from Noto : June 2015

27/06/2015

Snapshot 8: Irresistible

Irresistible

Old weathered wood skilfully fabricated is simply irresistible. It must be taken. It’s even more irresistible when combined with the fresh new green leaves of an acer. Why is it appealing? I suppose it’s a matter of the kind of contrast there is between the skin of an elderly person and that of a new born baby—the withering and the bountiful, sparkling energy of the new.

Imagine the same shot in the autumn—the weather beaten wood is now seen against a glowing finale before the fall—in Japan in particular it is sentimentality personified.

Take one away and the other suffers. Change one and the expressive qualities of the other are enhanced.

This scene was just one of a number of beautiful vignettes at Sojiji Temple in the town of Monzen. Wajima lacquerware and the temple have strong connections that deserve more attention at a later date.

Bill Tingey Photo © Copyright

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Snapshot 7: Life Blood

Life Blood

True lacquer is the life blood of Wajima lacquerware. It’s a natural product tapped from the lacquer tree. It is then refined and filtered before it can be used. Black and red true lacquer are the most common colours used in Japan but many others are possible.

Today Japanese true lacquer is scares and expensive. Much is imported from China but that is not just a recent trend. It is possible to blend lacquers to achieve the desired degree of transparency, colour and drying properties. Actually—and I may have said this before—true lacquer does not dry but cures. Thickly applied lacquer might take several days to harden and if left as an expressive dribble, for example, it can take two years or more to go completely hard.

Because it cures at an optimum temperature of 25˚C and 80% humidity it reacts to changes in atmospheric conditions. Over the last few days the humidity has risen to 70%+ having previously been in the mid- to high-fiftys. Consequently an adjustment may be necessary to slow down the process. A very small amount of the light Japanese version of soya sauce can be added to slow down the hardening process. It’s the salt in the soya sauce which does the trick.

Lacquer workshops often hold a stock of this precious material and let it “sleep” in a store house where the temperature and levels of humidity are stable. If it is moved to another workshop and applied to a bowl or other article it may not dry at all despite ideal conditions. Return it to it’s “home” and it will behave and go hard. It would seem that it does not really like to be disturbed. That, however, does not make it unusable.

The other major ingredient used in the making of Wajima lacquerware is ji no ko—a processed diatomaceous earth which along with the application of a fine reinforcing cloth gives it a well-known robustness. It is, however, unseen. More of this another time.

Bill Tingey Photo © Copyright

22/06/2015

Snapshot 6: Calm and Detachment

Calm and Detachment

After a long day touring round the Noto Peninsula looking at some treasures of traditional architecture, I found myself on a promontory gazing out over the Japan Sea. It was still some time before the sun would reach the watery horizon but night was certainly approaching.

It had been a hot and very humid day; the kind of day when everything is seen as if through a ground glass screen. Taking photographs on a dry bright day in autumn or winter when the air is so dry on the Pacific coast of Japan, everything appears to be so sharp and highly defined. In the summer, however, when the humidity can reach 80~90% and it's still not raining, there is a mysterious air and time seems to be standing still. Despite the sense of unpleasantness such levels of humidity trigger, there is too a feeling of meditative calm, stillness and detachment. There may be only a few who would agree with my assessment but those were my feelings as I watched the sun setting over the sea on that particular evening.

Mind you, the way my T-shirt had been clinging to me for most of the day was a rude reminder that I should really try to lose some weight!

Bill Tingey Photo © Copyright

Snapshot 5: Unexpected

Unexpected

Admittedly, I had never been into the private reception rooms of a Buddhist temple before but, nevertheless, the decoration of these two rooms at Fukushoji Temple came as something of a surprise.

The inner most room is reserved for when a high-ranking monk visits—the blue walls and stunning colour of the cushion are both indication of his status.

The minimalism of so many pieces of traditional Japanese architecture is always a pleasure to behold and to experience. These two rooms, however, have set a new standard for me—refreshingly bright and airy, clean lines and an inspiring atmosphere. Why ever did I think I would never see anything like this in Japan?

Bill Tingey Photo © Copyright

20/06/2015

Snapshot 4: The Early Bird Catches the…….Fish?!

The Early Bird Catches the…….Fish?!

Wajima being a fishing port on the Japan Sea, it is little wonder that there is a fish auction every morning, or at least when it is possible to land a catch. The fish are sold in lots to local and distant traders as well as to the owners of eateries and establishments providing traditional accommodation in the town. Some fish even go as far as Tokyo on the Pacific coast.

Black Kites and Crows on the look out.

Not having ever lived by the sea, I was surprised to see so many Gulls, as well as a handful of the large indigenous Crow, a lone Heron and a considerable number of Black Kites. Where I live in England we often sea Red Kites which are now thriving having been reintroduced some years ago after a long absence. On the Noto Peninsula, however, the Black Kite is never far from view, often to be seen circling in twos and threes high overhead.

All the birds were waiting for scraps or fish which were discarded for being too small or too damaged to go to auction. The Black Kites swooped low over the sea-water drenched concrete wharf to grab fish, while some of the bolder Gulls snuck into the shed to nick a bit of squid or even to gulp down small fry before someone came too close for comfort.

Flying Fish counted off by the weighed basket.

All eyes were on the boxes of shrimps.

Equally eager to see what was being offered were the traders. They gathered in small groups to discuss and peruse the days catch which had be divided by variety or size of fish into ice-laden polystyrene trays. At six-thirty an auctioneer and assistant appeared. Both were representatives of Japan Fisheries and unexpectedly young. Both also wore their baseball caps back to front and added an almost comical and relaxed air to the proceedings. They moved along each row of trays surrounded by the keen buyers who were ready to cast a bid or even a joke or two. The auctioneer had a stick to identify the tray that was being auctioned, while his assistant diligently recored who had bought which tray. The small swarm of buyers, some with their registration number fixed to their head gear, followed shouting their bids. Those who had made a purchase quickly removed their buy to a waiting trolly, bicycle or light truck. And before long the auction was over and everybody dispersed.

A large cluster of Gulls bobbed on the water of the harbour, the Crows were nowhere to be seen and the Kites were already distant specks in the cloudy morning sky. The Heron had probably left to search for frogs in a distant rice paddy. The excitement was over for another day.

Bill Tingey Photo © Copyright

19/06/2015

Snapshot 3: What have I been doing?

What have I been doing?

Yesterday, I spent a day working in the Shioyasu workshop. With a history of over 150 years, it is one of the largest workshops in Wajima and has an extensive showroom. During the tourist season buses come loaded with tour groups who are anxious to learn about lacquerware. In some cases the groups of Japanese who come actually have either very little or no real knowledge of where lacquer comes from or how it is used to make what are iconic pieces of tableware, which have been used by the lowly as well as the noble for centuries in Japan.

One of the main features of Wajima Lacquerware is just how robust it is. Working with a wooden core, a ground is built up using a local backed earth mixed with lacquer on top of which several more layers of lacquer are applied. This gives it its strength.

A fine but flexible cotton cloth is applied to the core using lacquer and the ground is built up on that initial application. That’s what I was doing yesterday. I sat on the floor at a low bench and applied the cotton cloth to the back of blanks of a small egg-shaped mirror. I managed to complete 65. My mentor—Mr. Sakamoto sitting in the back of the top picture—was delighted not only with the number that I was able to complete but also because I managed to do it like a “professional” using a wooden spatular. I have a feeling it was beginners luck. My achievement, however, was not the only result of my efforts. Having sat on the floor all day I suffered with back pain today. Nevertheless it was definitely worth it.

18/06/2015

Snapshot 2: Who have I met?

Who have I met?

Well, so far I have met more than 50 individuals but this one was rather special. He graces the lid of a natsume—a small tea caddy used for the powdered tea served at a tea ceremony. The monkey is rendered by chasing the hard true lacquer with very sharp tools of various sizes. Called chinkin in Japanese, this fine piece of work was skilfully produced by Kazutaka Furukomi. The lacquer must be hard but not too hard so that it makes the chasing more difficult. Having chased the design, lacquer is rubbed into the depressions. Then, using a small wad of cotton, a very fine gold powder is rubbed over the motif, which reveals itself on the surface.

Kazutaka is lucky enough to have a strong fan-base for his work and a figure of around one million yen for such a piece does not deter a buyer. Worth it? Well yes, because it will be used and cherished, most likely for several generations.

I was very pleased to meet the monkey, Kazutaka and his wife, Sachiko. And then there were the four cats, who appeared at various times but were not allowed free rein in the room where Kazutaka works. After all, cat hair flying about is no match for the golden coat of a monkey. It would only be an annoyance.

Snapshot 1: Where am I?

Where am I?

The easy answer to this question is I’m in Wajima on the Noto Peninsula. I’ve been here since 3rd June. I had hoped to be able to write several features while I am here but it’s only now that I have had enough time and energy to actually sit down and write something. For the time being I have decided to produce a number of Snapshots—short pieces about some of the things, people and places I have been lucky enough to see. I’ll write longer more detailed features in due course.

This shot is of some of the traditional buildings in the town of Kuroshima on the Japan Sea coast of the peninsula. The coast-hugging road is new and actually runs along the back of a number of properties that in the past had direct access to the sea for the purpose of trade. The main street is some 50~60 meters back from this road and only has a single lane.

A setting sun and a good deal of photographic licence has produced a dramatic shot, which reminds me of a painter's work, but I can’t think who it is.