Hiroshi Hatakeyama, a Tokyo Shippo artisan, continues creating original works while adapting to industry changes caused by declining demand and expanding overseas production. Through passing his skills on to his daughter and pursuing new forms of expression, he is working to sustain the future of Tokyo Shippo.

White porcelain is described as an art form that does not allow superficial techniques, and Akihiro Maeta was designated a Living National Treasure through his work. The article covers his reflections after receiving this recognition, his support for younger artisans through a craft village initiative, and his views on the future of traditional crafts.

Living National Treasure Teiji Miyamoto discusses his philosophy of craftsmanship, views on traditional crafts, and messages to younger generations. He emphasizes engaging with materials, the importance of creating for others, gaining diverse experiences, and finding something to devote oneself to.

This interview explores the career and philosophy of Living National Treasure Mamoru Nakagawa. It focuses on his metalworking practice, his approach to innovation within tradition, and his efforts to pass on his craft.

This article explores the iconic patterns of Oshima Tsumugi, like the Tatsugo, Akina-bara, and Kikkou designs, along with the unique colors created by its mud-dyeing process. It delves into the creative philosophy of expressing nature and life through the tiny dots of kasuri weaving, highlighting the appeal of Oshima Tsumugi's designs as they evolve from deep-rooted tradition into contemporary masterpieces.

This article explores how the unique Japanese aesthetics of 'iki' and 'shibumi' have been shaped through the patterns and colors of Yuki Tsumugi. We trace the evolution from kikkō (tortoiseshell) patterns and stripes to traditional colors and contemporary plain expressions, introducing a design philosophy inspired by the 'art of subtraction'.

A single craft can be passed down in a specific region for hundreds of years. There must be clear reasons beyond coincidence. This article examines the relationship between the climate of Iwate and Nambu ironware.

Tomo and Wakaba Enokida, the fifth-generation heads of the Mashiko ware kiln, Enokidagama, continue a rich tradition while crafting pottery that reflects their unique artistic sensibilities. This article delves into their journey from music to ceramics and their approach to craftsmanship, one that is rooted in the *Mingei* philosophy and the rhythms of everyday life.

Toshiyuki Matsubayashi of Asahiyaki has developed 'osaa,' a new tableware collection, in collaboration with a Scandinavian design studio and several restaurants. This piece explores how they are extending Asahiyaki's philosophy—tableware that evolves with its user—beyond the realm of traditional tea ware and onto the modern dining table.

Koji Masubuchi of Kouzangama has built a kiln that balances handcrafted pottery with large-volume orders, all while respecting the individuality of each artisan. While inheriting tradition, he continues to explore new possibilities for Kasama ware, such as developing the thin and light "Helka Ceramica."

Masashi Hirao is a bonsai master. But for him, bonsai are not static, finished pieces to be admired from afar.

For Masahiro Kasahara, a chef's knife is more than just a kitchen tool.

The Sekioka Mokuhanga Kobo workshop continues a lineage of woodblock printers that stretches back to the Edo period.

Shogo Watari explores a new expression of bentwood that weaves together Yoshino hinoki, straight and curved lines, and the relationship between nature and the artificial. This article visits his Kyoto atelier to learn about his practice.

Based in Takasaki, Gunma Prefecture, lacquer artist Keisuke Sano creates original works using traditional Japanese lacquer techniques such as raden (mother-of-pearl inlay) and maki-e (gold and silver lacquer decoration), which have been passed down for more than a thousand years. While preserving these time-honored materials and techniques, he continues to explore new forms of expression, sharing his thoughts on the future and potential of Japanese craft.

Based in Kyoto, Jorie Johnson creates wool felt works while also participating in the research and reconstruction of the Shosoin Kasen felts. Through the study of Silk Road felt traditions and collaborations with materials such as leather, lacquer, and plants, she continues to expand the expressive possibilities of wool.

Thor Holvila, a ceramic artist from Sweden, creates bonsai pots that merge Nordic perspectives on nature with Japanese bonsai culture. Through his training in Tokoname, he gained a deeper understanding of the essence of bonsai pots and continues to work internationally while pursuing expressions rooted in his own cultural background.

“ikasu” is a textile art project that reconstructs vintage kimono that have fulfilled their role, transforming them into art that continues to exist beyond time. By translating the memories, craftsmanship, and stories embedded within kimono into contemporary spaces, the project creates works intended to be passed down to future generations.

Shoko Omori supports Omori Warosokuya by managing customer service, inventory, the online store, and international shipping, allowing her artisan husband to focus on production. Following the COVID-19 pandemic, the couple reconsidered the business and now emphasize delivering warosoku to people who understand and actively use them.

Sonoe Arai of Shinkei Orimono moved from Tokyo to Chichibu when her husband succeeded the family business, balancing the raising of four children with supporting the production of Chichibu Meisen. While handling public relations, sales, and craftsmanship, she has gradually found her own role in preserving and passing on the traditional textile craft.

After working in the apparel industry, Chiaki Azuma joined a Kishu Tansu workshop following her marriage and pursued a career as a craftsperson while raising children. As Japan’s first female Traditional Craftsman in this field, she promotes the value of paulownia wood and continues efforts to carry the tradition into the next generation.

The dignified presence and lasting durability of Nambu ironware aren't achieved overnight.

Mizuhiki is a traditional Japanese craft, well-known as the decorative art form on celebratory envelopes and engagement gifts.

Have you ever wondered just how much wisdom and technology goes into a single piece of pottery before it reaches your dining table? The Hasami ware we casually use every day is backed by a rich tapestry of techniques, cultivated and perfected over a 400-year history.