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.

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.

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.

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.

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.

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.

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.