Published in 2008 "Fudebako"

This is a reportage of "Doraku", a kiln that makes clay pots in Iga, Mie Prefecture. We will deliver a total of 86 pages, such as the goodness of the clay pot carefully made by making the best use of the soil ability of Iga, and the rich lifestyle of the kiln family who also make rice that is familiar to nature.

This special feature is "Tsuchiya".

Read "Doraku". It's an unfamiliar word, isn't it? Because it's not a general noun, it's the name of the kiln. It has been in Iga, Mie prefecture since the Edo period, and mainly makes clay pots. Nowadays, it is commonplace in the clay pot industry to mass-produce with overseas soil and machines, but at Togaku, only Iga soil is used, and each one is handmade with a potter's wheel. Iga's soil has high heat resistance from the beginning, but by making the best use of its ability, we make various durable and tasty pots.
The owner is Masatake Fukumori. He appears in the work of Masako Shirasu, who was hailed as a rare connoisseur, and is a person who is familiar with all the important things in life. The principle of doing exactly what is needed, but not doing any extra decoration. It is common to kiln work, daily food, and how to grow flowers. Making rice and vegetables, making dishes with bright kitchen knives and serving them in your own vase, you can also use your own baked vase with hand-broken flowers along the mountain walk --- Rice making is a tradition for generations I have never learned cooking, flowers, or tea somewhere, and he says, "I was able to do it all the time while thinking about the origin." All of them are professional, and they are cool when viewed from the edge, but of course the person himself does not have that kind of feeling, and as a Japanese person, as a person born in the pottery of Iga, he is just living naturally. It feels like. That's even more amazing.
In this special feature, "Making a pot that maximizes the potential of Iga's soil," "What and how the Fukumori family eats," and "Living in a proper and affluent way," over Chapter 3, page 86, is a pottery called "Toki." I will introduce the appearance of. This winter, you will surely want a clay pot and think that you can live properly.

In addition to Dora, No. 17, which is full of pots, also features the rice-cooking specialist "Bunka Nabe," which has been on the market for 60 years, and "Le Creuset," which has many enthusiastic fans. "Le Creuset" is a 24-page reportage that visits the French headquarters factory and its village.

Fudebako No. 17

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We will deliver Kutani ware on page 86. First, we will explain the history from the origin of Kutani to the present day with masterpieces. And reportage in detail from the raw material pottery stone to the making of one plate. Also, in the work of the six creators (Isokichi Asakura, Takeyama Fukushima, Naoki Miyamoto, Choza Yamamoto, Atsushi Yamamoto, Ikuo Fukunaga), I followed the relationship between the style of Kutani ware and the technology that creates it. .. We will also introduce the efforts of traditional craftsmen who have started to revitalize the production area.

This special feature is "Kutani".

In other words, it is Kutani ware, but we chose the special name "Kutani" to include not only the pottery but also the situation of the production area and various things in the surrounding area. And when you think of Kutani ware, you might think of a painting filled with green, blue, yellow, and red, but that's just a part of Kutani ware! It is also a message with. It is true that the most distinctive feature is the painting that uses colors firmly, but there are also chic dyeing in blue and plain. In the first place, Kutani ware cannot even be shaped unless there is a person who makes the raw materials. Therefore, in each issue of "Until you can", we will follow the process from the raw material pottery stone to the completion of a plate, and visit the workplaces of six artists with different styles. What is Kutani ware? I took a closer look at what it was.
It is said that Kutani ware has as many styles as there are writers. In the case of earthenware, different styles mean different materials and techniques. In other words, in order to call yourself a writer in Kutani ware, you must not only have an artistic sensibility, but also master your chemical knowledge, tools and hands, and invent your own techniques and methods. This is really amazing, isn't it?
It seems that Kutani is struggling very hard now, even though it is a production area where such excellent technology and sensibility are gathered together. In this special feature, we have also covered how everyone is working together to revitalize the production area. Even veterans who have been on the road for 50 years have returned to their original intentions to relearn Kutani ware and are trying to capture the market by standing in the sales floor.
From this special feature, I would be happy if you could think together about what the true brand power of the production area is. There are various types of Kutani ware that you can see at the store, but you can imagine whether the product is a reliable product and what kind of story it was born from.

In issue 16, we will also deliver a 26-page story about the birth of pottery in Europe and a tour of the workshops. There is also a story about the beautiful cloisonne used for medals and accessories. And, although it is a miso in the foreground, I will also see in detail the making of Hakuhodo's face brush (finally!). Please take a look at the work of the Hakuhodo physiognomy unit, which is devoted to Japanese manufacturing.

Fudebako No. 16

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Now, the Japanese umbrella is undergoing a major overhaul. The material must be a natural material such as bamboo or Japanese paper. Japanese aesthetics and manufacturing power are condensed in Japanese umbrellas, such as the extremely detailed structure and beautiful eyes. In issue 15, we carefully dug up the goodness and featured on 80 pages in total, including the traditional manufacturing process site reportage, Kabuki and Nodate umbrellas, Japanese umbrella writers and WAGASA with contemporary design.

This special feature is "Umbrella".

Have you ever put on a Japanese umbrella? You may see it at the entrance of the inn, but I think that few people say that it is at home. Of course, the everyday umbrella was a daily necessities, and the snake-eye umbrella for the other side was an indispensable tool for marriage. Nevertheless, Western umbrellas became widespread in the latter half of the 1945's and disappeared from daily life in a blink of an eye. Western umbrella is metal + chemical fiber. Although Japanese umbrellas are durable, it is difficult to "use bang bang without worrying" like Western umbrellas. Moreover, since the material is a natural material such as bamboo or Japanese paper, it is much more difficult to make than a Western umbrella. Unfortunately, it didn't suit the postwar Japanese economic style.
However, Japanese umbrellas are now undergoing a major overhaul. First of all, the material is so-called "eco". Even so, it is reliable to prevent rain and snow. The structure is extremely detailed and beautiful to the eyes. People who knew the old days said that they wanted to regain the gentle feeling of Japanese umbrellas, and young people now seem to be surprised at the coolness. In response to such movements, structures that cover the weaknesses of Japanese umbrellas and modern designs are emerging. This Fudebako No. 15 covers the traditional manufacturing process from making umbrella bones to finishing in Gifu, which has the highest production volume in Japan. In addition, a total of 80 pages featured Kabuki and Nodate umbrellas, as well as new models and movements surrounding Japanese umbrellas.
Japanese umbrellas are easy! Beautiful! And it's cool! I would like to pick up a Japanese umbrella and open it ――― If you look at the special feature, you will surely think so.

Of course, a Western umbrella is also important. In the surrounding articles, we will take a closer look at the Western umbrella of "Maehara Koei Shoten", which is known for its old-fashioned parts and careful handicrafts. On the other hand, there is also a reportage of the Lost and Found Center of the Metropolitan Police Department, which symbolizes the "waste of umbrellas" caused by the abnormal situation where annual imports exceed 130 million.

Fudebako No. 15

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The wisdom of Japanese needles born in Japan, the land of kimono, is amazing. Kimono is sewn and unraveled many times before it is finished and for maintenance. The precise and rational manufacturing and the Japanese needles that make it possible are symbols of Japanese sensibility. There is also a reportage of a Japanese-style cram school in Kyoto, which trains first-class Japanese-style dressers after five years of live-in training. It is a special feature of 76 pages in total that makes you want to learn Japanese culture from a small needle and involuntarily do "needle work".

This special feature is "Needlework".

Needles are one of the smallest tools around us. However, the small body is full of wisdom and ingenuity. In particular, the wisdom of Japanese needles born in Japan, the country of kimono, is amazing. Did you know that kimonos are sewn and unraveled many times before they are finished and for maintenance? First, sew in the shape of a kimono to draw a sketch, then untie it when you can draw it, and then sew it back into a piece of cloth for dyeing or embroidery. After that, we sew it into the shape of a kimono again --- this is what we see at the storefront of the kimono store --- once the buyer is decided, we will solve it again and officially match the dimensions of that person. It is cut and tailored. Even in the so-called "Araibari", the kimono is completely unraveled, sewn into a piece of cloth, and then re-dyed or repaired as necessary, and then remade.
At first glance, the process of making and the method of maintenance seem to be troublesome and time-consuming, but it is a very rational system that can make delicate and beautiful kimono and can be worn out for many years.
This is also because there is a "Japanese needle" with a unique structure. Japanese needles are a symbol of Japanese sensibility that has been nurtured over many years by the involvement of needle craftsmen, craftsmen, and tailors.

In the special feature, I carefully followed the 110 days from the white fabric to the completion of the colored tomesode. In addition, I will tell you about the training at the Japanese-style school in Kyoto, where you must have a Japanese mind to become a first-class Japanese dressmaker.

In No. 14, we will talk about Hiroshima, which is the number one needle producing area in Japan, the jewel-like silk thimble that is handed down in Kanazawa, the making of foot bags, and the movement to revive genuine Japanese silk. to introduce.

In each of these interviews, we cannot help but be deeply impressed by the people involved in manufacturing and deeply think about what we can and must do. What is tradition? What is a real thing? What is a better and more enjoyable life? Today, I am walking one by one again.

Fudebako No. 14

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Please select [Cash on Delivery "other than"] as the payment method for this item. If you purchase only each Fudebako issue, it will be posted to the mailbox by Kuroneko Mail, so you cannot specify the delivery date. note that.