Traditional Japanese Crafts: Kanazawa Gold Leaf, Ise Stencil Printing, and Shogawa Woodwork

 

1. Kanazawa gold leaf

Kanazawa gold leaf, called Kanazawa haku in Japanese, is a type of metal leaf made in and around Kanazawa, a city in Ishikawa prefecture. The word haku just means leaf. This gold leaf keeps its shine even after going through long, careful work by skilled hands. A tiny piece of gold alloy, smaller than a coin, gets hammered over and over until it’s thin enough to cover an entire tatami mat. That’s about 1.6 square meters. It takes years of steady training to learn how to make it right.

Gold leaf from Kanazawa isn’t just pretty. It’s a key part of Japanese art and design. You can see it on historic buildings like Nikko Toshogu, which is a World Heritage site. It also shows up on lacquerware, Buddhist altars, ornate fittings, textiles, and Kutani porcelain. These days, people use it for more modern stuff too. Think home décor, handmade goods, fashion accessories, and other design items.

In the past, though, making gold leaf wasn’t something people could easily do for a living. The shogunate placed heavy rules on it. Only places like Edo and Kyoto had permission to produce it. But Kanazawa’s climate made it the perfect spot for this kind of craft. Rain, snow, and clean water helped the gold stretch right and shine better. So even though it was technically banned, people in Kanazawa kept the tradition alive in secret.

The roots of gold leaf production in the area go way back to the early Heian period, between 794 and 1185 CE. A major turning point came in 1808, when the Ninomaru Palace at Kanazawa Castle burned down. They needed a lot of gold leaf to rebuild it, but the law still said it had to come from Edo or Kyoto. So local craftsmen started making it behind closed doors. They pretended they were just fixing items bought elsewhere or working with copper and brass foil.

By 1817, Kanazawa artists had started using gold leaf to decorate Takezawa Palace, located near the famous Kenroku-en Garden. Still, official rules said they had to use leaf from Edo. That didn’t change until 1845.

In 1864, local production was finally allowed, but only for the domain’s own use. Even with that limit, the craft kept growing. When the full ban ended, the industry started to expand fast. During the Meiji period, when Japan opened up more to trade and modernization, Kanazawa gold leaf could finally be sold across the country. By then, Edo gold leaf wasn’t being made anymore.

When World War I hit, makers began switching to machines to meet rising demand. That helped them scale up. But during World War II, strict rules on using metals nearly shut the whole thing down. The industry took a major hit.

After the war, though, things turned around. Production started up again. The craft survived, then flourished. And today, Kanazawa gold leaf continues to be a symbol of skill, tradition, and timeless beauty in both classic and modern Japanese design.

How Kanazawa Gold Leaf Is Made: Step-by-Step Production Process

Creating the Gold Alloy

Gold leaf doesn’t start with pure gold. To make it strong enough to handle, small amounts of silver and copper are added to the gold. This mix is heated in a special bowl until it reaches around 1300 degrees Celsius. A carbon rod stirs the molten metal until it's smooth. Then the alloy gets poured into a metal mold and left to cool.

Shaping the Gold Strip

Once the metal cools, it gets rolled out into a long, thin strip called nobe. This strip is sliced into small square pieces, each around 6 centimeters wide. These squares are what the artisans start with to make the actual leaf.

Layering With Traditional Paper

Each gold square gets placed on a traditional Japanese paper about 12.6 square centimeters. Roughly 200 of these papers are stacked on top of each gold square. Then, about 30 oil blotting papers are placed above and below. The whole stack is wrapped tightly in leather and sealed. This helps cushion the metal and keep it clean during the next steps.

Hammering the Metal

The gold squares are hammered slowly to flatten and stretch them. At first, the pieces are beaten until they match the 12.6 square centimeter paper. Then they go into slightly larger 16.8 square centimeter paper, again stacked with blotting sheets.

Next, the metal is pressed to about 18.3 square centimeters. Then it’s moved to a 21.6 centimeter square sheet and stretched more before being trimmed with scissors. After that, the leaf is placed onto a different kind of paper and hammered again. This stage creates what’s called uchi agari zumi - the final hammered gold sheets.

Cutting to Final Size

About 30 of these finished sheets are stacked. A 20.1 square centimeter template is folded over them, and the stack is cut along the fold lines using a tailor’s knife. These cuts form the final gold leaf sheets. Each sheet is folded in thirds, packed in a box, and sent to gold leaf artists. Up to this point, everything has been done by trained metalworkers.

Checking the Beating Paper

Next, gold leaf artists step in. The beating paper used in this phase matters a lot. If the paper isn’t perfect, the gold won’t spread right or shine properly. Before the final beating, the paper is inspected closely to make sure it’s up to standard.

Prepping for Final Beating

Now the gold is about 3/1000 of a millimeter thick. At this point, it gets cut into smaller pieces called koma. Each 21 square centimeter gold sheet is cut into 11 or 12 koma using chopsticks. These small squares are placed between paper sheets. After resting there briefly, they’re moved to the final beating stack.

Final Mechanical Beating

Koma pieces are stacked with sheets of megami paper above and below. White covers go on the top and bottom, and then a layer of leather is wrapped around the whole thing. The bundle is tied down tight. A mechanical hammer beats the stack 700 times per minute. This fast, steady pounding stretches the gold into its final thinness with even quality throughout.

Grading and Storage

Once the gold leaf reaches the right size, it's transferred onto sheets of main paper. The finished product gets checked, graded, and sorted by quality. The best leaves are boxed and stored temporarily until they’re ready to be trimmed.

Final Cutting and Transfer

Last, the gold leaf sheets are cut to one of four standard sizes: 10.9, 12.7, 15.8, or 21.2 square centimeters. The trimming is done using a special frame and leather board, moving the leaf carefully up and down for clean edges. Each finished leaf is placed on a sheet of kiri gami, a traditional paper made just for holding gold leaf. This step completes the process.

 

2. Ise paper stencil printing

Ise Paper Stencil Printing, known in Japanese as Ise Katagami, is a traditional craft that plays a big role in Japanese textile dyeing. The word katagami means "paper stencil." These stencils have been made for centuries, mostly in Suzuka, a city in Mie Prefecture. Originally, they came from the old Ise Province, in a place called Shiroko. That’s why you might also hear them called Ise gata or Shiroko gata. All these names are written with Japanese characters that mean "shape" and "pattern."

The process starts with layering sheets of Mino washi, a type of traditional Japanese paper. These sheets are soaked with persimmon tannin to make them tough and water-resistant. Once dried and hardened, this paper becomes the stencil base. Then comes the cutting. Craftsmen use small knives and chisels to cut the designs by hand. There are four main cutting styles: stripe carving, stab carving, decorative carving, and drill carving. These tools and techniques allow for extremely fine detail. Each pattern is cut with care by skilled hands, giving the stencil a clean, crisp look.

Where the Stencils Are Used

These stencils are mainly used for dyeing kimono fabrics. You’ll find them used in making yuzen kimono, which have colorful, hand-painted patterns. They’re also used for komon, which are kimono with tiny repeating prints, and yukata, the light cotton kimono worn in summer. But it doesn’t stop at clothing. These stencils are now being used for interiors too. You might see them on sliding paper doors (shoji), screen panels (fusuma), or even worked into LED lighting setups. That mix of old technique and new use is gaining attention.

A Look Back at Its History

Ise Katagami has been around for a long time. No one can say for sure exactly when it started, but many believe it goes back to at least the end of the Muromachi period, which ran from 1336 to 1573. One old drawing from that time shows craftsmen using stencils, which supports that theory. By the Edo period, from 1603 to 1868, this craft had strong backing from the Kishu domain, which helped it grow fast in areas like Shiroko and Jike. Being near Ise Bay, these towns had access to trade routes, so stencils could be sold and shipped across Japan. Craftsmen also worked together, helping each other improve techniques and spread the craft.

In the Meiji period, between 1868 and 1912, the rise of Western clothing caused a big drop in kimono demand. That hurt the stencil trade. Then World War II came and made things worse. Many stencil makers disappeared. But in the 1960s, as Japan’s economy came back to life, interest in traditional clothing picked up again. For a while, stencil making was booming.

Where Things Stand Today

Even though the craft made a comeback, demand has gone down again. Fewer people wear kimono today, and newer dyeing methods have replaced older ones in many places. That’s led to another drop in the number of stencil makers. To protect the skill, a group was formed to keep it alive and teach it to others. Today, more people are starting to see the stencils as artwork. Some take up stencil making as a hobby, while others collect the designs as decorative pieces. The value of the craft has changed, but the skill behind it still matters.

How the Ise Paper Stencil Is Made

Creating the Base Card

Every stencil starts with a strong, stable paper base. This base, called katajigami, must stay firm without stretching or shrinking. To make it, between 200 and 500 sheets of Mino washi, a tough, traditional Japanese paper, are stacked and trimmed into the standard stencil size. This step sets the foundation for everything that follows.

Pasting the Layers

Because washi is naturally stronger across the grain and weaker along it, the sheets are layered in a specific order. Three sheets are pasted together using glue made from persimmon tannin. They’re laid vertical, horizontal, then vertical again. This cross-pattern creates strength, much like how plywood is made. The persimmon tannin not only adds structure but also makes the base water-resistant. This process is called kamitsuke.

Drying the Base

Once the sheets are glued, they rest for a day or two. This pause allows the glue to set deep into the paper fibers. After that, the sheet is spread out over a flat cypress panel and left to dry under the sun. This natural drying process helps keep the paper flat and steady.

Smoking the Paper

After sun-drying, the base card is smoked for about a week. It goes into a smokehouse filled with cedar sawdust, where it stays at around 40°C. This step bonds the glue even more tightly into the paper and adds resistance to moisture and shape change. The smoke also begins to darken the paper.

Final Steps in Making the Base Card

The paper goes through one more soak in persimmon tannin, then gets sun-dried again and returned to the smokehouse. This cycle continues until the paper turns a deep brown and becomes solid and stable. It takes about 45 days to finish this process. But even after all that, the stencil base isn’t ready for cutting right away. It needs to sit and cure for another year or two before it reaches the right condition for fine carving.

Cutting the Stencil

Once a dyer places an order, a pattern designer creates the layout. Then, a stencil maker carves the design by hand. There are four main carving methods.

Stripe carving uses a steel ruler and a slim knife. The craftsman traces the same line three times to get one clean strip. Skilled carvers can slice up to eleven narrow lines in just one centimeter of space.

Stab carving is done by punching small holes through five to eight stacked sheets laid over a wooden block. A sharp blade, usually one or two millimeters wide, is used. Straight lines and larger shapes are cut by pulling the knife toward the body. This technique creates lines that feel warm and natural, with a soft curve.

Decorative carving, or gottori, uses tiny blades shaped like diamonds, fans, or flowers to create complex patterns. This method starts with the tool itself. The tool’s shape and quality decide how the finished work will look. Craftsmen who specialize in decorative carving often own thousands of these tiny custom tools.

Drill carving is done with a small gimlet that has a half-circle tip. The tool is held upright and twisted with the fingers to drill countless fine holes. This technique is especially used for Edo komon kimono. In the most detailed pieces, you might find a hundred tiny holes in a space no bigger than a square centimeter. It takes years of training and sharp focus to master this.

Reinforcing the Stencil

After the carving is done, some stencils need extra support, especially if they’ve been cut with delicate patterns. There are two ways to reinforce a stencil.

Shabari involves gluing a thin silk mesh over the stencil using Japanese lacquer, or urushi. This helps hold everything in place during dyeing.

Ito ire is used only for stripe carving. A silk thread is placed between two stencils to keep fine lines from tearing. Since the two stencil sheets must align perfectly, this step requires careful attention and steady hands.

Once finished, the stencils are handed over to dyers. They’re then used to apply detailed patterns onto fabric, especially for making traditional Japanese kimono.

 

3. Shogawa woodcraft

Shogawa woodcraft refers to handcrafted wooden items made mainly in Toyama Prefecture. You’ll find these in places like Takaoka and Tonami. The pieces are usually things like bowls, plates, and trays. They’re made using Japanese zelkova wood, known for its rich grain and natural texture. Each item has its own look because every tree has different patterns and tones. Even when the same process is used, the final result always feels one of a kind.

This craft was officially recognized as a traditional Japanese art in 1978. The Ministry of Economy, Trade and Industry gave it that title because of its clean design, deep quality, and long history. What makes Shogawa woodwork stand out is how the wood is cut and shaped. Logs are sliced lengthwise, but the grain is shown sideways. This gives the surface a clear, bold grain that stands out visually. No two items look the same, which makes choosing one a more personal experience. You’re not just buying a product. You’re picking out a piece of nature, shaped by hand.

How Shogawa Woodcraft Changes Over Time

Shogawa wood pieces age well. Over time, the texture changes, and the wood becomes deeper in tone. The more you use it, the better it looks. These pieces aren’t just made to be decorative. They’re meant to be used and touched. There are two main finishes. Some are coated in urushi, a traditional Japanese lacquer. Others are left plain, with no polish. Lately, more people are looking for the bare wood version. A lot of buyers want to finish it themselves, either with their own oil or wax. That trend is growing fast.

The Origin of Shogawa Craftsmanship

Back in the late 1500s, during the time of the Kaga domain, traders began floating logs down the Shogawa River toward Toyama Bay. Most of that wood was Japanese cypress and zelkova. Some logs broke loose during the journey and ended up collecting in the Shogawa basin. Locals started using that wood. That’s how this craft began. They saw value in what others lost, and they turned driftwood into something useful and lasting.

By the late Edo period, people were regularly gathering that wood and turning it into practical items. That’s when plain wood bowls and trays first came into production. Then, during the Meiji era, lathes were introduced. That changed everything. Using a lathe takes real skill. It’s not something you pick up in a week. Most artisans back then started training after elementary school. It takes about ten years to get good at it.

Growth of the Shogawa Craft Market

In the Showa era, the market for Shogawa crafts really took off. Pieces started getting shipped across Japan. The style became well-known, not just for its looks but for how well it held up over time. People appreciated the craftsmanship. Even now, the original skills are still passed down. Artisans continue to make these pieces using traditional methods. Shogawa woodcraft has never lost its value. It’s still made by hand, still connected to nature, and still respected by people who care about quality and tradition.

The Step-by-Step Process of Making Shogawa Woodcraft

Choosing the Right Wood

Shogawa woodcraft starts with carefully selected wood. The main materials are Japanese zelkova and Japanese horse chestnut. Zelkova is tough, solid, and shows off a strong, natural grain. Horse chestnut is softer, takes lacquer well, and doesn’t warp easily. Lately, more artisans are also using mulberry and Japanese pagoda, since those types offer different textures and visual character.

Slicing the Logs

Once the logs are chosen, they get sliced into boards that match the size of whatever item is being made. This cutting usually happens at a sawmill, not inside the workshop. The boards are made just large enough for bowls, trays, or whatever piece is planned.

Drying the Boards Outside

After the boards are cut, they don’t go straight into crafting. First, they’re stacked outdoors. They sit there for six months to a year, exposed to the elements. This part is important. Wind and rain help wash away lye, which is a chemical that can cause the wood to stain or discolor later. As the wood dries out, it becomes more stable and resists warping.

Cutting the Rough Shape

When the boards are fully dried, they get inspected. Any cracks, knots, or flaws are avoided. The clean areas of the wood are traced and cut using a circular saw. That way, each piece is roughly shaped before more detailed work begins. This step takes a trained eye and a steady hand. One wrong cut wastes good wood.

Initial Shaping on the Lathe

Once the rough shapes are ready, the wood still looks blocky and sharp-edged. A lathe is then used to smooth and round the form. This is called rough turning. It removes the corners and brings the wood closer to its final shape. At this point, it still isn’t finished, but it’s ready for the next stage.

Controlled Drying Indoors

After rough turning, the pieces go into a drying chamber. There, they’re heated until the moisture level drops to about 8 percent. But they’re not done drying just yet. The wood is then taken back out, left in the open air until the moisture rises to 12 percent, and dried again for two more weeks. This double-drying method helps prevent the wood from warping later on. It’s a key part of keeping the piece stable for years.

Final Shaping and Surface Work

Now it’s time for the final touch. The lathe and hand planes are used again, but this time with more care. First, thick blades do the rough shaping. Then, thinner blades glide across the surface to get that smooth finish. The artisan uses one clean stroke at a time to shape each curve. This single-stroke method is a signature of Shogawa craft. After shaping, sandpaper is used to file and finish the surface.

Applying the Lacquer Finish

If the item is staying plain, the process stops here. But if it’s getting a lacquer finish, more steps are added. Raw urushi lacquer is rubbed into the wood, then polished, again and again. A lathe is used during this process too, helping to spread the lacquer evenly. Multiple layers are applied to build up a deep shine. The final result has a glossy, polished look that brings out the natural grain of the wood.

Every stage of this process takes patience, skill, and attention to detail. From raw logs to finished bowls or trays, Shogawa woodcraft combines traditional methods with a deep respect for the material. Each piece is made to last and meant to be used.