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.

Maker of delicately handcrafted Buddhist paraphernalia
The golden glitter of Kyoto crafts is created in skillful hands of local artisans specialising in stamping of 0.0001 mm-thick gold leaves. Gold leaf stamping technique was originally used for decoration of various Buddhism-related crafts. Even today, it plays a great role in Japanese traditional culture. TADA Kinpaku is an atelier dealing with Buddhist statues and implements. In Kyoto, the elaborate techniques of gold stamping have developed due to the high demand provided by the sheer amount of temples and head temples of many Buddhist sects. Today, gold leaf decoration can be applied to different materials and shapes, bringing Kyoto craftsmanship to the new level.

The one and only “magic mirror” maker
Yamamoto Alloy Works is a maker of wakyo, handcrafted Japanese-style bronze mirrors. Besides the production of devotional mirrors for Shinto shrines and Buddhist temples from all over Japan, the atelier also deals with restoration of old Japanese mirrors preserved in museums. The secret craft of makyo, or “magic mirrors” that project images when light is reflected on them, was passed down in Yamamoto family. The company has been protecting precious mirror making techniques, such as traditional sand mold casting method, for five generations.

Kyoto mounting works combining beauty and utility
The role of a hanging scroll is beautiful presentation and safe long-term conservation of a piece of artwork on paper. Gaining rich experience as master mounter working for Urasenke tea ceremony school, Seikodo Nakajima takes advantage of peculiarities of materials such as washi paper and kire (cut pieces of textile) to deal with all kinds of mountings that combine beauty and utility (hanging scrolls, fusuma and shoji sliding door panels, folding screens, etc.). In Kyoto, the craft of mounting has developed along with fine arts and tea ceremony. Kyoto mountings that match calligraphy and paintings with multi-coloured kire of Nishijin textiles are especially held in high esteem.

The multi-coloured appeal of mother-of-pearl inlay
Established at the end of Meiji era (1868-1912), Sagaraden Nomura is the only maker and retailer of raden (mother-of-pearl inlay) goods in Kyoto. One of the most outstanding techniques of lacquerware decoration, raden consists of inlaying very thin (about 0.3mm) pieces of seashell (those of Turbo marmoratus or abalone among others) into the black-lacquered surface. Due to its high ornamental qualities, raden is used to adorn various tea utensils and accessories. The craftsmen of Sagaraden Nomura play with light, skillfully adjusting the pieces of seashell to bring out the whole variety of mother-of-pearl tints. Atelier is dealing with different stages of lacquerware production, from lacquering to decorating with raden and maki-e techniques.

The narrowest woven fabric in the world favoured by samurai
Very durable and resistant to stretching, sanadahimo cords came into use during Warring States period (1467-1568) serving as straps for swords and armour. As sanadahimo cord is woven on a loom, it is called “the narrowest woven fabric in the world”. With the development of the way of tea, these cords with their infinite possibilities of design were perfect for tying wooden boxes for tea utensils. For 15 generations, Enami has been transmitting precious techniques of sanadahimo (such as yakusokuhimo, or “promise bonds”, for different tea ceremony schools) and carrying out all the processes of the traditional cord making, from yarn dyeing to weaving.

Still flourishing phantom dyeing technique

Tsujigahana was in fashion in Azuchi-Momoyama period (1558-1600), when it was a term designating a gorgeous kimono. Nowadays, it’s called a “phantom dyeing technique” because of its very little documented origins. ESHIBORIAN is an atelier where Fukumura Hirotoshi and his son Takeshi are reviving tsujigahana dyeing techniques. Shibori-zome, or tie-dyeing performed by sewing, binding and clamping fabric before immersing it into dye liquor, is complemented by other decorative techniques, such as hand painting, to create picturesque bright-coloured patterns. This precious traditional craft is maintained in the northern part of Kyoto blessed with high-quality underground water.

Feel the history of Nishijin brocades in an old Kyoto machiya
Established in 1906, Watabun is a long-standing shop specializing in Nishijin silk brocades. From yarn dyeing and warping to weaving gorgeous obi sashes by hand and Noh costume restoration, the establishment protects the original Nishijin-ori techniques by maintaining the traditional system of division of labour. Watabun is situated in Daikoku-cho district, the heart of Nishijin textile industry with numerous weaving companies standing side by side. Orinasukan, a textile museum adjoining the workshop, has an architectural style characteristic of Nishijin weavers’ houses. Watabun and its neighbourhood with traditional Kyoto merchant houses and stone paving is a perfect place to feel the history of old Kyoto.

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. 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. 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.

Experience Kyoto culture through Kyo-kumihimo braided cords
Developed in Nara period (710-794), Kyo-kumihimo braiding technique bloomed in ancient Kyoto, decorating Shinto and Buddhist implements, armor, kimono accessories and furnishings. Kumihimo cords with multi-coloured patterns are made using various braiding stands, such as marudai, kakudai, takadai or ayatakedai. At Meikyoan, cord braiding workshops with real tools and materials are implemented under the guidance of traditional craftsman Meijun Naruhashi. After the workshop, enjoy matcha tea in a tea ceremony room, listening to the explanations about Kyoto culture.

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.

The oldest traditional sake brewery in central Kyoto
Established about 280 years ago, this oldest and full of history sake maker in central Kyoto continues to protect the tradition of sake brewing. Close to Kamogawa river and surrounded by mountains, the brewery is located in a rich natural environment highly favorable to the creation of numerous aromatic brands of sake. Kyoto underground water and locally grown rice are used as ingredients for brewing premium sake best suited for exquisite Kyoto cuisine. While preserving traditional techniques, the brewery progressively introduces modern technology, such as use of solar panels or temperature control equipment.

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.

Kyoto dolls’ private hair stylist
The art of traditional doll making—hina dolls, gogatsu dolls, or other—was nurtured and passed down through the centuries of Kyoto elegant culture. Kyo-ningyo, or Kyoto dolls, are made by numerous artisans who fabricate special components such as heads, hands and feet, accessories and clothing. Kimata is specializing in attaching hair to the dolls’ heads, the task that is executed with extreme preciseness and delicacy. The repair and restoration of old dolls of all the Japanese regions and periods are carefully performed here as well.

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.

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.

Passing down the Kyoto rosary-making tradition
Nakano Isuke has been producing and selling Kyo-nenju, or Kyoto-style rosaries, for the last 250 years. The large part of Japanese rosaries are produced in Kyoto, and Nakano Isuke boasts to be the leader of this industry, providing temples with rosaries which are made according to the traditional production methods defined by each Buddhist sect.
The basic 108 beads, made of linden wood or natural stone, represent each a human worldly desire. By connecting the rosary beads with fine-quality silk threads, this long-established atelier remains the unique place to faithfully pass the techniques of Kyoto rosary craft down through history.

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 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 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.

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.

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.

Exquisite delicacy of hand-painted yuzen
Tegaki-yuzen, or hand-painted yuzen, is one of numerous Kyoto yuzen dyeing techniques which consists of applying colours with a brush on white fabric. Due to its exceptional craftsmanship, people sometimes praise it as a wearable art. The entire kimono making process is separated into 20 different stages, and each stage is carried out by a different craftsman. Sensho Ichikawa mainly plays the role of a supervisor who organizes all the elaborate processes involved in kimono creation, from the pattern and colour design to the last finishing touch. The company is committed to hand down its expertise to future generations.

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.

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 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.

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.

Uniqueness of subtle green glaze
UNRAKU-gama kiln holds a special place in the rich Kyo-yaki / Kiyomizu-yaki pottery tradition. Kyoto-style earthenware produced here is well-known for its original traditional patterns depicting the beauty of nature, meticulously painted over smooth surface. Slightly greenish aomatto glaze has become the most representative feature of UNRAKU-gama production. Skillful potter pays attention to the conditions of firing, which may eventually bring out the whiteness or crystallization of the glaze. This innovative kiln was the first in the national ceramics industry to introduce the practice of firing in an electric kiln, making a huge contribution to the world of Japanese pottery tradition.

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.