Tag: Japan

Been There, Eaten That: The Fun of Exploring Local Specialty Foods in Japan (and Sharing Them with Friends Back Home as Omiyage)

August 4, 2014Topics

This summer, my high school Japanese nephew is in San Diego to attend an intensive English language program. On the day he landed jet-lagged but wide-eyed, he asked a question that would perplex most locals and non-Japanese in general: “is there any special foods from San Diego that I can take home as omiyage (the social obligation of bringing back small gifts from trips) for my friends?”

An Omiyage shop at Tanjoh-ji Temple in Chiba Prefecture selling locally grown shaddock fruits.

After getting over the initial puzzlement of wondering why someone would ask a question suggesting they were already thinking about going home before they even had a chance to put their luggage down, the question was actually very interesting and difficult to answer. In any case, my nephew was making a query that would be standard for anyone traveling in Japan.

In Japan, food is often associated with different regions and landmarks that people travel to. Of course, many other countries also have regional local specialty foods, but what is astounding is the sheer number and variety of these items in Japan. The Japanese Ministry of Agriculture, Forestry and Fisheries has a list of Japan’s tasty secrets on its website that includes interesting (and sometimes dubious) list of local foods.

A man prepares okonomiyaki in Hiroshima, a local specialty dish. There are regional variants of this dish and the Hiroshima version uses plenty of cabbage and usually has a noodle topping.

Many famous Japanese shrines and temples have foods and confections associated with them, and Japanese people often bring them home as omiyage to share with friends and family. This practice is said to have begun during the Edo period (1603-1867) when people could not afford to travel very often and visits to places like the Ise Grand Shrine was a once-in-a-lifetime event.

The pilgrims to the Ise shrine brought back the famous Akafuku mochi as gifts to their friends and family, who often pitched in to fund their trips. Besides food, this travel culture also supported the development of local craft to be taken home to commemorate trips -just as Kathryn described in her blog post about Kokeshi.*

Kyoto is known for highly sought-after Matsutake mushrooms. Priced between $200~$1500, I would not buy them as omiyage, but would look for a restaurant to taste a sliver of this mushroom when it is in season.

Obviously, many of the recent local food concoctions in Japan are pure commercialism, but I still enjoy exploring local specialty foods when I travel in Japan. Kyodo ryori or local specialties is a tradition rooted in the history, climate, and farming of a local region. It is not unusual for people to travel to a region with the sole purpose of eating the kyodo ryori. I have traveled to Shizuoka to eat its famous eel, and driven up to Nagano to savor the soba or buckwheat noodles that they are renowned for.

This ozoni soup is Kanto style with rectangular grilled mochi rice cake in clear broth.
In Kansai region, the soup is white miso based with round boiled mochi.

On top of the regional differences, many foods are linked with seasons and rituals and are eaten at certain times of the year. Some examples include eating pumpkin on the day of the winter solstice and ozoni (soup with mochi rice cakes) on New Year’s Day. It is fascinating to learn the background of how these foods came to be eaten in certain regions, seasons, and rituals. I continue to be surprised to discover local foods that I have never heard about or dishes that are prepared differently in other regions.

The issho-mochi ritual. The word issho is a unit of Japanese measurement equal to about 4 pounds and a homonym to the word that means “lifetime”. In this ritual, a baby that turns one year old carries 4 pounds of a round rice cake to be blessed with lifelong health, food and harmony. The mochi is later split and shared with all of the family members.

So if you stumble upon a little yummy something in Japan that has a story and tradition linked to that particular area, then why not share it with friends and family back home as an omiyage? The challenge lies in the task of discovering true gems hidden among the more plentiful commercial junk. On a recent trip to Japan, I discovered a regional roasted tea made from tea stems that was quite delicious in Kanazawa city. I brought some back as omiyage and my American friends loved it. I refused, though, to buy the cookies shaped like Tokyo Tower or Godzilla.

A store clerk mixes a fresh batch of shichimi togarashi (seven flavor chili pepper) at Yagenbori† in Asakusa, Tokyo. A little fresh pack of shichimi is a perfect omiyage from this store with a 380 year old history.
(click photo to watch a man mix the Yagenbori chili pepper while chanting the origins and effects of these spices)

Returning to my nephew’s concern, I still don’t know what will be a perfect little omiyage from California for his teenage friends. Please send me suggestions at hello@entoten.com Your input will be greatly appreciated. But any omiyage needs to get past those cute but precision-nosed beagles that wander the luggage carousels at Narita Airport.

*There is an interesting graduate research essay published by Leah Watkins of the University of Otago on Japanese travel culture for those interested in the links between Japanese pilgrimage and their modern travel behavior.

†Yagenbori shop is located at Asakusa 1-28-3, Taito-ku, Tokyo

Celebration of Handmade: Visiting the 2013 Matsumoto Craft Fair

August 6, 2013Matsumoto Travels

Every year as spring turns to summer, the quiet castle town of Matsumoto in mountainous Nagano prefecture is transformed into the craft capital of Japan. Crowds of people come from afar to celebrate the work of several hundred of the country’s leading craftspeople at the two-day Matsumoto Craft Fair.

Since its humble beginnings in 1984, the fair has become the biggest and most prestigious of a growing number of open-air craft fairs that take place across Japan annually. Although the Matsumoto event showcases the work of approximately 260 craftsmen, the competition for places is fierce, which means that entry standards are very high. Only 1 in 5 of applicants reportedly are accepted to participate.

This brightly colored manhole covers in Matsumoto depicts the town’s famous craft, temari. embroidered balls for traditional ball games. Such attention to detail seemed quite appropriate for the town that hosts the largest craft fair in Japan.

I experienced the excitement of the most recent craft fair in Matsumoto on the final weekend of May 2013 when I, along with 250,000 other craft enthusiasts, made the two and a half hour pilgrimage by train from Tokyo.

At the train station, I was welcomed by an advertising banner announcing “Matsumoto Craft Month” (kougei-no-gogatsu). The success of the craft fair has contributed to the growth of the city’s tourism and it now organizes numerous craft related events and workshops throughout May that builds up to the climax of the main craft fair at the end of the month.

A banner advertising Matsumoto Crafts Month welcomes guests at JR Matsumoto station.

It takes around 20 minutes to walk from the train station to Agata-no-Mori Park where the show is held. This 15-acre sprawling park is lined with tall Himalayan cedars and houses a beautiful historic school building. By the time I arrived in the late morning though, the park’s promenade was tightly packed with the biggest crowd that I have ever seen at a Japanese craft fair. The atmosphere was festive and everyone seemed excited to be there.

A large crowd packs the Agata-no-mori Park promenade at the Matsumoto Craft Fair.

Each of the stalls that I visited displayed beautiful and truly unique work. Besides the exceptional quality on show, another characteristic that differentiates this fair from others that I have visited was the sheer diversity of crafts on display. Of the 260 stalls, approximately 80 were ceramics, 50 wood, 25 glass, 25 textiles, 20 metal, 10 leather, 4 apparel, and 40 other miscellaneous outlets. This “others” group included stalls selling raw materials, tools and even books related to crafts that I have not seen elsewhere. Additionally, there were 40 stalls brimming with food and drinks that made the fair an event that one can enjoy for a whole day.

A crafts maker demonstrates cotton spinning on a wheel at the Matsumoto Craft Fair

Another unique feature of the show was its serendipitous design. The participants choose where to locate their stalls on a first-come first-serve basis. There was no map to locate where a favored craftsman might be found, so there was plenty of incentive to go around as much of the show as possible to see what was on display. I really enjoyed this element of surprise, which allowed me to wander through all the stalls without the distraction of intent. After a while, I noticed that the end of the park was far less crowded than the entrance, so the next time I come here I will start at the end and work my way back to the front of the park.

The makers Kobayashi Katsuhisa, Ito Akinobu, and Sakai Mika, whom Studio KotoKoto has introduced to the U.S. were also participating in the show, and it was very exciting for me to see them again at such a prestigious setting.

Woodworker Kobayashi Katsuhisa’s stall on the promenade of Agata-no-mori Park. His shaker-style cherry tea boxes were sold out in just 30 minutes.

Potter Ito Akinobu and his young family at the Matsumoto Craft Fair. This is a fun weekend event for participants and their families.

Nerikomi potter Sakai Mika at the craft fair with her husband. Her stall was located towards the end of the park.

With its sterling reputation and huge popular appeal, it is hard to imagine that the Matsumoto craft fair has only been running for 29 years. It normally takes many more decades to become so renowned. The fair was founded by a small group of dedicated craft artists after one of its members was inspired by craft shows that he had witnessed in the U.S. and the U.K. He proposed starting a similar outdoor event in Matsumoto where the fans of handmade crafts could meet their makers in a fun environment.

The Matsumoto fair will celebrate its 30^th anniversary in 2014. If you happen to be in Japan during the last weekend of May and want to see what the very best of the country’s young and talented crafts makers have to offer, this is the place for you. Just bring your enthusiasm, a hat, and a comfortable pair of shoes.

A Tour of the Pottery Towns of Southern Japan: Part I: Karatsu

April 23, 2013Ceramics Karatsu Travels

Karatsuware in our shop ->

As the cherry blossom season beckoned in Japan this spring, I had a wonderful opportunity to travel to Southern Japan to be the interpreter for a tour of classic pottery towns organized by renowned American potters Bill Geisinger and Ben Horiuchi. It was a fascinating 10 day journey that covered a lot of ground and allowed the tour participants to meet and see the activities and lives of potters from all walks of life in Southern Japan. I will be sharing my observations of these towns and the accomplished potters that have made this part of Japan a vibrant and dynamic center of pottery creativity in this blog in the coming weeks.

Cherry blossoms at Nakazato Tarouemon Studio in Karatsu, Saga, Japan

The first stop of the tour was Karatsu in Saga prefecture. Karatsu is one of the most famous pottery towns in Japan and its name literally means “port to Tang (China)”. This is fitting, as the town has been a major trading port to Korea, China, and the rest of Japan.

The development of Karatsu-ware began more than 400 years ago. A key reason for this was the arrival of craftsmen from Korea brought by Japanese warlords following two invasions of Korea in the 16^th Century. These potters produced ware for tea ceremonies that were very popular among the Japanese elites during this period.

An example of “Korean style karatsu” or “chosen karatsu” vase welcomed us at the Nakazato Tarouemon studio.

The Korean craftsmen brought with them two technologies that revolutionized Japanese pottery making: the kick-wheel, and the multi-chambered climbing kiln. These technologies allowed for faster and larger scale pottery production in comparison to the hand-wheel and Anagama kiln that was used in Japan prior to this technological revolution.

The multi-chambered climbing kiln of Nakazato Tarouemon pottery built in 1734. This kiln was in use until the early 1900s.
(Photo courtesy of Beorn Johnson)

Karatsu-ware or Karatsuyaki, is made of clay high in iron content that fires to a reddish-gray color and encompasses many styles. The styles that I am most familiar with are ‘picture karatsu’ or ‘e-karatsu’, which have simple drawings of plants and birds, and Korean style karatsu or ‘chosen karatsu’ that has a black glaze with runny white ash glaze over it.

Many Japanese, including myself, find that simplicity is more appealing than glitter and complexity, because one can only understand the beauty of simplicity through experience and the steady accumulation of knowledge. It is a very personal appeal that is nurtured and intensified over time and repeated use. It is similar to the sentiment you will have towards your favorite t-shirt or tea mug that is so comfortable because you have used it over the years.

Karatsu-ware today is sought-after by avid collectors and formal tea drinkers for their simple and rustic elegance. Although I am not very familiar with the formal way of Japanese tea ceremonies, even I know the Japanese saying, “Raku first, Hagi second, Karatsu third”, which denotes the rank order of the three preferred types of pottery used in Japanese tea ceremonies. But some of my Japanese friends who are knowledgeable about tea ceremonies say that they are most drawn to Karatsu-ware.

Paddle tools used to slap the coil built vessel walls at the Nakazato Tarouemon studio. This clay forming method is called “tataki giho”, a traditional method that was lost but revived by the late living national treasure, Nakazato Tarouemon XII.

In Karatsu, I was especially excited to visit the Nakazato family kilns. The Nakazato name should be well known to anyone who regularly visits the Studio Kotokoto website because of Hanako Nakazato, who is one of our most talented artists. The Nakazato family has resided in Karatsu for the past four centuries and they include famous potters such as Nakazato Tarouemon, Nakazato Takashi and Nakazato Shigetoshi who are all relatives of Hanako. It was my private mission to get a glimpse of where Hanako came from to gain an appreciation of the traditions and lifestyle that have shaped her and her style of pottery.

“Petal-edged” or “rinka” plates at Nakazato Shigetoshi’s Sangengama.

The sturdy, unpretentious beauty of Karatsu-ware profoundly moved me. I felt very familiar with their time-tested and functional forms because I have witnessed their essence in Hanako’s work.

Bob Okasaki’s beautiful studio was built in the traditional Japanese style without nails

Another potter we visited in Karatsu was Bob Okasaki, who is a native of California but is now settled in Karatsu. Bob opened his own kiln called Tourigama after many years of apprenticeships under Fujiwara Yu, a famous potter in Bizen, followed by Nakazato Takashi, Hanako’s father, and Nakazato Tarouemon XII, who was a living national treasure.

I love what Bob does because he has so many beautiful works adorned with drawings of animals and plants. Bob and the Nakazato family are very close because he married Keiko, a daughter of Nakazato Tarouemon XII. Hanako, who was busy loading a kiln for a show in Tokyo, stopped by at Bob’s studio and I was happy that I got to meet her to say hello.

Baby boar plate by Bob Okazaki.

The tour group had a wonderful time in Karatsu, a town in a remote corner of Japan but with a very open and international feel to it. This undoubtedly stems from the town’s proximity to Korea and China, which makes it an important regional cultural gateway.

In my next tour blog, I will talk about our visit to Onta, a pottery village hidden in the deep mountains of Oita.

A Short History of Craft Shows in Japan and Their Surprising Origin

November 20, 2012Travels

I was traveling in Japan over the past few weeks and one of my destinations was to visit an open-air craft show in Sakai, a suburb of Osaka, called Tomoshibito-no-tsudoi. This well-curated show, held in a quiet park, features 100 artists from all over Japan and takes place annually at the end of October.

Panoramic view of the Sakai craft show on a sunny Osaka day

The Sakai show attracted large crowds of people from the surrounding areas. The atmosphere was festive and family-friendly. Besides the many rows of artist booths, there were also plenty of delicious food stalls to feed the hungry masses.

Helped by the excellent weather (at least for the day I was there), the show was packed. Some artist booths had long lines of people waiting to get their hands on the creations of their favorite artists. It is hard to believe that this show was only in its fourth year.

A crowd waiting to meet their favorite artist

Craft shows are fun occasions for the artists too. These venues are opportunities for the artists to get out of their studio, meet their fans and the general public, other artists, and people like me who want to spread the word about them outside of Japan. Few if any of them are known or sell their wares outside of the country.

When I go to these shows and meet the artists, I always think about how tough an occupation it is to be an artist. They spend the vast majority of their working hours in solitude, and we have the privilege to enjoy the results of their hard endeavors.

A glass artist happily chats with some admirers

There are more than 300 craft shows held around Japan every year. To put this in perspective, imagine 300 of these shows taking place within the state of California, which is roughly the same size as Japan, in one year!

You might also be surprised to find out that these very popular shows only began in Japan in 1985 with Craft Fair Matsumoto. The artists who organized the Matsumoto show saw some outdoor craft shows in the U.S. and Britain and wanted to start something similar in Japan. So these shows have their origins from the West.

Before these shows became popular in Japan, artists were limited to showing their work at galleries and department stores. It appears that there has been a renaissance in the popularity of handmade craft and tradition in the last 5 years in Japan that has been helped by these shows that provide venue for artists, especially promising younger artists, an outlet to show their work.

A potter’s booth at the Sakai Craft Show

In the coming months, I will update information about Japanese craft shows on our “links” page that will be accessible from the navigation button at the bottom of our homepage. If you are visiting Japan, there is an excellent chance that one of these shows is taking place during your stay. If so, I highly recommend that you visit the show if you can.

Hanako Nakazato: Expressing the Natural Beauty of Clay

August 14, 2012Ceramics Hanako Nakazato

Ceramics by Hanako Nakazato in our shop ->

A bowl made by Hanako Nakazato is so succulent that the clay seems as though it is still pliable.

Hat Bowl by Hanako Nakazato
Photo Courtesy of Monohanako

“I try to bring out the natural beauty of the clay and glaze”, says Hanako. She finds that the beauty of clay is in its unique plasticity, receptive to the slightest pressure from the fingertips. That characteristic of clay is masterfully brought out in her works. It is hard to resist the urge to pick it up and hold it in your hands.

Production at Monohanako by Hanako Nakazato
Photo Courtesy of Monohanako

And pick it up you should because Hanako creates wares that are intended for regular use. “A ware’s significance is only complete when it is used” she explains. “The same ware will manifest different expressions depending on the food it carries. I want people to enjoy that variation.”

Katakuchi by Hanako Nakazato
Photo Courtesy of Monohanako

Among the assortment of plates and bowls in the cabinet at home, a select handful keep getting used over and over to serve different kinds of foods. They are chosen because the cook can visualize how well the food fits with the vessel. Hanako’s creations easily trigger such visualizations. The Shinogi sobachoko, for example, is ideal for serving appetizers, soups, ice cream, and many more dishes.

Shinogi-Sobachoko by Hanako Nakazato
Photo Courtesy of Monohanako

Hanako wants her wares to be used often and for many years by their owners. She explains that the key to making such wares is to keep a neutral mind and to “go with the flow” during the production process. Too much planning, eagerness, and intent by the potter will result in works that suffocate and bore people over time. Hanako never measures her wares as she throws.

Production at Monohanako by Hanako Nakazato
Photo Courtesy of Monohanako

Hanako can only pull off such a feat because she is an extremely skilled potter. She is from the Nakazato lineage of potters that have been throwing pottery for 14 generations in Karatsu, Saga Prefecture, Japan. Refined expertise can only come through rigorous study and learning from the best, and Hanako went through many years of tough apprenticeships under her father, renowned potter Takashi Nakazato, and also Malcolm Wright in Vermont, a student of Tarouemon Nakazato XII, Hanako’s grandfather who was designated as a living national treasure by the Japanese government in 1976.

Monohanako Studio
Photo Courtesy of Monohanako

Hanako’s unique approach is also shaped by the way that she is able to harmonize and find balance between the dual worlds that she inhabits. Born and brought up in Japan, Hanako went to high school in Florida and subsequently studied Art at Smith College in Massachusetts before returning to Japan to apprentice with her father.

Hanako Nakazato
Photo Courtesy of Monohanako

This bicultural potter has expertly synthesized the deep traditions of the Nakazato heritage with her own modern American interpretations and experiences. Hanako now spends half of her time in Japan and the other half in her studio in Union, Maine.

Select wares made by Hanako Nakazato and Monohanako West is available at our shop.

Introducing Sasaki Shoko: Making Original and Elegant Kiln Formed Glass

July 31, 2012Glass Sasaki Shoko

Sasaki Shoko is one of the exciting new talents in Japan’s glass making community. This young and energetic glass artist has a creative vision that is reflected brilliantly in the tasteful combination of shapes and colors that distinguish her kiln formed glass works.

Sasaki Shoko at her studio in Tokyo Japan (photo courtesy of Sasaki Shoko)

Studio KotoKoto came across Shoko’s work in a show at a prominent department store in Tokyo in October 2011. The show featured handcrafted items for contemporary tea ceremonies and was organized by an artist collective called Enishi.

Kiln formed glass plate by Sasaki Shoko

Kiln formed glass plates by Sasaki Shoko

Shoko explains her approach: “I always try to bring out the best in the ability of glass to create interesting expressions by layering colors”. She strives to bring out the beautiful yet subtle Japanese colors such as gunjyo (ultramarine), sumire (violet), and kurenai (crimson) into her fused glass. Shoko’s exquisite works instantly attracted our eyes.

Glass artist Sasaki Shoko’s base drawing and design of her plates
(Photo courtesy of Sasaki Shoko)

Scoring glass with a glass cutter (photo courtesy of Sasaki Shoko)

A running plier is used for breaking the glass along the score line
(photo courtesy of Sasaki Shoko)

An interesting twist is that the colored glass that Shoko works with is produced in the U.S. by Bullseye Glass Co., which has been providing fusing compatibility tested glass to artists around the world since 1974. By layering, sandblasting, and firing and re-firing this glass to precise temperatures in the kiln, Shoko masterfully allows the glass to express the delicate and sometimes slightly muted colors that are uniquely Japanese.

Placing the glass on a slumping mold in the kiln
(Photo courtesy of Sasaki Shoko)

Shoko grew up in Niigata, a prefecture in the island of Honshu on the coast of the Sea of Japan. After moving to Tokyo to attend Musashino Art University, she was instinctively drawn to glass as a medium because of their transparent and colorful nature. During her formal training at the university for a Masters of Fine Arts, she was especially drawn to kiln-formed glass because it allowed her to accomplish numerous expressions by understanding and manipulating the kiln temperatures.

“My work may not be flamboyant, but I design them to have a distinct presence when people use them”, Shoko points out. The work she creates are stunning and elegant indeed!

A selection of kiln-formed glass plates made by Sasaki Shoko is available from our shop.

Visit to Saratetsu Dye Studio Part 3 – Butterflies and Fern: Bringing Back the Magnificent Stencil Patterns of the Past

July 17, 2012Textiles Saratetsu

Saratetsu linen furoshiki with vintage stencil pattern in our shop ->

Saratetsu, the last yuzen wrapping cloth (or furoshiki) dyer in central Tokyo, has accumulated a treasure trove of stencils since opening for business in 1910.

KotoKoto was especially fascinated by the design of old paper stencils that Saratetsu used before switching to computer generated screens 22 years ago. These old paper stencils are called katagami, and are made by layering multiple pieces of Japanese paper glued together with persimmon tannin. Kimono and other fabric dyed with these waterproof paper stencils were extremely popular in Japan from the mid Edo (around 1800) to the early 20th century.

Old Paper Stencil with Yabane (Feather of Arrow) Pattern

We wanted to pick two stencil patterns to be used for our new linen designs. But with such rich choices available, making a decision was incredibly difficult.

Many were not just beautiful but had special meaning to the Japanese people. For example, the ‘feather of arrow’ pattern had the power to ward off evil. It also was often used on gifts to a bride to wish her a happy marriage. As an arrow never came back once it was shot, the gift senders wanted to wish that the bride would not return home because of a broken marriage.

After taking many pictures of the old stencils, countless hours were spent back in California contemplating all these attractive patterns and the meanings they convey. We are finally happy to announce the selection of the butterflies and fern patterns!

Butterflies

Fern

According to the book “Symbols of Japan – Thematic Motifs in Art and Design” by Merrily Baird, the butterfly is a symbol of joy and longevity. It is also a symbol of rebirth, a sentiment that we strongly wish for the Japanese people as they continue to recover from the devastating earthquake of 2011. We also thought that it was appropriate for KotoKoto’s launch in our hope to be an ever changing and exciting website for people to discover new things. The butterfly motif has enjoyed widespread popularity in Japan since the Nara period (710-794).

The fern is a symbol of long life and family prosperity because of the numerous spores on its leaves. We especially liked this pattern because the fern represents elegance and hardiness, characteristics that we seek in the skill and craft of artists. The fern motif has been popular in Japan since the Heian period (794-1185) and has also been fashionable in the West since the ‘pteridomania’, or a craze for ferns, struck Victorian Britain in the 19^th century.

Color Testing on Linen

We are now testing colors with Saratetsu and will be starting to print these fabrics very soon!

Read all of the previous postings about Saratetsu here.

How are these used? Read our furoshiki blog post ->

Visiting the Old Pottery Town of Bizen and Kurashiki Craft Show in Okayama

July 3, 2012Bizen Travels

If you are a traveler interested in Japanese crafts and like to visit places that are not major tourist destinations, we suggest that you travel to Okayama prefecture in Western Japan. In May, Studio KotoKoto visited Okayama, home to the famous Bizen pottery and also known for glass, Japanese paper, and other local crafts.

Bizen vases filled with water to test for leakage
Ichiyo Gama Bizen

You can get to Bizen from Okayama station by taking the Japan Rail (JR) Ako line and getting off at the sleepy station of Imbe, about 40 minutes east of Okayama. We were excited to visit this famous pottery town with more than 1000 years of history because we have great respect for what Bizen stands for: crafts that are close to the earth. We also love the natural and modest beauty of these unglazed and unadorned pots.

The starting point for any visit is the Bizen Pottery Art Museum where many Bizen masterpieces and works of art from Japanese artists deemed to be living national treasures are on display. After feasting your soul on this splendid artistry, walk around the streets to see how pottery is at the core of this town’s life and identity.

We strolled along the main street and noticed that many pottery shops are right in front of the kilns that produce their wares. While visiting one of the most established kilns in Bizen called Kimura Ichiyo-gama, we had the fortune to meet its owner, Mrs. Kimura, who gave us a thorough tour of her studio and noborigama kiln (“climbing” kiln.)

Woodstack for firing the noborigama

Bizen greenware

Noborigama at Kimura Ichiyo gama

Matcha tea served in a Bizen tea bowl

Kurashiki is another delightful town in Okayama that we were able to spend time to uncover its charms. The town is dominated by stunning old wooden storehouses (or Kura) built in the 17^th century with white plastered walls and black tiles. The storehouses are built along a beautiful canal where you can watch colorful Koi fish swimming gracefully.

Kurashiki Bikan Chiku and canal by night

Kurashiki Bikan chiku and canal by day

Some of these storehouses have been converted into museums. The most famous is the Ohara Museum of Art, the first-ever Western art museum in Japan. But our favorite was the Japan Folk Toy Museum where hundreds of handmade and antique toys from different parts of Japan are displayed in a converted rice storehouse. The museum’s owner Ohga Hiroyuki is listed in the 1983 Guinness Book of World Records for spinning a large handmade top for an hour and 8 minutes!

Japan Folk Toy Museum
Kurashiki, Okayama

Photos: Ohga Hiroyuki spinning a top; A top on a tightrope, Folk Toy Museum, Kurashiki, Okayama

We enjoyed wandering around the back alleys of Kurashiki, especially in the Honmachi and Higashimachi districts that are full of old houses, cute shops, and wonderful sake shops.

Back alley
Kurashiki, Okayama

A sake shop
Honmachi Kurashiki, Okayama

If you are going to Kurashiki, we highly recommend going in May when the town hosts one of Japan’s best annual craft shows called “the Field of Craft Kurashiki”. This high-quality show is hosted by the town and features more than 70 artists. This year’s event took place on 12-13 May and we had a fascinating time enjoying and being impressed by the rich offerings on display!

Our Itinerary

Day 1 Tokyo-(3hrs 30mins)-Okayama-(40 mins)-Imbe-(1 hr)-Kurashiki
Day 2 Kurashiki craft show
Day 3 Kurashiki museums and sights-(20 mins)-Okayama-(3hrs 30mins)-Tokyo

A Potter’s stall at the Field of Craft Kurashiki

Visit to Saratetsu Dye Studio, Part 2 – The Technique for Printing on Both Sides of Japanese Linen (Hint: It’s Very Difficult)

June 14, 2012Textiles Saratetsu

Hagiwara Ichizo of Saratetsu, the last yuzen dye studio of wrapping cloth (or furoshiki) in Tokyo, is an expert at dyeing a variety of natural fabrics, so Studio Kotokoto asked him to print a pattern from their collection of old paper stencils onto Japanese linen.

Hagiwara Ichizo

We chose Japanese linen because it becomes more beautiful with time and use. Moreover, this fabric has deep roots in Japanese history. It was among the most popular fabrics used in the country until a century ago but was pushed aside by cheaper imports. It has been making a slow comeback in the past few years.

However, linen is also notorious for its resistance to dye transfer, and today’s dyed linens are mostly piece or yarn dyed. Despite these production challenges, Hagiwara-san not only took on the task but said that he could also dye a different color on the back. This is a truly amazing feat and he is probably the only dyer in Japan or elsewhere who can make this happen!

The factors that control colors are the mixing of dyes and the duration of steaming to fix the dye. Hagiwara-san tests each color and combination and carefully records the results in a logbook.

Color Logbook

Red Yuzen Dye

After the dye is applied, the fabric is steamed to bring out and fix the color. Hagiwara-san gave a demonstration to show how the duration of steaming can change the hues of the same color.

Identical Dye on Silk Steamed for 4, 1, and 0 Minutes

Fabric Steaming Box

Steaming Box in Action

When a fabric is dyed on both sides, the color on one side adds to the hue on the other. So Hagiwara-san and his colleagues undertake constant experimentation and testing to achieve the intended effects.

Front and Back Color Combination Experiment

Controlling the dye and preventing seepage into the back is a special skill that has taken several generations for Saratetsu to perfect.

In the next blog post we will share some of Saratetsu’s collection of old paper stencil patterns and decide which of these styles to apply to our linen.

<-Read the previous post about Saratetsu

Read the next post about Saratetsu ->

KotoKoto Visits a Dye Studio Engaged in the Disappearing Art of Yuzen Hand-Dyeing

May 20, 2012Textiles Saratetsu

Hand-dyed wrapping cloth by Saratetsu in our shop ->

Take a look at this silk fabric that has been dyed into deeply contrasting colors on its two opposing sides.

Silk wrapping cloth by Saratetsu Tokyo.

This is the work of Saratetsu, the last remaining hand-dyer of wrapping cloth (or furoshiki) in the central 23 wards of Tokyo. Owned and operated by Hagiwara Ichizo, Saratetsu has been dyeing yuzen-style for three generations since 1910. Ai was given a tour of their studio in early May.

Yuzen is a method of dyeing fabric by using sticky rice husk resist. Hagiwara-san says that by only using this traditional dye resist is it possible for a thin fabric such as silk to be dyed into a different color on each side. While many dyers in Japan have switched to machines and other more economical methods, Saratetsu has continued to carry on the yuzen tradition by dyeing everything by hand.

Yuzen dyeing is extremely labor intensive, involving detailed accuracy and care at each step of the process.

In the following photographs, yuzen-dyer Harima Jun of Saratetsu demonstrated the dyeing process for KotoKoto:

Preparing the wooden dye board by misting it with water to activate the rice resist

Placing the fabric on the board

Placing the paper stencil with pins

Applying dye resist onto the fabric

carefully removing the stencil

Sliding the stencil to continue the pattern.
Then going back and repeating this process many, many times!

Saratetsu specializes in free hand and stencil yuzen-dyeing, and their attic is full of hand carved paper stencils that were previously used. The patterns of old stencils are beautiful and continue to appeal to our modern eyes. KotoKoto is discussiing with Saratetsu to revive one of these old paper stencils onto fine linen.

Can we do it?

Read the next blog post about Saratetsu ->