● 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.

● Unique tradition of Kyoto lantern making
Founded about 220 years ago, Kobishiya Chūbe has long illuminated temples, shrines, shops and restaurants. Now the traditional technique of lantern making called jibari-shiki is carried on by two brothers, Shun and Ryo Kojima.
The manufacturing method consists of creating a lantern frame by bending bamboo strips into individual rings and fixing them together with hemp strings, which results in the production of tough lanterns easy to repair. As a fair amount of time and effort is put into each lantern, this method has become rare nowadays, but Kobishiya Chūbe continues to provide temples, shrines and long-established shops with high-quality lanterns.

● Kyoto braided cords: indispensable supporting actors of Japanese culture
Kyo-kumihimo, or Kyoto braided cords, combine both ornamental and practical use and are widely used in kimono clothing, tea utensils, Buddhist ritual implements and other elements of Japanese culture. During the long history of this craft, as many as 3,500 ways of braiding were developed for a broad range of applications. Yarn dyeing, braiding, knotting and other production processes are usually completed by division of labour, but Showen Kumihimo is one of the rare braided cord makers to deal with all these operations. Along with mastering traditional handmade techniques, the studio has also the ability to mass-produce high-quality kumihimo on a braiding machine in order to respond to the increasing demand from fashion and interior design industries.

● 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 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 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.

● 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.

● Fushimi-ningyo, the pioneer of Japanese clay dolls
Fushimi dolls that have seen their golden age in the second half of Edo period (1603-1868) are said to be ancestors to all the varieties of clay dolls in Japan. Painted in brilliant colours and sometimes with humorous facial expressions, Fushimi ningyo reflect the styles and customs of ancient Japan. There used to be numerous kilns around Fushimi to produce these dolls and to sell them along the access road to the great Fushimi Shrine, but today only Tanka (established around 1750) continues the doll production at its original location. Production stages vary according to the season : spring and summer are dedicated to molding and firing, autumn and winter to colouring.