Traditional bamboo craft in modern Japanese lifestyle
Japanese art of bamboo weaving and plaiting takes full advantage of the strength and flexibility of bamboo strips to produce high-quality baskets. Meet the artisan who went further and challenged himself to create elegant bags using the traditional basket-making technique. The various processes involved in the creation of a hand-woven bag, such as bamboo splitting, weaving, lacquer applying and sewing, are all done by one person with a scrupulous attention to detail. It is said that it takes 3 years to learn how to split bamboo properly: mastering the Japanese weaving and plaiting techniques requires long-time training and effort. 8 basic ways of bamboo weaving unfold into infinite variations of shapes and patterns.

Kyoto round fans, elegant touch of freshness
Kyoto round fans, called Kyo-uchiwa or miyako-uchiwa, enjoy great popularity for their fine and elegant appearance. With sophisticated designs incorporating different craft techniques like openwork or woodblock printing to enhance decorative elements, Kyo-uchiwa tends to add a fresh touch of colour to any interior. The ribs and handles of Kyoto round fans are made separately in a style called sashie : about 100 bamboo ribs are arranged radially by hand, and the handle is attached at the end of the process. Every year, Shiomi Dansen carries out the production of more than 200 varieties of fans with traditional designs and handles of all kinds.

The last standing spinning top maker
In Momoyama period (1568-1600), imperial court ladies used to wind bright-colored kimono fabric strips around a bamboo rod to make a “tatami room spinning top”, the ancestor of modern Kyo-koma, or Kyoto spinning top. The craft of spinning top making has long flourished, but now Jakkyu remains the only place in Kyoto to carry on this unique tradition. No edged tools are involved in Kyo-koma shaping process: flat cotton strips dyed in vivid colors are rolled around a bamboo rod using only fingers. Even today, elegant Kyoto spinning tops are popular for their beautiful smooth rotation.

Solemn splendor of gold
Gold leaf stamping technique, originally used for decoration of various religious furnishings, fittings and statues in Buddhist temples, consists of gluing gold leaves to the plane or three-dimensional surface with the help of urushi lacquer. Kyoto gold leaf stamping is characterized by a luxurious rich gloss created by the meticulous handwork of high-skilled artisans. Studio’s master craftsman Norifumi Fujisawa is actively engaged not only in Buddhist fittings decoration, but also in numerous fashion and interior design collaborations.

The beauty of Nishiki created through orchestrated effort of numerous craftsmen
Since ancient times, Nishiki-ori, Kyoto silk brocades woven with gold, silver and multi-colored threads, have been valued for their luxurious appearance. KOHO Nishiki Textile Studio undertakes the restoration of precious ancient textiles and conducts a thorough research about the traditional weaving techniques, from the silk cocoons processing to the tools and weaving equipment. Nishiki textiles are created through the combined skills of numerous craftsmen, involving not less than 70 various processes. The works of the textile artist Koho Tatsumura are characterized by a stunning luminous three-dimensional effect and are called “The Weaving of Light” overseas.

Nishijin Tsuzure-ori: delicate painting-like brocade weaving
Have you ever heard of Kyoto nail-scratching tapestry weaving technique? Artisan sharpens his fingernails into a saw-tooth shape and uses them like a comb to create a relief brocade pattern. This technique is very advanced and time consuming — even the most skillful and experienced craftsman spends the whole day to weave only a few centimeters of textile. Don’t miss the unique opportunity to learn from the master craftsman Kikuo Hirano about Tsuzure-ori weaving and get some insights into the art of color arrangement.

Delicate handmade candlelight
In Kyoto, where the headquarters of all the Buddhist sects are located, handmade warosoku (Japanese candle) production is a highly valued traditional craft. Due to the vegetal origin of materials (warosoku are made from haze tree wax, washi paper and vegetal fibres), they don’t release oily smoke or soot while burning. Nakamura Rosoku, Japanese candle maker since 1887, is still following the traditional method of shaping candles one by one with the help of a wooden mould and applying the last coat of melted wax by hands. Warosoku made by this technique are appreciated for their bright shimmering flame.

The ultimate protector of Kyoto-style umbrella tradition
Established more than 100 years ago, Hiyoshiya is actually the only producer of Kyo-wagasa, traditional Kyoto-style umbrella, which plays an important role in various cultural events such as outdoor tea ceremonies, Noh and Kabuki stage performances, as well as solid and rustic umbrella for general use. Kyo-wagasa, made from carefully selected bamboo and washi (Japanese paper), is held in high esteem in Japan and overseas. Recently, Hiyoshiya has also been actively designing and producing new lifestyle products, such as lighting equipment, using traditional umbrella-making methods and techniques.

The appeal of bright-coloured Cochin ware
In Hiyoshi, Kyoto area famous for the distinguished ceramics production, Koshun-gama has been producing impressive vibrant-coloured Cochin ware for three generations. A wide variety of items—everything from tea utensils to casual tableware—is created here using icchin, or tube lining decorating technique. The edges of patterns are defined with the relief lines made by squeezing soft clay through a nozzle. After applying a colored glaze, the low-temperature firing takes place, bringing out the distinctive Cochin ware colours. All the processes are performed by the same artisan, who is willing to create new order-made items.

The warm simplicity of Raku ware pottery
Rakunyu-gama is a kiln mastering the traditional techniques of Raku-yaki, highly prized pottery used in Japanese tea ceremonies. Its activities are centered around the production of matcha tea bowls, as well as various flower vases, incense containers and plates. As Raku ware is moulded by hand without the use of a potter’s wheel, its charm lies in a warm and rustic appearance. Developed as a part of Kyoto culture, its technique and texture differ from those of the typical Kyoto ware. Along with the creation of Raku-yaki, characterized by low-temperature firing, Rakunyu-gama is also striving to create light-colored ceramics.

The inherited techniques of Kyoto-style pottery
Shunzan-gama is a third-generation pottery maker located in Sennyu-ji temple area which has long been abundant in kilns. The studio has inherited the distinguishing style of Ogata Kenzan (1663-1743), a potter active in the middle of the Edo period. The works of Shunzan-gama are well known for their characteristic flower designs completely covering the surface which still preserves the tenderness of soft clay. The studio creates the earthenware adapted to the modern lifestyle, mastering the colorful painting and openwork carving techniques of Kyoto-style pottery cultivated through its 100-year-old history.

Sacred purity of unfinished wood
The studio is specializing in woodworking, producing furnishings and votive objects for Shinto shrines and religious ceremonies. Ceremonial implements are generally made of unfinished wood without any lacquer coating. Beautiful white-grained hinoki (Japanese cypress) wood is believed to represent the concept of purity so important in Shinto religion. Sometimes artisan even purifies himself and puts on white clothing before starting to work. The impressive array of assembled woodwork planes can tell you a remarkable story of Kyoto traditional wood joint-making and bending techniques.

Rich glow of gold brocade
At Orisho Hirai, silk threads are intertwined with gold threads and woven into splendid gold brocade priest robes. According to the Nishijin weaving tradition, the umebata loom is installed below ground level to create the perfect condition for weaving—humidity softens the silk threads, making them easier to deal with. Kyoto traditional technique called hikibaku consists of affixing gold leaves on a sheet of washi paper with lacquer, cutting it into extremely thin filaments (about 0.3 mm) and weaving the obtained gold threads into the silk fabric for the luxurious three-dimensional effect.

The supervisor of fine yuzen kimono making

Kyo-tegaki-yuzen dyeing is produced by thoroughly fragmented division of labour and involves up to 15 various processes. Sairin(Tomihiro Senko) is mastering all these sophisticated processes to create high-quality order-made products. The atelier is excelling in a special technique which consists of using a paintbrush instead of a writing brush for the deepest penetration of dyes into the fabric. Sairin(Tomihiro Senko) is an experienced supervisor of all the kimono-making processes and provides fine goods for the Imperial household. Familiar with the traditional patterns and designs, the atelier is also known for the production of elegant miscellaneous Japanese-style textile goods.

Elegant patterns created with tie-dyeing technique

Established in the precincts of Kandaijin shrine in 1932, Atelier Morimoto is specializing in tie-dyeing. Through the division of labour, the atelier is consistently carrying out all the stages of dyeing process, from designing patterns to colouring. Dyeing is performed with the technique that consists of tying the parts of the cloth which are not to be coloured before dyeing it in different colours (resist dyeing). The atelier is famous for its high-quality dyed goods such as wedding futons decorated with flower and landscape patterns, which require mastering Kyo-kanoko-shibori technique representing the essence of Kyoto tie-dyeing tradition.

Discover the History of Nishijin Textiles in a Kyoto Townhouse.

Founded in 1906, Watabun is a long-established company that carries the tradition of “Nishijin brocade” into the present.

It is located in the Nishijin textile district, which is supported by labor division of yarn dyeing, warping, and hand weaving.

Orinasukan is a “weaver’s house,” an architectural style unique to Nishijin in which the workplace and residence are combined into a single structure.

Feel the breath of history of Nishijin, the city of Kyoto, with its traditional Kyoto machiya houses and cobblestone streets.

Silvery gloss created by careful polishing
Silvery gloss is the greatest feature of Kyo-gawara, the tiles that cover the roofs of temples and shrines. Kyoto tiles are made from high-quality clay, polished with a metal spatula until they are shiny and fired in a kiln at a high temperature. Asada Kawara is the only factory which still produces Kyoto tiles by hand. Onigawara (ridge-end tiles bearing the face of a demon), an indispensable element of traditional buildings, are reproduced here for restoration purposes after a thorough research about their style, materials and production method.

Modern Folk Craft ceramics
Kawai studio was founded by Takeichi Kawai, the nephew of Kanjiro Kawai, a prominent potter and key figure of Mingei movement. Pottery created here is both functional and decorative, keeping Mingei philosophy alive. Raised in Kawai family, the actual 3rd-generation Master potter Akiteru Kawai is the heir of the folk craft tradition. Usually, Kyoto pottery is produced by the division of labour, but in order to maintain the uniform style of his works, Akiteru handles all the steps of pottery making himself. Crafting a vast range of pottery from tea bowls to tableware and flower vases, he is passing down the heritage of Japanese folk craft to the future generations.

Karakami paper that adorns Shinto shrines, Buddist temples and tearooms

Simply put, Kyo-karakami is a type of woodblock print which uses printing blocks hand-carved on magnolia wood with traditional patterns passed down from ancient times. It is produced by a traditional method where coloring materials called kira (mica) and gofun (white pigment) are added to its surface, and the design is copied with the palm of the hand by overlaying it onto washi paper or torinoko (lustrous and smooth paper) one sheet at a time. To this day, Maruni continues to use printing blocks from the Tempo Era (1830-1844) and protects the patterns, coloring materials, tools, and traditions of old.

Kyoyaki / Kiyomizuyaki pottery Touan was founded in 1922 at Higashiyama Sennyuji Temple in Kyoto. There are approximately 20 craftsmen working on the molding and painting in the main pottery studio.

Touan  is characterized by its vivid colors and unparalleled strength. 　Kiyomizuyaki is known for its “overglaze painting,”　but  Touan uses “underglaze painting,”

The fourth generation of Yoshiaki Dobuchi, now the head of the pottery, developed and established “Hana Kessho-Krystal,” which can be enjoyed in a wide variety of crystal forms.

( Source from the company’s website )

Among the pottery class experiences offered at the Toan , we focuses on programs for beginners.

Weaving company that has continued to progress since 1930.

We have a point that sets us apart from the many Nishijin textile manufacturers. We manufacture our own gold thread, which is the material used in our products.

The products woven using the original gold thread named “Nenkin Yarn” are extremely rare as a traditional industry, and are highly valued both in Japan and overseas, particularly by the imperial family.

Nozomu Takagi, a lacquerware master, established this new studio in 2017 after 13 years of training in Kyoto, Japan, to carry on the techniques of Kyoto lacquerware.

Kyo-lacquerware flourished with the introduction of lacquer culture from the ancient capital of Nara to the Heian period in 794.

Having developed along with the tea ceremony, it possesses an inner beauty of wabi( simple elegance) and sabi( refinement).

Discerning tea masters, who were involved in the tea ceremony in various ways, required tea caddies, confectionery containers, trays, and other items to serve matcha tea.

The studio produces tea ceremony utensils and tableware, and also repairs and restores arts and crafts, such as the restoration of the Ofunaboko floats used in the Gion Festival.

Sozugama is a potter’s studio where craftsmen who have inherited the techniques of Kyoto’s Kiyomizu-yaki and Fukuoka’s Koishiwara-yaki.
The celadon of the Sozugama kiln expresses a deep blue color by kneading pigment into the fabric and applying a glaze.
Adding the Koishiwara-yaki technique of “tobikanna” to the clay, the glaze pools in the grooves of the scraped clay and regular patterns emerge.
In this way, we are exploring a new world of celadon that cannot be found anywhere else.In recent years, we have also focused on developingoverseas sales channels and have incorporated the experience gained overseas into new works of art,including Western-style tableware.
We are also developing a wide range of products, including accessories with a story behind them, which are original to the Sohgama brand.

Our company is a group of paper processing professionals who have been involved in the paper industry for nearly 100 years.
We have been producing products for various temples and shrines for many years.
Products are made by a combination of craftsmen’s hands and machines, using thin to thick paper and fabrics.
Various custom-made products are created by combining various skilled techniques such as cutting, folding, pasting, wrapping, rolling, and binding.

Founded in 1919, Yokoyama Chikuzai-ten has been preserving the traditional techniques handed down by “Kyoto’s bamboo craftsmen”.
The company produces traditional bamboo materials such as Kyo-mei-take and sukiya tea ceremony materials, Japanese style building materials, garden materials, and bamboo crafts.
We are a bamboo materials store that also handles work for important cultural properties, shrines and temples.
TAKENOKO also provides hands-on classes in addition to selling bamboo handicrafts.

Lacquer is the sap of the lacquer tree, a precious gift of nature that can only be extracted from a mature tree 10 to 15 years old in the amount of one milk bottle.

We have been purchasing the collected lacquer and refining and blending it.

As time goes by, the refining technology and equipment have progressed, and we have changed from the hand-made Kurome at the beginning of the company to the mechanical refining using a “kurome bachi,” or literally, “blackened bowl.”

Our appreciation for lacquer has remained unchanged since the company’s founding: “Not even a drop of lacquer should be wasted.

We are providing a lacquer that meets the needs of our customers.