|
Echizen Paper The traditional techniques of paper making | ||||
Making handmade paper. Though the techniques may appear very simple, there is a profound tradition behind the making of Japanese handmade paper. With 50 years' experience of making paper and designated an Intangible Cultural Asset, the ninth-generation Ichibei Iwano provided insights into his craft. | ||||
Helping his father at work from early childhood, Mr Iwano naturally followed in his father's footsteps. However, the young man had other ambitions. Perhaps because the family workshop produced the fine paper used for woodblock prints, the young Mr Iwano conceived of pursuing a career as a carver of woodblocks for such woodblock prints. Just at that time, right after the war, woodblock prints (copies of ukiyo-e prints) were a popular souvenir item for the Occupation forces and personnel, and the demand for woodblock print paper was too large to be filled. In the frenzy to meet this demand for fine print papers, Mr Iwano gradually gave up his dream. However, in this activity, his understanding and appreciation of the papermaking processes deepened greatly, and he began to find satisfaction in making the fine woodblock papers that are his heritage. |
||||
|
Surpassing his father Mr Iwano's father was the first papermaker designated a Living National Treasure. The young Mr Iwano learned the papermaking craft beside his famous father. "Even if I made bad mistakes, my father never shouted or scolded." Mr Iwano reminisces. "If my dad had shouted at me, I would not have been able to make good paper. However, he insisted that I do NOT go and see paper made elsewhere, but to concentrate on what we produced." Using the finest raw materials and working with great skill, Mr Iwano's father maintained the highest possible standards for this traditional craft and transmitted this imperative to his son. Continuing in his father's footsteps, Mr Iwano today uses only the best paper mulberry bark and vegetable mucilage (a mixture of neri utsugi with a small amount of tororo aoi). Compared to his father's time, there are far more orders for thick handmade paper today. "Handmade paper's surface tends to get bumpier as it gets thicker, and I have developed and improved on the old techniques for making such paper. In this I feel that I have met my father's standards." Mr Iwano laughed modestly, "In making paper, one is always a beginner. There are no experts." |
||||
|
||||
|
The best techniques make the best paper. The success of a woodblock print is dependent on the quality of the paper used. To make woodblock print paper of the best quality, no pains can be spared. One of Mr Iwano's greatest pleasures is to see a just-completed woodblock print. Another is to get the approbation from woodblock print artists that they will only use his paper. Mr Iwano is in truth one of the hidden pillars supporting Japanese art. The papermaker cannot take shortcuts or indulge in bluff. "The best techniques make the best paper." Mr Iwano was designated a "Living National Treasure" in June of 2000. Naturally, with such an honor, his paper soared in price at some stores. "The paper is really expensive now. And there are imitations appearing also." Mr Iwano laughed with a troubled expression. |
||||
|
The lineage of Echizen paper It is said that papermaking came to Japan in the 6th century. "The Echizen region is thought to be one of the original places where paper was made in Japan, and that is why I feel that our papermaking techniques must be transmitted to the future." People come from abroad to learn our papermaking techniques. With papermaking families that do not let go of their technical 'secrets', their heritage will disappear in the future. Papermaking is an international treasure. |
||||
| ||||
