HPI’s 2019 Washi Tour by Yukako Ando

Above, the Yoshino river, with its pebbled edges, flows elegantly through Nara, where our Uda Gami and Nara Natural Dyed paper series are made. (pic: Yukako Ando)

Every two years, Hiromi Paper staff lead a tour through Japan visiting papermakers, toolmakers, and conservationists to gain further understanding of the world of Washi. The tour is heavily focused on conservation, thus we visit mostly the artisans who are producing papers used for conservation and restoration. As usual, the tour began in Kyoto, then traveled on a chartered bus through Japan visiting prefectures like Kochi, Shimane, Fukui, Gifu, and Nara. Participants stay in nearby accommodations and eat what is locally available. During the tour the artisans show how they are making the papers that many of our customers have come to know so well. Here, HPI staff Yuka presents what she saw and what she heard during this year’s tour.

Washi was not made in the summer because the tororoaoi (neri) would lose its viscosity…

In a lightly air-conditioned traditional Japanese house, with the back and forth motion of rocking the suketa (papermaking mould), traditional handmade Japanese paper is made.

The preserved studio of the late Kozo Furuta, one of Japan’s legendary papermakers. Located in Mino, one of Furuta’s former students, Kiyoko Urabe now makes paper in her own studio adjacent to this historical landmark. Furuta was also a teacher to Hiromi, propietress of Hiromi Paper, and Satoshi Hasegawa, maker of the Usu Gami series among many other splendid papers.

The light that shines through the studio windows are ever so warm and subtle, glistening on the water surface. The well water is cold to the touch. Inside the vat are the soft kozo fibers, floating in a solution of tororoaoi and water. The papermaking studios are quiet and calming, and draws us in.

Contrary to the stillness of the studio, the scorching sun continues to heat up the outdoors, with an uncontrollable amount of sweat rushing out. This year’s Hiromi Paper Washi Tour took place in the lingering summer heat, for seven days in the beginning of September. We visited six regions, twelve studios, and four paper museums.

For more than 70 years, Mr. Yamamoto is known for his dextrous hands that make and repair traditional Suketa (papermaking moulds). Here he shows the company of the tour how he precisely weaves together with silk, the fine strips of bamboo that form the screen. Like papermakers, toolmakers are on the decline. Waitlists for the renown toolmaker’s services can last many months. 

The hot summertime is an ideal time for papermakers to accept visitors, due to the lack of papermaking work (papermaking is primarily done in the cold months), but the participants and Hiromi Paper staff felt as if we were all on a summer camp, battling the heat and humidity, unique to Japanese summers.

Upon visiting six different regions and twelve studios, I realized that there were various styles in papermaking. The preparation work, materials used, how the suketa (papermaking screen/mould) is moved, how the papers are dried, are all a bit different depending on the region. Due to this slight variation, it’s not possible to simply group “washi” into one category.

Each papermaker or region’s unique papermaking style has been passed down for generations and will be passed onto future generations as well.

Aki-chan, working at the large-size papermaker Iwano Paper Mill for most of her life.

Ichibei Iwano (NO relation to the Iwano Paper mill which produces large size papers), Echizen Washi’s National Living Treasure, making only one type of paper (Kizuki Hosho) for generations and generations. Kizuki Hosho is a beloved woodblock printing paper that is highly sought-after.

THE YOUNG GENERATION ALSO HARD AT WORK

The first papermaker we visited was young but highly skilled papermaker Osamu Hamada of Hamadawashi founded by his grandfather the late National Living Treasure, Sajio Hamada. Here Osamu san demonstrates how Tengucho (extremely light weight paper) is made. Tengucho requires very rapid techniques when forming sheets in the suketa leading to a beautiful display of splashing water and pulp.

At Iwano papermill, two young papermakers demonstrate the sort of “dance” that is required to create their large handmade sheets. Due to the size that they are famous for, Iwano papers requires two papermakers working in tandem, intuiting each others movements, to produce consistent, beautiful papers.

Masami Igarashi, maker of Igarashi Kozo, some of the largest handmade papers in the world, leads the party through her family’s papermill. Igarashi Kozo can be made up to sizes 2.5mx7m.

IN BETWEEN THE OLD AND YOUNG GENERATION ARE: Hiroyoshi Chinzei of Hidaka Washi, Kiyoko Urabe making Usu Mino paper, Masayuki Fukunishi of Uda-gami, Uekubo san of Hon Misu gami, and Norimasa Abe making Izumo Mingei paper.

Hiroyoshi Chinzei from Hidakawashi shows the tour participants the cooking of stripped bark. It is the cooking process which depletes the lignin from the fibers, bringing them to archival standards. Hidakawashi is responsible for the world’s thinnest paper with some weights as low as 1.6gsm!

Kiyoko Urabe was once the student of Kozo Furuta, making Usu Mino papers.

Masayuki Fukinishi of Uda Gami. Kozo fibers for Uda Gami are treated with clay, which prevent the paper from stretching or shrinking when exposed to heat or moisture. 

Here, Uekubo san of Hon Misu gami is seen making Hon Misu. Kozo fibers for Hon Misu are treated with gofun–incinerated sea shell dust–which helps keep the paper from stretching or shrinking when exposed to heat or moisture. Unusually, because of the gofun treatment, the papers are transferred directly from the su (screen) to the drying board, skipping the pressing process that wrings out excess water. This is because if pressure is applied to a stack of Hon Misu gami sheets, they will not compress to let out water, making this step unnecessary. This omission of the pressing step is called subuse.

Izumo Mingeishi, founded by the late and first papermaker to be designated a National Living Treasure, Eishiro Abe, produces some of the most exquisite shimmering Mitsumata papers. Here his grandson, Norimasa Abe, demonstrates the creation of Izumo Mingei Mitsumata Indigo, one of the most sought after colors from the Izumo Mingei Mitsumata collection. In front of him is a stack of freshly made sheets, each separated by merely a piece of thread.

I don’t want to reveal what the subtle differences in papermaking styles are just yet, but perhaps you’d like to consider finding out for yourself on the next Washi Tour…?

Supported by the presence of beautiful mountains and natural water, there is great significance and depth in the traditions of papermaking, passed down from generations past. To meet the people that make the papers and to learn about the backstory is helpful in becoming one step closer to washi. I am grateful to all of the papermakers and craftsmen that I met throughout the tour, and wish them all the best in their future endeavors.

The final stop was Conservation Studio Bokusendo. Mr. Sekichi shows preparation for a new restoration project.

Underneath the floorboards at Studio Bokusendo, are pots of aged Jin Shofu (wheat paste). Periodically, staff will uncover the pots and scrape off any mold that has accumulated on the surface. The aging process diminishes the stickiness of paste making it perfect for more delicate procedures. Bokusendo does not sell aged Jin Shofu, but you can make it at home. You better start now, though, because some of the aged Jin Shofu dates back to more than TEN YEARS!

Washi Tour Route: Tosa Washi Museum / Hamada Washi (handmade Tengucho) / Hidaka
Washi (machine-made Tengucho) / Mr. Yamaomto (Japanese papermaking tool maker) /
SHIMANE: Abe Eishiro Memorial Hall / Shinichiro and Norimasa Abe (Izumo Mingei
papermaker) / Otaki Shrine (Paper shrine) / Iwano Paper Mill (large-sie handmade papermaker)/ Yamaki Seishi (Gampi papermaker) / Ichibei Iwano (National Living Treasure) / Igarashi Paper Mill (large-size handmade papermaker) / Kiyoko Urabe (Usu Mino papermaker) / Mino Washi Museum / Masayuki Fukunishi (Yoshino Uda-gami papermaker) / Ryoji Uekubo (Hon Misu papermaker) / Mr. Sekichi of Bokusendo (Conservation studio)

For more information about our Biannual Washi Tour, email washi@hiromipaper.com.

ALL IMAGES ARE COPYRIGHT HIROMI PAPER, INC. For use of images you can inquire at washi@hiromipaper.com. All photos taken by Yukako Ando.

Johan’s Washi Expedition 2013 part 1

At the beginning of 2013, we were contacted by Johan Solberg (of Norway) in regards to experiencing papermaking in Japan. Having traveled in Japan and studied a basic Japanese language course, Hiromi decided to connect him with the papermakers of Kochi to start with in October 2013. The following is his very first report!

Washi expedition to Kōchi prefecture 2013, Part 1

My name is Johan Solberg and I work with traditional bookbinding, both with book restoration and new bindings. I grew up in Norway and I am currently running a bookbindery in a city called Halden close to Oslo.

Washi is essential to my repair and restoration work, and I also appreciate the aesthetics of washi. Therefore I wanted to gain a deeper understanding about washi, how it’s made, and also to learn more about Japanese culture. Hiromi Katayama of Hiromi Paper Inc, along with her contacts in Kōchi, made it possible for me to travel to Ino-chō, Kochi to get a first hand experience of washi making. I am really grateful for this possibility.

My journey first went from Stockholm, Sweden to Tokyo. It was an 18-hour flight. Next I journeyed further with shinkansen and regular train from Tokyo to Ino-chō, Kochi. I was met by Tsuyoshi Ageta at the station in Ino-chō. We went directly to the house in which I was going to live. When I came in to the house, I was really overwhelmed. A welcome party was held for me! We had a great night with a lot of good food and conversations.

I was very jet-lagged and I needed a few days to recover. On the following Tuesday of my arrival, Ageta-san drove me on a tour around the area. The surrounding nature is absolutely stunning. Steep foothills covered in dense green forest. We started on a road that followed the clear waters of Niyodo river. Tosawashikougeimura was our first stop. At this place I was introduced to the way the fibers are cleaned to perfection after they have been cooked (Chiritori).

We continued our drive passing farmlands and traditional Japanese wooden houses until we reached Tengujoushi Kyoudousagyoujo. Here we met Mrs. Mie Hamada who was making baskets used for koubori. Mrs. Hamada also showed us different sheets of papers, which had been beautifully decorated in various colors.

Our next stop was the Paper Museum in Ino. I got an exclusive tour around the museum by Ageta-san and Tomoko Hosokawa who spoke perfect English. So I learned a lot and got se see traditional equipment for washi making and also books and items made of washi.

After the Paper Museum, Kochi Perfectural Paper Technology Center was the next place on our list. Masaaki Ariyoshi gave me a splendid tour around the facilities and explained me in detail the process of washi and I got to look at different types of fibres. Ageta-san showed me the collection of washi samples from the whole of Japan. That really gave me an idea of the complexity of the craft.

Our next stop was in Tosa city at the paper mill of Kensho Ishimoto.
Here I got to observe the drying process, as well as looking around in the interiors of this traditional paper mill.

Our final stop of this tour was the paper mill of Takeo Ishimoto. Tsuyako Yokogawa (in the picture) was making large sheets of paper. It was amazing to watch her skilled movements of the suketa. I even got to try, but it was extremely difficult, and the result became a lump of fibres.

Before we went back to Ino, we drove on a narrow road heading up the hillside. At the end of the road surrounded by green forest was Kiyotaki-ji Temple. This was the first temple that I have visited on Shikoku, and I really hope to go visit others as well.

I learned a lot that day, and I got to see the washi making process from different perspectives. It was also a very good introduction to the area.

The next day I started working as an intern at Takaoka-Ushi Co., Ltd. Communication is of course challenging, because of my very limited Japanese, but my coworkers are very patient and I really feel included.

My first task at the paper mill was to remove dark spots from the kozo fibers (Chiritori). The work requires a lot of patience and concentration. It feels good to participate in the washi production.

Joey’s Washi Tour 2012 Recap Part 3

The last destination for our washi tour was Kyoto!

Joey’s Washi Tour 2012 Recap Part 2

It’s now off to Kochi for Yuki and I! A bit tired and wary from traveling long distances on the bullet train, but we were undoubtedly excited for this leg of our journey.

Washi Tour 2012: Kochi

After Fukui, Joanna and I rode the bullet train and local trains and finally arrived at Ino-machi in Kochi Prefecture.

(Since most of the papermakers did not allow us to take pictures because of their machines, the pictures are a bit limited).

Our first stop was to the public paper-making work area located in Naro. This location is extremely sufficient, equipped with the facilities needed in order to make washi from the beginning.

Joey’s Washi Tour 2012 Recap Part 1

Hello everyone! I had the most amazing trip with Yuki a couple of weeks back, as you may have noticed from the wonderful updates packed with images and notable information she has been posting. It was definitely overwhelming to jump into the hustle and bustle of the Tokyo city life from day 1, but coming from Los Angeles, it was easier to adjust to. Racing against a threat of jet-lag, we roamed the city street life from morning to dusk!

 

Washi Tour 2012: Last Stop in Echizen

Our last stop in Fukui was at Nishino-san’s workplace; a location where Sugihara-san had referred to as “the ruins”…

Washi Tour 2012: Echizen Gampi

On our last day in Fukui, Sugihara-san first took us to visit Umeda Washi, where our Echizen Color Gampi papers are from.

Naho Murata and Akemi Hara working hard…

Washi Tour 2012: Echizen 3

At the end of our first day, Joanna and I went to Osada-san and Oki-san’s mill.

First stop: Osada-san’s company is a long-running fusuma (sliding doors) paper manufacturer. However, due to the recent decrease in demand for fusuma papers, Osada-san has started working on creating new and innovative items using his papers, such as lamp shades, fans and bags.

Washi Tour 2012: Echizen Washi 2

Our next stop in Fukui was to visit National Living Treasure, Mr. Ichibei Iwano.

The ninth generation in his family, Mr. Iwano is the maker of the Kizuki Hosho, a high quality 100% Japanese Kozo paper, now mainly used for woodblock printing or calligraphy. His papermaking processes are done by hand, with help from his wife and son. In his late-seventies, Mr. Iwano still takes time to do chiritori, with his own hands, to make sure all or most impurities do not show up on his finished papers.