The Three Primary Raw Materials That Define Washi's Character

The main raw materials used in Echizen washi are the bast fibers (jinpi) from three types of plants: kozo, mitsumata, and gampi. Each of these fibers has distinct characteristics that significantly influence the properties of the finished paper. Artisans use these materials individually or blend them, depending on the intended use and desired quality of the washi they aim to create.

Kozo, a plant in the mulberry family, has thick, long fibers, allowing it to produce incredibly durable paper. Due to its high strength and resilience, it is widely used for applications requiring physical toughness, such as shoji (sliding screen) paper, printmaking paper, and calligraphy paper. It is also relatively easy to cultivate and can be harvested annually, making it a stable source of raw material for washi.

Mitsumata, a plant in the Thymelaeaceae family, is famous as the primary raw material for Bank of Japan notes—in other words, banknotes. Its fibers are shorter and softer than kozo and have a characteristic luster. Paper made from mitsumata has a smooth surface, is highly suitable for printing, and possesses a fine, elegant texture, making it ideal for high-end printing paper and fusuma (sliding door) paper. However, it is also susceptible to pests and requires significant effort to cultivate.

Gampi, like mitsumata, belongs to the Thymelaeaceae family, but its fibers are characterized by being extremely fine and short. Paper made from gampi is thin yet strong and resistant to insect damage, making it suitable for long-term preservation. Its surface is fine and smooth with a unique sheen, and it has long been treated as a raw material for high-grade washi. In particular, the highest quality washi, known as "鳥の子紙 (torinoko-gami)," primarily uses gampi. However, gampi is extremely difficult to cultivate artificially and must be harvested from wild plants growing in the mountains. This rarity further enhances the value of washi made from gampi.

The Structural Challenges Facing Domestic Washi Raw Materials

In washi production, the quality of the raw materials directly impacts the quality of the final product. Domestically sourced materials, in particular, are said to have a different texture and strength compared to foreign imports and are considered essential for making high-quality washi. However, securing these domestic raw materials is one of the most significant challenges that production areas face.

Among these materials, gampi is considered the most difficult to source. As mentioned earlier, gampi is difficult to cultivate artificially, so its supply relies entirely on wild plants. According to local artisans, it takes a long time—seven to ten years—for gampi to grow from seed. Furthermore, harvesting is conducted in mountainous areas where there is a risk of encountering wild animals like bears, making it a constantly dangerous task.

In addition to these harsh working conditions, the aging of the harvesting workforce is a severe problem, and the number of people who know where gampi grows is decreasing year by year. The situation where supply cannot keep up with demand persists, making the production of high-end washi from gampi even more challenging.

The aging of farmers and a lack of successors are common issues for kozo and mitsumata as well. Although once cultivated in many regions across Japan, the domestic production base has been shrinking due to the influx of cheap foreign raw materials and changes in the paper demand structure. To pass down traditional washi-making to future generations, a stable supply of raw materials is indispensable. In response, production areas are undertaking initiatives such as launching cultivation projects.

A Dialogue with Fibers: The Art of Bringing Out a Material's Full Potential

Even when you have top-quality raw materials, they don't magically transform into high-grade washi paper. The journey involves a series of intricate steps: removing impurities, carefully untangling each and every fiber, and uniformly forming them into a sheet of paper. Throughout every stage, artisans engage with the material's unique properties, working as if in a dialogue with it.

Take, for instance, the 'chiritori' (dust removal) process—manually picking out specks of dirt and discolored areas from the raw bark. This step is absolutely crucial for the paper's final beauty. For materials like ganpi, which contain a lot of fine debris, this task demands immense time and patience. The level of care taken at this stage directly determines the quality of the finished paper.

Another critical step is adjusting the 'neri,' a mucilaginous agent added to the water to evenly suspend the fibers. This is where an artisan's experience and intuition truly shine. This neri is made from the root of the tororo-aoi plant (sunset hibiscus), and its viscosity changes constantly with the temperature and water quality. There's no manual for this; a mistake in this adjustment can cause the fibers to clump together or make it impossible to form a sheet of uniform thickness. The difficulty of this step is even immortalized in traditional papermaking songs of the region. Artisans gauge the perfect neri consistency by feeling the day's climate and the condition of the raw materials. This intricate dialogue with the materials is the very heart of the technique that upholds the quality of Echizen washi.