Junichi Takano works as the Store Manager at the Shirakiya Nakamura Denbei Store, an old store established in 1830. Mr. Takano supports Satoru Nakamura, the seventh successor who inherited the name and the store.
Along the side of the Kyoubashi River in Tokyo that is now an expressway there once was, in the Edo Period, a commercial river port called “bamboo river bank” where 50,000 to 60,000 sticks of bamboo were unloaded every day. It was also a trading hub for all sorts of materials used for daily products.
The founder of the Shirakiya Store, Toubei, began making houki brooms from bamboo and houki-morokoshi (millet), and this “Edo-bouki” (as Toubei’s houki are called) has been created in the same traditional way and at the same place since.
Junichi Takano initially came in as a part time delivery boy. He was soon fascinated by the “practical beauty” of Edo-bouki and the work being done by master houki maker Seiichi Takagi. Since then, he fell in love with making houki himself and he has now become an indispensable talent for the store.
A houki, unlike some modern disposable tools, lasts a long time.
The craftsmen, anticipating all the possible ways the houki might be used, give it lightness, firmness and pliancy. The user understands that the houki is a tool to purify a house and as he or she sweeps the tatami mat from inside to outside, he or she “collaborates” with the houki. The relationship established between the user and the tool is a further development of the relationship already established between the craftsman and the craft.
Using fine materials, expert techniques and human ingenuity, as an artist, Mr. Takano takes elaborate efforts to continue to preserve the relationship between human and tool and pass it on to the next generation.
Genbee Yamaguchi is one of the most respected kimono makers. In 1981, he became the head of “Kondaya”, a long-established wholesale store of obi sashes that was founded in Kyoto in 1738. As the tenth head of Kondaya, he devoted himself to advancing obi making. His recent works, however, have been more involved in designing and making the whole kimono. He also takes an active role in revitalizing the dyeing and weaving technologies through such measures as the revival of Koishimaru - a specific type of silk worm cocoon found in Japan and the preservation of a unique village in the Philippines called “Dreamweaver”. In 2003, Yamaguchi received the Japan Culture Award. After successful collaborations with Kengo Sumi, an architect, and Hiroko Koshino, a designer, he released a new kimono line called Kabukimonotachi-no-keifu, in collaboration with UNITED ARROWS, a specialty retailer. It is an exciting and bold kimono collection for men.
Kabukimonotachi-no-keifu is inspired by the men of the Momoyam period (approximately 1568 to 1603) who loved to live a wild and flamboyant life-style. Japanese men in those days were respected as the toughest of the world. Kabukimono is expressive of that type of man who pursued an extraordinary and “cool” life style. The fashion of Kabukimonotachi-no-keifu evokes masculinity and the true “rock and roll” spirit of the time.
“If you keep on pursuing the basics, there will be a moment when you will suddenly see limitlessness revealed to you, as once Zeami (the greatest playwright of the Noh theater) said. Mastering the basics is the shortest road to freedom”
The vital life force and sexiness in Yamaguchi’s designs come from the inner depth of his creative process.
Hon’ami Koetsu was a calligrapher and artist in the early Edo period. He was also well known as the leading tea master of the time.
Hon’ami Koetsu was born into a family of swordsmiths who created and sharpened swords in Kyoto. He showed talent in a wide range of fields including calligraphy, pottery, lacquer, publishing, architecture and landscape design.
He especially excelled in calligraphy and, along with Konoe Nobutada and Shokodo Shojo, he came to be known as one of the Three Brushes of the Kan’ei Era (Kan’ei no Sanpitsu) . He founded his own personal style known as Koetsu-ryu, developed from the Japanese calligraphy style.
Hon’ami is also credited with founding the Rimpa School in the field of painting, together with Tawaraya Sotasu and Ogata Korin. His works include Rakuyaki Kamigawa-chawan ceramic teacups and Funabashi Makie Suzuribako lacquer work- both of which are designated as National Treasures, and Tsurushitae-wakakan painting, designated as an Important Cultural Asset.
In 1615, Hon’ami began an artist community called Koetsu-mura or Koetsu village in Takagamine, north of Kyoto, in the land granted by Tokugawa Ieyasu. He developed his own artistic style further and was also believed to have supervised all the work there.
Shouemon Kotabe was born in the Ibaragi Prefecture in 1971.
Mr. Kotabe is the 37th successor to his family’s foundry business which has been handed down for over 800 years.
Since his childhood, Mr. Kotabe helped his father make temple bells. After graduating with a Metal Engineering degree from National Takaoka College (now Toyama University), he went into training at an iron kettle studio in Morioka. He then, returned to the Kotabe Foundry run by his father and took charge of it at the age of 25.
At the foundry, on the foot of Tsukuba Mountain, Mr. Kotabe makes temple bells, fire bells and rainwater bowls. Orders come from all over Japan as well as from other countries.
After consulting about letters and patterns, he creates a mold with local sand and clay and then pours copper and tin heated to 1200 ºC into the mold. Because he doesn’t color the bells, he takes considerable time to create an elaborate mold. It takes four to six months and occasionally as long as one year to make one temple bell. A bell newly taken out from a mold is orange-brown in color. Its tone gradually changes to red, then purple and finally to blue-green. As time passes, the local air makes the bell change its color.
Wanting the sound of his bells to resonate in people’s hearts, Mr. Kotabe continues his quest for the perfect bell-tone.
Suseri Oota is an entertainer born in the Kanagawa Prefecture. Her stage name, also Suseri Oota, is written only in katakana characters, instead of the kanji characters of her real name. The name, Suseri, came from Princess Suseri, a legendary figure who appeared in the book Kojiki (680 A.D.). The Suseri of legend was known to have been driven to pursue whatever she wanted.
Suseri Oota left university before completing her course to become an actor and she began to study acting at Gekidan En Kenkyuujo. After finishing her studies there, she formed a comic duo. When her partner got married and left the duo, she became a solo performer, often accompanying herself on guitar. She loved to perform on stage but she is also highly regarded as a film and TV actor, scenario writer and essayist. Her most successful book is Dekai Onna (Large Woman).
Suseri is 176cm tall and her shoe size is 26cm. This stands out from other Japanese women whose average height is 159cm. Her stature adds uniqueness to her image and it gives her a sharp eye for details in everyday life which many people overlook. She strives to free herself and others from social and aesthetic stereotypes.
Suseri Oota is a performer and an artist who is a person of action and who is not afraid to reveal herself to the public. She is a modern version of the Princess Suseri written about in ancient times. Her uniqueness and courage have set the course for great success in the future.
Dr. Christoph Schmitz is a scholar of the work of Dr. Shizuka Shirakawa, Japan's leading authority on the origin of Kanji, or Chinese characters. Dr. Schmitz also researches the history of philosophical thought as well as Japanese thought. A native of Cologne, Germany, he currently resides in Tokyo, Japan.
His interest in Kanji was aroused while he was studying the history of Japanese thought based on the understanding of Japanese and general history, philosophy and the history of philosophy at universities both in Germany and Japan. The absence of convincing explanations of the relationship between Kanji forms and their meaning in the world of Western higher education made him lose his trust in established Kanji education. In 1997, reading an interview with Dr. Shirakawa about his work, he started his research. After teaching history of philosophy and Kanji for adult education classes in Germany, hoping to introduce Dr. Shirakawa's work and meritorious achievements to the world, in 2001, he met Dr. Shirakawa for the first time. In the following year, he became a research student at University of Tokyo Faculty of Law.
In December 2003, he started translating 'Jouyoujikai' (Basic Kanji Dictionary), a primer on Kanji written by Dr. Shirakawa with the consent of the author. To tackle the manifold difficulties of this yet unseen project took him almost three years. His aim is to base Kanji learning on natural understanding.
Few Japanologists seem to have read the proclamation of the Japanese prime minister from 9 December 1954, in which capitalization of nouns in alphabetical transcription of Japanese is sanctioned. After all, it still is nothing less than the official Japanese transliteration system. Accordingly, capitalization is applied in this translation to clearly mark nouns for learners who often do not know which word is a noun, and which is not. Thus, to counter the weakness of modern English spelling which does not clearly mark nouns, I come back to the traditional English capital spelling of nouns as usual some hundred years ago.
There are a lot of problematic or false notions widely used in the field that can mislead learning once they hoaxed the mind of the unwary, which is why I use terms that learners will find more convincing, like the following.
Tortoise Plastron, not Tortoise ‘Shell’
Those thousands of tortoises used for divination seem to have died in vain. Few term coining scholars ever took the pain to verify which one of the two shells of these tortoises was used; a rough translation with ‘shell’ or ‘carapace’ misses the specific meaning of the Kanji 甲 and gives an unclear view of the matter. The flat belly plate was used in what amounts to a percentage of more than 99 % of cases, the carapace, however, which is the hooked back shell only in very rare exceptions: It is too hard to be carved in. The character 甲 shows the flat ‘plastron’ with the vertical and horizontal notched natural ‘lines’ of the belly or breast shell.
Yuutaro Oono was born in Tokyo in 1935. He is currently the CEO of Ohno Seimitsu Kogyo Co. Ltd.
After graduating from Hokunoujima Technology High School, Mr. Oono was employed by an 8mm film company. In 1978, he started Ohno Seimitsu Kogyo Co. Ltd which specializes in making gears. He also dedicated himself to bringing back Karakuri dolls , which were popular in the Edo period, to modern times, using the advanced techniques of modern gear making.
Mr. Oono first learned about Karakuri in an engineering book and he became passionately interested in them. He had acquired a copy of “Karakuri-zui”, an illustrated compendium of mechanical devices written by Hanzou Hosokawa, a legendary karakuri artisan of the Edo period. Mr. Oono began studying the book intensely and, for the last 20 years, he has been reproducing the Karakuri dolls most loved by people in the Edo period such as “tea serving doll”, “shinan guruma” and the “Karakuri clock”.
Each doll is made using about 80 different parts, not counting its face and clothing. The dolls are created in such a way as to preserve traditional methods as much as possible. The fusion of the Edo period and modern times shows both beauty and functionality.
Mr. Oono’s next project is to bring back “Yumihari Warawa, or “ Boy Archer”, which shows a boy shooting an arrow at a target. His tremendous respect for the Karakuri artists of the Edo period motivates him to try to recreate the Karakuri Dolls most beloved in that period, so that people can remember and appreciate their heritage.
Ondrej Hybl was born in 1977 in Czech Republic. He studied Kyogen Ookura style, the traditional Japanese theater, under the influence of Shigeyama Sengorou. In 2000, he started studying at Charles University Graduate School of Philosophy. In 2002, he enrolled in Doshisha University Graduate School of Letters as an exchange student. He began studying Kyogen under Kyogen Master, Shime Shigeyama.
After graduating with a master’s degree from Doshisha University in 2005, he further moved his study and is currently studying for his doctorate at Oosaka University Graduate School of Letters. At EXPO 2005, Mr. Hybl was recognized by the Czech Republic government for his work and contribution as a representative of Czech Republic.
Mr. Hybl, who became fascinated with the Kyogen world which is a quintessential traditional Japanese performing art, became the first Czech Kyogen pupil.
He says that Kyogen requires technique to make people laugh, but that the laughter is not cheap. It is a humor that is kind to people.
Mr Hybyl adds “When people laugh, the boundary between countries disappears. Now that Kyogen is recognized as a world heritage art form, Kyogen has become a valuable asset for people all over the world. Kyogen, which has deep roots in the ancient Japanese world, has the potential to make people in the world rich inside.”