from Noto

13/10/2016

2016 Snapshot 18 Learning from the Ancients

Tai’ichi Kirimoto is the third generation of his family to be managing the Wajima Kirimoto Woodcraft Workshop, which specialises in the making of items primarily for the true lacquer market.

What he his holding is rather special. It is a replica of a dish from the Shoso-in Repository (http://www.kunaicho.go.jp/e-about/shisetsu/shosoin01.html) in Nara, south of Kyoto. An original example known as a “lacquered flower-shaped dish” (serving tray) may have been made in the eight-century or later.

The repository itself is of considerable architectural value and interest. The items it has protected for centuries, however, are of inestimable value, not simply because of their age but also because of their artistry and the craftsmanship which they demonstrate. Many of the items are from foreign climes.

Items like this tray were deposited by local authorities in payment of taxes, while the original use of the building was, simply speaking, as a “warehouse” for rice.

So why was this replica made at Tai’ichi’s workshop? He feels it is important that the craftsmen and women on the staff try and make things they have never made before simple as a challenge—in this case can those working today learn something from the ancients?

In fact Tai’ichi even encourages staff to contribute to the making of items for projects which are often design lead and a collaboration between himself as a trained designer, a client and specific members of the workforce. This kind of approach has taken the company into new and exciting fields for the use of wood and true lacquer. Tai’ichi and the company as a whole are held in high regard by many of the artisans in Wajima, itself a hub of creative energy in the field of true lacquerware for centuries.

So, what else has the workshop been involved in? More next time.

Bill Tingey Photo © Copyright

Do feel free to pass on the address of this blog to anyone you think will be interested. Or share it on a social media site. Should you wish to leave a comment, please do so by clicking on the comment mark at the bottom left of this or any of the other posts. If you have found this blog interesting, why not become a follower. Thank you.

01/10/2016

2016 Snapshot 17 A Lexicon of Finishes

At Sojiji Temple in Monzen, there are some intriguing architectural features. The main buildings are still under repair, having suffered damage in the earthquake of 2007. In the temple grounds, however, there is almost a complete textbook of traditional wall finishes—stone arranged in both formal and informal patterns, plastered walls and timber weather boarding. All these finishes can be found all over Japan. They come in a myriad of combinations. They are so appealing, so inspiring and a testament to those who devised them and to those who so skilfully put them in place.

Bill Tingey Photo © Copyright

23/09/2016

Exhibition Notice

Japan Encapsulated

Lacquerwork produced by Takashi Wakamiya and his band of skilled craftspeople working under the name Hikoju Makie, will be exhibited at the Taipei Mayor’s Residence Art Salon between Friday 30th September and Saturday 15th October. The Salon is open between 10 am and 6 pm. For further information on the location and other details please access the site for the Mayor’s Residence at http://www.mayorsalon.tw/ in Chinese and English.

The work on show is highly representative of Japan and all carried out using true lacquer while drawing on the skills of the Hikoju Makie craftspeople lead by Takashi. Examples of the exhibits can be seen at the address below with Chinese explanation only.

http://www.mayorsalon.tw/Exhibitions/Details?id=cf64ecc6-d3eb-4985-abc8-120edccc0fdf

「彦十蒔絵・若宮隆志藝展　　當代日本漆藝」

期間：2016年9月30日(Fri.)~2016年10月15日（Sat.) 10:00-18:00

場所：http://www.mayorsalon.tw/

台湾台北の市長官邸藝文沙龍(The Mayor's Residence Art Salon)において台湾で初めての彦十蒔絵展を開催する事となりました。日本を象徴する漆芸作品を通して台湾の皆様と相互理解が得られる事を心より願っております。

こちらのURLはこの展覧会の写真と中国語紹介となります。
http://www.mayorsalon.tw/Exhibitions/Details?id=cf64ecc6-d3eb-4985-abc8-120edccc0fdf

17/09/2016

2016 Snapshot 16 Simple and Plain

Kunikatsu Seto’s Gallery

One of the twentieth century’s most important building materials is without doubt concrete. It has a long history but it was not until the modern period that concrete as a major construction material came into its own. Unfinished or “fair faced concrete” found particular favour in Japan. Above the 1964 Tokyo Olympic pool and basket ball stadium designed by Kenzo Tange are particularly good examples of this building technique. Since their construction, however, the buildings have needed repair as the reinforcing steel-work has become exposed. The cause is thought to be too much salt in the sand for the concrete mix, which may have been a result of too much haste in construction.

Here in Wajima fair faced concrete has been paired with timber weather boarding. The composition is simple and plain and the finish of the interior is the same. As a backdrop for the inspirational lacquerwork of Kunikatsu Seto it could not be better (from Noto 16/01/2016 On Two Fronts, 07/07/2015 Inspired). Natural wood, fair faced concrete—both are respected in Japan for what they are. Materials with their own beauty and appeal.

Kunikatsu’s work can be seen at http://www.seto-kunikatsu.com

Bill Tingey Photo © Copyright

10/09/2016

Hello Kitty!?

Cute is cute, is cute

It must come as a bit of a surprise to be confronted by Hello Kitty on this blog. Nevertheless, here she is. Three of them in fact! They are the work of Takashi Wakamiya and his organisation Hikoju Makie. Hello Kitty is rendered as a netsuke in true lacquer.

The Net informs me that the Hello Kitty character was created by Yuko Shimizu and is produced by the large Japanese toy and novelity goods company Sanrio. The character is now designed by Yuko Yamaguchi.

These interpretations of the character represent some of Takashi’s most recent work.

The seated figure measures 40x32x23mm. The standing ones are 42x32x23mm.

Takashi’s work with Hikoju Makie is also featured on this blog in the post Hitting the Spot—Takashi Wakamiya, dated 10th February 2015.

But why Hello Kitty? Takashi was anxious to bring the art and craft of lacquerware to the attention of younger people, who these days may not knowingly have come into contact with items using the refined sap of the lacquer tree.

For those who have never handled a piece of lacquerware, I can only assure you that these figurines will have a touch and warmth completely unlike that of plastic. Their presence too will be made all the more significant by the delicacy of the decoration.

As a figure owned by Sanrio, Takashi negotiated with the company for more than two years to obtain a licence to create these figures, which as Takashi so rightly says are so representative of Japan’s soft culture with an unrivalled cute or distinctively Japanese kawaii appeal.

Hello Kitty is known across the world and ranks along side Doraemon, Pokemon and characters from the Studio Ghibli animation series of movies. There are a host of others which are not so well known but all of them have the same gentle appealing character, which is a hit with adults as much as children.

Before you start to save enough to buy one of these Hello Kitty figures, I must disappoint you. Only three were made. Earlier this year, they were exhibited at the Isetan Department Store in Shinjuku—one of Tokyo’s main downtown areas—and were bought by a collector of Takashi’s work. Hello Kitty—a true ambassador of kawaii!

Photo courtesy of Takashi Wakamiya Photo © Copyright

彦十蒔絵 Hikoju Makie

若宮隆志 Takashi Wakamiya

Website: wakamiya-takashi.com

Address: 1-188, Kekachidaira-machi,

Wajima-shi, Ishikawa, Japan 928-0093

Tel.+81-768-22-8601 FAX. +81-768-22-8651

05/09/2016

Exhibition Notice September

Lacquerware Exhibit: Work by Kazutaka Furukomi

One of the younger members of the Wajima Lacquer Study Group, Kazutaka Furukomi will be having an exhibition of his work at the Mitsukoshi Department Store in Nagoya from September 14th to 20th. The exhibit will be held in the Japanesque Gallery on the eight floor and open from 10am to 7:30pm.

Mitsukoshi Department Store, 3−5−1 Sakae, Naka Ward, Nagoya, ichi Prefecture, 〒460-8669 Tele: +81 52-252-1111

More of Kazutaka’s work is featured in this blog in posts on 18th June 2015 and 3 December 2015.

古込和孝氏展示会のお知らせ

漆芸展

2016年9月14日（水)～20日（火）

名古屋三越栄店　8階　ジャパネスクギャラリー

ＡＭ10：00～ＰＭ7：30

Photos courtesy of Kazutaka Furukomi Photo © Copyright

31/08/2016

2016 Snapshot 15 Evening Light

Evening Light

Visiting a place for a long time always offers the opportunity of planning a shot. In this case it was a matter of noticing that the setting sun would light one side of this street opposite from where I was staying in Wajima back in June 2015. I noted the time and planned to try and photograph this street half and hour later in order to capture the image. While the tiles and ridge ornaments are shown off by the lighting, I could have waited for a person to walk toward or away from me. My intension, however, was to show off the arrangement of roofs. The web of wires, poles and small transformers pictured only helped to lift the quality of the lighting and design on the left of the street. Trickery with the camera? A little but with a purpose—to express something using the light.

Bill Tingey Photo © Copyright

23/08/2016

Split and Bend—Bentwood Woodcraft

Split

Given that there are only slight differences in trees and their wood across the world, it is not surprising that the tools and skills to split wood, for example, are very much the same. It is only the uses to which the timber is put that is different.

In England oak has traditionally been split to be used in buildings. It is not uncommon even now to come across an old barn where boards of split oak are exposed and have been “woven” one over the other to fill in the spaces between structural timbers. They were used as laths to be covered with an earth daub, finished with a lime plaster and painted with an ochre, salmon pink or white paint made from natural sources. In Japan, however, split timber is mainly used for craft items.

Rather like the random “happy accidents” which occur when firing pottery, split timber offers the woodworker a similar spontaneity. What they have to do is to make a choice on how to use and express the effect revealed by splitting the timber. It is certainly a matter of “working with the timber”—the timber contributes just as much to the work as the artist/craftsperson.

For Mitsuru Kurata, however, his demands on the wood are to a degree functional. He wants to bend the wood. The work begins with a large piece of timber. One of the preferred woods is hiba or asunaro.

Asunaro is used a good deal in Wajima but is especially good for bentwood items such as lunch or bento boxes, which will show off the quality of the wood and provide a bonus—a delicate aroma.

To split a trunk of Asunaro well, of course needs a skilled eye and hand. Metal wedges similar to the British cleaving tool called a froe but without a handle are used first to open the slightest of splits.

The first two metal wedges are hammered in.

Next to the rubber headed mallet is a small hand mallet. It is simply made from where a branch joins a main member and a handle is fashioned by parring away the wood, similar to ones used by foresters in the west.

To drive the wedges deeper into the wood a weighty rubber mallet is used.

The metal wedges are followed by long wooden wedges.

The heavy rubber mallet is used to force the wedges in.

Finally the wood yields and is split in two.

Having split the wood so that the straight grain is exposed, strips of the right dimension need to be prepare.

Bend

As if performing some kind of slight of hand, Mitsuru clamps a bent ring of wood to form the side of a bento box.

Seated at the end of a work bench on the floor of his workshop, Mitsuru has everything he needs close at hand….and foot!

Using a draw plane he adjusts the thickness of the already thin timber strip that will form the side of the bento box.

A block of wood made to exact dimensions is used as a former around which the prepared strip of wood is bent.

His hands move swiftly and firmly to bend the strip around the former.

Having shaved the two ends of the strip so that they overlap perfectly, Mitsuru clamps the ends to form the oval side of the bento box.

A minimum of tools are required to make a bento box. The strips of wood for the sides and lid have a very straight grain, which helps when bending the wood. The clamps are hand made and held tightly together with a vine and straight U-shaped clip.

Something Mitsuru does not make much now is this large fisherman’s lunch box. The joins of the bent wood are reinforced with strips of cherry bark. Just like the bento box, it is a piece of everyday craft, or is it art?

Take a look at Mitsuru’s blog on which there are some more photographs.

http://blogs.yahoo.co.jp/qmpfd274

Bill Tingey Photo © Copyright

13/08/2016

Ceremony—Diatomaceous Earth

Assembled before a memorial column commemorating from where the diatomaceous earth—jinoko—was discovered, the Shinto priests prepare to make their blessing. Offerings of fish, vegetables and saké adorn the temporary alter. Thin culms of bamboo help to mark the hallowed spot.

Respect and Reverence

Having lived in Japan for 24 years I often witnessed and experienced how respectful the Japanese people are. It is so natural that it would seem to be part of their very make-up. It could simply be called politeness, or good manners. In essence, however, it can be recognised as various kinds of behaviour expressing respect for and extending beyond their fellow human beings.

The gathering of representatives from the Wajima lacquerware makers and city officials bow respectfully as the priest reads out the blessing.

Regardless of whether they are pets or wild, the Japanese have as much respect for animals as they do for people. Nature, too, is shown great respect although there are always exceptions. The litter left by climbers of Mr. Fuji is well known.

Should we regard the tatami mat as something that is shown respect? In some cases it is treated with such a degree of respect it verges on reverence.

Pellets of the diatomaceous earth dry on racks in view of the proceedings.

One thing for sure. There can be few if any other cultures around the world that would show respect and revere a type of earth with such dignity.

The Mayor of Wajima, Fumiaki Kaji, respectfully claps his hands three times—firstly to announce his presence to the deity, secondly as an expression of his appreciation and lastly to frighten off any evil spirits.

A little way from the centre of Wajima, is Mt. Komine. It was from here that a diatomaceous rock was first extracted toward the end of the sixteenth century. Made up of fossilised single-celled algae with a silica cell wall, the earth is dried and then roasted before being made into a powder called jinoko. It is mixed with raw lacquer and rice paste to be used as a ground, which helps to give Wajima lacquerware its acclaimed robustness. This was an advantage and selling point that other lacquerware makers could only dream of.

It is then perhaps little wonder that this powdery rock is so greatly venerated. It warrants a Shinto priest to be summoned to bless the source at a ceremony attended by representatives of the lacquerware industry as well as the Mayor and other city officials.

Representing the lacquerware makers, Shin’ichi Shioyasu addresses the gathering, all of whom have respectfully turned to face him.

Treated like a deity the source is shown all due respect. And rightly so. It means so much to the lacquerware makers in Wajima. To me it is things like this that set Japan and its people apart and should make us all more attentive as to how and why we should show respect and reverence. Sadly even Japan is not perfect. But living there certainly made me reflect on so much. I hope I am a better person for it.

A report on my presence at the ceremony in the Hokkoku Newspaper, explaining that I was in Wajima gathering material for the blog, from Noto.

Want to know more about diatomaceous earth? http://npic.orst.edu/factsheets/degen.html

Bill Tingey Photo © Copyright

08/08/2016

2016 Kitamae Shipping—five

The fascia of this contemporary “sea chest” styled cabinet is a gem—wonderful metal fittings over a piece of zelkova wood, which has been finished with true lacquer. The wood has the figuring of a burr and is termed tama-moku. Photo courtesy of Ryohei Kido.

Dedication Personified

All serious craftspeople are dedicated. That goes without saying. But amongst so many Ryohei Kido’s degree of commitment and dedication is something special.

This chest flirts with tradition in a meaningful way, without being a simple reproduction.

Photo courtesy of Ryohei Kiko.

On leaving University he began working for a regional newspaper as a journalist. It was then that he become interested in tansu—the chests which have now become so popular outside of Japan. But it was the sea chests in particular that interested Ryohei.

He bravely decided to pursue a new career after meeting a maker of fine interior fittings. Soon after becoming an apprentice, however, his sensei, Yoshio Yotsuya suddenly passed away. What was Ryohei to do? He had a family to support but was determined to learn woodworking skills.

On opening the front door of this kakesuzuri sea chest, a number of drawers are revealed but there is much to frustrate the would-be thief. Locks are not the only irritation. Photo courtesy of Ryohei Kido.

While engaged in some formal training at two different firms making timber household fittings, he continued to visit stores to increase his knowledge of tansu in general and funa-dansu—sea chests—in particular.

Returning to the same stores, he gradually became more and more familiar with the chests of his passion and, at the same time, got to know the store owners, who began to understand just how sincere and passionate Ryohei really was. Eventually store owners began to ask him to do some repairs and thus “the sea chests became my teacher”.

What is seen hides what is cunningly concealed. This is a relatively simple example of how boxes can be hidden in such a way as to thwart and foil a would be thief, not only in finding them but in extracting them, too. Image courtesy of Ryohei Kido.

At first he began by making the more simple kakesuzuri sea chest—a combined safe and stationary chest. It was not unusual for such chests to have hidden compartments and drawers, so making such devices was something that Ryohei had to study.

He later began to make larger chests, either with hidden compartments of a type he had seen before, or to actually develop his own ways of concealing spaces and boxes within the body of a chest. For one of his customers he even had to make a video to demonstrate how to access and use the concealed compartments he had devised.

This larger sea chest could be carried ashore for the Captain, who would do business with local merchants at the port of call. Photo courtesy of Ryohei Kido.

It was not just the woodwork skills he had to acquire. Ryohei also made a point of making all the metal fittings too. Like the wood, these are coated with true lacquer, heat being used to effect the bond between the two materials. Nails and locks also had to be made. With no previous experience of working in metal, it was his wife, Akiko, who took on some of this work.

The locks and keys are individually made by Ryohei, with the assistance of his wife.

Photo courtesy of Ryohei Kido.

Although more recently Ryohei has concentrated on the making of sea-chest-style pieces, he is far from a slave to tradition. He is inventive and adapts what he makes to suit modern conditions, while still stylistically flirting with historical styles and methods.

This simple sword chest would not look out of place in the modernest of interiors with its simple lines and beautifully finished fittings and figured zelkova wood. Photo courtesy of Ryohei Kido.

In complete contrast to the precision and glowing artistry of the his sea chests, Ryohei has also explored another form of cabinet making. This is a knock-down chest made of boards which still bear the scares of a traditional Japanese broad bladed saw. Photo courtesy of Ryohei Kido.

His Nomad chest displays other interests. It has a character that could not be further from that of the sea chests—not showy but still highly appealing. It was inspired by a piece of Afghan furniture. He used a traditional Japanese panel saw to cut the boards and expressed the scares left by the saw using several applications of true lacquer.

Resolute and determined, Ryohei continues to make exciting pieces of furniture—traditions are respected and moulded to satisfy his passions and contemporary life styles. Whatever he does he remains dedication personified.

If you would like to see more of Ryohei’s work, please copy and paste iwate.info.co.jp/funadansu/ or enter 木戸良平 (his name in characters) for images of his work. Alternatively go to his FaceBook page https://www.facebook.com/seachest.hakoya/.

All images courtesy of Ryohei Kido

Do feel free to pass on the address of this blog to anyone you think will be interested. Or share it on social media. Should you wish to leave a comment, please do so by clicking on the comment mark at the bottom left of this or any of the other posts. If you have found this blog interesting, why not become a follower. Thank you.

30/07/2016

Kitamae Shipping—Four

An early style of sea chest loosely following land-based “safes” called kakesuzuri.

Made by Ryohei Kido. Photo courtesy of Ryohei Kido.

Keep it Safe

These days payments for everyday purchases in cash are becoming more and more of a rarity. Although slow to be introduced, even in Japan card payments can now be made for more or less anything. Nevertheless, cash payments, especially with new notes, always seem to have a good deal of kudos.

As it was in most countries, sixty or so years ago in Japan cash was the only way of paying for goods and a trip to a bank was the only way of getting any. In rural areas in particular cash was quite naturally precious and provision for keeping it safe had to be made.

A simple domestic style of tansu in zelkova wood made by Matsumoto Mingei Kagu, a furniture company which specialises in making both Japanese and western style high quality folkcraft furniture. (Search: matsumin.com)

Most homes back then had a traditional style of chest or tansu in the house, either for clothes, for food and china or for items of any value. At least one chest would have been a kind of “safe” in which to keep money under lock and key. But that was not the only way of protecting money.

Recently a 75 year-old Japanese lady who lived deep in the mountains near Okayama when she was a child, told me how money was kept in a special chest with a hidden compartment.

It was this kind of very carefully engineered cabinetmaking that was essential for a Captain of a Kitamae ship. He was generally not only the captain of his vessel but also entrusted with money and documents related to his cargo. When in a port he was a focus of trade and his sea chest or funa-tansu was not only a functional piece of furniture but also a status symbol representative of his social standing.

A ship’s master may have owned the ship he sailed in or was hired by the owner or shipping organisation. In whichever case the Captain had to be someone who could be trusted. His sea chest, therefore, ensured a level of confidence with which those who either employed him or traded with him could feel comfortable with.

Hidden compartments, access to which was only known to the Captain, were required to deter any casual thief and to frustrate the more determined villain or pirate.

A very large plank of zelkova wood at a timber auction in Gifu, central Japan. It measured about six metres in length and over a metre at its widest point. The plank was about 8 cm thick. The grain can be very complex and is enhanced by the application of lacquer, which fills the pores. The whole plank would be sold in one piece and processed according to its application.

Potential buyers gather round the massive boards, which are sold individually,

either by open auction or by concealed bids.

The sea chests were usually made of zelkova wood—a type of figured hardwood similar to elm—and reinforced with decorative metal fittings. Keys and catches, sliding panels and hinged doors all played their part in forming secreted compartments designed to house cash or valuable documents.

The exterior and some of the inner surfaces were finished with true lacquer—it served to protect the wood, to enhance the grain and to generally enrich the overall appearance of a chest with its black metal fittings.

Paulownia wood was generally used for inner draws and boxes because of its light weight and ability to absorb moisture. It is thought, too, that it helped to make one of these sea chests buoyant, sometimes only floating just below the surface and thus avoiding detection. If a chest was washed overboard and found its way to a shore, it could generally be identified by some mark or other amongst the fittings.

With a sea chest all was safe. Well, save enough, unless an interested party was willing to run off with one in tact.

Iwayado tansu made in Iwate prefecture in the north of Japan can be very decorative and grand. This example was made by Fujisato Woodcraft (Search: Iwate.info.co.jp/IwayadoTansu/ ) English site available.

The metalwork of an Iwayado tansu is often very elaborate.

Reference: TRADITIONAL JAPANESE CABINETRY published by Weatherhill, Inc. written by Ty and Kiyoko Heineken. In-depth information on Sea Chests and other types of tansu.

First edition,1981

First paperback edition, 2004

published by Weatherhill, Inc,41Monroe Turnpike,Trumbull,CT 06611