Visiting Kaitakudo Art For Hanging Scrolls
Written by Team MUSUBI
For centuries, hanging scrolls have been cherished in Japan as a way to display calligraphy, paintings, and seasonal motifs—objects that bring art and atmosphere into daily life. Beneath their quiet presence on the wall lies a meticulous craft, requiring both technical mastery and refined aesthetic sense.
Kaitakudo Art was founded in Gifu, a region renowned for producing Mino washi paper. It is one of the few companies in Japan that oversees the entire process, from planning and producing hanging scrolls to framing and sales. The staff includes master artisans who hold the highest national certifications in the art of mounting, guaranteeing exceptional quality in every scroll.
In this article, we’ll introduce the process of completing a hanging scroll in their workshop.
Table of contents
Why Mino City Is Ideal for Kakejiku Production
Gifu Prefecture, home to the workshop, has long been a center for artisans specializing in hanging scrolls, known in Japan as kakejiku or kakemono. Cherished as a distinctive form of Japanese wall art, these scrolls are valued for both their spiritual resonance and their decorative beauty. What makes Gifu such a natural gathering place for scroll makers?
Gifu is also a noted sake-producing region. It has water with very low iron content, as documented by prefectural water-quality surveys. Low iron reduces the risk of rust and staining during mounting, creating favorable conditions for producing high-quality hanging scrolls.
How a Kakejiku Is Made
Upon arriving at Kaitakudo Art, we began our tour of the studio.
The building is two stories tall, with both floors dedicated entirely to the mounting and restoration of hanging scrolls. The main difference between the two levels lies in the method of work, whether the process is carried out entirely by hand or with the assistance of machines.
We started on the second floor, where all mounting and restoration work is done by hand. The absence of machinery gave the space a sense of openness, and with large windows on both sides, natural light likely floods the room on sunny days. It was raining the day we visited, so the studio felt cool.
Inside, long work tables were neatly arranged, each seating two artisans. The benches were laid out in the order of the mounting stages, so scrolls move smoothly from one station to the next. At each station, artisans worked in a focused hush—the only sounds the soft rustle of washi and the whisper of paste brushes.
What follows is a step-by-step look at how a hanging scroll comes together.
Step 1. Color Matching
Kirejiare the decorative mounting fabrics used for hanging scrolls. By carefully choosing materials, patterns, and colors to suit the artwork, artisans can greatly enhance the piece’s overall impression.
Step 2. First Backing (Honshi “Main Work” Backing)
Dust is removed from the surface, then a backing of washi is applied with paste and a brush, working out any trapped air. The task demands both precision and speed. Bright natural light makes dust easier to spot, which is why the studio has so many windows. Because results vary with the season, temperature, and humidity are closely controlled. The paste must be adjusted for ratio and viscosity—too thick and it may crack; too thin and it can peel. The artisan’s judgment is critical.
Step 3. Karibari (Temporary Mounting)
The backed artwork is fixed to a board and set in a drying chamber at the back of the studio so it can air-cure naturally. After about a day, a mounting artisan removes it and moves on to the next stage.
Step4. Mimiori (Folding over the edge)
Fabric borders are added, with several textiles layered to build the scroll’s structure. The piece is released from the temporary mount and trimmed precisely to a true rectangle. At the bench, two artisans work swiftly with rulers and shears; with practice, the motions become familiar, but the operation still demands dexterity and accuracy.
Step 5. Naka-urauchi, Sou-urauchi (Subsidiary Backing of the Main Work and Mounting Fabric)
To integrate the artwork with the added textiles, the piece receives a second backing, followed by temporary mounting and drying. After shaping and reinforcement, it proceeds to a third, overall backing. There are three backing stages in total, but this part of the stage is said to be the most challenging. As one artisan who trained across all stages noted, mastering the touch takes time.
Step 6. Finishing Process
In the final stage, a slim top stave is fitted at the head of the scroll, and a round bottom roller with end caps, known as jikusaki, is attached at the foot. Next, the futai (a pair of decorative hanging fabric strips), the hanging cord, and the storage cord for tying the roll are added in sequence.
Choice of jikusaki—its material and profile—strongly influences the scroll’s overall character, and selecting a combination that complements the artwork is a core mounting skill that relies on the artisan’s trained eye and experience.
Step 7. Inspection and Kakejiku Checking
When all stages are complete, the artisan examines the finish and tests how the scroll hangs. Once it passes the workshop’s quality checks, the piece is placed in a paulownia-wood box for storage and delivery to the client.
Essential Textiles for Kakejiku
We headed downstairs from the second floor. At the back of the room, shelves were lined with an impressive array of kireji—the decorative textiles essential to mounting. Their variety and beauty immediately catch the eye, and they both frame the artwork elegantly and protect the scroll itself. The workshop director carefully unfolded them one by one, pointing out what makes each piece distinctive.
“There are two main types of mounting: with gold leaf and without,” he explained. “Gold brocade is made using 22-karat gold rather than pure 24-karat gold, because pure gold would cause the threads to break during weaving.” By gold content, brocades are often grouped as standard, medium, and high-gold. High-gold brocades have a striking brilliance and presence.
Most of the textiles are sourced from Nishijin in Kyoto. However, according to the factory director, it has become increasingly difficult in recent years to procure certain textiles and parts needed for restoration. “If clients entrust us with the entire mounting process,” he noted, “we’re able to choose the most suitable weave ourselves, which is a great help.”
Alongside traditional patterns, the shelves also held more playful or modern designs, some featuring hearts or lightning motifs. These are sometimes used in contemporary scrolls inspired by anime, manga, or abstract themes. The wide selection, spanning from classic to contemporary, is one of the company’s greatest strengths.
A hanging scroll is not merely decorative; it is a distinctive form of Japanese wall art that reflects nature, philosophy, and the changing seasons. Today, kakejiku continue to inspire, serving both as traditional works of art and as elegant elements of home decor.
Through this visit, I came to realize how the mounting stages play a vital role in drawing out the full value of each work. The next time you encounter a hanging scroll, I invite you to take a moment and reflect on the intricate skills and craftsmanship woven into its background.
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