In the ever-evolving world of archaeology and historical research, the rediscovery of ancient craftsmanship has become a captivating pursuit. From the intricate glass carvings of Satsuma kiriko to the delicate Minakuchi-zaiku basketry, the stories of these lost arts reveal the rich tapestry of human ingenuity and cultural resilience.
Reviving the Crimson Splendor of Satsuma Kiriko
During the late Edo period, the Satsuma domain in Japan was ruled by the intelligent and stylish feudal lord, Shimazu Nariakira. He championed the art of Satsuma kiriko, a stunning form of cut glassware that captivated the attention of the era. However, as the Meiji period ushered in a wave of cultural and technological change, the art of Satsuma kiriko eventually fell into obscurity, seemingly lost to the sands of time.
In 1985, a remarkable effort was undertaken to revive this forgotten craft. The Satsuma Glass Kogei Workshop was established, dedicated to meticulously researching and recreating the intricate techniques of Satsuma kiriko. Technicians undertook extensive studies of old manuscripts, measurements of existing samples, and even made models from photographs to ensure the accuracy of their recreation.
One of the most challenging aspects was the restoration of the rare crimson color that had once made Satsuma kiriko renowned. Through years of trial and error, the artisans finally mastered the elusive hue, along with the delicate shades of indigo, purple, green, golden red, and the Shimazu-inspired purple. The revival of Satsuma kiriko not only preserves a vital piece of Japan’s cultural heritage but also showcases the unwavering determination of those who refuse to let these lost arts fade into obscurity.
Weaving a Comeback: The Revival of Minakuchi-zaiku
Another captivating story of rediscovery lies in the Minakuchi-zaiku basketry, an original craft of present-day Minakuchi-cho, Koga city, Shiga prefecture. These lightweight and delicately woven baskets became so popular during the Meiji period that they were featured in the Vienna World Exposition, with orders flooding in from the rich and famous overseas.
However, despite their global acclaim, the low wages paid to the craftsmen never did justice to the time and effort involved in the creation process. As a result, the production of Minakuchi-zaiku came to an end in 1970.
But the story did not end there. By 2000, a group of passionate individuals began researching the last remaining samples and written texts, as well as interviewing the families and descendants of past craftsmen. Through their tireless efforts over the course of almost a decade, the craft of Minakuchi-zaiku was successfully revived, allowing this unique form of basketry to reclaim its rightful place in Japan’s rich cultural tapestry.
Kyoto’s Marbled Marvels: The Rebirth of Mardley-zome
The city of Kyoto has also witnessed the remarkable revival of a lost art form – Mardley-zome, a dyeing technique that originated in the Taisho period. This technique involves placing fabric on a starch paste marbled with pigment, resulting in exquisite patterns dyed onto the fabric.
Mardley-zome was an improved variation of the ink-marbling technique called suminagashi-zome and became a popular dyeing method in the Showa times. However, the art form disappeared in 1990 when the last successor of the traditional technique passed away.
Researchers at the Kyoto Women’s University set up a project to explore this lost art, and through their dedicated efforts, the Mardley-zome technique has since been recovered and revived, ensuring that this unique form of Japanese craftsmanship continues to captivate and inspire future generations.
Overcoming War’s Devastation: The Resilience of Okinawan Crafts
The impact of World War II on the traditional industries of some Japanese regions cannot be overstated. In Okinawa, an area that suffered extensive damage during the war, the production of traditional textiles known as basho-fu was temporarily discontinued.
Basho-fu is a textile woven from the fibers of the itobasho (Musa liukiuensis), a type of wild banana tree. One type, called ni-gashi, was used to make garments for the samurai class in the Ryukyu kingdom, while the other type was used for everyday summer wear by the lower-class citizens.
After the war, the production of basho-fu slowly restarted, and it is now recognized as a burgeoning new industry, showcasing the resilience and determination of the Okinawan people to preserve their cultural heritage.
Another example from Okinawa is the traditional craft of Ryukyu hariko, which features papier-mâché figurines. These charming creations were once sold at toy stalls on the festival day of May 4th in the old calendar, serving as good-luck charms for children. However, during the Meiji period, they were gradually replaced by mass-produced factory-made toys, and the traditional techniques faded away.
But in a heartening turn of events, young artists are now coming up with new styles of Ryukyu hariko, which have become popular among the younger generation, reigniting interest in this captivating art form.
The Hidden Ingredients of Tradition: Tools and Materials
The preservation of ancient crafts is not just about the final products – it also depends on the intricate tools and specialized materials used in their creation. Finely-made tools, such as hand-crafted brushes, charcoal, bamboo-ware, knives, and cutting tools, are often crafted from natural resources with time and care, becoming a form of traditional craft in themselves.
One remarkable example is the story of tamahagane, the precious steel traditionally used to make Japanese swords renowned for their sharpness and strength. The tamahagane was made using the tatara process, a furnace-building and iron-smelting technique that disappeared after World War II.
However, in a remarkable feat of preservation, a new facility for the tatara process, called Nittoho Tatara, was built in Okuizumo-cho, Shimane prefecture, establishing a center for tamahagane production once again.
Similarly, the revival of the Hakushu-men cotton, grown across the Yumigahama Peninsula in Tottori prefecture, has breathed new life into the beautifully patterned yumihama-gasuri fabric. This soft, high-quality cotton was traditionally woven by rural women, but its production had stopped during the war. Thanks to the efforts of dedicated individuals, the cultivation of Hakushu-men and the weaving of yumihama-gasuri have been restarted, preserving another important aspect of Japan’s rich textile heritage.
Preserving the Passion and Craftsmanship
The stories of reviving these lost arts are not just about the final products – they are a testament to the passion, dedication, and unwavering commitment of the individuals and communities who refuse to let these cultural treasures fade into oblivion. From the technicians at the Satsuma Glass Kogei Workshop to the researchers at Kyoto Women’s University, and the local artisans in Okinawa, each revival story is a triumph of human ingenuity and a celebration of the enduring spirit of craftsmanship.
As we explore the lost kingdoms of ancient civilizations, the rediscovery of these lost arts serves as a poignant reminder that the true value of these objects lies not just in their aesthetic beauty, but in the love, care, and tradition that are woven into their very fabric. By preserving the quality materials, tools, and the next generation of craftspeople, we can ensure that these ancient arts continue to captivate and inspire for generations to come.
