Traditional Japanese Paper Craft: History, Techniques, and Cultural Significance

 

1. Mino traditional Japanese paper

Mino washi is a traditional Japanese paper made in Gifu Prefecture. It’s crafted from the bark of the paper mulberry plant, which grows in the forests around Mino City. These forests have supplied papermakers for centuries. The earliest records of Mino washi go all the way back to the Nara period, which started around 1300 years ago. Ancient documents stored in the Shosoin Repository show that papermaking was already part of life back then. Mino washi stood out for being thin but strong, with a smooth, clean look. It gained a reputation early on, thanks to skilled artisans who knew how to bring out the best in the raw materials.

Why Mino Paper Was Valued

In the Edo period, Mino washi was seen as the highest quality washi in the country. The Tokugawa shogunate, Japan’s ruling military government at the time, even used it. That says a lot about its status. The way this paper was made wasn’t just about using the right plants. The water mattered too. Clean, mineral-rich water helps control the texture of the paper, and each area produced a slightly different feel. That’s why the paper from Terao in Seki City became especially well known. Other places in Gifu that made great Mino washi include Iwasa, Taniguchi, and Makidani. Thanks to the success of this paper, Gifu became a hub for other handmade goods like umbrellas and lanterns made with washi.

How Mino Washi Grew in Popularity

Mino washi didn’t just get famous on its own. During the Muromachi period, it started gaining attention across Japan. One reason was support from the local rulers. The Toki family, who were military governors of Mino, helped grow the local economy by backing crafts. They supported silk production and set up a special paper market called a rokusaiichi. This helped get the paper in front of more people. The Toki family also had ties to the world of art and literature. As a result, their friends, including court nobles and religious leaders, started using Mino washi too. That boost in exposure helped it spread beyond the region and become a national product.

From Local Specialty to National Staple

By the Edo period, Mino washi had become part of Japan’s official papermaking system. The government gave regions control over specific trades, and Gifu was recognized for its paper. Mino washi became the go-to choice for making shoji doors, which were used in homes all over Japan. These doors helped link the paper with daily life, especially for the rising middle class, known as the chonin. With demand climbing, production increased fast. Mino paper became nearly interchangeable with shoji paper. It was that common.

What Happened in Modern Times

Everything changed after the Meiji Restoration in 1868. The monopoly system ended, but paper demand kept rising. During wartime, Mino washi wasn’t just used for household items anymore. It was used by the military, including for wadding in explosives. But after the war, imported wood pulp paper became the norm. That made traditional handmade paper less practical for everyday use. Still, the value of Mino washi never disappeared. In 1985, the Ministry of Economy, Trade, and Industry officially named it a Traditional Craft. Since then, skilled artisans have kept the practice alive. They still make Mino washi by hand, using the same old methods passed down for centuries.

How Mino Washi Is Made: Step by Step

Raw Materials Come First

The main plant used to make Mino washi is paper mulberry. It's part of the mulberry family and known for its long, strong fibers. That’s what gives the paper its durability. This paper is used for lots of things, like calligraphy, ceremonies, and shoji screens. Other plants sometimes used in washi include the paper bush, which gives a slick finish, and the ganpi plant, which adds a natural gloss.

To start, papermakers cut the trees low, leaving enough of the trunk so they can grow back. They strip the bark off and leave it in piles to dry under the sun.

Bleaching in the River

Once the bark is dried, it goes into river water or a tank for several days. Usually five. This softens the fibers and removes dirt. The slow soak helps clear out anything that might weaken the final paper.

Boiling the Bark

After soaking, the bark is boiled in an alkaline solution. Most use lime or soda ash, though older methods used rice hulls or straw. This process takes about one to two hours. It helps loosen the fibers and gets the material ready for the next steps.

Cleaning the Fibers by Hand

Next, craftsmen clean the fibers by hand. They hunch over for hours, picking out knots and bits of dirt one piece at a time. This part takes a long time, but it’s key to what makes Mino washi so clean and smooth. Poor cleaning shows up in the finished paper. That’s why makers take their time with it.

Beating the Fibers

Once cleaned, the fibers are beaten with wooden hammers or pestles. Some use boards. This step thins out the fibers even more and gets them ready to blend evenly in water. A rounded bundle is hit for about ten minutes. Machines are often used now, but some traditional makers still do this by hand.

Making the Paper Sheets

After beating, the fibers go into a tub called a sukibune. Water is added along with a sticky solution made from sunset hibiscus root. This mix gives the right thickness and texture. Once the blend reaches the right consistency, a wooden screen called a sukote is used to scoop out the pulp. The maker swirls it gently to keep the fibers from clumping. That technique makes the paper stronger and thinner at the same time.

Drying the Paper

The scooped pulp still holds a lot of water, so it has to be pressed and dried. Some use stones or jackscrews to squeeze out the liquid. The sheets are then set aside until about 60 percent of the water is gone. The rest evaporates as the paper is laid flat on wooden boards and dried in the sun.

Final Touches

When the sheets are dry, skilled artisans check every piece by hand. They look for flaws and make sure each one meets high standards. Only about 4 percent of the original plant material makes it into the finished sheet. That shows how much work and care go into each step. The result is a paper that’s light, durable, and built to last. Every part of the process matters.

 

2. Echizen traditional Japanese paper

Echizen washi is a traditional Japanese paper made in the Echizen area of Fukui Prefecture. The paper comes from the Okafuto River basin. Craftsmen use natural plant fibers to make it. The main ones are paper mulberry, paperbush, and ganpi. Echizen washi is known for its soft natural colors and smooth feel. It’s strong, durable, and lasts a long time without getting damaged by insects.

Each type of plant used in washi gives the paper a different look and feel. Paper mulberry has thick, long fibers. It makes strong paper, perfect for calligraphy, crafting dolls, and other handmade items. Paperbush creates a smoother, slightly shiny paper. This one is often used for printing or on sliding doors. Ganpi is the hardest to get because it’s not easy to grow. People used to collect it from the wild. The paper made from it is delicate, with a fine surface. Washi from mulberry often has tiny natural wrinkles called shibo, which work well for formal paper like tea ceremony sheets or award certificates.

Echizen washi comes in many types. Some were once used only by court nobles, shrines, and samurai families. Others were made for wrapping gifts, creating certificates, or religious rituals. These styles are still made today, using the same traditional methods.

The History Behind Echizen Washi

Echizen washi has deep roots. It likely began in the fourth or fifth century when Japan first started using paper. The oldest surviving paper in Japan is stored in the Shosoin Repository, and it mentions Echizen washi. This historic paper archive is in Nara and holds over 10,000 handwritten documents from the Nara period. It also holds many treasures from the Silk Road.

Echizen isn’t just known for the paper itself. The region also honors the paper-making craft with the Kami Festival, a long-running local tradition. It celebrates the paper god, worshipped at Otaki and Okamoto shrines. This spiritual connection has helped preserve the practice for centuries.

In the past, people made Echizen washi mainly to copy Buddhist texts by hand. As the demand for paper grew, nobles and samurai used more of it for official documents and ceremonial use. The Tokugawa shogunate supported paper production in the area, which helped the local economy grow. Over time, Echizen washi became known for its quality. Local workshops even created a type of paper currency that looked a lot like the bills we use today.

Echizen Washi in Modern Japanese Paper Culture

During the Meiji period, between 1868 and 1912, Echizen’s paper industry took another big step. The national government chose Fukui as the site for making official currency paper. The National Printing Bureau even set up a Paper Money Office there.

Today, Echizen washi continues to blend tradition with modern use. It’s still made by hand in the same region and includes a wide range of products. You’ll find it used for everything from postcards and business cards to formal items like ceremonial paper for events and rituals. Despite being an ancient craft, Echizen washi remains part of everyday life in Japan and keeps its strong ties to cultural heritage and fine craftsmanship.

How Echizen Washi Paper Is Made

The process of making Echizen washi is detailed, careful, and built on centuries of practice. Every step affects how the paper feels, how strong it is, and how long it lasts. Here's how it all comes together.

Soaking and Boiling the Bark

It starts with the raw materials: bark from plants like paper mulberry, paperbush, and ganpi. The bark is weighed, then soaked for around ten hours. This softens it and gets it ready for boiling. The soaked bark is then boiled with water, caustic soda, and soda ash. How long it boils depends on which plants are being used and what the final paper will be for. Boiling breaks down fats, tannins, and other unwanted material in the bark.

Washing the Fibers

Next comes the cleaning. The boiled bark is rinsed with clean water. This removes dirt, dissolved impurities, and anything left over from the boil. The cleaner the fibers, the better the final paper will be. Damaged bark or debris is removed by hand. This part takes time and patience, but it makes a big difference in paper quality.

Beating the Fiber

Once the bark is clean, it has to be broken down. Beating the fibers helps soften them and get them sticky enough to bond well during papermaking. In the past, this was all done by hand using a stick and board. Now, machines are used most of the time. The method depends on what type of bark is being used and how strong or soft the paper needs to be.

Bleaching and Coloring

Sometimes the paper is kept in its natural color, depending on the purpose. But when a certain look is needed, the sheets are bleached or dyed. This happens after the fiber is beaten and before it’s formed into sheets.

Mixing Mucus in the Water Tank

Mucus from the roots of plants like panicled hydrangea or sunset hibiscus is added to a wooden water tank called a sukibune. This natural thickener helps the fibers spread evenly in water. The best quality mucus is chosen, and if needed, different types are blended to match the specific material being used.

Forming the Sheets

Paper sheets are formed by dipping a mesh screen into the sukibune and scooping out the pulp. There are a few main methods. Nagashizuki uses flowing water to help spread the fibers. Tamezuki uses still water. Suminagashi involves adding sumi ink to create marbled patterns. Each method gives a different result. Only experienced artisans can create sheets that are even and smooth. As each sheet is made, it’s stacked with yarn laid between them to stop them from sticking.

Pressing the Sheets

After forming, the wet sheets are pressed to remove water, but still hold their shape. Today, this is done with machines that press from both above and below. This step gets the sheets ready for drying.

Drying and Finishing

Once pressed, the sheets are peeled off carefully. Any leftover threads are picked out by hand. In the past, the paper was dried outside in the sun. Now it's usually done in a cellar. Each sheet is placed flat on a board using a wide brush. The way the board is handled affects how the final paper feels. Special boards are chosen based on what kind of washi is being made. Artistic papers might be dried on steel sheets. Larger vellum sheets often go on wood. Some sheets are even steamed and pressed during drying.

Polishing and Packaging

The last step is sorting and polishing. Each sheet is checked front and back for flaws. Clean, undamaged sheets are coated with dosabiki, which keeps ink from bleeding. Then they are rolled to smooth and polish the surface. After that, the sheets are cut to size, usually by machine, though some are still trimmed by hand. Finally, the paper is wrapped carefully and packed for sale. Every sheet of Echizen washi reflects the care, time, and skill it takes to make it right.

 

3. Tosa traditional Japanese paper

Tosa washi is a type of handmade Japanese paper that comes from Kochi Prefecture. It’s been made for centuries in Tosa City and nearby Ino Town. This paper started off being used for practical things like wallets, medicine holders, and lanterns. Now, it’s used for all sorts of crafts and design work. You’ll find it in paper art, sliding screen panels called fusuma, luxury packaging for sweets, and handmade books. It’s also used in art and document restoration around the world because of how durable and high-quality it is.

Why Tosa Washi Stands Out

There are hundreds of types of Tosa washi, but they all have one thing in common. They’re thin and surprisingly tough. One of the most well-known types is called Tosa tengu-jo. It’s just 0.03 millimeters thick, making it one of the thinnest papers in the world. The strength and lightness come from the way it’s made. Craftsmen use fibers from the paper mulberry tree and clean water from the Niyodo River. That river flows through the Tosa area, and it’s known for being some of the clearest water in Japan. Without these natural elements, the paper wouldn’t have the same quality.

Tosa Washi in Modern Times

Many kinds of traditional Japanese paper have faded out in recent years. But Tosa washi is still going strong. Even now, around 300 different kinds of this paper are still being made. That makes it one of the few regional paper styles that hasn’t disappeared. It’s still being produced using old techniques passed down over generations.

How Tosa Washi Began

The history of Tosa washi goes back over a thousand years. There’s a theory that a man named Ki no Tsurayuki played a big role in promoting it. He was a noble and a poet during the Heian period, which lasted from 794 to 1185. He was also one of the poets in the famous Hyakunin Isshu collection. Around the year 930, he became the governor of Tosa Province. It’s believed he supported the local paper-making industry and helped spread the word about it.

We know for sure that Tosa paper was already being made back then because it shows up in old records. During the Heian period, people used it to wrap gifts for the imperial family. At the time, washi paper was rare and valuable. It was also used in a shell-matching game called kai awase, where small pictures were pasted inside clam shells for entertainment among the upper class.

How the Uses of Tosa Washi Evolved

Over time, how people used Tosa washi changed. In different periods, it was used to make clothing for samurai, dolls, and even local currency called han bills. During the Edo period, which lasted from 1603 to 1868, it became a prized local specialty. The Tosa clan protected the craft, and the paper was given as a gift to the shogunate. That status helped the tradition survive. Even now, Tosa washi is known as a signature craft of Tosa City and Ino Town.

This tradition isn’t just about making paper. It’s about keeping a piece of history alive. Tosa washi is still used today, not just in Japan but in places all over the world, where people value both the strength and beauty of this rare paper.

How Tosa Washi Is Made: Step-by-Step

Preparing the Raw Materials

Tosa washi starts with the bark of three main plants: paper mulberry, paperbush, and gampi. Each type of plant gives the paper different textures and strength, so the method changes depending on what kind of paper is being made. For paper mulberry, the process begins by peeling off the outer dark bark and keeping the soft white inner part. This inner bark is rinsed clean and soaked in cold water. After soaking, it’s boiled with an alkaline solution, usually soda ash or lime ash, for a few hours. This breaks down the material and draws out only the fibers, which is what you want for smooth, strong paper.

Washing and Sun-Bleaching

After boiling, the fibers are rinsed in fresh running water. This takes time and care. The goal is to wash away any leftover dirt or unwanted residue. The rinsing process goes on for a full day and night. Once the fibers are clean, they’re bleached naturally under the sun or with a mild bleach solution. Even fibers that got slightly discolored while boiling turn white after a few hours in direct sunlight.

Removing Impurities by Hand

Once the material is clean, small bits of bark and dust still need to be taken out by hand. Every fiber batch is carefully inspected and cleaned. Getting rid of every last speck helps the paper stay smooth, bright, and resistant to aging. If anything gets missed, the paper could end up with marks or weaken over time.

Beating the Fibers

The next step is to beat the clean fibers to make them soft and ready for paper-making. Traditionally, the fibers are rolled into a ball and hit with a wooden stick. These days, machines sometimes do this part. Beating helps loosen the fibers, which makes it easier for them to spread evenly in water during the next stage. The better the beating, the smoother the paper.

Thinning the Fibers

Now the softened fibers are soaked in a basket filled with water. This process is called thinning. It separates the fibers so they float freely, which is key to making high-quality paper. If this step is done right, the paper will be even and strong. If not, the paper can turn out lumpy or weak.

Mixing and Forming the Paper

Once the fibers are fully thinned, a thick jelly-like plant extract called neri is added to the water. This comes from a plant called aibika. It helps slow the flow of water so the fibers stay suspended longer. That gives the paper its even surface. If there’s too little neri, the water drains too fast. If there’s too much, it won’t drain at all. Getting the balance right is everything.

When the mixture is ready, the papermaking begins. There are two traditional techniques. Nagashisuki uses flowing water. The papermaker dips a screen into the mix, then gently rocks it back and forth until the fibers settle into a thin, even layer. Tamesuki uses still water. The mix is scooped and allowed to sit while the water drains out slowly. Either way, the concentration of fibers changes as you go, so the papermaker has to watch closely to keep every sheet the same thickness.

Draining the Water

Once the sheets are formed, the water needs to be pressed out. The wet paper is stacked with weights placed on top and left overnight. After that, the stack is compressed again to remove as much moisture as possible. This step used to be done with a simple lever, but now machines are often used.

Drying the Sheets

After pressing, the paper must be dried. The traditional method is to lay each sheet by hand onto a smooth board and let it dry in the sun. Some makers now use heated dryers to speed things up, but sun drying is still the most common method for Tosa washi. It helps keep the texture and strength of the paper intact.

Cutting and Packing for Shipment

Once dry, each sheet is checked, lined up, and trimmed to the correct size. Then it’s bundled. A single bundle has 200 sheets, grouped into sets of ten. Ten of these bundles are packed together into one unit called a maru. That’s 2,000 sheets in total, ready to be shipped out.

From start to finish, making Tosa washi is all about precision, patience, and care. Every step matters. That’s what keeps the paper strong, clean, and ready for anything from books to art to restoration work.

4. Sekishu traditional Japanese paper

Sekishu washi is a traditional Japanese paper that’s been made for over 1300 years. It comes from the Iwami area in western Shimane, a region with deep roots in handmade papermaking. The name “Sekishu” shows up in written records from the Heian period, which ran from 794 to 1185 CE. There’s also a story from the Edo era, around the 1600s, saying that Kakinomoto no Hitomaro, a respected poet and noble, taught people how to make paper back in the Nara period between 710 and 794 CE.

What Makes Sekishu Paper Unique

Sekishu washi stands out because of the fibers it uses. It’s mainly made from the mitsumata plant. These fibers are about 10 millimeters long and bond easily during the papermaking process. The final paper holds up well even when it’s bent or rubbed. It’s more durable than regular wood pulp paper.

While it’s not the toughest kind of paper out there, Sekishu washi is smooth, soft, and easy to work with. It has a gentle shine that works well for printing and calligraphy. There’s also Sekishu gampi paper, which uses the finer, more delicate fibers of the gampi plant. These fibers are shorter, only about 3 millimeters long, but they’re naturally resistant to bugs and moisture. Gampi paper has a glossy, see-through look and gets used in all kinds of things like certificates, dyed paper, letter paper, and calligraphy sheets.

Traditional Techniques and Tools

Modern paper machines are just advanced versions of the old methods used to make washi. Traditional tools include nagashizuki and tamezuki, two kinds of handmade papermaking frames. These screens are always made from either bamboo or wood from the Japanese nutmeg tree. The binding agent comes from a plant called aibika, which helps the paper fibers hold together. Once the sheets are formed, they’re dried on boards made of wood or iron. This process, with all its specific parts, is what qualifies the finished product as true Sekishu washi.

Sekishu Washi in Daily Life and Trade

Since the early 700s, Sekishu paper has been produced in Iwami. By the Edo period, Osaka merchants were using it to keep account books. This kind of washi was crucial for recordkeeping. If there was ever a fire, they’d toss their ledgers into a well. The paper didn’t tear or dissolve, even after being soaked. That meant they could pull it back out, dry it, and keep doing business without losing any important records.

Cultural Importance and Recognition

In 1969, the calligraphy paper made by the Sekishu Calligraphy Paper Craftsmen Association was recognized as a National Important Intangible Cultural Asset in Japan. Later in 2009, Sekishu-banshi, the specific type of calligraphy paper from the region, was added to UNESCO’s list of Intangible Cultural Heritage. That’s a global acknowledgment of its value and history.

Even now, Sekishu washi is used to help restore old documents and artifacts. Skilled young artisans continue to learn and pass down the techniques. This paper is a part of Japan’s cultural legacy, still alive and well today.

How Sekishu Washi Is Made: Step-by-Step Process

Preparing and Steaming the Raw Plant Fibers

The process starts with harvesting local plants: kozo, mitsumata, and wild gampi. These are the base materials for making Sekishu washi. Branches are cut into meter-long pieces at a slant using a sickle. Once cut and sorted, the bundles are steamed in a bamboo steamer. This helps loosen the bark from the branches. Each branch is held in one hand, the bark in the other, then pressed between the feet. The bark is peeled off in long strips, which naturally curl into tube-like shapes. These black bark strips are bundled and left to air-dry. Once partly dried, they’re stored for the next stage.

Shaving the Outer Bark

The dried black bark is soaked in water for about half a day. This softens it. Then, using a sharp knife on a special board called a sozoridai, the bark is shaved down by hand. The goal here is to remove the outer black layer while keeping the tough middle part that adds strength to the final paper. The white layer underneath stays intact.

Boiling the Bark to Purify It

The stripped white bark is cleaned in natural spring water. After that, it’s added to a boiling mix of soda ash and water. The soda ash makes up about 12 percent of the total liquid. This boiling step lasts around two hours. The fibers are turned every half hour to make sure they cook evenly. Once done, the bark is rinsed again in spring water. Every strip is cleaned to remove dust and any leftover impurities.

Beating the Fibers to Break Them Down

After boiling, the fibers get placed on a solid wooden board. They're beaten with oak rods. This pounding breaks down the material and loosens the fibers. The beating goes side to side, then the batch is flipped and beaten again. This is repeated six times in each direction. It helps prep the fibers for forming smooth, even sheets of washi.

Mixing the Fibers in the Vat

Next, the fibers are mixed with water and a binding agent made from a plant called aibika. This mix goes into a large vat. A stick is used to stir everything around. This breaks the mix up and spreads the fibers evenly. Making Sekishu washi includes three basic motions: kazushi, choshi, and sutemizu. Kazushi is when the screen, made from split bamboo, is dipped fast into the vat and pulled out to start forming the first paper layer.

Shaking the Screen to Interlock the Fibers

Choshi is the next step. The screen scoops out a thick layer of the fiber mix. The papermaker then shakes the screen front to back. This motion locks the fibers together and forms a single layer of paper. The thickness of the sheet depends on how many times this step is done.

Removing Extra Water and Pulp

Once the paper has the right thickness, any leftover liquid or fiber pulp is shaken off. This step is called sutemizu. It ensures the sheet stays clean and doesn’t end up too thick or soggy.

Stacking and Pressing the Paper

After forming, the sheet still holds water. Each sheet is carefully stacked. Then the pile sits overnight. A compressor slowly applies pressure to squeeze out the remaining water. This sets the paper and gets it ready to dry.

Drying the Paper Sheets in the Sun

Each sheet is peeled off and brushed onto drying boards made from ginkgo wood. These boards are laid out in the sun. The sunlight helps the paper dry evenly and gives it a natural finish. This part of the process is what gives Sekishu washi its soft texture and strength.

Final Sorting and Cutting

When dry, each sheet is checked by hand. Sheets with visible flaws, like uneven thickness or dust, are taken out. The clean, smooth sheets are then trimmed to the right size based on how they’ll be used. The finished Sekishu washi is now ready. Each sheet has been carefully made to meet high standards, just like it has been for over a thousand years.

 

5. Inshu traditional Japanese paper

Inshu washi is a traditional handmade Japanese paper. It comes from what used to be the Inaba province, now the eastern part of Tottori prefecture. It’s best known for its textured surface, which makes it perfect for calligraphy and sumi ink painting. This type of paper has long dominated the local market in Japan.

Inshu washi is made from natural fibers. The main materials are mulberry, gampi, and paperbush. These plants are key to traditional Japanese papermaking. The forests and pure rivers in the area provide the perfect setting for making this kind of paper. That mix of clean water and strong fiber gives Inshu washi a rare balance: soft and bendable, yet tough and long-lasting.

People say brushes glide faster on Inshu paper. The soft surface absorbs less ink, which lets the brush move more quickly. There’s even an old saying about it: if a brush only writes on Inshu paper, it will never run dry.

How Inshu Washi Is Made

This paper is made by hand using clear running water. The sound of lifting wet pulp out of the water is one of the old, familiar sounds of Japanese craft. It’s so meaningful that the Ministry of the Environment included it in their official list of Japan’s top 100 traditional soundscapes. These sounds are part of Japan’s natural and cultural heritage, like cicadas near old temples or festival music in the summer.

While Inshu paper holds onto its roots, it hasn’t stayed stuck in the past. Makers have added new uses over time. You’ll now find Inshu paper in creative 3D crafts and even printer-ready sheets. But even when adapting to modern use, the craftsmen still follow the old ways of making it by hand.

The Long History of Inshu Paper

Inshu washi has been around for centuries. The oldest records go all the way back to the Nara period, from 710 to 784 CE. The Shosoin Repository still holds ancient government papers sealed by Inaba officials during that time. These early documents prove that Inshu washi was already being used at a high level in early Japan.

The Engi-Shiki Code, written in 927 CE, also mentions paper from Inaba being offered to the Imperial Court. That shows how much value was placed on the quality of this paper over a thousand years ago.

Inshu Paper During the Edo and Meiji Periods

During the Edo period, from 1603 to 1868, the feudal lord Kamei wrote about laws that banned cutting trees like gampi and paper mulberry. These were protected because they were vital for making washi. Inshu paper wasn’t just used in the area. It was sent as official tribute to the local ruling domain and also sold for regular use throughout society.

In the Meiji period, from 1868 to 1912, production methods started to change. Bleaching techniques became common, and faster ways to make the paper were introduced. These updates helped boost production, which kept rising through the end of the Taisho period in 1926.

The Change in the Showa Era

By the Showa era, which began in 1926, the paper industry started to decline. Mass-produced wood pulp paper had taken over the market. But Inshu paper didn’t disappear. After World War II, artisans leaned into traditional skills to find new ways to use the old methods. They made paper for calligraphy, dyed papers, and other custom uses.

Ink painting paper became especially popular. Inshu washi eventually took the top spot in Japan for that specific type of paper. That gave the brand a solid foothold again and helped keep the craft alive.

Why Inshu Washi Still Matters

Inshu washi stands out for its quality and history. It’s tied to the land, the water, and the traditions of the people who make it. Even though times have changed, this paper still has a place in modern life. Whether it’s used for art, writing, or craft, Inshu washi blends function with deep cultural roots. It’s more than just paper. It’s part of Japan’s living heritage.

How Inshu Washi Is Made: Step-by-Step

Raw Materials

Inshu washi starts with natural fibers. The main plants used are paper mulberry, paperbush, and gampi. Once the branches are cut, the bark is sorted based on what kind of paper will be made. Everything gets soaked in water to loosen dirt and grit. Any leftover sand or debris gets rinsed out. Then, the dark outer bark is carefully removed by hand using a knife. This part of the process is slow and precise, and it sets the stage for clean, high-quality pulp.

Boiling the Bark

Next, the bark is soaked again to soften it. Then it’s boiled to break it down. This helps pull out the long fibers needed to make strong paper. The boiling takes place in large steel vats filled with water. Before boiling, things like straw, hemp, or bamboo may be added. Caustic soda or soda ash is also mixed in to raise the pH level. This alkaline mix helps separate the good fibers from everything else. Boiling time depends on the plant used. For mulberry, it usually takes around two to three hours. As it boils, a sweet scent fills the room.

Washing and Bleaching

Once boiling is done, the fibers are rinsed again. This removes any leftover plant matter or sticky residue. That sticky stuff is mostly pectin and lignin, which hold the bark together. It needs to be washed away so the fibers can stand on their own. Finally, the clean fibers are rinsed in a stream of fresh water. Any last bits of dirt or unwanted material are picked out by hand. This attention to detail makes sure only clean pulp goes into the next stage.

Beating the Fibers

The cleaned fibers now need to be beaten. This breaks them down further and helps them loosen up. The goal is to make sure they’ll mesh tightly during papermaking. Softer pulp means smoother paper, better durability, and even texture. If the beating is light, the paper will come out rough and thin. This step can be done by hand or with machines, depending on the workshop. Either way, it’s an important step for texture and strength.

Forming the Paper

This is where everything comes together. The beaten pulp is mixed with water inside a wide tank called a sukibune. A special gel is added, made from sunset hibiscus roots. This thickens the mix just enough to help the fibers float and bind properly. A papermaking screen called a sugeta is dipped into the tank to scoop up the pulp. Then it’s gently shaken back and forth to spread the fibers evenly across the screen. This technique is called sukinagashi. It's done over and over again to layer the fibers into the perfect thickness. These smooth, repeated motions give Inshu washi its even surface and strong body.

Removing Water

Once the sheet is formed, it’s still wet and fragile. To keep its shape, several sheets are stacked up and pressed together slowly. This removes extra water and starts to flatten the paper without tearing it.

Drying the Sheets

After pressing, each sheet is pulled off one by one. They’re brushed flat onto a board to smooth out wrinkles. Then they’re dried in sunlight or inside a drying room. This step locks in the shape and texture of the finished paper.

Cutting to Size

Finally, every sheet is checked by hand. Any flaws or holes are spotted and set aside. Sheets that pass inspection are trimmed down to standard sizes. Most cutting today is done by machine, but some makers still do it by hand. That process only uses a ruler, a knife, a cutting board, and a steady hand.

Each step in making Inshu washi is hands-on, and nothing gets rushed. The result is a strong, flexible paper with a smooth surface and deep roots in Japan’s papermaking tradition.

 

6. Awa traditional Japanese paper

Awa washi is a kind of handmade Japanese paper made in Tokushima Prefecture. It comes from three towns: Yoshinogawa, Naka, and Ikeda. The paper is made using two old techniques: nagashisuki, where paper pulp is shaped in flowing water, and tamesuki, where the pulp is set using still water. Both methods require time, patience, and skill.

This paper has a natural look and feel. It’s soft and light but stronger than it looks. Awa washi is tough to tear and holds up well when wet. That strength comes from the fibers used to make it. Traditional washi uses the inner bark of plants like paper mulberry, gampi, and paperbush. Sometimes hemp, bamboo, or regular mulberry get mixed in too. The result is a durable, beautiful sheet that can be used for all sorts of things.

Awa washi is part of a much bigger tradition in Tokushima. It connects to other crafts, like indigo dyeing. The paper often works well with natural plant dyes. It’s also used to make watermarked designs and blended with hemp or wood pulp for texture. Over time, makers found new uses for it. You can now find washi paper used in things like inkjet printer paper, interior decor made with paper and metal, and waterproof paper for special products. It’s one of those old materials that fits right into new tech.

The exact start of Awa washi isn’t recorded, but it goes way back. Between the years 806 and 810, official records show that seventy sheaves of regular paper and one hundred sheaves of high-grade paper were sent in to make a law book called Engishiki. That proves how respected this paper already was over 1,200 years ago. Even earlier, during the Nara period (710 to 794), people in Awa were already growing hemp and paper mulberry. A special group called the Awa Inbeshi made paper for religious use, so papermaking likely began with them.

The craft really took off under the rule of the Tokushima Domain. In 1585, Tokushima's first feudal lord, Iemasu Hachisuka, started promoting the growth of paper mulberry. His goal was to support local papermaking. Later, in 1636, the next lord pushed farmers to make paper to earn more income. Between 1716 and 1736, Japan created a system that assigned specific goods to certain areas, making Awa washi one of Tokushima’s official specialties. That helped the paper become famous across the country.

Things changed during the Meiji period when Japan started turning to Western styles and materials. Awa washi fell out of demand. Most papermakers had to stop. But one company kept the tradition alive. Thanks to their effort, Awa washi was named a traditional craft in 1976. That title helped preserve the old ways of making it.

Today, Awa washi stands as a symbol of Japan’s handmade paper heritage. It’s a craft that blends nature, skill, and culture into every sheet. Even after centuries, it's still relevant.

How Awa Washi Is Made: Step-by-Step Traditional Papermaking

Boiling and Aging the Paper Mulberry

The process starts in late fall, around November and December, when paper mulberry is harvested. The bark of this plant has three layers: black, blue, and white. The outer bark is peeled off first, and the remaining material is sorted into either black bark or white bark before drying.

Once dried, the bark is soaked in flowing water for a full day. This helps wash away dirt and leftover black bark stuck in the fibers. After soaking, the clean bark is boiled in an alkaline solution. Common choices are calcium hydroxide, sodium carbonate, or sodium hydroxide. The boiling lasts around two hours. The fibers are stirred and flipped during this stage so they soften evenly. Once they’re tender enough to tear by hand, they’re ready for the next step.

Cleaning the Fibers by Hand

After boiling, the softened fibers rest overnight and are steamed. Once steamed, they are rinsed again in running water to get rid of the leftover alkaline solution and any dissolvable waste. At this point, the fiber is clean, but there’s still work to do. In water-filled baskets, each strand is checked by hand. Any spots, discoloration, or debris are picked out carefully to make sure only pure, clean fiber remains.

Beating the Fibers to Separate Strands

After cleaning, the fibers are still clumped together. So next comes beating. This step used to be done by hand using stone slabs or wooden boards. Today, it’s done using powered mortars. Beating breaks up the bundles and separates the fibers. That makes them easier to form into paper later.

Forming the Sheets Using Nagashisuki

The papermaking stage uses a method called nagashisuki. It involves several steps using a wooden screen called a suketa.

First, a thin layer of watery fiber is poured over the screen. The liquid needs to be poured fast and shallow so the fibers spread out evenly across the frame. Next, more of the fiber liquid is added. The screen is gently moved around to help the fibers lock together in thin layers. This step is repeated until the paper reaches the needed thickness. The leftover water and extra material are drained out.

Once the paper forms on the screen, the sheet is carefully lifted and placed onto a board. This step takes care, because any trapped air bubbles or mistakes can ruin the sheet. Each moist sheet is stacked on top of the last. This stack is called a paper bed.

Pressing to Remove Moisture

The stacked sheets sit overnight to release moisture naturally. Then, they’re squeezed between wooden boards using a press. This pushes out any leftover water and makes the paper more compact.

Drying and Final Treatments

After pressing, each individual sheet is taken off the stack. Each one is stuck onto a flat drying board. The paper can be dried in the sun or with steam heat, depending on the setup.

Once dry, each sheet may get a special coating depending on how the paper will be used. Dosa, made from animal glue and alum, keeps ink or dye from bleeding. Konjac coating makes the paper water-resistant and stronger. Persimmon is used to help preserve the paper, stop insects, and neutralize odors. If the paper is dyed with indigo or textured like crepe, those extra treatments are added during this final step.

Each stage in this process shows just how much effort goes into making Awa washi. From the raw mulberry bark to the final dried sheet, every part of the work is done with care to keep the paper strong, beautiful, and useful.

 

7. Ozu traditional Japanese paper

Ozu washi is a type of handmade Japanese paper that comes from Uchiko, a small town in Ehime. The paper has deep roots. It goes all the way back to the Heian period, between 794 and 1185 CE. But the version people recognize today took shape during the Edo period, around the late 1600s to early 1700s. Even with fewer people making it now, Ozu washi is still known for being some of the best handmade paper in Japan.

Materials and Qualities of Ozu Washi

This paper isn’t made from just one thing. Craftsmen use a mix of natural fibers, including paper mulberry, paperbush, gampi, hemp, bamboo, straw, and sunset hibiscus. Each of these adds its own texture and strength to the sheet. Because of this blend, Ozu washi holds up well and has a smooth, balanced surface.

People use it for lots of things. You’ll find it in sliding doors, colored papers, traditional Japanese kites, and especially calligraphy. Calligraphers like it because it absorbs ink evenly and lets the brush move clean. The texture is soft but steady, which helps create fine lines and smooth strokes.

Calligraphy paper made from Ozu washi gets better with time. After three or four years, it develops a softer feel and an aged look. That natural patina helps ink sit better on the page and gives each piece a more unique and expressive quality.

The Origins and History of Ozu Washi

No one knows exactly when people first started making this paper, but there’s a record from the Heian period called the Engishiki that talks about Ozu washi. So, it likely existed even before that. Another source, a papermaking guide called Kamisuki-choho-ki, credits the poet Hitomaro Kakinomoto with starting paper production in Iwami, now called Shimane. That technique then spread to Ehime and eventually formed what we now call Ozu washi.

The style seen today began between 1688 and 1704. A skilled craftsman named Zenjomon Shusho brought in new methods that made the paper stronger and easier to produce. Those changes helped turn papermaking into a major local industry. At one point, Ozu washi was even considered the highest quality handmade paper in the country.

In 1910, they opened a larger paper mill in the town. At its peak, it hired over 400 workers. But after World War II, the number dropped to just 74. Machines and mass production had taken over most of the paper industry.

How Ozu Washi Survived Into the Present

War and machines hit traditional paper hard. But even as factories took over, some craftspeople refused to give up the old ways. They kept working by hand, using the same techniques passed down for centuries. That’s why Ozu washi still exists today.

It remains a symbol of skilled handwork and natural materials. Even now, people value it for its balance, strength, and beauty. Whether for writing, decorating, or crafting, Ozu washi holds a special place in Japan’s long history of papermaking.

How Ozu Washi Paper Is Made

Soaking and Boiling the Fibers

The first step starts with softening the raw materials. Craftsmen use fibers from paper mulberry, gampi, and paperbush. These are soaked in water and then boiled in soda ash for several days. This helps break down the bark and clears out dirt so the fibers can be pulled apart more easily.

Removing Lye and Bleaching the Fibers

Once the boiling is done, the fibers are washed to get rid of leftover ash and any debris. After that, they’re laid out under the sun to dry. This step helps remove any remaining lye. Once dry, the fibers are mixed with a weak bleach solution. This stops the paper from turning brown later and helps keep the finished sheets bright and clean.

Washing Again and Beating the Fibers

The fibers are rinsed one more time to strip out any leftover chemicals. If even a little bleach stays in, it can weaken the paper later. Any extra dust or scraps are removed at this point. Then the fibers are beaten using a machine to break them apart and get them ready for sheet forming.

Forming the Sheets by Hand

Now the fibers are ready to become paper. They’re mixed with a sticky substance made from sunset hibiscus roots and stirred into water in a large vat. When the mix is ready, it’s scooped onto a draining screen placed inside a wooden frame.

Ozu washi is made using a method called nagashisuki. This process uses running water. The artisan shakes the screen gently back and forth with their whole body to spread the fibers into an even layer. Once the sheet reaches the right thickness, it’s lifted out and stacked with care.

Pressing the Wet Sheets

The paper stacks are left overnight and then pressed to squeeze out extra moisture. This step has to be done slowly and carefully so the sheets don’t get warped. The pressing time depends on the type of paper. For example, screen paper is pressed for about three hours, while calligraphy paper takes a full day.

Drying Each Sheet

After pressing, the paper has to be dried. Every region has its own way of doing this. Some lay the sheets out in the sun, others use heated rooms. In Ozu, they use a drying machine. One sheet at a time is placed on a stainless steel plate and smoothed out with a wide brush to prevent wrinkles. By the time the artisan finishes brushing the last part, the first part is already dry and ready to peel off.

Final Inspection and Cutting

Every sheet gets checked. The artisan looks at the size, texture, and surface to make sure it meets the right standards. Any dust or marks are cleaned off. Then the sheets are trimmed to standard sizes. That’s the final step in making Ozu washi.

Some types of washi go through more treatments, like getting coated with a mix of glue, alum, and water. But Ozu washi skips that. Its natural texture and clean finish speak for themselves.

 

8. Echu traditional Japanese paper

Etchu washi is a type of handmade Japanese paper. It's been made for centuries in Toyama prefecture, in three towns: Asahi, Yatsuo, and Taira. Each of these places has its own version of the paper. Gokayama washi comes from Asahi. Yatsuo makes Yatsuo washi. Taira is known for Birudan washi. While each version has its own style, they all share the same core qualities. The paper is strong, reliable, and built to last. People use it every day, not just for art but also for practical things.

How Each Type of Etchu Washi Is Used

Gokayama washi is mostly used for sliding paper doors, also called shoji. Artists also use it for painting, printmaking, and even in restoring old artworks or documents. Yatsuo washi stands out for its patterns. The makers use a dyeing method called katazome. They don’t make writing paper. Instead, they focus on decorative and processed paper for crafting and product design. Birudan washi, on the other hand, is best known for its smooth texture, which makes it perfect for calligraphy and painting.

Modern Takes on an Old Craft

Even though these crafts are rooted in history, makers today are still evolving. They’re sticking to the old methods but also adding new ideas. Yatsuo washi is now being used to make fresh, patterned designs using the katazome technique. Gokayama washi makers are exploring bold checkered designs and bright luxury paper styles. These updated papers are now showing up in fashion, interior design, and packaging.

How Far Back Does Etchu Washi Go?

No one knows exactly when Etchu washi first started, but it shows up in old documents. A record from the year 774, called Zusho-ryoge, lists Etchu as a paper-making region. Another important text, the Engishiki, written between 794 and 1185, mentions that this paper was used to pay taxes to the Imperial Court. So we know this craft has been around for a long time.

Yatsuo washi grew more popular from 1688 to 1704. During this time, the local lord of Toyama, Masatoshi Maeda, pushed for more herbal medicine production. This created more need for paper. They needed it to wrap powdered medicines, write customer lists, and make paper bags.

Gokayama washi became popular during the Edo period, from 1603 to 1868. It was the paper of choice for the lords of the Kaga domain, which is now Kanazawa. These lords favored its quality, and the craft flourished under their support.

National Recognition for Etchu Washi

In 1984, Etchu washi got official recognition from the government. It was named a National Traditional Craft. That title honors the effort to keep the original methods alive. It also gives credit to the people who still make this paper by hand, just like it was done centuries ago.

Etchu washi isn't just old paper. It's a living craft. It's useful, beautiful, and rooted in Japanese history. And it’s still going strong today.

How Etchu Washi Is Made: A Step-by-Step Look at the Traditional Process

Soaking and Softening the Bark

It starts with white paper mulberry bark that’s been dried ahead of time. To make it soft and clean, the bark gets soaked in cold river water or stored water tanks for one to three days. This loosens up the fibers and gets rid of dirt. In colder months, they sometimes lay the bark on top of snow for about two weeks. The snow helps break it down gently and evenly.

Boiling the Fibers

After soaking, the soft bark goes into a large vat filled with water and an alkaline mix. This mix usually includes caustic soda, soda ash, or lime. The whole thing is boiled for around two hours. The heat and alkaline break the fibers down so they’re ready for the next step.

Rinsing Out the Lye

Once the boiling’s done, the bark gets rinsed several times. This helps wash away the leftover lye. They usually leave it overnight and rinse it the next day to make sure nothing is left behind.

Washing and Bleaching the Fibers

If they’re making white washi, like shoji door paper, the next step is bleaching. They wash the fibers with sodium hypochlorite or a similar agent to whiten them. This gives the final paper a clean, light color.

Picking and Cleaning the Fiber

The fibers are soaked again. Any dark spots, leftover bits, or unwanted debris are taken out by hand. It’s a slow and careful job, but it matters. This step makes sure the final paper is smooth, even, and high quality.

Breaking Down the Fiber

Now the fibers are ready to be broken down. They’re beaten into a thick, sticky pulp. This can be done by hand with a wooden hammer or pestle. Sometimes they use a machine with a rotating beater. Either way, the goal is to get the pulp just right.

Forming the Paper Sheets

Next, the pulp is mixed with water in a large wooden tank. They add something called neri, a natural goo from sunset hibiscus roots. Neri keeps the fibers from clumping together. Etchu washi uses a method called nagashisuki, which means making paper in flowing water. A reed screen gets placed in a wooden frame. They scoop the pulp mixture into the frame, then shake it back and forth to even out the fibers. Once it settles, the sheet is set down onto a flat surface, creating a paper bed.

Pressing Out the Water

The sheets stay there overnight. The next day, they go through a press to squeeze out the extra water. Pressing can take a few hours or even a full day, depending on how much water is left in the paper.

Drying the Sheets

Once pressed, the sheets are carefully pulled off the bed, one at a time. They’re placed on wooden boards to dry. Some makers let them dry in the sun. Others use steam-powered machines to speed things up. The goal is to dry them evenly without warping.

Checking the Quality

Every sheet is inspected by hand. Damaged or uneven ones are removed. Only the best ones move forward.

Adding the Patterns

If they’re making decorative paper, now is when they add the designs. They use katazome, a dyeing method that lets color soak deep into the paper fibers. This way, the design stays visible even if the paper is wrinkled or folded.

Getting Ready to Ship

After that, the sheets are trimmed to standard sizes. Shoji paper and other types are packed and sent off, ready for stores, artists, or builders.

That’s how Etchu washi is made. Each step takes time, skill, and a lot of care. It’s a slow process, but it’s what keeps this paper strong, beautiful, and worth using.

 

9. Uchiyama Japanese paper

Uchiyama Gami is a handmade Japanese paper that comes from the Oku-Shinano region in northern Nagano. This area gets a lot of snow in winter, and locals turned to papermaking as a way to earn extra money during those cold months. The paper is made entirely from paper mulberry bark, which gives it strength, breathability, a soft glow when light passes through it, and solid heat retention.

Why Snow Matters in Making This Paper

Snow plays a big role in how Uchiyama Gami is made. Winters in Oku-Shinano can dump more than a meter of snow overnight. That means the mulberry bark has to be harvested by late November before the deep snow hits. During winter, the bark fibers are laid on top of the snow to bleach. This method is called snow refining. As the snow melts, it releases ozone, which naturally whitens the fibers without any chemicals. This gives the paper a soft texture and strong durability, helping it stand up to cold, damp conditions. It also helps the paper resist yellowing from sunlight, so it lasts a long time without fading.

How Uchiyama Gami Was Used

Thanks to its long-lasting quality, Uchiyama Gami was used in official documents like resident registers. Government offices trusted it. The paper also works well in interiors. Its light-transmitting quality made it a good fit for sliding doors and paper lampshades. Artists like it too. It’s often used for calligraphy because of how it handles ink.

Where It All Started

The roots of Uchiyama Gami go back to the village of Uchiyama in what used to be Shinano Province, now part of Nagano. During the early Edo period, between 1603 and 1868, a man named Kiuemon Hagiwara learned how to make paper in Mino Province, which is now Gifu. When he came back home, he started his own papermaking business. That’s how Uchiyama Gami began. The raw mulberry bark used for the paper grew all around the area, so gathering materials was easy. That helped spread the craft fast.

Papermaking Grew With the Region

As the craft became more common, it even showed up in land tax records during the Edo period. Uchiyama Gami became a reliable way for locals to make money in the off-season, especially since it sold well in nearby Echigo. By the time the Meiji period rolled around, from 1868 to 1912, newer tools and machines made the job easier. The industry grew fast. At its height, there were over 1300 material suppliers, more than 1100 paper makers, and 175 distributors working to keep up with demand.

Why It Almost Disappeared

That boom didn’t last forever. Machine-made paper became common, and handmade methods couldn’t keep up. Production slowed. Since making paper by hand takes time, fewer people stayed in the craft. Little by little, the number of artisans dropped.

Keeping the Tradition Alive

Today, only a few workshops still make Uchiyama Gami. They keep using the same techniques that go back hundreds of years. Even though the industry is small now, these makers continue to protect the tradition and pass it on.

Growing the Paper Mulberry for Uchiyama Gami

Uchiyama Gami starts with paper mulberry, a plant known for its strong, long fibers. It usually grows near rice paddies or crop fields. Compared to other papermaking plants in Japan, this one is tougher and more durable. It’s harvested in late fall, around November and December, once the leaves have dropped. The entire plant is cut from the base.

Peeling and Drying the Bark

After harvesting, the stalks are trimmed down to about 80 centimeters to a meter. These are bundled and steamed in a pot. Steaming softens the stalks and loosens the bark. Once soft, the black bark is peeled off by hand. This bark is the raw material for the paper. It’s then bundled and hung out to dry.

Freezing and Scraping the Bark Clean

Once dry, the bark goes through a freezing cycle. It’s soaked in water, then spread out on the snow overnight. This process is repeated about three times. It makes the bark easier to work with. A scraping tool called an okaki is used to remove blemishes and rough patches from the surface.

Bleaching the Bark on Snowfields

After scraping, the bark is laid out again on snow-covered fields. Fresh snow is sprinkled over it. This bleaching stage lasts about a week. As the snow melts, it releases ozone, which naturally whitens the bark. No chemicals are used in this step. Once it turns white, the bark is dried under the sun.

Boiling and Softening the Fibers

Now the clean, white bark fibers are boiled. Craftsmen use alkaline solutions like caustic soda or carbonic acid. In the past, they used soda ash because it was gentler on the fibers. After boiling, the fibers are rinsed to wash out the alkali.

Modern Bleaching for Whiteness

Today, an extra bleaching step is added. This didn’t exist in the past but is now needed to meet demand for pure white paper. Makers use sodium hypochlorite or other bleaching powders. Any leftover bits in the fiber are also cleaned out during this stage.

Beating the Fibers

Next, the softened fibers are placed in a beater. They are beaten with caustic starch for about an hour. This loosens the tissue and gets the fibers ready to form sheets.

Forming Fiber Balls

Once beaten, the fibers are shaped into balls, each weighing about one kilogram. This helps measure the material when mixing it in water. For every four balls, around 600 milliliters of water is added, along with 15 liters of a sticky solution made from aibika roots. This liquid helps the fibers spread out evenly in the tank.

Making the Paper Sheets

To form each sheet, the fibers are scooped onto a flat screen called a sieving board. The goal is to keep the thickness even. The board is gently shaken back and forth, then side to side, to let the extra water drain out. This takes skill and practice. Every sheet has to match in thickness and quality. After shaping, the sheets are stacked, pressed, and then dried.

Cutting, Pasting, and Sorting

Once dry, the sheets are trimmed to size with a cutting machine. For sliding doors, 48 sheets are pasted together. Depending on the end use, the papers are sorted, packaged, and shipped.