Japanese Traditional Culture

Chu-cyan’s “Go Straight Towards Japanese Traditional Culture” Part 9: Tools that Support Skills and Beauty

Kondo Chuji = Director of Japan Traditional Culture Testing Association

Lacquer brush by Seikichi Izumi
(https://www.torakichi-izumi. www.)

With Mount Kinka, topped by Gifu Castle built by Nobunaga, in the background, cormorant fishing takes place on the Nagara River from May to October every year. The sight of streamlined cormorant boats with orange bonfires floating down the clear stream reflecting the night sky in the indigo space that is almost dark, is truly one of the original landscapes of the Japanese. However, how many tourists give any thought to the fact that this fantastical summer tradition is actually based on a technical tradition so fragile that no one knows what tomorrow will bring?

The existence of cormorant fishermen, who have passed down the techniques of cormorant fishing for over 1,300 years through a tradition passed down from father to son, is itself miraculous, but the survival of the cormorant boats they ride on is even more endangered. Currently, there is only one person who can make cormorant boats - a father and son pair. The cormorants that the cormorant fishermen control are placed in woven bamboo cages with beautiful snake-eye patterns, but until recently, only one person could make these cages.

Some of the traditional crafts that delight our eyes are in a situation where there is no guarantee that they will be made tomorrow, even if the craftsman wants to show off his skills. The "traditional crafts" designated by the Ministry of Economy, Trade and Industry are promoted under the Law Concerning the Promotion of Traditional Craft Industries (Traditional Crafts Law) enacted in 1974. However, Article 2, Paragraph 1, Item 1 of the law, which defines the crafts covered, states that they are "mainly used for daily life," and therefore not only Japanese swords, which are not used for daily life, but also the traditional tools used in their production have been excluded from the government's promotion measures.

For example, urushi brushes are used to apply transparent lacquer such as Shunkei lacquer to a mirror-like finish without leaving any brush marks. These brushes are made from "kamoji" (human hair extensions) used in tying Japanese hairstyles, and are made from old kamoji that have lost their oil over the years, hardened with barley lacquer, and sandwiched between cypress boards that are over 100 years old and will not warp. Unlike ordinary brushes, the bristles run all the way to the end of the board like a pencil, and the board can be sharpened as needed. As a tool that is never seen by others, it has no decorations, but its presence exudes the dignity of finely honed handiwork. Even urushi brushes that have been used by lacquer artisans for a long time and are now short still have the proud and dignified presence that only something that has been trusted and loved for a long time can have.

When making washi paper, the extremely delicate bamboo blinds woven with raw silk are sandwiched between a bamboo blind swaying back and forth inside the water tank. In particular, the orderly appearance of the blinds used to make Tosa Tengujo paper, which is likened to the wings of a mayfly, exudes a quiet elegance, even though they are not particularly beautiful.

In Japanese, there is a profound expression, "the power behind the veil." Like "Itadakimasu" (thank you for the meal) and "Gochisousama" (thank you for the meal), this expression oozes with careful consideration for the invisible. I hope that many people will have a deep affection for the tools that are the "power behind the veil" that are essential to the continuation of traditional crafts, and that they will continue to experience the craftsmanship and beauty that are created by the artisans who use them.