Sep 20, 2024

Visiting Toyama's Master Craftspeople: Two Potters and a Washi Artisan

Team Musubi, guided by Kosugi Shuhei, Head of Operations of IWA , visited Toyama, passing through the picturesque countryside to meet three skilled artisans. Although we have traveled to various parts of Japan, this was our first visit to Toyama, making our encounters with these master craftsmen an extraordinary stroke of luck. Generally, artisans are very private, with many workshops not open to the public, and it is not easy to ask them to pause their work and share their stories.

Our first visit was to the renowned master potter, Shakunaga Yukio. Next, we visited his daughter, Shakunaga Yo, who is also a potter, and her husband, Kawahara Takakuni, a skilled washi artisan. We aimed to explore how their exceptional craftsmanship has flourished and developed in the Toyama region. These family-related artisans have workshops nearby. By visiting each location, we were able to see their works, the materials and tools that bring them to life, and hear their fascinating stories about what it means to be an artist in this area.

Shakunaga Yukio Shakunaga Yo Kawahara Takakuni

Shakunaga Yukio

Guided to the elegant Japanese house that serves as the gallery of the Shoraku Kiln, which Shakunaga Yukio operates, we were captivated by the beautifully arranged objects and sculptural ceramics. A large window at the back framed the outdoor scenery like a picture. In this space, filled with his aesthetic sensibilities, we naturally felt a sense of reverence.

Shakunaga Yukio's grandfather, along with other dedicated individuals, endeavored to revive Etchu Seto ware at the beginning of the Showa era (1926 CE–1989 CE). This renowned pottery, with over 430 years of history, represents Toyama and is crafted in the Seto area of Tateyama Town. Their efforts came after the region had transitioned to tile production following the Meiji period (1868 CE–1912 CE).

Yukio shared childhood memories of his grandfather: "There were many old kilns around here, so fragments of pottery were discarded. Some were from the Momoyama period (1568 CE–1600 CE) kilns, and some were even older, dating back to the Kofun (mid-3rd century to 7th century) and Heian periods (794 CE–1185 CE). I used to follow my grandfather as he picked them up, and I started searching for them myself. When I found a rare pottery shard, my grandfather would be so happy and would give me chocolates as a reward."

By the age of ten, Yukio was already fascinated with making pottery and expressed a desire to become a potter himself. Later, his father inherited the family business from his grandfather, but when he built a new type of kiln and switched the fuel from wood to heavy oil, the oil shock made it unsustainable. His father told him, "You can pursue pottery, but first, leave the house," and Yukio headed to Kyoto. After a year at a pottery training school, he took over his grandfather's work when he retired at an advanced age. He was 24 years old at the time.

Although Yukio was raised in a rich environment for potters, his journey has been full of twists and turns. Listening to his story, it became clear that he reached several turning points through various encounters with people and experiences.

During his formative years, Yukio was influenced by literature, including works by Mishima Yukio, and exhibitions at the Japan Folk Crafts Museum , particularly Korean ceramics from the Joseon Dynasty (1392 CE–1897 CE). Through his connection with an antique dealer in Toyama, he expanded his network to include museum professionals and tea ceremony masters from Kyoto. While actively pursuing his craft, he befriended a Korean potter. In his 30s, he traveled to Korea once or twice a year, where he rented an ascending kiln from the Joseon period and spent a month creating pottery there, all while running his kiln in Toyama. This parallel operation was impressive.

In his late 30s, Yukio faced an internal struggle, questioning what he truly wanted to create. At that time, he found a strong connection to the white clay that he had seen and touched since childhood in Tateyama. "All the memories of being born and raised here focus on the white clay. By using white clay as a starting point, various things become visible. Everything is here in this land," he said.

Yukio takes a hands-on approach to his craft, venturing into the local mountains to excavate pottery clay himself. He brings the raw material back home, meticulously sorting through it to select only the finest white clay for his creations. This dedication to detail, combined with an artistic sensibility honed through deep self-reflection, has earned him a distinguished reputation in the world of pottery.

One particularly famous episode is his encounter with Steve Jobs. When Yukio held a solo exhibition in Kyoto, Jobs and his wife visited three times consecutively from the opening day, each time asking questions about clay and kilns. After purchasing many of the exhibited pieces, Jobs left with several custom orders. Yukio, unaware of who Jobs was, thought he might be "an American potter or something." Yukio said that Jobs wanted to visit his workshop. As we looked around the gallery, we couldn't help but think that Yukio's highly refined pottery resonated with the minimalist sensibility that Jobs favored.

When asked about the concept behind his works, Yukio responded, "I don't want my works to chatter unnecessarily. If they remain silent, viewers will naturally reflect on it in their own way. The more explanations you give, the more you take away from the viewer's imagination and appreciation." His pottery, inspired by the scenic beauty of Tateyama, will undoubtedly continue to captivate viewers in the future.

Shakunaga Yo

After bidding farewell to Shakunaga Yukio, our next destination was the workshop of washi artisan Kawahara Takakuni and his wife, potter Shakunaga Yo. The surrounding area has only fourteen households and a shrine, creating a serene space where time seems to flow gently, as if cut off from the world. Here, they have renovated an 80-year-old traditional Japanese house, using a large main house and two barns. Behind the building, there is a lush growth of kozo, the raw material for washi.

Yo is Yukio's daughter and, like her father, a potter specializing in Etchu Seto ware. After studying pottery at a technical school in Kyoto, Yo trained at the Shoraku Kiln, where her father was a strict mentor. "There are many steps in pottery-making, so I had to start by learning them all diligently. It's important to do each step carefully," she recalls.

When asked about the theme of her carefully crafted works, she replied, "I make things that I want to use myself." The pieces she showed us were filled with warmth, reflecting the daily life of the user.

One of Yo's signature works is a vase named "mari-mari." It features a soft milky-white glaze made from straw ash and a round, charming form that makes you want to hold it. The process involves creating a hollow sphere on the wheel, carving a mesh pattern into the semi-dry clay, and then delicately using a knife to make a relief cut—an intricate and time-consuming process.

Another notable piece by Yo is the sake cup used at IWA's sake brewery . The contrast between the inner and outer glazes is striking, and the combination with the unglazed bisque parts is beautiful. According to IWA's Kosugi, ceramic sake cups are suitable for drinking sake at room temperature or warmed. This sake vessel, with its inviting usability and sense of comfort, is perfect for those who want to savor sake leisurely.

When asked about her inspiration for pottery, Yo, like her father Yukio, said she is greatly influenced by the mountainous landscape of Tateyama. "Just having Tateyama there brings peace of mind," she says, reflecting her deep love for her hometown. Her works, reflecting the natural beauty familiar to her since childhood, are set to bring warmth and comfort to many people for years to come.

Kawahara Takakuni

Kawahara Takakuni is a rare washi artisan in Japan who personally handles every step of the process—from cultivating raw materials, harvesting, and processing, to papermaking—by hand. He carries out all of this work alone, except during busy periods or when large-scale projects require additional help. When Team Musubi mentioned that this was their first interview with a washi artisan, Kawahara commented, "It might be unusual for you to come here for your first interview. Rather than just making paper from start to finish, I start by creating the foundation—the environment—by preparing the fields, growing the seedlings, and so on. In that sense, I think my work might be a little different from others."

Since washi production does not take place during the summer, Kawahara showed us how he cultivates tororoaoi, a plant used as a raw material, and took us to a spot behind his workshop where natural kozo is growing. "The materials for washi get damaged in the summer heat, so I don't make washi now. I wanted to show you more of the process," he said. Kozo is very tough and nearly impossible to break, but "when you boil it and beat it with a mallet, it softens and eventually becomes washi. It's hard to believe that a plant taken from the mountains turns into paper," he said, speaking with a touch of excitement.

When asked how he learned washi-making, Kawahara explained that he had a mentor. That mentor was Yoneoka Torakichi, a craftsman of Birudan Washi, a tradition passed down in Asahi Town, Toyama Prefecture. In 2003, Kawahara learned that the succession of Birudan Washi was in danger of being lost, so he met with Yoneoka, who was known as "the last paper-making craftsman of Birudan," and after repeated requests, became his apprentice. Yoneoka was 83 at the time. When Kawahara became an apprentice, Yoneoka had already stopped making washi two to three years earlier due to physical decline, so Kawahara never actually saw him making washi; instead, he learned through verbal instruction. Regarding the cultivation of the plants used as raw materials for washi, Kawahara said, "The kozo fields that were not in use had become overgrown, so I started by taking care of them myself. Since I was starting something new, I figured that's just how it was."

Next, we were shown his workspace. "I gather the kozo I showed you earlier, scrape off the bark, and store it in this state. After the summer, I boil it again and beat it with a mallet over and over. There's no large machinery; everything is done in this workspace alone." When Kawahara moved to this area, he renovated the workspace himself. "Of course, there are various ways of thinking, but I believe that starting from zero is very important. Creating something from scratch on your own is refreshing, and you gain so much from it, so I want to keep doing that."

The works Kawahara creates through this traditional washi-making process are diverse. He showed us some of them, ranging from New Year's talismans for a local shrine to innovative pieces including leather-like washi hardened with lacquer and shaped into a crocodile hide. Additionally, through photos saved on an iPad, he introduced us to large-scale works, such as a suspended object exhibited at the entrance of the Japan Expo in Paris and panels that decorate the entrance of an office building connected to Tokyo Metro's Toranomon Station.

"I wasn't born into a traditional crafts family. But I want to show that even those who start from the bottom, like a weed growing in a crack in the pavement, can flourish and be acknowledged for their work," Kawahara said. "I hope that people who dream of becoming traditional craftspeople or artists can find hope that they can achieve something from any small place, even from zero." While preserving tradition, Kawahara is also opening up new possibilities for washi. We can't wait to see what challenges and achievements lie ahead.

Meeting these three artisans in Toyama offered a glimpse into a vibrant community of artists dedicated to preserving and nurturing traditional crafts in a region that often goes unnoticed on the international stage. It was an inspiring introduction to Toyama, a place where artistry and innovation thrive quietly, yet profoundly. As we continue our journey through Toyama's rich landscape of craftsmanship, we look forward to sharing more about the people and stories that shape this unique artistic haven. Stay with us as we uncover the talents and traditions that make Toyama a hidden gem in the world of Japanese crafts.