from Noto

10/07/2016

Kitamae Shipping—Two

Votive panel of a Kitamae ship at a Shrine in Fukura, on the western coast of the Noto Peninsula. By courtesy of Mr. Okizaki Photo © Copyright.

Compact and tidy

The success of the shipping route along the Japan Sea coast was a result of a number of advantages and disadvantages.

A glimpses at a map will verify that there are more than 20 main ports at which the Kitamae ships could call. Even for the larger ships there were safe havens that could be visited in times of need.

About 50 kilometres off the coast from the Noto Peninsula, for example, is Hegura island. It used to be inhabited throughout the year but now it is mostly a point of departure for the Ama free divers between July and April (See blog Ama—Free Divers 13/12/2015). In the days of the long-haul sea routes from Shimonoseki in Kyushu to ports in Hokkaido, the island provided a point of rest and a chance to replenish some supplies.

A shrine was built on the island with the idea of providing safe passage for the ships. Sometimes the Master of a newly built vessel would visit the shrine to pray for the safety of his ship.

The ships themselves were not particularly large, especially when compared to western vessels. Check the Japanese site:

https://nippon.zaidan.info/seikabutsu/2002/01046/contents/009.htm

simply to marvel at the compact nature of the design of the ships and the intelligent and careful planning of the way in which they were loaded. The list below tells you what each of the capital letters stands for in the cut-away drawing.

Outline of Cargo and how it was Stowed (Following Nippon Zaidan diagram key. Address above.)

Upper Level (Deck), Light Items

A Rope, matting, rice-straw bags, rowing equipment.

B Old clothing and light sundry items.

Middle Level

C Cotton, tobacco and similar goods.

D Paper and other sundry items.

E Bolts of cloth and similar items.

F Salt, sugar and grains.

G Rice.

Lower Level—Heavy items stowed low down in the hull to lower the centre of gravity of the ship.

H Vinegar, shoyu (soya), miso, oil and similar items.

I Ceramic roof tiles.

J Polished stone fragments (from stone mirrors).

The diagram on this site is of a ship of 240 tons (1600 Koku in Japanese measures), with a crew of between 14 to 20. There was very little space for anything but the cargo. In fact the way in which the cargo was loaded is reminiscent of the modern Japanese approach to an industrial design problem—taking up as little space as possible in the most compact way. Crew? Well they must have found a corner to rest, sleep and eat. Modern health and safety laws would no doubt fail such a ship from the outset.

Votive panel of Kitamae ships riding a storm at a Shrine in Fukura, on the western coast of the Noto Peninsula. By courtesy of Mr. Okizaki Photo © Copyright.

Bill Tingey Photo © Copyright unless stated otherwise

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.

04/07/2016

Kitamae Shipping

Unknown, Unappreciated

Without a moments hesitation, Mr Okizaki, whom I had only just met, climbed on to sofa opposite where I was sitting. He was anxious to show me the location of some of the important trading points where ships plying the Japan Sea called on their way to the northern island of Hokkaido.

Although I had noticed the map on the wall I had not fully appreciated that it was rather unusual. It was not Japan seen from the South. Instead it was Japan and a large part of the Asian continent seen from the North West and thus focused on the Japan Sea coastline.

Mr Okizaki, a director of a company supplying processed sea foods, had be recommended to me as a very knowledgable person on the subject of the Kitamae trading ships that cursed the Japan Sea coast up until the development of the telegraph and national railway system in the early part of the twentieth-century.

I had not really understood just how important shipping routes were to Japan in the past. I knew that major land routes such as the Tokaido, so interestingly portrayed by Utagawa Hiroshige, were used but they were not suited to the transportation of any goods in bulk, due to the often steep inclines and narrowness of the routes. And then there were the bands of marauding lord-less samurai, numerous check points and paperwork to be dealt with. too.

The rock out-crops just off shore made it impossible for a large ship to draw near to off load its cargo. It had to be done using a small boat that could navigate the narrow channels that were natural or manmade.

Although they had existed before it was not until the later part of the 19th century that the Kitamae shipping routes through the Japan Sea became especially developed. In fact, sea routes along the Pacific Coast as well as along the Japan Sea had existed since the Edo period, which began in the early part of 17th century.

Catch the fish, fillet the fish and dry the fish.

Goods passed from centres of production and/or consumption in and around the Kansai area focused on Osaka. Ships would navigate a way through the Inland Sea before making their way along the Japan Sea coast, stopping off to trade at places large and small on the way to Hokkaido. It was there that they would pick up marine products such as dried seaweed as well as timber.

Admittedly the Pacific coastal route to Hokkaido was also well used. It was, however, the Japan Sea route with its many trading points that became instrumental in the development of culture as well as trade along the seaboard, especially with the end of the feudal period in 1868. After this Japan’s industrial development was meteoric and saw the nation beginning to take its place on the world stage for the first time..

Until relatively recently, I really had not appreciated the importance of the Kitamae trading routes. So this is only the beginning of the story.

Bill Tingey Photo © Copyright

23/06/2016

Exhibition Notice

Takashi Wakamiya and Shochiku Tanabe Exhibition, ZEN

Takashi Wakamiya, whose work was featured in this blog back on 10th February 2015 is having an exhibition with Shochiku Tanabe at Takashima Department Store in Yokohama, from Wednesday 22nd June through to Tuesday 28th June. The exhibition theme is ZEN and the gallery is on the 7th floor. It is open from 10 am to 8 pm (closing a 4 pm on the last day).

There will also be a talk (in Japanese) on Saturday 25th June from 2 pm in the gallery. Participating speakers: Shinya Maezaki―Art Historian, Kyoto Women’s University, Shochiku Tanabe and Takashi Wakamiya. Entry is free.

この度、横浜高島屋にて田辺小竹氏とコラボレーションの展覧会を開催することとなりましたのでご案内を申し上げます。

今回のテーマは「禅」です。

お忙しいとは存じますがこの機会にご高覧賜りますれば幸いでございます。

会期:2016年6月22日（水）～6月28日（火）

　　　　　午前10時～午後8時まで、最終日は午後4時まで

場所:横浜高島屋　7階　美術画廊

イベント：レクチャー　前崎信也（京都女子大）美術史家×田辺小竹×若宮隆志

　　　　　　　　　　7階美術画廊　参加自由　6月25日（土）午後2時～

彦十蒔絵　HIKOJU MAKIE

若宮隆志 TAKASHI WAKAMIYA

WEB SITE: wakamiya-takashi.com

ADDRESS: 1-188, Kekachidaira-machi,

Wajima-shi, Ishikawa, JAPAN 928-0093

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

22/06/2016

On Design—New Old, Old New

Something Different

Tohachiya has many products which are “traditional” in design. They are made by traditional methods, too. But the company also has an adventurous spirit. It has, for instance, been taking new steps along the path of colour—finding new colours in lacquerware to appeal to contemporary customers.

With a good deal of encouragement from Junei Shioji, Tohachiya is trying all kinds of things. Take the miniature “tearoom” for example. Calling it a tearoom is perhaps a little bit of an exaggeration but essentially that is what it is—a space defined by a timber frame and screens. It can be set up in a larger area as a place where two or possibly three people can sit in the traditional way on tatami mats and relax while chatting and drinking tea.

This model shows how the space could be given a real tea house feel.

Junei envisioned it as an installation to be set up within an apartment or in one corner of a house. Inevitably she says it is a place into which adults rather than children might retreat to read, to do calligraphy or simply to relax, perhaps listening to music. The soji screens of translucent paper would only provide a barrier, closing off what is beyond from view, both when looking out or looking in.

This is something that generally happens in a room dedicated to the tea ceremony. In soft even lighting in a space where the host and guests sit to participate in a tea ceremony, the views to the outside are obscured. If there are any shadows they are soft and gently graded. It is as if at twilight. The sunlight has gone and it is when the fluorescence of light lingers. The sounds from beyond the walls are no more than a background to what is happening before the participants. Ideally those sounds might be the occasional twittering of birds, a light fall of drizzle on the garden foliage, drips of water from the eaves or a breath of wind in the trees. In an atmosphere of relaxed concentration, the tea ceremony is played out. All that is felt and expressed is special and touches the heart, soul and mind with an unsurpassable meditative quality. In candle light all these sensations become even more special

Photo ©f Copyright Jin Kitamura Bill Tingey

Although Junei’s mini tearoom cannot provide all of the special qualities of light and space to be found in a dedicated tea ceremony room, essentially speaking it is a capsule, providing a feeling of security, comfort, shelter and cosiness, all of which can promote a meditative frame of mind. We all need that sometimes. And the Japanese seem to have an aptitude for finding it—sometimes on a train, sometimes on a park bench. So why not in this measured cocoon of comfort.

Timeless in its custom, the flowers at the entrance to the showroom are just another way of making a statement—something simple and yet so effective.

Even at the entrance to the workshop, great care is given to making a statement.

A selection of surface treatments in true lacquer pioneered by Tohachiya. Old in treatment new in application and colour.

I am often struck by the way in which traditions in Japan are given a new lease of life. Suddenly what was “old” appears as if it is “new”. And even cutting edge contemporary design solutions have their “traditions” if we care to look for them. In all of what represents modern Japan, there often seems to be a consistency, a oneness and above all a sense of harmony.

All photos by Bill Tingey except where noted. Photo © Copyright

Do feel free to pass on the address of this blog to anyone you think will be interested. Or post 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.

Exhibition News June 2016

Lacquerware in Vienna

The Wajima Lacquer Study Group will be taking part in the Masterpiece Collection 2016 to be held at the Novomatic Forum in Vienna from 23rd to 25th June. This prestigious event hosts firms and organisations which are manufactures of precious goods with a living tradition producing fine work of the upmost precision. What better than the work of Shioyasu Workshop to headline the work done in Wajima using true lacquer and techniques that have been handed down over the years. Some of Wajima’s finest work will be exhibited along with various pieces of equipment used in its production.

Masterpiece Collection 2016

novomatic forum friedrichstraße e 7 a 1010 wien

http://masterpiece-collection.com/aussteller/

Precious MANUFACTORIES,

living TRADITION,

fine PRECISION WORK.

The successful exhibition "Masterpiece Collection 2016" will be presented for the 4th time at the Novomatic Forum from June 23rd-25th, 2016 . The exhibition sets its focus on manufactories, designers and creatives who keep up high handcraft perfection with their work. All in all 30 exhibitors will show their national and international rigour craft, precision work, culinary art as well as interior and design.

For further information please send an e-mail to info@purpur-communication.com

Some examples of Wajima Lacquerware and equipment used in its making are shown below. Photographs courtesy of Shioyasu Workshop Photo © Copyright

A fine nest of bowls and lid.

A traditional barrel in which true lacquer is stored.

Just one example of a spatula used to apply true lacquer.

An example of a pot in which lacquer tapped from the tree is collected.

Two examples of the "rat tail" brushes used to decorate fine pieces of lacquerware.

14/06/2016

Tohachiya—Lacquerware manufacturer and distributer

Past, present and future

Tohachiya is a manufacturer and distributer of lacquerware. I say “manufacturer” with a degree of caution as it may give the wrong impression. Although it is one of the larger firms in Wajima, it would be a mistake to imagine lines of skilled employees working to produce fine matchless products in the way in which Wedgwood does, for instance.

It is the overall scale of production rather than the number of employees, which sets the firm apart.

Tohachiya is, however, using the same materials and techniques as the smaller workshops. To satisfy their loyal customer’s needs, however, they must do things differently.

Tohachiya supplies a number of Michelin starred restaurants in Tokyo. Some are the most elegant and exclusive style of ryotei restaurants catering for an equally exclusive clientele.

In one case this means that they have supplied 100 lacquered boxes for set meals. Some get damaged and need repairing. Others may just be beyond repair and need replacing. After a number of years in service the basic 100 all need replacing. To be able to do this some have to be held in reserve. And after being made they need to be allowed to “rest” for some time before being handed over to the restaurant. Although it wears off in time, new lacquerware can have a distinct odour that customers would find disagreeable. Despite this restaurant owners would settle for nothing less than pieces of true lacquerware with its distinctive feel and tenor of quality. That may be difficult for those who have never handled a piece of true lacquerware to really understand. But it is true.

Checking on the needs of their customers falls to the managing director, Mr. Shioji, who may spend a week or two every month in the capital visiting restaurants which use their fine lacquerware.

Tohachiya has been in business since the latter part of the nineteenth-century. Since then they have built up a dedicated customer base. As a consequence they have also produced hundreds of different items and designs for their many clients. Their archive of soup bowls and lids is staggering.

Much of their business is of a traditional nature and pieces of black or red lacquerware predominate. Black is more or less a constant colour but red can vary from vermillion through to a browner hue. Fashions change and Tohachiya makes a considerably effort to keep up with current trends.

Junei Shioji showed me some of their newest colours and styles of bowls when I visited the showroom. The low, elegant lidded bowls in eye-catching colours were particularly exciting. They may as yet be too avant-garde for some of Tohachiya’s customer but young people are finding them attractive.

The table setting with a black stacked lunch box, restrained purple napkins, elegant glasses and black bowls is stunning. However to many people it might appear funeral (see first photo). Nevertheless in Japan it is seen as an elegant assemblage of colours.

Like many other firms and workshops in Japan, Tohachiya is making some items that have a long, honoured tradition. And yet somehow they do not necessarily look dated. If I’m honest they don’t look contemporary either. It is something of a conundrum. In some cases pieces are only slightly different in design or colouring from traditional items. What Tohachiya is striving to do, however, is to find a new direction, one with a more contemporary feel while still maintaining a sense of style and quality whatever the future brings.

http://www.tohachiya.com/輪島塗について/index.html will take you to a page where you can access an English or French site. To view the online gallery, look at the fifth drop down tab from the left marked オンラインカタログ.　You will find information about the items in English.

Bill Tingey Photo © Copyright

04/06/2016

Exhibition News

An Exhibition of Recent Work by Kazuta Furukomi

Kazuta, who is a member of the Wajima Lacquer Study Group, is having a exhibition of some of his recent work at Site Aoyama in Tokyo. His work was first featured in this blog in June 2015, Snapshot 2: Who have I met?, when a tea caddy lid was presented. His work was again featured in December 2015, Chased, Engraved—Chingin. More recently one of his baby spoons was featured in May 2016, Baby Spoon 4/4.

Site Aoyama

2-7-9 Minami Aoyama

Minato-Ku

Tokyo 107-0062

Tuesday 7th June—Monday 13th June

11am—7 pm daily (except 7th June from 2 pm and 13th June until 4 pm)

サイト青山

■06月07日-06月13日（火曜～月曜）

11:00～17:00　（初日14時から／最終日16時まで）

title: 古込和孝　漆芸展

artist: 古込和孝

media: 工芸

from artist:

「漆芸の古典的技法である沈金を使い創作した作品を展示。

毎日の生活の中で使える品を中心に、コレクターズアイテムとなりうる作品もご覧に入れます」

03/06/2016

Baby Spoons Compleated

Symbionts

Over the past four weeks I have been featuring the baby spoons which were made by members of the Wajima Lacquer Study Group—Wajima Urushi Tanteidan. The making of these spoons was part of a project to boost morale and enthusiasm in the community after the earthquake of 2007.

Some of the spoons are clearly functional whereas others are clearly commemorative—that is their function while they also act as a talisman of good luck, health and happiness. As such they are a piece of memorabilia to be cherished in the years to come by both child and parents.

A few of the spoons in this lacquerware collection were made and decorated by the person who is named. Most, however, were designed and then made by specialists. In the case of lacquerware this is common.

Think of the “art works” of Damien Hirst. He is a “commissioning artist” or “designer”. Although he may understand the mechanics of what he commissions, it is unlikely that he actually possesses the skills to make such things as the famous diamond studded skull.

This approach is particularly true of much of the work produced in Wajima. The services of a specialist can be called upon at every stage. The designers do, nevertheless, have a grounding in true lacquerwork and know this mercurial material’s strengths and weaknesses.

The baby spoons themselves are roughly equivalent to a Christian spoon. These are given by family members when a baby is baptised into the church. The spoon might be engraved with the date of the Christening and are made of silver or are silver platted. They tend to be rather simple. Some people may commission a spoon. These days that would be a rare occurrence.

Many of the spoons in the collection could not have been made were it not possible to draw upon the skill of a specialist to realise what the “designer” wanted. “Designer” and “artisan” are symbionts, each reliant on the other and willing to draw on each other’s strengths. There is a bond of mutual respect.

In a sense this highlights one of the strengths and weaknesses of Wajima lacquerware. This is true, too, of the other traditional crafts that exist in Japan today—I have said as much elsewhere in this blog. There is an abundance of skills but in many cases a shortfall in design ability. Saying that is, I believe, a challenge for both designer and artisan. There are many ways to work together. The opportunity to do a piece of work is what is needed. The Baby Spoon project was just such a golden opportunity.

All photographs courtesy of the Wajima Urushi Tanteidan—The Wajima Lacquer Study Group

27/05/2016

Baby Spoons 4/4

Baby Spoons

When a devastating earthquake struck the Noto Peninsula in 2007, a number of lacquerware workshops were badly affected. Stock was damaged, equipment was broken and in some cases workshops and storehouses collapsed. It was a depressing time as it only added to the troubles that lacquerware makers were already confronting.

Despite being one of Japan’s most prestigious lacquerware production centres, the demand for fine items of Wajima lacquerware had been falling for sometime. Partly fuelled by rising costs, the situation was exacerbated by cheap imports and hastened by the general change in life style of the people, a trend which had been gathering pace over the past twenty to thirty years.

Something had to be done. There needed to be a focus, something to bring people together to overcome the general predicament that the lacquerware makers found themselves in.

A group of twenty makers of all ages, abilities and skills banded together. What were they to do? After long discussions and much encouragement from Yuko Yokoyama—a dedicated supporter of Japan’s traditional crafts and lacquerware in particular—it was decided to hold and exhibition in Tokyo. What were they to make? Baby Spoons.

In Japan since the eighth-century it has been a custom to celebrate when a baby’s milk teeth come through, which is generally around one-hundred days after birth. Called Okui Hajime, this custom marks a mile stone in a baby’s life. The making of a baby spoon seemed appropriate, especially as it was not only a feeding spoon but also a symbol of new life, a new beginning and the beginning of something to look forward to.

Below are the last five of the twenty Baby Spoons which were made and exhibited in Tokyo and Europe. They are an expression of something that Wajima needed. A new hope.

Shin’ichi Shioyasu: Angle—Tenshi

It is a common utterance when first seeing a small baby. “What a little angle”. The angelic connotations are expressed to the full on Shin’ichi’s spoon. The colouring too is etherial and the addition of a heart-like motif at the base of the handle is perfectly in keeping. Even if the child does not remember, the parents are always going to recall those very first spoonfuls that were offered and perhaps hesitantly received. It is the beginning of all that is to follow, for both child and parents.

Kazuta Furukomi: Galaxy—Ginga

Looking up in wonderment at the night sky, ever twinkle seems more and more miraculous the longer we gaze. Just as miraculous is the birth of a baby. How will this youngster make its mark on our world? Will they discover other worlds beyond our own galaxy? Will they be blessed with health and happiness? A parent using this spoon finished with silver powder is likely to start wondering about such things as their baby takes its first mouthfuls.

Takashi Wakamiya: Strawberry—Ichigo

A soft succulent fruit such as a strawberry can suggest many things. This is especially true in Japanese as the character can be interpreted as a “mother grass”. The character for mother is topped with an abbreviation for grass. Takashi has endeavoured to invest his spoon with much meaning—hints of omens of good luck as well as success. The hope that the child will grow up to be strong and healthy is included as is the wish that the child will live long, expressed by the tiny checkered pattern on the handle.

母＝mother 苺＝strawberry

Toshio Ebata: Round and Cute—Tsubura

Choosing to entitle his spoon with a word alluding to the round, cute eyes of a baby, Toshio first used platinum powder to give the whole spoon its glittering effect. Small chips of mother-of-pearl highlight the bowl. It is with these qualities that the wonderment of life is admirably expressed. To this is added grains of rice. Something very practical—the hope that the child will never have to go without.

Katsuko Kado: The Height of Spring—Haru Ranman

It is fitting to associate spring with the weaning of a baby. Butterflies emerge from their chrysalis. New leaves burst forth and flowers bloom in profusion and a riot of colour. Spring is the time when clover in Japan comes into leaf, promising good luck for some. Spring is a time to be happy and when a baby begins to take food from a spoon, it is also a time for the parents to feel excited about the future and a little relieved that their offspring has reached a new mile post in its development. All this is hinted at in this elegantly decorated spoon.

All photographs courtesy of the Wajima Urushi Tanteidan—The Wajima Lacquer Study Group

20/05/2016

Baby Spoons 3/4

Baby Spoons

Something had to be done. There needed to be a focus, something to bring people together to overcome the general predicament that the lacquerware makers found themselves in.

Below are the third five of the twenty Baby Spoons which were made and exhibited in Tokyo and Europe. They are an expression of something that Wajima needed. A new hope.

Hidetaka Wakashima: An Egg from which Dreams are Born—Yume wo Umu Tamago

The birth of a baby is a blessing. And, just like a child, an egg is a beginning, a symbol of what can be achieved as well as being expressive of limitless possibilities. To symbolise life-giving power and energy, Hidetaka used countless small chips of a quail’s eggshell to decorate his spoon—a mind-boggling piece of work full of meaning and suggestive of boundless possibilities—just as is a baby.

Kunikatsu Seto: Handmade Paper and Lacquer—Washi to Urushi

Nothing more or less than a spoon. Handmade Japanese paper was pasted over a mould. With the mould removed, the paper was then coated with lacquer a number of times. Using tin powder and lacquer Kunikatsu produced an effect echoing Japan’s liking for neutral colouring way back in the past. He was looking for a new combination of materials. Not the usual wood and lacquer. The result? A spoon of honest and utter simplicity.

Mikio Wakashima: With Chrysanthemums—Kiku Zukushi

By shortening and thickening the handle of the spoon it made it easier for a child to grasp and increased the area available for decoration. Chrysanthemums are known as the source of an elixir to ward off evil and danger as well as being associated with longevity. Drinking the liquor produced by steeping a chrysanthemum in saké brings all kinds of benefits even the blessings enjoyed by that of a hermit—never ageing and eternal life. This glorious flower is imbued with good, pure and simple.

Masao Matsumoto: Phoenix—Houou

Partly symbolising Wajima’s regeneration after the 2007 earthquake, this mythical bird is a classical emblem of new beginnings and therefore highly appropriate on a baby spoon. The Phoenix leads the way to the realm of the gods and opens the path to a good life.

The maki-e work is slightly raised and extremely fine in its detail.

Taichi Kirimoto: Temari and Fan-work—Temari to Senmen

Having worked in industrial design, Taichi’s approach is functional and highly considered. The long handle makes the spoon easy to use for mother and baby. The magnolia wood was seasoned for more than ten years and carved by a highly skilled craftsman. The decoration is associated with good luck and well-being. Traditionally a temari—a ball of thread in patterns—contained a message of goodwill from a Mother to her child. This spoon brings its own message of hope and good fortune.

All photographs courtesy of the Wajima Urushi Tanteidan—The Wajima Lacquer Study Group