneers of the wood with an adhesive and is able to achieve the strength required in furniture. Finally, he applies “tatara,” a water-repellent ceramic coating developed by fellow JapanCraft21 Craft Leader, Tokunaga Furniture Studio (see 2022 Craft Leaders), which penetrates deep into the wood fibers, and allows the natural expression and beauty of the cedar wood to be preserved, while adding further strength to ordinarily soft cedar.  * There are many varieties of Japanese cedar (Cryptomeria Japonica) that grow throughout the archipelago. @studiojig

A floor chair made of Yoshino cedar and free-form lamination. The curves allow a natural place for hands when getting up from and sitting down on the chair, as well as gentle back support. — Free Form Lamination is a technique developed by Irish furniture designer Joseph Walsh. The wood is formed by thinly slicing (1.5mm) 120-180 year old Yoshino cedar, stacking 10-18 pieces, bending them and gluing them together, without using molds.  Each composition is created by manipulating and reconstructing thin layers of wood, each layer naturally follows the next, coming from the same tree and following the same path. @studiojig

This work can either be a stand-alone, purely decorative piece or a functional stand for an ikebana (flower arrangement) vase. It is crafted by a free-form lamination process using distinctively beautiful Yoshino cedar. — Free Form Lamination is a technique developed by Irish furniture designer Joseph Walsh. The wood is formed by thinly slicing (1.5mm) 120-180 year old Yoshino cedar, stacking 10-18 pieces, bending them and gluing them together, without using molds.  Each composition is created by manipulating and reconstructing thin layers of wood, each layer naturally follows the next, coming from the same tree and following the same path. @studiojig

【Craft Leader】Ryuta FUKUDA Kumihimo / Braided Cords / Tokyo Ryuta FUKUDA is a weaver of silk kumihimo cords, a traditional braiding technique practiced in Japan for more than 1,400 years. He was born and raised in the same Tokyo downtown Nihonbashi district where his family has been weaving since 1889. Up until recently, the family business focused on obijime chords for kimono obi, both functional and decorative accessories. For the past 10 years, his family have been actively developing new uses for woven cords. Their high-quality work has attracted the patronage of the Imperial family as well as icons of Japanese traditional culture, such as stars of Kubuki theater and sumo wrestlers. International collaborations include the creation of large-scale window treatments for Hermès boutiques in both Osaka and Tokyo. Other uses for kumihimo are interior partitions for high-end residences, furniture cushions and lanyards for the 2020 Tokyo Olympic medals. Their recent work aims to develop more innovative products by experimenting with new materials, thereby revitalizing the image of their traditional craft. Fukuda works with a collaborative of 50 young people who are involved in all areas of kumihimo production, including the revitalization of domestic silk cultivation, yarn dyeing, weaving, and related production components. After planting silk mulberry trees at local schools, the family began an educational program where they teach neighborhood children how to grow silkworms, harvest silk, and turn it into yarn. Less than one percent of the silk used in Japan is domestically grown and the Fukuda family is actively working towards its revitalization. @ryukobotokyo

Window treatment at prestigious boutique in Tokyo consisting of kumihimo cords of numerous color combinations and braiding styles. — Kumihimo 組紐 Chords. The Japanese have been making Kumihimo chords since the process was introduced from Korea around 700 A.D. It is a traditional technique of braiding strands of silk to create intricately colored chords that have a multitude of uses. Kumihimo are woven by a complicated process involving a crisscross diagonal braiding of bundles of yarn. This braiding, ranging from round chords to highly complex square or flat cords, requires exceptional skill. By changing the color of just one thread, the artist can greatly alter its appearance and feel. Cords can be shaped into intricate knot patterns. There are about 800 knot styles in the Japanese culture, not including nautical knots. Kumihimo were originally used to adorn Buddhist articles of worship and hanging art scrolls. Even today, they are used on formal Buddhist vestments worn by priests, on traditional processional Shinto floats, samurai swords and armor, interior furnishings, tying finely crafted boxes and pouches, and securing the kimono obiage (sash) among others. Today, kumihimo are incorporated into contemporary fashion and design. @ryukobotokyo

Obijime cords used for tying obi (kimono sashes); complex gradation dye process. — Kumihimo 組紐 Chords. The Japanese have been making Kumihimo chords since the process was introduced from Korea around 700 A.D. It is a traditional technique of braiding strands of silk to create intricately colored chords that have a multitude of uses. Kumihimo are woven by a complicated process involving a crisscross diagonal braiding of bundles of yarn. This braiding, ranging from round chords to highly complex square or flat cords, requires exceptional skill. By changing the color of just one thread, the artist can greatly alter its appearance and feel. Cords can be shaped into intricate knot patterns. There are about 800 knot styles in the Japanese culture, not including nautical knots. Kumihimo were originally used to adorn Buddhist articles of worship and hanging art scrolls. Even today, they are used on formal Buddhist vestments worn by priests, on traditional processional Shinto floats, samurai swords and armor, interior furnishings, tying finely crafted boxes and pouches, and securing the kimono obiage (sash) among others. Today, kumihimo are incorporated into contemporary fashion and design. @ryukobotokyo

【見学会が始まりました】 　　　 町家の改修はもちろん 新築の町家を建てるための 技術を習得するための 大工の塾「心町家塾」。 　 現在、第3期生が 学んでいる姿を 見学していただけます！ 　　 気になる方は、この JC21のアカウントの プロフィールのリンクより お申し込みください。 　 暑い日々が続きますが 大工のたまごたちも 一生懸命、学んでいます。 ぜひ、見学にお越しください。 　　 #大工塾 #伝統構法 #伝統工法 #町家を建てる #京町家を保存したい #京町家を建てる #新築で町家を建てる #町家を建てる大工 #大工の学校 #大工の学校に行きたい🇩🇪

https://forms.gle/ByxmmU7y7m827chu5 ONLINE Presentation: The Best and the Brightest A new generation of master craftspeople Stories of innovation and tradition from Japan’s brightest new talents. Works in metal, wood, textiles, paper, and urushi lacquer. ーNorth America West Coast: Wednesday, July 23, 5 pm ーNorth America East Coast: Wednesday, July 23, 8 pm ーJapan: Thursday, July 24, 9 am Free-of-charge Register now at https://forms.gle/ByxmmU7y7m827chu5

Register now at https://forms.gle/ByxmmU7y7m827chu5 ONLINE Presentation: The Best and the Brightest A new generation of master craftspeople Stories of innovation and tradition from Japan’s brightest new talents. Works in metal, wood, textiles, paper, and urushi lacquer. ーNorth America West Coast: Wednesday, July 23, 5 pm ーNorth America East Coast: Wednesday, July 23, 8 pm ーJapan: Thursday, July 24, 9 am Free-of-charge Register now at https://forms.gle/ByxmmU7y7m827chu5

The future of Japanese craft has begun. Experience it now! Join me for a one-hour, free-of-charge online Zoom presentation spotlighting Japan’s Up and Coming Craft Leaders—exceptional artisans selected over four years from 400 applicants in the annual JapanCraft21 contest. A curated showcase of works in metal, wood, textiles, paper, and urushi lacquer. Stories of innovation and tradition from Japan’s brightest new talents. Insights into the evolving world of Japanese craftsmanship, the core of our work at JapanCraft21 ーNorth America West Coast: Wednesday, July 23, 5 pm ーNorth America East Coast: Wednesday, July 23, 8 pm ーJapan: Thursday, July 24, 9 am ・Registration: https://forms.gle/ByxmmU7y7m827chu5

約90年ぶりの 本格的な町家の新築。 この丸太町通沿いの 新築現場の見学ができるのは 最後となります。 　 町家ファンの方 ぜひ、最後の見学に お越しくださいね。 2回目の方は 途中参加（11時集合）も 可能です。 　 お申し込みは、 「見て学べる京町家ツアー」「6月」 で検索！ 観光naviが出てくるので そこからお申し込みページに アクセスしていただけます。 #町家 #町家の新築 #町家改修 #町家リフォーム #京町家 #京町家リノベーション #京町家改修 #京町家リノベ #京町家新築 #京町家ツアー #見て学べる京町家ツアー

Kenkichi TOMIMOTO �富本憲吉 Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

Kenkichi TOMIMOTO �富本憲吉 Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

Kenkichi TOMIMOTO �富本憲吉 Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

Kenkichi TOMIMOTO �富本憲吉 Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

JapanCraft21は日本の伝統工芸を再生させるプロジェクトアイデアのある工芸の作り手を募集します。 https://www.japancraft21.com/ja/contest-2025 ものづくりへの情熱とデザインセンスを持ち、より高いクオリティを目指しながら、自分が関わる工芸を発展させ継承しようとしている作家、職人など工芸の制作者（個人または団体）を募集します。 ＊デザイナー、プロデューサー、ギャラリー経営者等が応募される場合は、作家や職人などと組んで制作者名でご応募ください。

毎月開催している 「見て学べる京町家ツアー」。 　 今回は、残席ございます。 　 以前に来られた方もぜひ 久しぶりに見にきて みませんか？ 　 今月か来月が この新築現場の 最終ツアーとなります。 #京町家ツアー #京町家を知る #京町家を学ぶ @gion_naitou.kyoto @shishokai_gion

Greetings, Announcing a live ZOOM presentation by JapanCraft21, Steve Beimel: Everyday Wonders of Living in Japan, a personal account by Steve Beimel Register here https://forms.gle/TD5FkpAgtsPwSo2x9 "It is March 19th, 1971, my first day in Japan. I descend the stairs from the Varig Airlines plane at Haneda Airport. I don’t know what to expect, and I don’t know what awaits me. Then, when my foot touches the tarmac, something happens to me. Something clicks, shifts, changes. It is as if everything I have done before was just a preparation for this moment as my foot touches the ground in Japan. Suddenly, I am in a parallel universe that I could not have imagined, that will touch, stimulate, excite, move, and energize me every day for the next 54 years.” Join Steve for a look at the things that make up everyday life in his adopted home — his parallel universe. Free-of-charge ーNorth America West Coast: Friday, March 13th, 5 pm ーNorth America East Coast: Friday, March 13th, 8 pm ーJapan: Saturday, March 14th, 9 am

加藤 唐九郎 Tokuro KATO Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

加藤 唐九郎 Tokuro KATO Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

加藤 唐九郎 Tokuro KATO Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

加藤 唐九郎 Tokuro KATO Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

加藤 唐九郎 Tokuro KATO Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

加藤 唐九郎 Tokuro KATO Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

加藤 唐九郎 Tokuro KATO Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

Bowl by Nishinaka Yukito 西中千人作 Although glass is his primary medium, Nishinaka Yukito draws inspiration from a technique most commonly used in ceramics: kintsugi. Kintsugi is a repair technique that joins broken pieces of ceramic together with lacquer. Gold dust is applied to the lacquer before it fully hardens, thus highlighting the crack lines as objects of beauty. In his Yobitsugi series, Nishinaka intentionally breaks his glass into shards before joining them together in surprising and evocative forms. Katie Jones Gallery, London, UK @katiejones_japangallery #nishinakayukito #yukitonishinaka #glass #japaneseglass #japanesecraft #glassart #teaceremony #kintsugi #craftsmanship #japancraft21

Vase by Nishinaka Yukito 西中千人作 Although glass is his primary medium, Nishinaka Yukito draws inspiration from a technique most commonly used in ceramics: kintsugi. Kintsugi is a repair technique that joins broken pieces of ceramic together with lacquer. Gold dust is applied to the lacquer before it fully hardens, thus highlighting the crack lines as objects of beauty. In his Yobitsugi series, Nishinaka intentionally breaks his glass into shards before joining them together in surprising and evocative forms. Katie Jones Gallery, London, UK @katiejones_japangallery #nishinakayukito #yukitonishinaka #glass #japaneseglass #japanesecraft #glassart #teaceremony #kintsugi #craftsmanship #japancraft21

Teabowl by Nishinaka Yukito 西中千人作 Although glass is his primary medium, Nishinaka Yukito draws inspiration from a technique most commonly used in ceramics: kintsugi. Kintsugi is a repair technique that joins broken pieces of ceramic together with lacquer. Gold dust is applied to the lacquer before it fully hardens, thus highlighting the crack lines as objects of beauty. In his Yobitsugi series, Nishinaka intentionally breaks his glass into shards before joining them together in surprising and evocative forms. Katie Jones Gallery, London, UK @katiejones_japangallery #nishinakayukito #yukitonishinaka #glass #japaneseglass #japanesecraft #glassart #teaceremony #kintsugi #craftsmanship #japancraft21

荒川 豊藏 ARAKAWA Toyozo Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

荒川 豊藏 ARAKAWA Toyozo Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

荒川 豊藏 ARAKAWA Toyozo Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

荒川 豊藏 ARAKAWA Toyozo Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

荒川 豊藏 ARAKAWA Toyozo Images for this ceramics series have been provided by Joan B. Mirviss Ltd. of NYC, Katie Jones Gallery of London, and Ippodo Gallery of Tokyo and NYC

【見て学べる京町家ツアー　1/18開催】 　 町家のファンの方も町家のことを知らない方も、毎回とても楽しんでいただき、大好評を得ているツアーです！ 　 町家の構造について大塀づくりの町家で学んでから、実際に内部を見学。その後、徒歩数分の新築の町家の建築現場にも足を運びます。 　 　 ●参加したお客さまの声● 建築関係に携わっておりますが、なんとなく知っていることを、実際に実物を目の当たりにして、楽しませて頂きました。新築の町家の上棟時の見学会、町家の勉強会等、また、メールでご案内頂けると幸いです。 （I.Fさま） 有意義なツアーに参加させて頂きまして、ありがとうございました。同僚にも勧めたいと思います。町屋は、100年建築なので、長い目で見ると決して高くはない価格になると思いました。外国人が、祇園の町屋を借りて住んでると言う事も聞きますし、伝統建築に対する概念がより一層、現代と連なっていると実感した一日でした。また、機会があれば是非、参加させて頂きたく存じます。ありがとうございました。 （Y.Iさま） ＊申し込みフォームはこちら https://forms.gle/XB3ynDqKhjPu1Fib8 ※京都観光naviにも紹介されています。 https://ja.kyoto.travel/event/single.php?event_id=11253 #町家 #京町家 #町家が好き #町家のこと #町家のこと知りたい #京町家ツアー 祗園内藤工務店 @gion_naitou.kyoto

Vessel by Fukumoto Fuku 福本双紅作 Fukumoto Fuku combines luscious glazes and brilliant gold and platinum leaf and dust with matte, unglazed porcelain to create vessels and teabowls that are both functional and sculptural. Oftentimes, her vessels are composed of multiple sections, which she forms separately before attaching them with glaze. In the kiln, the glaze liquifies and the sections of the body shift, finding their own equilibrium and balance. In this way, her vessels are truly the result of a collaboration between the artist and her materials. Joan B Mirviss LTD, NYC @joanbmirvissltd #fukumotofuku #fukufukumoto #porcelain #japaneseceramics #japanesecraft #ceramicart #ceramics #craftsmanship #japancraft21

Teabowl by Fukumoto Fuku 福本双紅作 Fukumoto Fuku combines luscious glazes and brilliant gold and platinum leaf and dust with matte, unglazed porcelain to create vessels and teabowls that are both functional and sculptural. Oftentimes, her vessels are composed of multiple sections, which she forms separately before attaching them with glaze. In the kiln, the glaze liquifies and the sections of the body shift, finding their own equilibrium and balance. In this way, her vessels are truly the result of a collaboration between the artist and her materials. Joan B Mirviss LTD, NYC @joanbmirvissltd #fukumotofuku #fukufukumoto #porcelain #japaneseceramics #japanesecraft #ceramicart #ceramics #craftsmanship #japancraft21

Vessel by Fukumoto Fuku 福本双紅作 Fukumoto Fuku combines luscious glazes and brilliant gold and platinum leaf and dust with matte, unglazed porcelain to create vessels and teabowls that are both functional and sculptural. Oftentimes, her vessels are composed of multiple sections, which she forms separately before attaching them with glaze. In the kiln, the glaze liquifies and the sections of the body shift, finding their own equilibrium and balance. In this way, her vessels are truly the result of a collaboration between the artist and her materials. Joan B Mirviss LTD, NYC @joanbmirvissltd #fukumotofuku #fukufukumoto #porcelain #japaneseceramics #japanesecraft #ceramicart #ceramics #craftsmanship #japancraft21

Tomorrow! Announcing a live ZOOM presentation by Steve Beimel: 10 Urushi Lacquer Superstars - Contemporary Masterpieces (A repeat of our July 24th presentation) If you missed it the first time or would like to see it again, please join us. Free-of-charge ーNorth America West Coast: Thursday, December 5, 5 pm ーNorth America East Coast: Thursday, December 5, 8 pm ーJapan: Friday, December 6, 10 am Register here: https://forms.gle/awsJ9TynkfFSzCPQ7 Together we can ensure the survival of Japan's extraordinary master craft culture for generations to come. Consider supporting JapanCraft21. http://www.japancraft21.com Steve Beimel Founding Director JapanCraft21

Announcing a live ZOOM presentation by Steve Beimel: 10 Urushi Lacquer Superstars - Contemporary Masterpieces (A repeat of our July 24th presentation) If you missed it the first time or would like to see it again, please join us. Free-of-charge ーNorth America West Coast: Thursday, December 5, 5 pm ーNorth America East Coast: Thursday, December 5, 8 pm ーJapan: Friday, December 6, 10 am Register here: https://forms.gle/awsJ9TynkfFSzCPQ7 Together we can ensure the survival of Japan's extraordinary master craft culture for generations to come. Consider supporting JapanCraft21. http://www.japancraft21.com Steve Beimel Founding Director JapanCraft21

Announcing a live ZOOM presentation by Steve Beimel: 10 Urushi Lacquer Superstars - Contemporary Masterpieces (A repeat of our July 24th presentation) If you missed it the first time or would like to see it again, please join us. Free-of-charge ーNorth America West Coast: Thursday, December 5, 5 pm ーNorth America East Coast: Thursday, December 5, 8 pm ーJapan: Friday, December 6, 10 am Register here: https://forms.gle/awsJ9TynkfFSzCPQ7 Together we can ensure the survival of Japan's extraordinary master craft culture for generations to come. Consider supporting JapanCraft21. http://www.japancraft21.com Steve Beimel Founding Director JapanCraft21

Announcing a live ZOOM presentation by Steve Beimel: 10 Urushi Lacquer Superstars - Contemporary Masterpieces (A repeat of our July 24th presentation) If you missed it the first time or would like to see it again, please join us. Free-of-charge ーNorth America West Coast: Thursday, December 5, 5 pm ーNorth America East Coast: Thursday, December 5, 8 pm ーJapan: Friday, December 6, 10 am Register here: https://forms.gle/awsJ9TynkfFSzCPQ7 Together we can ensure the survival of Japan's extraordinary master craft culture for generations to come. Consider supporting JapanCraft21. http://www.japancraft21.com Steve Beimel Founding Director JapanCraft21

Announcing a live ZOOM presentation by Steve Beimel: 10 Urushi Lacquer Superstars - Contemporary Masterpieces (A repeat of our July 24th presentation) If you missed it the first time or would like to see it again, please join us. Free-of-charge ーNorth America West Coast: Thursday, December 5, 5 pm ーNorth America East Coast: Thursday, December 5, 8 pm ーJapan: Friday, December 6, 10 am Register here: https://forms.gle/awsJ9TynkfFSzCPQ7 Together we can ensure the survival of Japan's extraordinary master craft culture for generations to come. Consider supporting JapanCraft21. http://www.japancraft21.com Steve Beimel Founding Director JapanCraft21

Announcing a live ZOOM presentation by Steve Beimel: 10 Urushi Lacquer Superstars - Contemporary Masterpieces (A repeat of our July 24th presentation) If you missed it the first time or would like to see it again, please join us. Free-of-charge ーNorth America West Coast: Thursday, December 5, 5 pm ーNorth America East Coast: Thursday, December 5, 8 pm ーJapan: Friday, December 6, 10 am Register here: https://forms.gle/awsJ9TynkfFSzCPQ7 Together we can ensure the survival of Japan's extraordinary master craft culture for generations to come. Consider supporting JapanCraft21. http://www.japancraft21.com Steve Beimel Founding Director JapanCraft21

On the JapanCraft21 website, the details of the monthly exhibitions are listed. Please be sure to check them out from the homepage or the link below. https://irp.cdn-website.com/58ed2fb8/files/uploaded/Nov_Craft_Exhibits.pdf

Tomorrow! ZOOM presentation: An Overview of Japanese Textiles Part II Free-of-charge ーNorth America West Coast: Friday, October 25, 5 pm ーNorth America East Coast: Friday, October 25, 8 pm ーJapan: Saturday, October 26, 9 am Register here: https://forms.gle/Fx1h17MBgKdYqZPr7

ZOOM presentation: An Overview of Japanese Textiles Part II Free-of-charge ーNorth America West Coast: Friday, October 25, 5 pm ーNorth America East Coast: Friday, October 25, 8 pm ーJapan: Saturday, October 26, 9 am Register here: https://forms.gle/Fx1h17MBgKdYqZPr7

New JapanCraft21 newsletter has been released. Please take a look from the following link: https://japanlivingarts.com/september-2024-newsletter/

ZOOM presentation: An Overview of Japanese Textiles Part II Free-of-charge ーNorth America West Coast: Friday, October 25, 5 pm ーNorth America East Coast: Friday, October 25, 8 pm ーJapan: Saturday, October 26, 9 am Register here: https://forms.gle/Fx1h17MBgKdYqZPr7

ZOOM presentation: An Overview of Japanese Textiles Part II Free-of-charge ーNorth America West Coast: Friday, October 25, 5 pm ーNorth America East Coast: Friday, October 25, 8 pm ーJapan: Saturday, October 26, 9 am Register here: https://forms.gle/Fx1h17MBgKdYqZPr7

【町家学講座（全５回）10月5日開講！】 ※初回の日程が変更になりましたのご注意ください。 新築の町家の建築現場で工程を実際に見ながら、町家の①基礎（石組）・②軸組（木組）・③塗壁（土組）・④屋根（瓦）・⑤意匠（建具・表具・畳）について学ぶ、５回講座が始まります！　京都市後援です。 初回は10月5日（土）は①基礎（石組）は、石場建で知られる元・梓工務店の伊東裕子氏による講義です。 みなさまのお申し込みをお待ちしています！ ・『町家学講座』詳細・お申込み https://forms.gle/9gi2uzonuVTh8U7V8

【藍のものがたり】 現在久留米市美術館で開催中の「藍のものがたり」 その様子がNHKの日曜美術館で取り上げられます。 放送日は9月15日（日）朝9：45〜（アートシーン）の予定です。 再放送は22日（日）夜8：45〜になります。 ぜひご覧ください。

Basket by Fukunisi Ryōsei 福西良笙作 Fukunishi Ryōsei began bamboo basketry at the age of 56. Since then, he has developed his craft for more than two decades and has won many awards both in Japan and internationally. He prepares all the bamboo he uses in his baskets himself, harvesting the bamboo from near his home before drying them and heating them over low flames to draw out their natural oil. Each basket takes him about 6 months to complete. TAI Modern, Santa Fe @TAIMODERN #bamboo #basket #bamboobasket #basketweaving #taimodern #japanesebamboo #fukunishiryosei #ryoseifukunishi #bamboocraft #japaneseartisans #japanesecraft #craftsmanship #japaneseart #japancraft21

Basket by Fukunisi Ryōsei 福西良笙作 Fukunishi Ryōsei began bamboo basketry at the age of 56. Since then, he has developed his craft for more than two decades and has won many awards both in Japan and internationally. He prepares all the bamboo he uses in his baskets himself, harvesting the bamboo from near his home before drying them and heating them over low flames to draw out their natural oil. Each basket takes him about 6 months to complete. TAI Modern, Santa Fe @TAIMODERN #bamboo #basket #bamboobasket #basketweaving #taimodern #japanesebamboo #fukunishiryosei #ryoseifukunishi #bamboocraft #japaneseartisans #japanesecraft #craftsmanship #japaneseart #japancraft21