What will he leave for the future? Facing this question, Shosei Fujitsuka continues to record his creative process on video. This article depicts how a path in life that seemed like a detour led to a unique form of expression, as well as his dedication to passing on his techniques to the next generation.

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.

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At Kahee Honpo, steamed tea leaves are spread out under the sun, drying slowly as artisans carefully gauge the sky. Sun-dried bancha is crafted by sunlight, wind, and skilled hands. This reflects the serene landscape of Yoshino's traditional tea-making, passed down through generations in harmony with nature.

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At Miyahira Shuri-Ori Workshop, artisans carefully carry out each stage of the weaving process by hand, from preparing the threads and threading the warp through the loom to weaving intricate patterns on traditional handlooms. Passed down since the days of the Ryukyu Kingdom, the techniques of Shuri-Ori weaving come together through countless meticulous steps to create a single piece of fabric. This film captures the skilled craftsmanship behind this centuries-old textile tradition.

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In the Nao district of Saga City, Saga Prefecture, the art of traditional Japanese papermaking has been passed down for over 300 years. Today, the Taniguchi family is the only remaining workshop preserving the tradition of Nao Tesuki Washi. From boiling and beating the fibers of their homegrown paper mulberry trees to forming sheets by hand and carefully applying water, this film follows the intricate process and skilled craftsmanship behind each sheet of handmade washi paper.

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In Uchiko, Ehime Prefecture, a town that flourished as a center of Japanese wax production during the Edo period, stands Omori Japanese Candle Shop, the last remaining traditional Japanese candle maker in Shikoku. Using the namagake technique, artisans scoop wax extracted from the berries of the Japanese wax tree with their bare hands and carefully apply it in layers around a candle wick. This film captures the meticulous handwork involved in crafting a single traditional Japanese candle.

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In Tsuboya, Naha, Okinawa Prefecture, Ikutoen is a pottery kiln that has preserved the distinctive character of Tsuboya for over 300 years, in a district renowned for its yachimun pottery tradition dating back to 1682. With around 20 artisans specializing in different stages of production, the workshop brings together a range of traditional techniques, from carving intricate arabesque patterns and applying glazes to crafting ceramic guardian lions known as shisa. This film follows the skilled hands behind each stage of the process.

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.

“Craft work is truly fascinating,” says Emi Sashou, a metal engraving artisan at Jewelry Sashou, a workshop and shop in Koto City, Tokyo. She learned metal engraving after work while employed at a company and now supports the workshop with her husband, the third-generation successor.

Hisako Kubode, who oversees public relations, sales, and international business at Shoto Shikko, moved to Ishikawa Prefecture after working as a nursery school teacher in Tokyo, embarking on a career in traditional craftsmanship. Balancing her work with raising four children, she draws on her personal experience and English-language skills to share the appeal of Japanese lacquerware with audiences in Japan and around the world.