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Arimatsu Shibori is a traditional craft that has evolved in response to shifting societal and market trends since the founding of its town in 1608. We explore its rich history—from an industry born in a region unfit for agriculture to the invention of Arashi Shibori, global exports, and its integration into contemporary high fashion.

Trace the nearly 1,300-year history of Oshima Tsumugi through key events, including its offering to the Shosoin Repository, the tribute cloth system imposed by the Satsuma Domain, and its deep connection to Saigo Takamori. We explore the background of how Oshima Tsumugi developed into a traditional craft that endures today, passed down through technological innovations and social changes.

Trace the 2,000-year history of Yuki Tsumugi through key turning points from ancient times to the modern era. Discover how this traditional craft evolved its techniques and uses to match changing times, all while remaining devoted to its heritage of hand-spinning and hand-weaving.

Akifumi Kimura, the 5th generation head of Tsugaru Nuri "Genbei," preserves traditional techniques renowned for their painstaking thoroughness while embracing new artistic expressions by incorporating Neputa painting and the creative sensibilities of his daughter, Eriku. Inheriting a Tsugaru lacquerware legacy spanning over 300 years, he bridges tradition to the next generation through craftsmanship tailored to modern living.

Yuichi Yamauchi, the fifth-generation pyrotechnician at Yamauchi Fireworks Co., Ltd.—a long-established fireworks manufacturer in Fuefuki City, Yamanashi Prefecture—talks about the history and inherited techniques of Koshu Fireworks. This article introduces his dedication as a craftsman handling everything from manufacturing to launching while preserving tradition and pursuing beautiful fireworks, along with the challenges ahead.

Chisato Kumakura, the 3rd-generation head of Edo Kiriko Hanashyo, entered her family business after working as a Japanese history teacher and built a non-kinship succession model called "Team 3rd Generation." While questioning the essence of tradition, she is taking on the challenge of a new form of business succession where each artisan plays a leading role.

Shosei Fujitsuka, who has expressed the cosmos and nature through bamboo using his unique "彩変化" (Saihenka) technique, values "what to express" over mere technical excellence. Despite facing criticism in a conservative industry, he continues to push boundaries, forging new paths in bamboo craft while grappling with the agony of artistic expression.

Bamboo craftsman Shosei Fujitsuka embarked on the path of bamboo craftsmanship after meeting Nitten artist Shodo Baba. Despite being told, "You can't make a living from it, so don't do it," he decided to become his apprentice. This article portrays how he built his resolve as an artist through roughly 15 years of challenging open call exhibitions and facing repeated rejections.

National Living Treasure Shosei Fujitsuka shares the origin story of his unique technique, "彩変化"—where colors shift depending on the viewing angle—and his journey from a fascination with starry skies into the world of bamboo craft. Experiences from his youth and career setbacks became the foundation for creating expressions unprecedented in traditional bamboo craft.

Building on the discussion of his relationship with the shakuhachi in the first part, shakuhachi performer Dozan Fujiwara talks about repairs, the effects of aging, and how he relates to his instrument. He describes a philosophy of performance in which he measures his own growth by continuing to play the same instrument without changing it.

Shakuhachi player Dozan Fujiwara discusses his relationship with the shakuhachi, which he has been exploring for nearly 40 years. The piece traces his journey from his early struggles to produce sound, through his encounter with his mentor, Kōzan Yamamoto, to his current approach to performance, in which he views the shakuhachi as his own voice.

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

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

Daichi Kurihara of Fuji Seigaku found his vocation in picture frame making after pursuing soccer and studying fashion design. While preserving the techniques inherited from his mentor, Toshio Fukutoku, he is working to pass them on to future generations through outreach activities and the training of new artisans.

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 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.

Through the firing techniques of Shigaraki ware and the process of creating large-scale pieces, the exhibition showcases the advanced craftsmanship involved in working with fire and clay. Furthermore, it depicts how this traditional industry is taking on the challenge of finding new forms of expression and sustainability through the integration of digital technology and recycled materials.

This article focuses on “Togidashi kawari-nuri”—the core technique of Tsugaru lacquerware—and explains the mechanisms behind the patterns, the polishing process, and the chemical reactions of lacquer. It delves into the process by which artisans create enduring beauty with a high degree of sensitivity and precision, while incorporating natural materials and polishing techniques from other fields.

Edo Kiriko artisans spend eight to ten years instilling their techniques and sensibilities into their bodies, enabling them to perform precise work that does not rely solely on sight. Furthermore, they approach their craft with a shared philosophy that emphasizes the overall presence of each piece, as well as a shared sense of responsibility to pass their skills on to the next generation.