Traditional Crafts of Kanazawa for SHOWCASE

Size: px

Start display at page:

Download "Traditional Crafts of Kanazawa for SHOWCASE"

Brendan Morton
6 years ago
Views:

1 Traditional Crafts of Kanazawa for SHOWCASE City of KANAZAWA

Traditional Crafts in Kanazawa Traditional crafts in Kanazawa cannot be discussed without mentioning the influence of Lord Maeda of the Kaga clan.

which in turn defined Kanazawa s unique style. The city of Kanazawa has remained free of major natural disasters and untouched by war for over 420 years since the reign of the Lords of Maeda.

Kanazawa gold leaf Although the history of Kanazawa gold leafing dates back to the Azuchi Momoyama Period (1568~1603), it was the Meiji Period (1868 ~ 1912) that saw the rapid rise of Kanazawa s

3 Traditional Crafts in Kanazawa Traditional crafts in Kanazawa cannot be discussed without mentioning the influence of Lord Maeda of the Kaga clan. The lords of the Maeda Family invited skilled craftspeople from Kyoto and Edo, and the techniques brought in by these artisans combined to integrate the dynamism and elegance of the warrior culture, which in turn defined Kanazawa s unique style. The city of Kanazawa has remained free of major natural disasters and untouched by war for over 420 years since the reign of the Lords of Maeda. Thanks to the cultural patronage by the Lords, the tea ceremony and traditional chants found their way into citizen s homes, and many local traditional crafts still remain in their daily lives. Kanazawa gold leaf Although the history of Kanazawa gold leafing dates back to the Azuchi Momoyama Period (1568~1603), it was the Meiji Period (1868 ~ 1912) that saw the rapid rise of Kanazawa s country-wide reputation for gold leafing production due to the superiority of its leafing technology and the excellent quality of Kanazawa's water used in the manufacturing process. Kanazawa now accounts for 99% or more of Japan's gold leaf production, and 100% of silver and brass leafing. The unique characteristics of Kanazawa gold leaf it never becomes discolored or oxidized make it indispensable for the production of a wide range of arts and crafts, and in recent years, a variety of new uses have opened up, including interior accessories. Kanazawa lacquer ware Kanazawa lacquer ware started when the prestigious maki-e artist Igarashi Doho was invited from Kyoto by the third lord of Kaga, Maeda Toshitsune, and developed into a unique combination of the elegance of aristocratic culture and the strength of the warrior culture. The techniques have been passed down through masters and students of the Kaga clan workshop and townspeople from the Edo Period (1603~1868) until today. Kanazawa lacquer ware is further characterized by the one-by-one production of tea utensils and internal furnishings as artistic handicraft rather than mass-produced goods. Kaga-yuzen silk dyeing The origins of Kaga-yuzen silk dyeing can be traced back to the Kaga region's unique Umezome dyeing technique which uses materials from plum trees. In the early 18th century, Miyazaki Yuzensai, a kimono pattern designer, established the foundation of Yuzen silk dyeing. The realistic patterns of grass and flowers which incorporate the style of the Kano school are a stark contrast to the highly designed style of Kyo-yuzen. Kaga-yuzen established a system in which a single artisan completed every step of production, from design to dyeing, by themselves. Nowadays, the Kaga-yuzen silk dyeing techniques are also being applied to western-style dresses.

Kanazawa Kutani porcelain The origins of Kanazawa Kutani porcelain can be traced back to 1807, during the rule of the 11th lord of Kaga, Maeda Narinaga, when Aoki Mokubei, a famous potter in Kyoto

Kanazawa Kutani is characterized by miniature painting, the use of high-viscosity paint, and its unique red colors.

Recently, a wide variety of new Kutani products have been created, such as wine glasses with Kutani decoration on their legs and bases.

(1336~1573). In the feudal period, Kaga embroidery was used on battle surcoats for clan lords, as well as for the clothing of the wives of lords.

Kaga embroidery is characterized by the use of silk, gold, and silver thread to create patterns that look three-dimensional, painstakingly implementing delicate technology stitch by stitch.

4 Kanazawa Kutani porcelain The origins of Kanazawa Kutani porcelain can be traced back to 1807, during the rule of the 11th lord of Kaga, Maeda Narinaga, when Aoki Mokubei, a famous potter in Kyoto who had been brought to the clan as a technician, opened the Kasugayama kiln. After Mokubei left Kanazawa, a warrior of the Kaga clan opened the Minzan kiln, and created the first Kutani porcelain. Kanazawa Kutani is characterized by miniature painting, the use of high-viscosity paint, and its unique red colors. The detailed brushwork required for this works fine characters gives it a sense of elegance and refinement. Recently, a wide variety of new Kutani products have been created, such as wine glasses with Kutani decoration on their legs and bases. Kanazawa Buddhist home altars Kaga embroidery Kaga embroidery was brought from Kyoto as a decorative technique for cloths and attire for the Buddhist ceremony at the beginning of the Muromachi Period (1336~1573). In the feudal period, Kaga embroidery was used on battle surcoats for clan lords, as well as for the clothing of the wives of lords. Moreover, in conjunction with the development of Yuzen silk dyeing, greater technical sophistication was required to bring out the dyed patterns. Kaga embroidery is characterized by the use of silk, gold, and silver thread to create patterns that look three-dimensional, painstakingly implementing delicate technology stitch by stitch. In recent years, Kaga embroidery has been used on a variety of daily sundries and tapestries. In Kanazawa, the Jodo Shinshu sect of Buddhism grew in influence over the lives of the common people, resulting in demand for home altars much higher than other regions in Japan. Artisans who had been summoned to the workshop of the clan responded to this demand. The production of Buddhist altars fully utilizes a variety of craft techniques by wood workers, painters, lacquerers, engravers, fitting workers. In addition, as Kanazawa was also home to the production of gold leafing, an abundance of gold leafing was also used. The stately and elegant appearance of Buddhist altars in Kanazawa is achieved through the careful integration of various traditional crafts. Ohi ware Kaga Inlaying Kaga inlaying is a metal decoration method used for sword accoutrements, etc. and is a skill vital to warrior clans. Owing to the promotion by the second lord of Kaga, Maeda Toshinaga, the inlay technology became highly developed in Kanazawa. In particular, saddle stirrups decorated with Kaga inlaying that coupled a technique to prevent peeling regardless of the strength of impact, with an ingenious and elegant design, garnered incomparable distinction. Kaga inlaying is valued as an artistic handicraft not only inside Japan but also worldwide, and excellent pieces can be found in museums around the world. Ohi ware began as a type of Raku potteries that originated with the master potter Chozaemon, the highest pupil of 4th master of the Raku Clan, Ichinyu, who accompanied Sen Soshitsu Senso, the fourth generation Urasenke tea master, when he was summoned from Kyoto by the fifth lord of Kaga, Maeda Tsunanori. Ohi ware is characterized by the unique style of production in which the shape is formed by hand without using a potter's wheel. After the firing stage, the piece is quickly taken out of the kiln while the glaze is still melting. The amber-colored glaze makes the vibrant green of tea stand out, unlike the black or red firing of the Kyoto Raku style.

Other Traditional Crafts Kaga fishing flies Flies for fishing sweet fish were made by warriors of the Kaga clan in

. Tea kettles Miyazaki Yoshikazu, the son of Miyazaki Hikokuro who was a follower of the fifth Lord of Kaga, was the

The kettles feature a distinctive rough surface and were produced using an integrated production system.

whose techniques have been handed down for generations.

Kaga clan. High quality paper called Kaga housho has been made since ancient times.

1926) and is made of durable Japanese paper.

Techniques for making artistic bamboo works developed alongside the tea ceremony and flower arrangement.

Their frames made of rings of bamboo string make them much more resistant to the elements.

Patterns based on traditional Kaga makie lacquer ware designs are burned into the surface of the wood.

Kaga poles Kaga fishing rods, which are lacquer-coating and decorated, are regarded as the height of sophistication

Sangen 3-stringed musical instrument Sangen was performed as background music for plays and in entertainment

5 Other Traditional Crafts Kaga fishing flies Flies for fishing sweet fish were made by warriors of the Kaga clan in the feudal age. Gold leaf is applied to the feathers of wild geese.. Tea kettles Miyazaki Yoshikazu, the son of Miyazaki Hikokuro who was a follower of the fifth Lord of Kaga, was the first to produce this type of kettle for the tea ceremony. The kettles feature a distinctive rough surface and were produced using an integrated production system. Gongs The production method for gongs was first developed by gong maker Uozumi Iraku, a Living National Treasure, whose techniques have been handed down for generations. Futamata Japanese paper Futamata paper was produced for public documents and developed under the protection of the Kaga clan. High quality paper called Kaga housho has been made since ancient times. Kanazawa Japanese-style umbrellas This type of umbrella was produced in the Edo, Meiji and Taisho periods (1603 ~ 1926) and is made of durable Japanese paper. Bamboo crafts The origin of bamboo crafts dates back to the founding of a bamboo workshop by a lord in the Edo period. Techniques for making artistic bamboo works developed alongside the tea ceremony and flower arrangement. Kaga lanterns Kaga paper lanterns were produced as a replacement for torches. Their frames made of rings of bamboo string make them much more resistant to the elements. Kanazawa paulownia craftwork Artistic works are produced by skillful wood-turners using high quality paulownia. Patterns based on traditional Kaga makie lacquer ware designs are burned into the surface of the wood. Local folk toys The history of the dolls dates back to the Edo period when the third lord of Kaga, Maeda Toshitsune commissioned work by doll creators. Warriors made dolls as a side job, and the technique of making dolls was handed down for generations. Kaga poles Kaga fishing rods, which are lacquer-coating and decorated, are regarded as the height of sophistication for their elegant appearance and solidity. Sangen 3-stringed musical instrument Sangen was performed as background music for plays and in entertainment districts. In the Higashi, Nishi and Kazue-machi chaya tea districts, the tone of sangen attracted people for entertainment. Koto harp Some koto instruments are decorated with makie or raden technique for lacquer ware using gold leafing and seashells. They are beautiful artistic works in their own right. Kaga mizuhiki ceremonial package strings Mizuhiki, which is made of strings of paper, was used as an ornamental article on celebratory occasions. The technique of making artistic works using mizuhiki is still being practiced and developed. Kanazawa mounting The refined techniques of scroll mounters have been documented since the Edo period and are now used to renovate important cultural assets.

6 Production List of KANAZAWA for SHOWCASE Field Artist Ceramics MASUDA Shuse Colorful Ceramics Coffee cup and saucer HABA Fumihiko Door of Memory BOX NAKADA Hiroshi Untitled Chung, Wen-Ting vase cups bowl Lacquer NAYUKI Sonoyo Fragment MURATANI Soushi Dry lacquer serving plate "Blooming" Metal SAKAI Naoki The Form, Muffled of Water NISHIZAWA Wakako Untitled FUJITA Yuuki komono Dyeing HYAKKAN Toyohiko DREAMER MAIDA Hitoshi Kaga yuzen Celemonial Kimono "Color of Green Shadow II" TSURUMI Kunichika Kaga yuzen dyeing Glass Dish "Rose", "Peony" Kaga yuzen dyeing Table Light "Pattern", "Firefly", "Goldfish" Glass SAKAI Yukana Vessel "Chrysanthemum", "Pine tree" "Cherry Blossoms" TAKAGI Motohide silent The Production of Young Artist in Kanazawa.

7 Name MASUDA Shuse Colourful Ceramics / Coffee cup and saucer The important things for me to make are the shape, the color and the texture that come from the materials. Name HABA Fumihiko Door of Memory - BOX The theme of this work is the border of the inside and the outside of the Box. The presence of an object becomes clearer by showing the border. The inner space is decorated with important photos that I own. The combined photos inside look like a geometric pattern, which makes the inner space more extensive.

Name NAKADA Hiroshi Untitled Pearly Luster Vase Name Chung, Wen-Ting

In my work, I cut clay and rejoin them like how people make clothes.

8 Name NAKADA Hiroshi Untitled Pearly Luster Vase Name Chung, Wen-Ting vase / cups / bowl I make pottery which regarded as a serving object in history. Concerning with the topic between women dressed and self-expression. In my work, I cut clay and rejoin them like how people make clothes. Through the way of making work, find a balance of collision and possibility of "Serve" and "Dress up." Dealing with effect of development backgrounds of myself, I explore the relations of woman's dress and body experiences, thinking about community perspectives and their own identity.

Name NAYUKI Sonoyo Fragment When I met material feeling that I am beautiful, I produce a work with the feeling that I

Needless to say, the lacquer is one of the material, too.

9 Name NAYUKI Sonoyo Fragment When I met material feeling that I am beautiful, I produce a work with the feeling that I observe the charm and participate in. The material and intermediation with me are lacquer. Needless to say, the lacquer is one of the material, too. When they are inclined to neither strength and were able to keep the result balance that fought, I feel like existing as "a thing" not material. Name MURATANI Soushi Dry lacquer serving plate "Blooming" This work imagined a flower petal The look of the work changes by arranging it. The creating technique used " KANSHITHU " which sticks a lot of cloth with the URUSHI. Therefore, it is very thin and then is lightly and then is robustly made.

10 Name SAKAI Naoki The Form, Muffled of Water I get up in the morning. I boil hot water. I drink tea. This is an item to spend such time comfortably. Form to be full of hot water Name NISHIZAWA Wakako Untitled I make works of art and jewelry using weft-warped and metalworking technique. This works globular shape is kept that metal wire tied using these technique. A phenomenon occurred the making process produce diverse matire on the work. I m interested in necessarily relation between techniques and shape and matire. This resembles my hometown s scenery that be composed of a lake and mountains and sunshine.

Name FUJITA Yuuki komono I am studying the metal craft at the graduate school of Kanazawa College

A craft was felt more closely in a town which is called Kanazawa-shi, Ishikawa and where

11 Name FUJITA Yuuki komono I am studying the metal craft at the graduate school of Kanazawa College of Art. A craft was felt more closely in a town which is called Kanazawa-shi, Ishikawa and where traditional handicrafts root more least recently, and the stimulus very good for making an one's work has been received. Work work is carried out aiming at a technical work as for which those who see are made to a pleasant feeling. Name HYAKKAN Toyohiko DREAMER The expression of my work is a raccoon dog came out his face from the big old black tree, and accuse something. I have experienced the Great Earth quake in Japan; I think it is important for us to live together with nature and bond with nature. I d like to entrust an audience how they think about the raccoon dog s feeling.

Name MAIDA Hitoshi Kaga yuzen Celemonial Kimono "Color of Green Shadow II" Kaga Yuzen is both a traditional dyeing technique used in the manufacture of

this kimono s design shows the flowers and leaves of the "sankirai" plant brightly lit by sunlight filtered through an unseen forest canopy.

12 Name MAIDA Hitoshi Kaga yuzen Celemonial Kimono "Color of Green Shadow II" Kaga Yuzen is both a traditional dyeing technique used in the manufacture of Japanese kimono and the name for the kimono itself, i.e. Kaga Yuzen kimono.this kimono s design shows the flowers and leaves of the "sankirai" plant brightly lit by sunlight filtered through an unseen forest canopy. Name TSURUMI Kunichika Kaga yuzen dyeing Glass Dish "Rose", "Peony" Kaga yuzen dyeing Table Light "Pattern", "Firefly", "Goldfish" Kaga Yuzen is Japanese traditional crafts. Kaga Yuzen is hand painting on silk. This silk sandwiched in glass.

I expressed the pattern a chrysanthemum, a cherry blossom, pine in three vessels with a cut glass KIRIKO

13 Name SAKAI Yukana Vessel "Chrysanthemum", "Pine tree", "Cherry Blossoms" Japan has much traditional design. I expressed the pattern a chrysanthemum, a cherry blossom, pine in three vessels with a cut glass KIRIKO Name TAKAGI Motohide silent If you see a flower in a space, it would be still and beautiful. It is the image that I regard the glass itself. I would like to represent quiet, aesthetic image by glass material.

Common themes (Yuzen panel)

Common themes (Yuzen panel) The dyeing course Students studied about the materials and techniques for making yuzen printed silk panels. In the free production lessons, they tried the batik method, hand painted yuzen, pattern dyeing,