href="#ua5242cb1-17c3-52fc-b9ac-3790064d95ec">129.
| 20 | GIFU |
| BANGASA | |
Nothing seems so lovely as a kimonoed lady sheltering from the rain under a BANGASA. Light filters through the translucent covering and delicately illuminates its sheltered user. These lightweight items are a speciality of Gifu-ken where both abundant varieties of versatile bamboo and handmade paper are readily available. It’s no coincidence that makers of these umbrellas are also typically makers of chochin or paper lanterns, the materials being identical.
Bangasa come in at least four varieties. There is a thick-handled and sturdily ribbed man’s model, a thinner, more feminine style for ladies and a child’s size. In addition, there is the brightly tinted slim style favored by refined ladies and geisha. All are essentially the same construction with hinged bamboo ribs that use horsehair threads to secure them firmly in place. Horsehair is also used to reinforce the paper covering, being glued into folds of the paper along the edges.
One difference readily apparent is the halfway stop ladies’ bangasa have. When the rain pelts down, a halfway stop allows the owner to cock it open in a conical position that hugs head and shoulders more closely.
Another distinguishing feature are the number of ribs. Men’s usually number about 50 while ladies’ typically have 40.
The previously mentioned four types must be expanded if one includes the HIGASA, surfaced with fine silk and meant only to protect the user from the sun’s heat. The hi in it’s name derives from the kanji for sun.
SHUGASA are yet another variety that should be mentioned, although they are not to be seen on the street. These huge umbrellas are used for shade in garden tea ceremonies. Commonly a bright red, their two-meter plus diameter of crimson casts a large shadow.
First mention of the ribbed-style umbrella dates to the reign of Emperor Kimmei (539—571) when the King of Kudara, a large province in Korea, sent as tribute several finely decorated silken kasa. Prior to that time, large reed hats were widely used for rainwear.
They are still extremely popular at most traditional ryokans who stock them for patrons when it rains. These kasa are often adorned with the name or mon of the inn decorating an otherwise plain style. See page 130 for two related colour photos.
| 21 | ISHIKAWA |
| WAJIMA-NURI | |
Shikki is the correct Japanese term for lacqueware, although a great many varieties of the same exist throughout Japan. Prior to upgrading of kiln technique in the early 17th C, lacquering was the most widely used medium for food vessels. The advent of cheaper seto-mono caused a decline that finally took its toll of a cottage industry whose small scale production could not compete on the level of the newly improved ceramics centers.
WAJIMA-NURI derives its name from where it is made on the Noto peninsula in Ishikawa-ken. Nuri is a conjugation of the verb nuru which means to paint. Similar place names are applied to other extant lacquerware centers scattered thinly about the islands.
Most are identified by some distinct design characteristic. Tsugaru-nuri (often referred to as bakaurushi or foolish lacquer) is easily discerned by multihued crazed patterns. In Iwate, where the Heian-era stronghold of the Fujiwaras flourished, is found still a style dating from those exuberant days laced with gold leaf in elegant but classic motifs.
Another northern lacquerware is the wood-grained variety found in Sendai, Miyagi-ken, which differs from the wood-grained Shikoku style in that the wood is completely covered on those from Tohoku while the Kagawa type uses natural wood colouring to augment an overall design of concentric circles.
Nara has yet another type one can easily recognize — red patterns painted over black backgrounds. But all contrast readily with Wajima-nuri’s simple, straight forward forms and solid tones where black outer surfaces are generally lined with inner surfaces of red and vice versa.
It is reassuring to know that in Wajima wood alone is used. Icho or ginko wood is favored, although many types are used. It seems the ginko tree is lightest and strongest as well as easiest to form into thin walled pieces.
Lacquering takes months for the finest pieces — sometimes a full year between the first lacquer application and the final layer. As many as 12 and occasionally double that are not uncommon but cost well reflects what you are buying. Two related photos are on page 132.
| 22 | MIE |
| MARUBASHIRA-YAKI | |
Marubashira, Mie-ken gained its name from the huge wooden pillars it supplied to the Nara court. A small sleepy hamlet then, it hasn’t really changed all that much in the intervening years. What has changed is that the village is no longer known for massive timber posts. Its present fame rests on ceramics that have been the villagers’ production mainstay for several centuries.
Marubashira donabe are well known throughout the nation. Dobin (ceramic teapots) glazed a lovely bluegreen share the spotlight with the glazed, buff-colored cooking pots but are made at just one kiln.
Fukumori-gama is the lone holdout for tradition in this valley with a half-dozen-plus potters under the direction of the kiln’s master. A close look at the majority of the lidded pots put out by the many villagers who pot for their livelihood shows moulding and jigging are rampant. Only the Fukumori workshop creates its whole line on the potter’s wheel. The similarity of most donabe coming out of the village is offset by the lovely forms and hand-finished fillips given works by the Fukumori potters.
The young master of the kiln is an expert cook. His personal conviction is that fine cooking ware adds considerably to the art of good cookery. It won’t make poorly prepared food tasty but it will heighten the pleasure of eating any well-made meal. So his kiln regularly produces variations on the standard donabe. Shapes and glazes custom-crafted to form an assortment of cooking vessels that fit contemporary cookery: high-sided casseroles, low teppan-yaki dishes with roomy lids, shallow-lidded pans and deep bowls with wooden covers. Decorations are minimal and glazes used tend to earthy hues.
Clays and glazes are locally collected and refined at Fukumori-gama. The kiln master, heir to several centuries potting heritage, is trying to continue the better aspects of his craft while changing those portions that bear improvement. Form and glazing are two areas that constantly need updating. Not everything left to the present from days long past is as functional now as it once was. Improvements fostered by this kiln, while maintaining traditions of craftsmanship and function, bring this mingei pottery into active touch with the 20th century.
| 23 | SHIGA |
| HATTA-YAKI | |
SShiga-ken skirts the shore of Lake Biwa and melts into mountains that literally cover the whole of the Kii Peninsula. Hatta is a quiet little village of level paddies where one can easily find the kiln of Juji Miyaji. Hatta-gama (fired jointly with a nephew) sidles up the hillside above his home, the fire pits handily convenient to the overhanging porch of his aged workshop.
The illustrated examples demonstrate the full range of wares made there. All sizes of both TOKKURI and KATA-KUCHI are made, each with the distinctive plum flower pattern in iron underglaze.
Tokkuri
