Homeported in Yokohama, the cruise ship Asuka III travels the length of Japan, from Hokkaido in the north to Okinawa in the south. Launched in 2025 by Yusen Cruises — the company’s first newly built vessel in thirty-four years — the ship is one that Kogei Japonica has chosen to cover for a specific reason: traditional craft and fine art are not decorative additions here. They are embedded in the spatial logic of the ship itself.

This article is for travelers, in Japan and overseas, who have a serious interest in Japanese craft. It covers the ship’s onboard art and Kogei collection, its formal collaboration with the Japan Kogei Association, and the practical information needed to plan a voyage.

What Is Asuka III? A Luxury Cruise Designed Around Japanese Culture

Asuka III is not a ship designed for transit. It is a ship designed for inhabitation. Your day begins in spaces where works supervised by Living National Treasures are on display. You pass through Asuka Plaza — the main atrium anchored by a monumental lacquer installation — and end the evening watching the ship’s wake dissolve into open water. That is the experience this vessel is built to deliver.

When we visit a museum, we arrive as viewers: we stand before objects, read the wall text, and move on. On Asuka III, that relationship is reversed. The works settle into your daily rhythm. They are there at breakfast and at midnight. This is what it means to live with craft rather than look at it.

Ship Specifications

Asuka III is operated by Yusen Cruises Co., Ltd. (est. 1989). The ship was completed at Meyer Werft in Germany in April 2025 and entered service from Yokohama in July of that year — Yusen Cruises’ first newly built vessel in thirty-four years.

According to official Asuka Cruise figures, Asuka III has a gross tonnage of 52,265 GT, an overall length of 230 meters, a guest capacity of 740, a crew of approximately 470, and 381 staterooms. Every stateroom has an ocean-facing private balcony. The ship’s public spaces include six restaurants, multiple lounges, and a Gallery Café.

With 740 guests served by a crew of approximately 470, the ratio reflects a deliberate commitment to attentive, personal service — the kind of hospitality, rooted in the Japanese principle of omotenashi, that cannot be retrofitted onto a larger vessel.

Beyond “Luxury”: Reading the Ship as a Cultural Space

When speaking about the appeal of Asuka III, I feel that the word “luxurious” alone only captures a fraction of what makes the ship truly compelling.

The more precise description is this: it is a ship that has made deliberate decisions, at every level of design, to be Japanese. The spatial philosophy, the sourcing of ingredients, the selection of artists and craftspeople — these choices accumulate into something that cannot be reduced to an amenity list. The result is an environment in which Japanese aesthetic thinking is not a theme applied to surfaces, but a principle running through the whole.

This is why Kogei Japonica is covering this ship in depth. The question is not whether it is luxurious. The question is whether it represents a serious engagement with Japanese craft as a living practice — and on that measure, the case is worth examining carefully.

Asuka III as a Floating Art Museum: The Onboard Collection

The ship’s interior holds over 130 commissioned original works: Japanese paintings, lacquerware, calligraphy, photography, and works in acrylic. What unites them is that each was made specifically for this vessel, by Japanese craft artists (Kogei) working at the top of their respective fields.

Anchor Infinite Co., Ltd., which operates the international booking site Voyage Japan with AsukaIII, describes the ship as “A Floating Art Museum,” noting that the collection includes works connected to two Living National Treasures.
(Reference: Art & Kogei | Voyage Japan with AsukaIII)

The difference from a museum is structural. A museum requires you to allocate time and attention. On Asuka III, the works are woven into the routes you already take — to a meal, to the deck, to your stateroom. The encounters build naturally, and they deepen over time. This is the editorial logic of the ship’s art program — what we would call its art circulation — and it is not something a shore-based institution can replicate.

Kazumi Murose: “Yōkō Yōei” — A Lacquer Wall Work at the Heart of Asuka Plaza

The centerpiece of the Asuka III collection is “Yōkō Yōei” (“Radiant Light, Radiant Brilliance”), a lacquer wall installation by Kazumi Murose, a Living National Treasure designated for Maki-e lacquer — the government’s highest recognition for mastery of intangible cultural heritage.

The work is displayed in Asuka Plaza, the ship’s three-story main atrium. At 8.8 meters tall and 3 meters wide, it depicts the play of light falling from above and reflected off the surface of the sea, rendered in Maki-e gold-powder technique and Raden mother-of-pearl inlay. It is the first work every passenger passes through on the ship’s main circulation route, and it functions as the collection’s visual anchor.
(Reference: Asuka III Art Collection)

As someone who follows lacquer craft closely, what strikes me most about this work is not its scale but its placement. It is not in a gallery. It stands in a thoroughfare — a space of movement and transition. The work does not wait to be visited. It meets people in motion, which is precisely how the finest lacquer objects have always functioned: as part of a lived environment, not an isolated spectacle.

Maki-e and Raden: A Brief Technical Note

Maki-e is a lacquer decoration technique in which gold or silver powder is dusted onto a wet lacquer surface to form patterns. Developed in Japan from at least the Heian period (794–1185), it is applied in multiple stages of layering and polishing. The process demands a physical sensitivity that only develops over years of practice — the powder must be set at precisely the right moment in the lacquer’s cure. The depth of its surface and the softness of its reflected light are particular to lacquer.

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Maki-e is one of the most artistically sophisticated techniques in Japanese lacquer craft. With its origins dating back to the Heian period, this art form involves sprinkling gold or silver metal powders onto lacquered designs, creating vibrant and delicate beauty.This article delves into the origins and historical background of Maki-e, explores various techniques, and provides an in-depth look at the production process undertaken by skilled artisans.What is Maki-e? The Foundational Tradition...

Raden is the practice of cutting thin sections from the shells of abalone or turban snail, then inlaying them into a lacquer or wood ground. The shells produce a shifting iridescence — the perceived color changes with the angle of incident light. On a ship, where light moves constantly as the vessel turns and the sun tracks across the sky, Raden behaves differently than it does in a fixed interior. The material is responsive to its environment in a way that conventional pigment is not.

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"Raden" is a traditional Japanese craft that involves crafting shells such as turban shell and abalone, and inlaying them into lacquerware and furniture. The decoration that shines in seven colors depending on the angle at which light is received has fascinated people since ancient times and has been incorporated into court culture and tea ceremony utensils.However, behind its beauty lies material selection, advanced techniques, and a long history. This article organizes the history...

“Kaiyu”: A Collaborative Work by Two Living National Treasures and Members of the Japan Kogei Association

Among the works in the Asuka III collection, “Kaiyu” (“Drifting at Sea”) makes the most direct statement about craft transmission — the passing of technical knowledge between generations.

The work is displayed in Umihiko, the ship’s kaiseki restaurant. According to the Asuka III Art Collection website, the composition and concept were developed by Living National Treasure Kazumi Murose, with technical direction for the Chinkin (incised gold) passages provided by Kazuo Yamagishi, Living National Treasure in Chinkin lacquer. The execution of the decorative surfaces was carried out by junior regular members of the Japan Kogei Association, each contributing techniques from their own regional practice.
(Reference: Kaiyu — Kazuo Yamagishi | Asuka III Art Collection)

The subject is a seascape in transition: a large swell in the left field gradually giving way, as the eye travels right, to calm water at harbor’s edge. It is a description of a voyage reaching its end — and a fitting subject for a work that is itself the product of a long collaborative process.

Kazuo Yamagishi was designated a Living National Treasure in Chinkin in 2018 and received the Order of the Rising Sun, Gold and Silver Rays for contributions to cultural heritage preservation in spring 2025. He is based in Wajima, Ishikawa Prefecture, where the Wajima lacquer tradition has been centered for centuries.

A work of this kind — two Living National Treasures directing a team of specialized craftspeople, each contributing a distinct technique within a single unified composition — has no obvious precedent in standard exhibition practice. It required the kind of extended institutional commitment that the Asuka III project was structured to provide.

The Four Lacquer Techniques in “Kaiyu”: Raden, Kinma, Maki-e, and Chinkin

A brief account of each technique used in “Kaiyu” is useful here.

Raden (mother-of-pearl inlay): as described above — shell sections set into lacquer ground for iridescent effect.

Kinma is a carved lacquer technique in which a design is incised into the lacquer surface and the recesses are filled with colored lacquer, then polished level. The technique has roots in mainland Southeast Asia — Thailand and Myanmar — and was absorbed into Japanese lacquer practice, where it developed its own formal vocabulary. It is entirely distinct from Kirikane, a technique used in Buddhist painting and some decorative crafts, in which gold leaf is cut into strips and applied to a surface. The two are sometimes confused in general writing on Japanese craft; the distinction matters both technically and historically.

Maki-e (gold-powder lacquer): as described above.

Chinkin is a technique in which a fine design is carved or scratched into a cured lacquer surface using a specialized needle tool, and gold leaf or gold powder is then pressed into the incised lines. It is the dominant decorative technique of the Wajima lacquer tradition, and Kazuo Yamagishi is among the foremost living practitioners of the technique.

That a single work brings together four lacquer specialists — each trained within a different regional or technical tradition — is, from a craft perspective, structurally unusual. Lacquer practitioners typically develop deep expertise within one technique over the course of a career. The production of “Kaiyu” required a level of inter-specialist coordination that is only possible through formal institutional structure. That structure, in this case, is the Japan Kogei Association.

Hiroshi Senju, Reiji Hiramatsu, Noriko Tamura: Further Works in the Collection

The Asuka III collection extends well beyond lacquer.

In the Gallery Café, Hiroshi Senju — a member of the Japan Art Academy — has installed “Waterfall on Colors.” Known internationally for his Waterfall series, Senju shifts perspective here: rather than depicting a waterfall head-on, the work places the viewer behind the falling water, looking outward. The diversity of the visible world is rendered in saturated, layered color.

The Noblesse restaurant and adjacent spaces hold a group of works by Reiji Hiramatsu — Chevalier of the Ordre des Arts et des Lettres (France) — including “Monet’s Pond: Butterflies.” Hiramatsu’s practice consistently positions Japanese painting technique in dialogue with Western Impressionist tradition; the work here continues that conversation in a setting designed around French cuisine.

The Four Seasons Dining Room features four panels by Noriko Tamura — “Four Seasons Muses” — one for each season. Tamura has contributed work to every generation of the Asuka fleet. Here, the works become part of the dining experience itself: the paintings are not in an adjacent gallery but on the walls of the room where passengers eat, across multiple meals and multiple days.

The Japan Kogei Association and Asuka Cruise: A Formal Cultural Partnership

The relationship between Asuka III and traditional craft is not a matter of interior styling. Yusen Cruises and the Japan Kogei Association — the country’s principal organization for traditional craft arts, whose membership is anchored by Living National Treasures — have a formal collaborative relationship.

As documented on the Kogei Japonica profile of Asuka Cruise, the Japan Kogei Association and Asuka Cruise work together to present craft works aboard ship and to connect passengers with craft culture at ports of call through organized programs.
(Reference: Asuka Cruise | Kogei Japonica)

Living National Treasure Works Displayed Onboard

The realistic opportunity to stand in front of work by a Living National Treasure — not in a temporary exhibition, at a specific venue, during limited hours — is genuinely rare. For most people, regardless of where they live, it simply does not present itself.

On Asuka III, Murose’s “Yōkō Yōei” and the collaborative “Kaiyu” — supervised and technically directed by two Living National Treasures — are displayed in the ship’s public spaces. They are accessible at any hour of the day or night, for the full duration of the voyage.

The value here is not primarily one of prestige. It is one of access — sustained, unhurried access to work of high technical complexity, in an environment where you have time to return to it, and where the quality of your attention is not managed by museum protocol.

Craft Encounters at Ports of Call

The voyage extends beyond the ship’s interior. Asuka Cruise arranges programs connected to the craft culture of its ports of call — opportunities for passengers to engage with local craft traditions alongside the onboard collection.
(Reference: Asuka Cruise | Kogei Japonica)

The specific content of shore excursions varies by itinerary. We recommend confirming current program offerings with the official site or your booking contact before travel. What can be said with confidence is that many of Asuka III’s ports of call are adjacent to significant craft-producing regions — and that the itinerary design takes this seriously.

Most traditional craft production centers in Japan are not straightforwardly accessible from major urban hubs. The Asuka III routing, designed around Japan’s coastline, reaches a number of these regions as a matter of course — which represents a different kind of access than the Tokyo–Kyoto–Osaka circuit typically available to international visitors.

Living with Craft: Staterooms, Lounges, and Dining Spaces

What makes Asuka III’s spatial approach distinctive is that it does not require you to stop. There is no “art section” of the ship that you visit and leave. The works are placed along routes you already take — to your table, to the deck, to your stateroom — and the encounters build over time.

By the end of a voyage, the experience of craft shifts register. Works that initially registered as impressive become familiar. Familiar things become available for closer attention. This is a different cognitive relationship with craft objects than a single museum visit produces — and it is not one that can be manufactured on shore.

Encounter Without Effort: The Spatial Logic of the Collection

The fundamental difference between a museum visit and time spent on Asuka III is one of mode.

In a museum, we adopt a viewing posture: we read labels, stand at prescribed distances, allocate time proportionally to importance. It is a rich experience, but a directed one. There is low-level cognitive effort involved in sustaining the attention it requires.

On Asuka III, no such effort is asked of you. You are eating, or in conversation, or looking out at the water, and a work enters your field of vision. The following day, it is there again. Over seven days — or twenty-three — that accumulates into something. Details that were invisible on first viewing become apparent on the fourth or fifth encounter. This is how craft objects were historically meant to be seen: as part of a sustained domestic environment, not as items on a viewing itinerary.

Light, Motion, and the Changing Face of the Works

A ship is a specific optical environment, and the collection has been chosen with this in mind.

The quality of light aboard changes continuously: the sun’s angle shifts as the vessel moves, the color of the sea varies by latitude and time of day, interior lighting plays differently as natural light waxes and wanes. For materials like Raden — mother-of-pearl inlay, whose perceived color depends entirely on the angle at which light strikes it — this variability is not incidental. It is part of the work’s behavior.

The Asuka III Art Collection site describes this directly: the works “resonate with the shimmering wake and the ever-changing sky, their expressions shifting moment by moment.”
(Reference: Art Concept | Asuka III Art Collection)

Conventional exhibition design treats environmental variability as a problem to be controlled: fixed lighting, climate management, UV-filtered glass. Asuka III treats it as a condition to work with. Craft materials — lacquer, mother-of-pearl, gold leaf — were developed in domestic environments where light moved and changed across the day. This ship returns them to something closer to that context.

On Luxury: A Reading from a Craft Publication

The form of luxury Asuka III represents is not defined by equipment specifications.

Commissioning work from Living National Treasures, maintaining a formal relationship with the Japan Kogei Association, building a ship in Germany while insisting on materials and surfaces that carry the sensory qualities of Japanese interiors — these are not decisions that follow automatically from a high capital budget. They are decisions that reflect a specific set of values about what a voyage should be.

The phrase “Quiet Luxury” has gained currency in international discourse around high-end goods and experiences. It describes a sensibility organized around material quality, workmanship, and provenance rather than brand visibility. It is, in many respects, the commercial culture catching up with what Japanese craft has always argued: that the most demanding standard is the one you impose on yourself, in the absence of any audience. Asuka III applies that standard to a ship.

Planning a Voyage: What International Travelers Need to Know

For international travelers seeking a Japan luxury cruise with a deeper cultural focus, Asuka III offers a rare way to encounter Japanese traditional craft, contemporary art, regional culture, and hospitality within a single journey. For those whose interest in Japan extends to its craft traditions, the ship addresses a question that is otherwise difficult to answer: where can you spend extended time in the presence of significant work, across multiple formats and traditions, in a setting that supports sustained attention rather than efficient throughput?

Japan in One Continuous Experience

Planning independent travel in Japan involves a familiar set of logistical demands: coordinating city-to-city transfers, managing accommodation changes, building an itinerary that connects cultural sites across a dispersed geography. For many visitors — particularly those on a second or third trip, moving past the major urban circuits — this complexity becomes the dominant experience of the journey.

On Asuka III, transport, accommodation, meals, and cultural programming operate as a single continuous experience. The cognitive load of itinerary management is removed. The geography of Japan unfolds from the water — a perspective that is simply not available by any other means.

This format is particularly well-suited to repeat visitors who have covered the Tokyo–Kyoto–Osaka circuit and are ready to engage with a different register of Japanese cultural experience.

Who This Voyage Is For

A straightforward account of who finds the most value in this kind of travel.

Repeat visitors to Japan and travelers with a specific interest in Japanese culture: those with a background in craft, art, architecture, or cuisine will find the onboard collection and the port itinerary substantively rewarding, not merely scenic.

Milestone journeys: wedding anniversaries, retirement, significant personal transitions. The format — continuous, unhurried, self-contained — suits occasions that call for a particular quality of time.

Travelers who prefer depth over density: Asuka III is not designed around maximizing activity. It is designed for people who want reading time, sustained conversation, and the particular kind of attention that slow travel makes possible.

Before You Book: Key Points to Confirm

(Reference: Cruises | Voyage Japan with AsukaIII / Asuka III Boarding Information | Official Asuka Cruise Website)

How to Inquire and Book Through Voyage Japan with AsukaIII

For international travelers, a dedicated English-language booking and inquiry channel is in place.

The Role of the International Booking Site

Voyage Japan with AsukaIII (voyagejapanwitha3.com) is operated by Anchor Infinite Co., Ltd., an authorized sub-agent of Yusen Cruises Co., Ltd. The site provides full English-language access to the Asuka III Art Collection, current itineraries, stateroom information, and a direct inquiry form.

International booking and inquiry site: Voyage Japan with AsukaIII

Information to Have Ready Before You Inquire

Having the following details prepared will help your inquiry move efficiently.

• Preferred travel dates or seasonal window
• Number of travelers and travel configuration (solo, couple, family)
• Approximate budget and preferred stateroom category
• Areas of interest: craft, art, natural scenery, gastronomy, wellness, or combinations
• Any preferred regions or ports of call

If you have further questions, please feel free to use the Kogei Japonica inquiry form below.

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Contact Us

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Conclusion

The clearest way to describe Asuka III is this: it is a place where the Japanese aesthetic sensibility has been given the form of a living space — one that moves through the water and through the seasons.

In a museum, you stand before the work. On Asuka III, you share space with works supervised by Living National Treasures over the course of days, encountering them at the pace your own attention sets. Craft has always been argued, by the people who make it, to belong in use — in rooms where light changes and time passes. This ship makes that argument in physical form.

For travelers looking to encounter Japanese traditional craft outside a display case — and for those weighing a Japan luxury cruise that goes deeper than the itinerary — Asuka III is currently one of the more considered answers to that question.

The post Asuka III: Japan’s Floating Art Museum and the Craft of Slow Travel first appeared on Kogei Japonica.

This guide is written for B2B decision-makers working through that exact question. It covers the mechanics of kogei rental, use-case breakdowns for hotels, offices, and events, the operational details of pricing and insurance, contract points that tend to arise in internal approval processes, and what to prepare before making an initial enquiry. The aim is to give you a clear picture of how realistic — and how operationally viable — it has become to bring kogei into a space without committing to ownership.

What Kogei Rental Is — and Why the Non-Ownership Model Is Gaining Ground

Kogei rental refers to a service in which craft objects are made available for display over a defined period under agreed conditions, without transferring ownership. Because costs can be distributed over time and the displayed works can be rotated, it has become an increasingly practical entry point for hotels, commercial facilities, and corporate clients who want to incorporate craft into their spaces without the commitments that ownership entails.

“We don’t need to own something permanently, but a bare space isn’t working either” — or: “We’d like to test the response before deciding whether to go further.” That kind of incremental approach maps well onto the rental model.

Purchase, Lease, Rental, and Subscription: What’s the Difference

There are four main frameworks for introducing craft objects into a space. The table below sets out the key differences.

Outright purchase suits long-term, fixed installations, though it may require asset registration in your accounts. Leasing was designed primarily for durable equipment and doesn’t always translate cleanly to art and craft objects. Rental and subscription formats are better suited to short-to-medium-term programming and trial installations — and both are now the subject of growing B2B service development in the art and craft sector.

Which model makes most sense depends on the intended display period, budget, and management capacity. The starting point is simply: when, where, and for what purpose.

Why Demand Is Increasing Across Hotels, Offices, and Events

Several converging factors are driving interest in this space.

One is the recovery of inbound tourism and the broader shift toward experience-led hospitality. According to figures from the Japan National Tourism Organization (JNTO), inbound visitor arrivals reached approximately 3.46 million in February 2026, continuing a sustained recovery trajectory. International guests often respond more strongly to spaces that feel rooted in a specific place and culture, rather than to interiors that could exist anywhere. Craft objects can carry that sense of specificity — but acquiring and maintaining them on a purchase basis involves significant procurement and management overhead. Rental makes seasonal and event-driven rotation feasible.
（参照：Visitor Arrivals to Japan, February 2026 Estimates | Japan National Tourism Organization (JNTO)）

A second driver is growing corporate investment in workplace wellbeing. More organisations are now drawing a direct line between the quality of their physical environment and employee experience. In this context, kogei works — particularly pieces that bring material texture and a strong sense of place into a room — offer something that most standard interior elements don’t.

There is also a sustainability dimension. As organisations move away from disposable décor toward longer-term material cycles, renting kogei — keeping objects in circulation rather than in storage — fits naturally within that shift.

ARTerrace RENT’s PoC Launch as a Market Signal

At least one operator has already moved from concept to practice. On 1 April 2026, ARTerrace launched a proof-of-concept (PoC) for ARTerrace RENT, a high-end kogei rental service for corporate clients, with the announcement made on 9 April. The service targets offices, commercial facilities, and hotels.
（参照：ARTerrace Begins PoC for High-End Kogei Rental Service | PR TIMES）

This launch is a concrete data point: kogei rental has moved from a theoretical option to an operational one. The fact that suppliers and distributors are now building dedicated B2B rental infrastructure means that, for corporate enquirers, there are real parties to contact and real services to evaluate.

For an overview of subscription-based services in this space, see the related article linked below.

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Subscription Model Revolution in Traditional Crafts! What New Customer Experi...

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In recent years, subscription models have rapidly penetrated not only music and video services but also the world of physical products. This wave is now spreading to the traditional crafts sector, with services emerging that deliver or rent craft items on a monthly basis, providing entirely different customer experiences than before.This article provides a detailed explanation of the significance of introducing subscription models to craft businesses, their appeal from a user perspective, and...

Kogei Rental by Use Case — Hotels, Offices, Events, and Design Briefs

The operational priorities for kogei rental vary substantially depending on the context. This section breaks down four primary use cases: hotels and ryokan, offices and commercial facilities, events and trade shows, and design and interior coordination practices. Start with the one closest to your situation.

Hotels and Ryokan — Lobbies, Guest Rooms, Restaurants, and Experience Programming

In hotel and ryokan settings, the primary goals are enhancing the guest experience and connecting the property to its local cultural context.

Works placed in lobbies and guest rooms help shape the first impression a guest forms of the property — a sense of what this particular place is. For international guests especially, ceramics, lacquerware (urushi), and dyed textiles carry a material and cultural weight that goes well beyond decoration.

Common placement points include:

• Lobby and entrance: Large ceramic vessels or flower vases installed to anchor the arrival experience
• Guest rooms: Smaller lacquerware pieces or woven textiles used as wall hangings or desktop objects to give the space a distinct character
• Restaurant and bar: Tableware and chopstick rests on display, or dyed textiles mounted on walls
• Experience programming: Where the maker of a displayed piece is based nearby, rental can be linked to studio visits or making workshops as part of a curated stay offering

If seasonal rotation is part of the plan, confirm with prospective rental providers whether a scheduled exchange service is available.

Offices and Commercial Facilities — Entrances, Meeting Rooms, and Shared Spaces

For corporate offices and commercial properties, the primary motivations are impression management with external visitors and the quality of the working environment.

Placing kogei works in an entrance or on an executive floor communicates a company’s sensibility to first-time visitors — clients, investors, and prospective hires — before a word is spoken. A dyed textile or wood-turned piece on a meeting room wall can materially shift the character of that space.

In commercial facilities, craft pieces are deployed in concept zones or event spaces — used as tools for brand positioning and tenant attraction, raising the perceived register of a space through material quality.

Because rental allows for time-limited installation, programming around specific periods — the New Year, Golden Week, Lunar New Year — is operationally straightforward.

Events and Trade Shows — Short-Term Rental from One Day to Several Weeks

For trade show booths, corporate receptions, or cultural events run by public institutions, where dates are fixed and the display window is defined, short-term rental tends to offer the clearest cost-benefit calculation.

The operational sequence typically runs as follows:

1. Pre-event confirmation: Venue dimensions, loading dock access, temperature and humidity conditions, security arrangements
2. Specification sign-off: Objects selected, quantity confirmed, display method agreed (plinths, wall-mounting, lighting)
3. Delivery and installation: Specialist fine art logistics handling unpacking and placement
4. Event-period management: Handling briefing for on-site staff, incident reporting procedure confirmed
5. De-installation and return: Repacking and collection by the logistics provider after the event closes

For single-day rentals, delivery and collection costs represent a significant proportion of total spend. It is worth exploring whether the rental can span multiple dates or be combined with a nearby event to improve the unit economics.

Architecture and Interior Design Practices — Integrating Rental into Client Proposals

For architects and interior coordinators, kogei rental functions as a way to extend the scope of what a completed space can offer a client over time.

Introducing craft works as a variable element alongside fixed furniture and materials gives clients the ability to adjust the character of their space after handover. This is particularly relevant in hospitality, food and beverage, and healthcare interiors, where operators often want to refine the atmosphere through lived experience rather than locking everything in at opening.

Key items to clarify when building rental into a proposal:

• What documentation the rental provider can supply (quotations, specifications, installation records)
• Whether subletting arrangements — the practice of an architect or coordinator contracting on behalf of the end client — are permitted under the rental terms
• Physical requirements for installation (lift dimensions, floor load ratings, access restrictions)

Bringing the rental provider into the conversation during the design phase allows lighting plans and plinth specifications to be developed around the actual objects, rather than retrofitted afterward.

Pricing — What to Check in Any Quotation

Rental costs for kogei vary considerably depending on the objects, the duration, and the service scope. Rather than trying to establish a market rate, the more useful preparation is understanding what drives the price — which makes quotation comparison and negotiation substantially more straightforward.

What Determines the Rental Fee

The main pricing variables are:

• Appraised value and maker profile: The market valuation of the work and the standing of the artist are the primary price anchors. Works by artists designated as Living National Treasures — a government recognition for practitioners of important intangible cultural heritage — are handled and priced very differently from commercially produced pieces.
• Scale and weight: These directly affect logistics complexity. Large ceramic installations or heavy metalwork require specialist handling that adds to cost.
• Rental duration: Monthly or annual contracts typically offer better day-rate economics than short-term arrangements.
• Rotation frequency: If seasonal exchange is included, the associated service cost is added to the base fee.
• Transport distance: Fine art logistics is a specialist service, distinct from standard freight, and distance-based costs apply accordingly.
• Included services: Installation, de-installation, plinths, lighting, and insurance coverage all affect the total figure depending on how they are bundled.

What Is and Isn’t Included in the Base Fee

When you receive a monthly figure, always clarify exactly what it covers. Scope varies between providers, and additional costs surfacing after agreement is reached are a common source of friction.

When comparing quotations from multiple providers, standardise the scope first — compare like with like before drawing any conclusions.

When Rental Makes More Sense Than Purchase — and When It Doesn’t

Rental tends to be the more rational choice when:

• The intended display period is under a year, or has a defined end date
• Seasonal or thematic rotation is part of the programming plan
• The preference is to trial before committing capital
• There is no suitable storage or management infrastructure in place

Purchase may be more appropriate when:

• The installation is intended to run for five years or more
• There is a strong conceptual or relational reason to hold a specific maker’s work
• The cumulative rental cost over the intended period approaches the purchase price

The two are not mutually exclusive. Some providers support a pathway from rental to purchase — trialling a work before buying it. It is worth asking about this option at the initial enquiry stage.

Insurance, Damage, and Contracts — The Questions That Arise in Approval Processes

When kogei rental is under internal review, legal, administrative, and facilities teams will reliably raise one question: what happens if something is damaged? This section addresses the practical points needed to move an approval process forward. Note that this is an overview of general operational considerations — specific insurance products and contract terms should always be reviewed with your own legal and insurance advisers.

Insurance — Who Covers What

Kogei rental typically involves movable property insurance and specialist fine art coverage for transport and display. The precise structure depends on how responsibilities are allocated between the rental provider, the client, and the logistics operator.

The Agency for Cultural Affairs, Japan, has noted the importance of appropriate insurance frameworks for art loans, recognising the need for coverage across transport, display, and storage phases.
（参照：On Insurance Systems for Art Objects | Agency for Cultural Affairs, Japan）

In practice, there are two main configurations:

• Provider-held insurance: The rental provider carries the policy and the premium is embedded in the rental fee. This simplifies administration for the client, but the scope and exclusions of coverage still need to be confirmed.
• Client-held insurance: The client is required to arrange coverage, typically by adding a rider to an existing policy. Check in advance with your insurance contact whether your current arrangements can accommodate this.

Confirm that coverage is continuous across all phases: transport in, installation, display period, de-installation, and transport out. Pay particular attention to hand-off moments — for example, the period between when the logistics crew unpacks the crate and when the installation team takes over — where responsibility can become ambiguous.

Fine art logistics in Japan is a specialist discipline, with providers who handle packaging, crating, climate control, and insurance as an integrated service.
（参照：Fine Art Logistics and Storage | Terrada Art Assist）

Damage, Theft, and Deterioration — Establishing Liability

How liability is allocated in the event of damage, theft, or deterioration is determined by the contract. The standard points of discussion are:

• Normal wear and tear: Gradual deterioration from extended display is generally outside the client’s liability — but if the definition is left vague, disputes are more likely. Get the boundary in writing before signing.
• Accidental loss: For events outside the client’s control — earthquake, flooding, accidental falls — confirm in advance whether insurance covers these scenarios or whether they fall under client liability.
• Gross negligence or wilful damage: Damage resulting from clear carelessness or deliberate action by the client is typically the client’s responsibility. The method for calculating compensation — acquisition cost, current market value, independent appraisal — should be explicitly set out in the contract to avoid post-incident disputes.

Contract Checklist — Key Points to Confirm Before Signing

Most of these points can be reviewed before any commitment by simply asking prospective providers to share their standard contract in advance. Build in time to read it properly rather than signing under deadline pressure.

Post-Installation Operations — Managing Kogei in the Space

Bringing craft works into a space is the beginning of the process, not the end. If day-to-day management becomes burdensome for on-site staff, renewal becomes harder to justify. This section sets out a practical operational framework from delivery through to return.

Standard Workflow: Delivery, Installation, Rotation, and Return

1. Initial consultation and briefing: Compile photos and measurements of the installation space, along with the purpose, preferred aesthetic, and budget parameters, and share these with the rental provider.
2. Site assessment and proposal: The provider reviews the space (in person or remotely) and proposes specific works, installation methods, and pricing.
3. Quotation and contract: Once the scope is agreed, the contract is signed. Insurance arrangements, object valuations, and termination conditions should be finalised at this stage.
4. Delivery and installation: A specialist fine art logistics provider delivers the works in purpose-built packaging; installation staff position and mount them. Arrange for a designated staff member to be present throughout.
5. Operational period management: Brief on-site staff on handling protocols and establish a clear incident reporting chain.
6. Rotation (if applicable): For scheduled exchange services, agree the calendar in advance and hold to it.
7. Return and de-installation: At the end of the contract, the provider repacks and collects the works. Condition assessment at this stage should be conducted with representatives from both parties present.

Handling Guidelines for On-Site Staff

A brief, clear set of handling protocols for the team working around the pieces is one of the most effective tools for preventing incidents. Key points to cover:

• Cleaning: Do not touch the objects directly. Remove dust from surrounding surfaces using a soft hand blower or dry mop only. No wet cloths or cleaning products on or near the works.
• Direct contact: Handling with bare hands transfers oils and residue. If a piece must be touched, cotton gloves should be used.
• Climate conditions: Woodwork, lacquerware, and dyed textiles can be sensitive to sharp changes in temperature and humidity. Avoid positioning them in direct airflow from HVAC systems.
• Incident reporting: If a crack, discolouration, or fall is noticed, staff should not attempt to address it independently. The matter should go immediately to the designated contact, who alerts the rental provider.

A single A4 sheet covering these points, laminated and posted in the back-of-house area, is often enough to materially change how staff engage with the pieces day to day.

Measuring the Impact

Having some basis for evaluating the installation — beyond a general sense of whether it worked — makes renewal decisions and internal reporting considerably more straightforward.

Qualitative indicators

• Guest, visitor, and staff comments — collected through surveys or noted informally
• Unsolicited photographs and posts on social media
• References to the space in conversations with clients or job candidates

Quantitative indicators

• Guest satisfaction scores (for hotels, review platform ratings can serve as a proxy)
• Dwell time near the display (where camera-based measurement is available)
• Downstream effects on enquiries or conversions in event and retail contexts where attribution is traceable

Where precise measurement isn’t practicable, recording the responsible person’s assessment alongside a clear renewal intention provides enough of a paper trail to support the next budget or approval cycle.

Preparing for an Enquiry — What to Have Ready Before You Make Contact

The clearer the brief you bring to an initial conversation, the faster that conversation can move to practical specifics. Here is a summary of what is useful to have prepared.

Five Things to Clarify Before Your First Enquiry

Evaluating Providers — What to Look For

• Transparency about the works and their makers: Artist name, regional origin, and production context should be clearly available for any piece on offer
• Insurance arrangements: Coverage status for transport and display, and a clear process for handling damage incidents
• Installation track record: Documented experience with commercial installations and the capacity to provide on-site support
• Contract clarity: A written contract that addresses valuation, early termination, and image use rights — available for review before any commitment is made
• Ongoing support: Capacity to manage scheduled rotations, maintenance needs, and emergency contact situations
• Flexibility in selection: Whether the provider can make tailored recommendations based on your space, brief, and tone

The quality of a provider’s responses to initial questions — their pace, specificity, and willingness to share documentation before a contract is on the table — is itself a useful signal.

Enquiries to Kogei Japonica | Consultation for Corporate Craft Integration

Kogei Japonica accepts enquiries, quotation requests, and document requests from corporate contacts. For questions about introducing kogei into your space, or about working with us on a collaborative project, please use the contact form below.

en.kogei-japonica.com

Contact Us

https://en.kogei-japonica.com/contact/

This form is for inquiries only. Sales-related messages will not receive a response. Thank you for your understanding.

Summary

Kogei rental is a practically grounded option for organisations that want to bring craft works into their spaces without the commitments of ownership. The specific priorities vary by use case, but addressing the three core areas — pricing, insurance, and operational management — in advance gives any internal approval process a solid foundation.

Starting with a rental trial rather than a purchase is not a sign of hesitation. If anything, it is the more considered approach: how a piece sits in a particular space is something that often only becomes clear once it is there. Rental makes that discovery possible without the associated financial risk.

The April 2026 launch of ARTerrace RENT as a PoC is a concrete indicator that this market is in active development. We will be watching how the broader circulation of kogei through rental and related models develops from here.

If you are at the evaluation stage — whether you are working on a spatial brief or building the case internally — the most useful next step is usually a conversation. Bring what you have: the space, the direction, and a rough sense of timing. That is enough to begin a practical conversation.

The post Japanese Craft Rental for Hotels & Offices: A Practical B2B Guide first appeared on Kogei Japonica.

• A new lens on craft: the material suppliers
  The heads of two Kyoto dye and lacquer houses — rarely in the public eye — share their practical knowledge and the realities of the workshop floor.
• Craft materials and sustainability
  The conversation spans urushi, a natural material with a history going back roughly 10,000 years, and the next-generation efforts — including lacquer tree planting initiatives — being made to carry it forward.
• Kimono discount for attendees
  The event takes place on Sunday, March 29, 2026, at Kyoto Rekisaikan. Guests who arrive in kimono receive a ¥100 discount on the ¥500 admission fee.

Why Craft Materials Are Worth a Closer Look

When people think of Kyoto’s traditional crafts, the finished works tend to come to mind first — Nishijin textiles, Kyoto lacquerware, and the like. But the beauty of those objects does not rest on the artisan’s skill alone. It depends equally on the people who supply the materials that make that skill possible.

Kyoto has long been a place where makers of all kinds converge: professional craftspeople, independent artists, and students learning their trades. Underpinning that ecosystem are the material suppliers — businesses that have kept quality raw materials in steady supply across generations. Looking at craft through the lens of its materials, rather than its finished forms, brings into focus a set of knowledge and practical ingenuity that rarely makes it into public view.

This lecture offers exactly that vantage point: a chance to understand craft through the perspective of the specialists who support it at the level of materials.

Two Long-Established Suppliers, Two Deep Material Traditions

The event brings together the heads of two Kyoto material houses, each working with a distinct traditional material. Both will speak about their histories and the current state of their respective fields.

Tanaka Nao and Natural Dye — Founded 1733

Kusaki-zome — botanical dyeing using plant-based sources — is far more than a method for adding color to fiber. It is a coherent system of knowledge rooted in the properties of plant materials. Takasuke Tanaka has been active in bringing these traditional practices into dialogue with contemporary culture and everyday life, and this lecture is an opportunity to hear directly about that work.

Tsutsumi Urushi and Japanese Lacquer — Established 1909

Urushi — Japan’s native lacquer, derived from the sap of the urushi tree — has a history of use going back roughly 10,000 years. It is a natural material of exceptional durability, and one that is drawing renewed interest for its sustainability profile. Takuya Tsutsumi approaches urushi not only as a traditional craft material but as something with applications well beyond its conventional contexts. He has also been involved in efforts to expand the cultivation of urushi trees, working toward a more stable domestic supply.

What the Talk Will Cover: The View From the Supply Side

What makes this lecture distinct is its perspective. The speakers are not artists or makers in the conventional sense — they are the people who keep makers supplied. That position gives them a particular view of the craft world and the practical adjustments that often go unnoticed in the finished work.

The conversation will address how material suppliers respond to shifting demand and changes in natural material yields while maintaining consistent quality. It will also cover the ongoing dialogue between suppliers and the craftspeople they serve, and how material needs are identified and met. For anyone with a serious interest in how craft actually functions in practice, the supplier’s perspective is one that rarely gets this kind of direct attention.

Event Details and How to Register

The event is ticketed and operates on a first-come, first-served basis. Registration closes the day before the event, so early sign-up is recommended.

Date, Venue, and Access

• Date and Time: Sunday, March 29, 2026, 2:00–3:30 PM (doors open at 1:00 PM)
• Venue: Kyoto Rekisaikan (Kyoto Prefectural Library and Archives), Main Hall
• Access: Approximately 4 minutes’ walk south of Kitayama Station on the Kyoto Municipal Subway, or approximately 5 minutes’ walk north of the “Prefectural University (Kitaoji-dori)” stop on the Kyoto City Bus
• Parking: Coin parking is available on site

Registration and Kimono Discount

• Capacity: 480 seats (advance registration required, first-come, first-served)
• Admission: ¥500, payable on the day by cash or PayPay
• Kimono discount: Guests who arrive in kimono receive ¥100 off the admission fee
• Registration deadline: Saturday, March 28, 2026, at 5:00 PM (or when capacity is reached)
• How to register: Via the online registration form on the Kyoto Rekisaikan event page, or by phone at 075-723-4831 (available 9:00 AM–5:00 PM)
• Kyoto Rekisaikan Event Page

From the Editors

Looking beyond the finished object to the materials behind it opens up another way of understanding craft. This lecture offers a chance to hear directly from two people whose work supports that process.

Whether you are a craft enthusiast, a designer with an interest in traditional materials, or simply curious about how Japan’s material culture is sustained, this talk should be well worth your time. Late March in Kyoto is also a pleasant season to visit. The Kogei Japonica editorial team will be following the session closely.

The post Kyoto Craft Materials: Urushi and Natural Dye Talk first appeared on Kogei Japonica.

Minoru Kitani, CEO of ÇAETLA Inc., which has supported sewing culture in Okayama for over half a century, and Rei Sato, Founder of EBRU Inc., who has co-created new products with Japanese craftspeople and artists, came together for this exchange. The meeting between these two companies was not merely by chance but rather a dialogue realized through the need to “re-examine the essence of craftsmanship.”

Editor-in-Chief of Kogei Japonica, Seiichi Sato, also joined the discussion.

The conversation delved into a wide range of themes, including technical succession, human resources and education, the role of design, product longevity, and potential expansion into the medical field.

Company Introductions: Their Journeys and Philosophies

ÇAETLA — A Lineage of Handcraft Pursuing “The Aesthetics of What We Wear”

ÇAETLA Inc. was founded in 1974 and has evolved as a women’s clothing manufacturer centered on nightwear and lingerie. With Japanese handcraft techniques such as brush dyeing, lacework, and decorative motifs at its core, the company continues to uphold its distinctive philosophy of “delivering clothing as works of art.”

Minoru Kitani:
“Since our founding, we have never held a single sale. We want our products to be works of art that are cherished for a long time, not commodities to be discounted.”

By maintaining a domestically integrated production system and creating small quantities over time, they imbue their products with unique textures and techniques.

en.kogei-japonica.com

​ÇAETLA

https://en.kogei-japonica.com/companies/caetla/

"ÇAETLA" is a company born to create beautiful thingsSince ÇAETLA started as a nightwear and lingerie manufacturer in 1974, we have been committed to our fundamental philosophy of "bringing women's dreams to life." We consistently capture current trends and pursue product development with an unwavering focus on luxury materials and craftsmanship quality.With the delicate sensibility

EBRU — A Brand Creating New Expression Through “Art × Craftspeople × Sound”

EBRU Inc. creates fashion, jewelry, and audio devices through collaboration with traditional materials, techniques, and craftspeople. Their signature product **EARMIND** elevates earphones into works of art through lacquer, marbling techniques, and other crafts.

Rei Sato:
“Fashion and craftsmanship are not separate entities but rather part of a broader cultural system that supports Japanese craft.”

By wearing art pieces, they strive to infuse daily life with aesthetic sensibility and bridge the spiritual distance between makers and users.

en.kogei-japonica.com

​EBRU

https://en.kogei-japonica.com/companies/ebru/

Creating Businesses Together with Craft Artists​EBRU Inc. is run by three women who graduated from the Department of Crafts at Kanazawa College of Art.Since their university days, they have worked together as the art unit “EbRu,” creating works that incorporate a variety of craft techniques. After graduation, they each pursued different paths—further study or careers

Background of Their Meeting — Exhibition as an “Entry Point of Resonance”

Minoru Kitani:
“I felt that craftsmanship was being elevated into fashion and art, and I was deeply impressed by how craftspeople were being engaged.”

The decline of skilled sewing personnel, difficulties in technical succession, and exhaustion of regional manufacturing—both companies recognized these shared challenges, leading to this dialogue.

The Core of Craftsmanship — Technique, Dialogue, and Spirituality

The “Spirit of Each Piece” That ÇAETLA Continues to Protect

ÇAETLA has a rare system in which everything from design to cutting to sewing is completed in-house. This structure maximizes the depth of dialogue with craftspeople.

Minoru Kitani:
“Because designers sew themselves, their intent is conveyed and the final quality is preserved.”

The company treats its products as artistic garments and upholds a philosophy of long-term ownership.

EBRU’s Proposition of “Wearable Craftsmanship”

The development of EARMIND was an effort to treat earphones like cultural artifacts.

Rei Sato:
“While considering their internal structure, we kept thinking about what expression should appear externally, visible on the ear.”

The brand’s promotional video featured dancers from Kanazawa and artists from art universities, with even the music created by hand.
This was not merely a product introduction but a transmission of cultural content.

Technique and Dialogue — Creation That Transcends Generations and Fields

Both parties agreed on the importance of designers and craftspeople being physically present in the same space and overcoming barriers together.

Rei Sato:
“By conversing on-site, hearts open and we can reach the same perspective.”

Minoru Kitani:
“EBRU’s initiatives are revealing new pathways for craftspeople.”

The Social Issue of “Craftsperson Shortage” and Educational Challenges

The most intense theme in the discussion was the need to expand opportunities for craftsmanship education.

Kitani conducts workshops and classes in Okayama, engaging directly with educational settings.

Minoru Kitani:
“Children’s eyes light up just by touching lace. Opportunities to actually touch things are truly decreasing.”

Rei Sato also teaches experiential classes on color and materials for children from preschool to high school age.

In Japan, where shortages of technical personnel and stagnation of succession are accelerating, this field will only grow more important.

New Future Visions Emerging from the Discussion

As the dialogue deepened, multiple future possibilities emerged.

Application to Medical Device Fields Such as Hearing Aids

Minoru Kitani:
“Just as eyeglasses were transformed through design, I feel there is potential to transform hearing aids as well.”

Rei Sato:
“We’ve attempted this before, but the barrier of medical approval is high, and entry requires time and capital.”

Development into Cultural Assets Through Repair and Remake

Rei Sato spoke about the value that objects gain when they inspire us to repair and continue using them even when broken.

Kitani agreed and introduced an example where ÇAETLA clothing was remade from a child’s baby dress into a wedding dress.
He emphasized that “the product accompanies people’s lives.”

The Narrative of Craftsmanship

Editor-in-Chief of Kogei Japonica, Seiichi Sato, spoke about the importance of widely sharing such real dialogues with the world.

Seiichi Sato:
“I feel that the background and philosophy discussed today themselves become important content that deepens the value of products. By conveying that narrative, users can engage with meaning and context, enriching their understanding and attachment.”

Facing Reality — Hurdles Are Also a Source of Creation

The gap with mass production, barriers to entry in the medical field, and the complexity of dialogue with craftspeople— These challenges are simultaneously “entry points for culture-shifting innovation.”

ÇAETLA has refused mass production for over half a century.
EBRU continues to bring artistic endeavors to the market.

The stance of both companies symbolizes continuous challenge not as problem-solving but as “cultural creation.”

Conclusion: The Future of Craftsmanship Is Created Through “Dialogue”

This dialogue was not simply an exchange of opinions between companies. It was the sharing of values and a conversation itself aimed at creating culture.

When we look at clothing, accessories, and earphones, beyond “function,” they embody:

• The lives of makers
• Aesthetic sensibility
• Technique
• Narrative

The future envisioned by ÇAETLA Inc. and EBRU Inc. is one of redefining technology, education, and culture.
How this movement will manifest in the world—
Kogei Japonica will continue to follow it.

The post Craftsmanship Meets Fashion and Technology—A Dialogue Between ÇAETLA Inc. and EBRU Inc. first appeared on Kogei Japonica.

Features of This Event

• Fusion of Gold Leaf and Calligraphy: Japan’s only experience of writing characters in ink on edge-attached gold leaf
• Traditional Craftsman × Young Calligrapher: Cross-generational collaboration between a 4th-generation Kyoto artisan and a 23-year-old emerging calligrapher
• Held Inside Kiyomizudera Temple’s Daishi Hall: Special workshop at a historic temple in Fujieda, Shizuoka
• Perfect for New Year Preparations: A special year-end project to shape your aspirations for 2025
• Completed Works Delivered: Professionally finished pieces sent to you later

Event Overview | Schedule, Pricing, and Reservation Details

[Part 1] Gold Leaf Application Workshop | December 21, 2025 (Sunday)

Schedule

– Morning Session: 10:00-12:30 (Capacity: 7 people)
– Afternoon Session: 14:00-16:30 (Capacity: 8 people)

Workshop Content

– Create 1 incense box (kogo)
– Create 1 business card tray
– Instruction in edge-attached gold leaf application techniques

Instructor

Hisashi Itsuaki (4th Generation, Gomei Gold Leaf Crafts, Kyoto)

[Part 2] Calligraphy Workshop | January 11, 2026 (Sunday)

Schedule

– Morning Session: 10:00-12:30 (Capacity: 7 people)
– Afternoon Session: 14:00-16:30 (Capacity: 8 people)
– ※Other dates available upon request

Workshop Content

– Write New Year’s aspirations (kigo) on the gold leaf-covered business card tray
– Instruction from basic to advanced calligraphy techniques
– Final finishing and processing (shipped at a later date)

Instructor

Seiya Abe (Syujidokoro Kohyou, Kohyou)

Venue, Participation Fee, and Reservation Method

Venue

Fujieda Otowasan Kiyomizudera Temple (6-1 Hara, Fujieda City, Shizuoka Prefecture)
※This event is not hosted by the temple. Please refrain from contacting Kiyomizudera directly

Participation Fee

¥20,000 (tax included)
※Attendance at both the gold leaf workshop and calligraphy workshop is mandatory

Capacity

Limited to first 15 participants, fully reserved

Reservation Method

Pre-registration via the reservation form at the bottom of the page (details will be sent by email)

Special Benefits

Gold leaf craft items will also be available for sale on the day of the gold leaf workshop
※Kiyomizudera will be offering special flower goshuin seals that day

What Makes This Experience Special? | Three Unique Values

1. Handle UNESCO Intangible Cultural Heritage “Edge-Attached Gold Leaf” with Your Own Hands

Gomei Gold Leaf Crafts is a workshop that performs gold, silver, and platinum leaf application and metallic powder finishing, primarily for Kyoto Buddhist altar production, preserving the handmade technique of “edge-attached gold leaf,” which remains only in Japan worldwide.

Edge-attached gold leaf is the highest quality gold leaf, beaten to an extreme thinness of about 1/10,000th of a millimeter. Its manufacturing technique has been recognized as a UNESCO Intangible Cultural Heritage, representing the pinnacle of Kyoto’s traditional crafts.

Normally, this precious gold leaf is handled only by craftsmen, but at this event, all participants can learn the technique of applying gold leaf and challenge themselves to create their own works.

2. Write Characters in Ink on Gold Leaf – A Technique You Can’t Experience Anywhere Else

The fusion of gold leaf and ink represents different traditional techniques. This is not merely a combination, but an extremely challenging endeavor from a technical standpoint.

Gold leaf is extraordinarily delicate and tears with the slightest pressure. Writing characters with a brush on it requires special technique and concentration. This program has been designed with a unique method developed by the 4th-generation traditional craftsman and calligrapher, allowing even beginners to challenge this technique.

The completed work becomes a one-of-a-kind artwork where the brilliance of gold leaf harmonizes with the depth of ink.

3. Experience in the Special Space of Fujieda Otowasan Kiyomizudera Temple

Time spent engaging with traditional techniques in the serene atmosphere of a historic temple. An environment where you can immerse yourself in creating works while clearing your mind, away from daily bustle, offers value unique to this location.
As preparation for welcoming the New Year, you can spend special time confronting yourself and giving form to your resolve for the coming year.

Instructor Profiles | Craftsman Preserving Tradition and Young Calligrapher Pursuing Innovation

Gold Leaf Instruction: Hisashi Itsuaki | 4th Generation, Gomei Gold Leaf Crafts

Profile

– Born in Kyoto City, 62 years old
– Inherited traditional edge-attached gold leaf techniques as 4th generation
– Conducted gold leaf application workshops for 25 years

Major Achievements and Awards

– 2000: Certified as Traditional Craftsman of Kyoto Buddhist Altars
– 2004: Received Minister of Economy, Trade and Industry Award for Encouragement of Traditional Industries
– 2011: Recognized as “Future Master Craftsman” 1st Generation by Kyoto City

Activities

As a successor to the “edge-attached gold leaf” technique recognized as UNESCO Intangible Cultural Heritage, he dedicates himself to preserving traditional techniques through Buddhist altar production, creating works using gold leaf, and conducting workshops.

With a desire to convey the extreme thinness and beauty of edge-attached gold leaf to many people through actual experience, he has continued workshops for a quarter century. He has a reputation for providing careful instruction to each participant and making the depth of traditional techniques easy to understand.

Official Website: [Kyoto Gomei Gold Leaf Crafts](https://www.gomei.ne.jp/)

Calligraphy Instruction: Seiya Abe | Director, Syujidokoro Kohyou

Profile

– 23-year-old calligrapher
– Artistic name: Kohyou
– Operates calligraphy school “Syujidokoro Kohyou” inside Kiyomizudera Temple’s Daishi Hall

Qualifications and Achievements

– Acquired Level 1 Penmanship Proficiency Test sponsored by the Ministry of Education, Culture, Sports, Science and Technology
– Holds calligraphy instructor qualification
– Numerous collaboration achievements across industries and fields

Activity Philosophy

With the motto “While preserving tradition, pursue challenges beyond convention,” he explores new possibilities in calligraphy. To convey the appeal of calligraphy to younger generations, he develops innovative activities including social media outreach and collaborations with different industries.

While operating a calligraphy school in the historic location of Fujieda Otowasan Kiyomizudera Temple, he continues exploring ways to utilize traditional techniques in modern contexts.

Official Website: [Syujidokoro Kohyou](https://syujidokorokohyou.hp.peraichi.com/seiya1030)
Instagram: [@__seiya1030__](https://www.instagram.com/__seiya1030__/)

Workshop Process | Special Works Completed Over 2 Days

Day 1 [December 21] Gold Leaf Application Experience

Duration: 2 hours 30 minutes

1. Explanation of Gold Leaf and Edge-Attachment Technique (20 minutes)

– What is UNESCO Intangible Cultural Heritage “edge-attached gold leaf”
– History and manufacturing methods of gold leaf
– Role of gold leaf in Kyoto Buddhist altars

2. Tool Usage Lecture (20 minutes)

– Explanation of tools needed for gold leaf application
– Demonstration of basic techniques
– Safe handling methods

3. Creating Incense Box (Kogo) (60 minutes)

– Preparing the base
– Practical application of gold leaf carefully
– Finishing and polishing

4. Creating Business Card Tray (60 minutes)

– Gold leaf application technique on flat surfaces
– Challenging more delicate finishing
– Confirming completed work

Created Items

– 1 incense box (approximately 9cm × 9cm)
– 1 business card tray (approximately 20cm × 12cm)

※The business card tray will be used in Part 2 calligraphy workshop

Day 2 [January 11] Calligraphy Experience

Duration: 2 hours 30 minutes

1. Calligraphy Basics Lecture (30 minutes)

– How to hold the brush and proper posture
– Drawing basic lines
– Special techniques for writing on gold leaf

2. Contemplating New Year’s Aspirations (20 minutes)

– Putting thoughts for 2026 into words
– Expressing with one character or a short phrase
– Discussion with instructor

3. Practice (40 minutes)

– Practice on plain paper
– Balance and composition of characters
– Preparation for writing on gold leaf

4. Final Work (40 minutes)

– Writing (kigo) on the gold leaf-covered business card tray
– Concentrating and pouring heart into each stroke
– Final check by instructor

5. Finishing Explanation (20 minutes)

– Explanation of subsequent processing procedures
– Work handling and maintenance methods
– Confirmation of shipping schedule

After Completion

The instructor will make fine adjustments and process the work, carefully packaging and sending it to you in 1-2 weeks.

Background to This Event | Crystallization of Cross-Generational Spirit

62 and 23 Years Old — Significance of Cross-Generational Collaboration

This event is an unusual collaboration between Hisashi Itsuaki (62 years old), a 4th-generation traditional craftsman active in Kyoto, and Seiya Abe (23 years old), a calligrapher based in Fujieda, Shizuoka, bridging a 39-year age gap.

Hisashi Itsuaki

“Traditional techniques have value only when people use them. I want more people to experience the beauty of gold leaf.”

Having continued workshops for a quarter century, Hisashi Itsuaki emphasizes the importance of not just “preserving” tradition but “conveying” it.

Seiya Abe

“Calligraphy is not rigid. New appeal emerges when free expression merges with traditional techniques.”

Seiya Abe continues various challenges to convey the enjoyment of calligraphy to younger generations. This collaboration represents his passion taking form.

Common Mission to “Connect Tradition to the Future”

The two, different in generation and activity base, connected through their common mission to “connect tradition to the future.”

This event is not merely a workshop. It is a new attempt to pass Japanese traditional culture to the next generation.

Participant Testimonials | From Past Workshops

Gold Leaf Application Workshop Participants

• “I was amazed at how thin the gold leaf was. You must handle it carefully or it tears, but that’s what makes it interesting. The sense of accomplishment upon completion is exceptional.” (Woman in her 40s)
• “Hisashi Itsuaki’s explanations were easy to understand, and even as a first-timer, I finished beautifully. I’m happy to experience Kyoto’s traditional techniques in Shizuoka.” (Man in his 30s)

Calligraphy Workshop Participants

• “I was drawn in by Mr. Abe’s youth and enthusiasm. I thought calligraphy would be difficult, but I learned enjoyably.” (Woman in her 20s)
• “The time spent concentrating on writing characters in the quiet space of Kiyomizudera was pleasant. I have the completed work displayed in my room.” (Man in his 50s)

Frequently Asked Questions | FAQ

Q1. Can beginners participate?

A. Yes, beginners are very welcome. Both gold leaf application and calligraphy will be taught carefully from the basics, so even those without experience can participate with confidence.

Q2. Is participation on both days mandatory?

A. Yes, this event requires participation on both December 21 for the gold leaf workshop and January 11 for the calligraphy workshop.

Q3. Can children participate?

A. Children in upper elementary school grades and above can participate. However, since gold leaf is an extremely delicate material, we request accompaniment by a guardian.

Q4. When will the work arrive?

A. After the January 11 calligraphy workshop concludes, the instructor will process it and ship it to your home in 1-2 weeks.

Q5. Do I need to bring anything?

A. No special items are needed. Please come in clothing that can get dirty. Aprons and other items will be provided at the venue.

Q6. Is parking available?

A. Parking space is available at Kiyomizudera. Details will be provided upon reservation.

Q7. Is cancellation possible?

A. Cancellation is free up to 7 days before the event date. After that, cancellation fees may apply due to material preparation.

Welcome 2025 with a Special Work

As you welcome the new year, why not give form to your resolve and wishes?

The brilliance of gold leaf symbolizes hope and possibility.
The black of ink expresses resolve and sincerity.

The work fusing these two will become a special presence that supports and encourages your new challenges in 2025.

A special winter-only experience taught wholeheartedly by a traditional craftsman and young calligrapher.
Spend a one-of-a-kind time at Fujieda Otowasan Kiyomizudera Temple in Fujieda, Shizuoka.

Registration and Inquiries

Capacity: Limited to first 15 participants
Deadline: Closes when capacity is reached

Fully reserved. Please enter the required information in the reservation form below and submit. We will send you details in return.

[IMPORTANT INFORMATION]
– The participation fee of ¥20,000 (tax included) is for both days
– Participation on both days—gold leaf workshop (December 21) and calligraphy workshop (January 11)—is mandatory
– Single-day only applications are not accepted

Event Organizers and Collaborators

Organizer: Syujidokoro Kohyou (Seiya Abe)
Collaboration: Gomei Gold Leaf Crafts (Hisashi Itsuaki)
Venue Provider: Inside Kiyomizudera Temple’s Daishi Hall

※This event is not hosted by the temple

Access | Directions to Fujieda Otowasan Kiyomizudera Temple

Address: 6-1 Hara, Fujieda City, Shizuoka Prefecture 426-0086

By Car:
– Approximately 15 minutes from Shin-Tomei Expressway “Fujieda-Okabe IC”
– Parking available (details provided upon reservation)

By Public Transportation:
– Approximately 15 minutes by taxi from JR Fujieda Station
– Route buses also available (please inquire for details)

Registration Form

*Subject: Please select “Gold Leaf Application Experience × Calligraphy Workshop Registration”
[contact-form-7]

The post [Shizuoka Fujieda / Limited to First 15 Participants] Gold Leaf Application Experience (Hisashi Itsuaki) × Calligraphy Workshop (Syujidokoro Kohyou) | A Collaborative Workshop Between a Traditional Craftsman and a Young Calligrapher first appeared on Kogei Japonica.

Japanese traditional culture is infused with techniques and spirit that have been passed down for hundreds of years.
It’s not merely tourism or entertainment, but a “living culture” imbued with the souls of craftsmen.
The moment of restoring a vessel with kintsugi, the process of carving wood to create chopsticks, and the experience of walking with your own feet on the path traveled by Edo-period travelers—all of these serve as gateways to understanding Japanese aesthetics and philosophy through your body.
In this article, we’ll introduce three premium cultural experiences: the kintsugi experience at Kyoto’s long-established lacquerware shop “Shikata Kizou Lacquerware Shop,” the woodworking experience at Tokyo’s Kuramae-based “Mogami Kogei,” and hiking the Old Tokaido Highway in Hakone.
What these share in common is respect for craftsmanship, the essence of monozukuri (craftsmanship), and Japanese aesthetics represented by “wabi-sabi.” We invite you on a journey where you can truly understand the depths of Japanese culture not just by observing, but by creating with your own hands, walking, and feeling.

First Experience: Kintsugi at Kyoto’s “Shikata Kizou Lacquerware Shop”

Established in 1867: A Long-Standing Lacquerware Shop Where Artisan Culture Thrives

Located in Kyoto’s Shijo Kawaramachi, “Shikata Kizou Lacquerware Shop” is a lacquer specialty store established in 1867 (Keio 3) at the end of the Edo period. For over 150 years, it has inherited all techniques related to lacquer, from refining and selling lacquer to creating lacquerware and kintsugi restoration.
What makes this long-established shop special is that it doesn’t just sell lacquer—it refines sap collected from lacquer trees, creates lacquerware, and is highly regarded for its kintsugi technique that breathes new life into damaged vessels.
Lacquer is called “lacquer” in English and is a natural coating refined from sap collected from lacquer trees. Since ancient times in Japan, lacquerware has been highly valued for its beautiful luster and durability. While Shikata Kizou Lacquerware Shop continues to protect this tradition, it also devotes energy to activities that convey the culture of kintsugi to those of us living in the present day.

Experience kintsugi at Kyoto’s long-established lacquerware shop “Shikata Kizou Lacquerware Shop” here

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Kintsugi Experience at Shikata Urushi, A Centuries-Old Japanese-Urushi Shop i...

https://wabunka-lux.jp/experiences/en_shikata-kizou/?ref=afazaxes

Kintsugi is the art of repairing broken ceramics through the application of urushi lacquer mixed with metallic powder su

What is Kintsugi: Japanese Aesthetics That Transform Damage into Beauty

Kintsugi is a traditional technique for repairing broken or chipped ceramics using lacquer and metal powder.
In recent years, it has attracted attention overseas as “kintsugi,” with its background rooted in the uniquely Japanese aesthetic of “wabi-sabi.” Rather than seeking perfection, it accepts and even celebrates imperfection and damage as beauty—kintsugi is a technique that truly embodies this philosophy.
Interestingly, while the name “kintsugi” contains the character for “gold,” in reality, not only gold but also metal powders such as brass, tin, and silver can be used. The main player is always lacquer, with metal powder added as a finishing touch to the repair.

Experience Details: Learning Two Techniques

At the kintsugi experience at Shikata Kizou Lacquerware Shop, you’ll learn two major techniques from skilled craftsmen: “ware” (breakage) and “hibi” (cracks).

• In the ware technique, you bond scattered fragments together with special resin (a mixture of base material and hardener) to reunite them. If the two materials aren’t mixed thoroughly, curing failure will occur, so thorough mixing is necessary. This work requires caution and concentration.
• The hibi technique repairs fine cracks by carefully painting lacquer along the cracks with a brush. The trick in this process is to hold your breath and move the brush slowly.

First, you select the ceramic to repair. Vessels with different colors, shapes, and types of damage are lined up, and you pick them up with your own hands to examine them while imagining the finished product. As a special option, you can also upgrade to Kyoto-specific Kiyomizu-yaki. This exquisite pottery historically made around Kiyomizu Temple is known as a masterpiece of Kyoto’s traditional crafts.
Since you use real lacquer in the experience, wearing gloves is mandatory. Lacquer can cause inflammation if it touches the skin. After you finish painting lacquer in all the cracks, you polish it with silk floss. Additionally, you can use Shikata Kizou Lacquerware Shop’s unique vibrant colored lacquer or choose gold or silver powder for an additional fee.

Value After the Experience: Breathing New Life into Vessels

When the work is finished, take a break with coffee served in a lacquered cup.
While feeling its lustrous beauty and smooth texture in your hands, you can reflect on the vessel you just repaired.
The true value of this experience lies not merely in learning the technique. It’s about encountering the cultural value of not discarding broken things, but repairing and continuing to use them.
Through kintsugi, we gain an opportunity to reconsider our very relationship with objects. In the past, many towns had kintsugi craftsmen who repaired people’s daily items.
In our modern age where sustainability is valued, incorporating the philosophy and technique of kintsugi into daily life can be said to be extremely meaningful.
The craftsmen at Shikata Kizou Lacquerware Shop emphasize that kintsugi is not only for art pieces or antiques. Any vessel you have attachment to is worth repairing.

Participant Testimonials

• “During the drying time, I could ask questions and hear explanations, so I was able to spend the time without feeling bored” (Kyoto Prefecture, woman in her 50s)
• “I was attracted by the fact that I could experience kintsugi for both chips and breaks. It turned into a work with originality and became a good memory” (Osaka Prefecture, woman in her 40s)
• “It was also good that I could change to Kiyomizu-yaki as an option. The coffee in between was also very delicious” (Osaka Prefecture, woman in her 50s)

Second Experience: Woodworking Experience at Tokyo’s “Mogami Kogei”

Established in 1912: Preserving the Tradition of Edo Sashimono

Tokyo’s Kuramae is a charming neighborhood where traditional craftsmen and cutting-edge creators coexist—a place where old meets new. Established in 1912 (Taisho 1) in this area, “Mogami Kogei” has preserved the techniques of Edo sashimono for over 110 years.
The third-generation master, Yutaka Mogami, is one of only about ten traditional craftsmen of Edo sashimono remaining in Japan. In the showroom “Mokume-an,” masterpieces that incorporate traditional beauty into modern life are displayed, including elegant tansu chests and chic vases. You can also see innovative works such as wooden bags and neckties that debuted at Paris Collections.

Experience woodworking at Mogami Kogei to create your own chopsticks – in a paulownia box here

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Woodworking Your Own Chopsticks at Mogami Kogei – with Paulownia Box

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Founded in 1912, the Mogami Kogei workshop boasts 110 years of Edo sashimono woodworking history. Here in Tokyo’s Kurama

What is Edo Sashimono: Beauty That Dwells in the Invisible

The word “sashimono” derives from “fitting wood together” or “making things using a ruler.”
During the Edo period, furniture such as tansu chests, shelves, and desks were made for the upper classes, including samurai and merchants. Traditional dressing tables and cosmetic boxes still used in kabuki dressing rooms are also a form of Edo sashimono known as “Narien sashimono.”
The characteristic of Edo sashimono is its minimalism. Its essence lies in bringing out the natural beauty of wood grain.
Joints using tenons and mortises appear delicate yet are extremely sturdy. This apparent simplicity permeates the entire art—the more you learn, the deeper it becomes and the more impressive the work.

Experience Details: The Path to Craftsmanship Begins with Chopstick Making

The workshop of a sashimono craftsman, filled with the scent of wood and oil, is a special space not usually open to the public, lined with specialized tools such as kanna (planes), nokogiri (saws), and nomi (chisels). You step into this secret world and begin with chopstick making, just as all apprentices of Japanese sashimono learn from their masters.

The Importance of Wood Selection

The work of a sashimono craftsman begins with selecting wood. Hardwoods such as maple, ash, and oak have tightly packed grain, making them hard and durable.
Softwoods such as hiba and hinoki tend to be softer. Feel the texture and smell of the wood yourself, and examine the color and grain up close. Make your chopsticks with wood that suits your preferences.

The Carving Process Using Kanna

Once you’ve selected your wood, you repeatedly plane it to shape it into a comfortable grip.
You gradually shave the corners of the square wood evenly bit by bit, approaching roundness through regular octagon, then regular hexadecagon. You adjust the direction of planing and the kanna according to the grain. This process is by no means easy, and through the experience, you’ll gain a new appreciation for the wonder of craftsmanship.
The workshop has over 100 hand planes of various sizes, each used according to the specific wood and purpose.
Wood is transformed in color and luster through sandpaper and oil finishing. Edo sashimono is an art where one craftsman handles all processes from beginning to end, not a team with division of labor. Because the craftsman’s soul dwells in the work, your chopsticks become truly yours in the deepest sense.

The Joy of Taking Home: Finished Product in a Paulownia Box and Sustainability

The chopsticks you made for yourself, with your own hands, are perfectly suited to you in both ease of use and beauty. Take them home in a craftsman-made sashimono box created from the finest Aizu paulownia wood. The memory of this experience and your new understanding of craftsmanship will brighten your days each time you use them.
As an option, you can also have Edo-moji calligraphy carved into the chopstick box (paid, reservation required 10 days in advance). Edo-moji, characterized by thick, powerful lines, has been considered an auspicious symbol since the Edo period (1603-1868). A personalized box adorned with this traditional Japanese design becomes a unique keepsake.

Durability is Sustainability

One of the charms of custom-made Edo sashimono is its durability and longevity.
Even after a lifetime of use, by shaving the soiled surface and reapplying oil or lacquer, it can be reborn as a century-old family treasure that can be passed down to your grandchildren’s generation. In our modern age where sustainability attracts attention and we’re rediscovering the importance of humans living in balance with the environment, this old-fashioned technique is more important than ever.

The Value of Meeting Craftsman Yutaka Mogami

Mogami Kogei boasts 110 years of Edo sashimono history since its establishment in 1912.
Third-generation master Yutaka Mogami is an expert in traditional joinery techniques passed down since the Edo period (1603-1868).
Specializing in sashimono works for modern homes, his forms and functions have been praised and won numerous awards both domestically and internationally.

Participant Testimonials

• “The work of shaving the corners of the square wood with a kanna was fun. Finishing it evenly and roundly was difficult, and I realized how amazing the craftsman’s skills are” (Tokyo, woman in her 40s)
• “Before going, I was nervous about being taught directly by a craftsman, but I was able to enjoy the experience” (Tokyo, woman in her 40s)
• “The work of shaving and shaping the wood with a kanna was difficult but very enjoyable. I was also healed by the good scent of wood from the shavings” (Kanagawa Prefecture, woman in her 50s)

Third Experience: Hakone “Old Tokaido Highway Hiking”

Historical Significance of the Old Tokaido Highway and Hakone’s Position

Traveling between Tokyo and Kyoto today is a journey of just 2 hours by shinkansen.
However, for hundreds of years, this journey was an arduous one requiring at least 2 weeks on foot. The Old Tokaido Highway played a special role in Japanese history as an important road connecting Edo (present-day Tokyo) and Kyoto.
In this unique Hakone experience, you’ll walk “Hakone Hachiri,” one of the best-preserved sections of the Old Tokaido Highway, together with a local guide.
On the way to Hakone Pass and the magnificent views of Lake Ashi, by visiting local woodcraft shops, soba and udon restaurants, and the 400-year-old Amasake Chaya, you can feel the long history of travel and hospitality in the Hakone region.

Hike the Old Tokaido Highway to Hakone Pass with a local guide here

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Hike the Old Tokaido Road up to the Hakone Pass with a Local Guide for Specta...

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Traveling between Tokyo and Kyoto these days involves just two hours on the Tokaido shinkansen, but for hundreds of year

Guide Shin Kaneko’s Vision: Deep Love for His Hometown

Shin Kaneko was born and raised in Hakone and later studied abroad at the University of Southern California in America. After graduating, he worked at AEON Co., Ltd. supporting new business development, human resources, education, and management, and from his second year, engaged in management planning at the group headquarters’ strategy department. He later participated in launching a startup company, but his feelings for his hometown were irresistible.
Noticing that many foreign travelers seemed to rush through established tourist routes, he returned to his hometown of Hakone at age 30 and established “Explore Hakone” in 2015 to provide opportunities for genuine interaction with local people so visitors could build deeper connections with Hakone’s history, culture, and nature.
As an experienced certified trekking guide, Kaneko believed that by walking part of the ancient Hakone Hachiri, he could make the region’s history of travel and hospitality more tangible for guests.
“I’m impressed by how knowledgeable people from around the world are about Japanese history,” he explains.
“However, reading about the Old Tokaido Highway in history books is completely different from actually feeling the elements in that place. Hearing birds sing in the trees, the sound of wind passing through leaves, climbing the slope with determination step by step—you feel what people of the past felt.”
While Kaneko and his fellow guides recommend that all guests try walking at least part of the Hakone Hachiri path, they also have options available for different experience and fitness levels. Using buses or private cars by advance reservation (additional fee) is also possible.

Experience Details: The Path Where History and Nature Intersect

A Journey Beginning with an Encounter with Traditional Crafts

The journey begins with hiking along the beautiful Sukukawa River.
To start the day while feeling regional culture, you first visit “Hatajuku Yosegi Kaikan” to learn about the local woodworking tradition known as Yosegi Zaiku. Hakone’s unique yosegi zaiku combines fragments of wood from various trees with different grains and colors to create intricate patchwork patterns that decorate boxes, cups, dishes, and other attractive objects.

Local Flavors: Lunch at a Soba and Udon Restaurant

Since travelers on the Old Tokaido Highway often spent more than 2 weeks on the road, they tended to welcome occasional home-style cooking.
Small eateries and tea houses were born at various locations along the route, including Hakone Hachiri. To taste this tradition, you and your guide will have lunch at “Kikuya,” a local restaurant specializing in soba and udon noodle dishes.

Into the Deep Forest: Climbing Hakone Hachiri

Satisfied and enlightened, you and your guide begin the hike climbing the forest-covered hills that lead to Hakone Pass.
Walking slowly, savor the sights and sounds of this secluded natural world, and feel beneath your feet the earth trodden by generations of travelers. Since all of Explore Hakone’s guides are extremely knowledgeable about local history, geography, biology, and culture, feel free to ask questions anytime about whatever interests you most about the region.
As you proceed along the path with your guide, you’ll encounter sections where ishidatami (stone pavement) laid in the late 17th century still remains.
These road works were part of the Tokugawa Shogunate’s efforts to establish Hakone Hachiri as a new section of the Old Tokaido Highway, to better manage movement and trade, and to use the mountains as a natural fortress against possible invasions from the west.

Break at the 400-Year-Old Amasake Chaya

Among the small eateries scattered along the Old Tokaido Highway were modest establishments called “chaya.”
They served tea, light meals, and snacks. Incredibly, one of Hakone’s tea houses established in the early Edo period has survived to this day. With its thatched roof and beautiful wooden architecture, “Amasake Chaya” is a living embodiment of local history, operated by the 13th generation of the same family that has welcomed weary travelers for over 300 years.
In addition to tea and light meals, this historic local establishment is famous for its signature drink, amasake.
Brewed from rice since ancient times using methods similar to sake, amasake is a delicious non-alcoholic beverage with a creamy texture and sweet, revitalizing taste. Amasake Chaya’s amasake is made with the family’s original recipe passed down through generations. It can be enjoyed cold in summer and warm in winter, along with light snacks.

Sense of Achievement and Magnificent Views at Hakone Pass

For centuries, the climb to Hakone Pass was considered the most difficult section of the 2-week Old Tokaido Highway journey from Kyoto to Edo.
When the ground beneath your feet begins to level out and you catch your first glimpse of Lake Ashi’s deep blue waters, think of all the men and women who experienced this moment—captivated by equal parts awe and relief.
The hike continues to the lakeshore, where you stop to view the spectacular sight of Lake Ashi with Mt. Fuji towering in the distance on clear days.
One of the best-preserved sections of the Old Tokaido Highway runs along the lake’s eastern shore. The gravel path is bordered by towering cedar tree-lined avenues planted over 300 years ago under the Tokugawa Shogunate, continuing to provide shade today just as they did for travelers of that time.

Connection with History: Sharing Time with Edo-Period Travelers

As you traverse this impressive section of the Old Tokaido Highway, you approach the old Hakone Sekisho checkpoint that once strictly controlled entry and exit to the Kanto region.
While it may have been a somewhat tense time for Edo-period travelers, for you it becomes the culmination of a day of discovery, exercise, and connection in Hakone.

The Value of Relationships with Local Guides

Having traveled widely and spent years as a guide, Shin Kaneko understands well that the people you meet while traveling leave a lasting impression that complements the places you visit. All guides working at Explore Hakone have deep personal connections to Hakone, either having grown up there or actively choosing to relocate to the region. And since all guides are fluent in English, spending time with them is a wonderful way to gain an insider’s perspective on life in Hakone through casual conversation.

What the Three Experiences Share and Their Significance

The Essence of Monozukuri: Direct Relationships with Craftsmen

There’s something you’ll notice for the first time only after participating in these three experiences. It’s the importance of facing craftsmen directly at the site of monozukuri (craftsmanship).

• At Kyoto’s Shikata Kizou Lacquerware Shop, craftsmen from a long-established shop operating continuously since 1867 provide guidance right beside you.
• At Tokyo’s Mogami Kogei, third-generation master Yutaka Mogami offers hands-on instruction.
• On the Hakone hike, you move together with an experienced guide rooted in the local area.

What these experiences share in common is not merely learning techniques, but directly absorbing through words and body the craftsmen’s “attitude toward monozukuri,” “feelings for their region,” and “approach to tradition.”

The reason participants’ testimonials frequently include comments like “I felt the craftsman’s attitude up close” and “I was overwhelmed by the master’s presence” is precisely because of these direct relationships.
In modern society, mass production systems have completely separated consumers from producers in monozukuri.
However, these three experiences provide an opportunity to reconnect that separation. Understanding the thoughts and techniques that bring forth the things we hold—grasping that complete picture fundamentally changes how we relate to objects themselves.

Practicing Japanese Aesthetics: Understanding Wabi-Sabi

Kintsugi is the most symbolic expression of wabi-sabi aesthetics.
This technique of reconnecting broken ceramics with gold or silver is not mere repair but the crystallization of the Japanese aesthetic sensibility of “finding beauty in imperfection.”
The perspective that views damage or breakage not as “the beginning of the end” but as “the birth of new life”—this is the very essence of wabi-sabi.

The aesthetics of Edo sashimono are similar. What participants feel in the process of selecting wood and carving it out with hand planes at Mogami Kogei is the attitude of trying to bring out the natural beauty of the material.
Eliminating unnecessary decoration and maximizing natural expressions such as the wood’s annual rings and coloring. This is also the practice of wabi-sabi’s “refinement within simplicity.”

And on the Old Tokaido Highway hike in Hakone, walking through nature allows you to feel layers of time.
Stone-paved roads continuing from the Edo period, cedar tree-lined avenues planted 300 years ago, tea houses with 400 years of history.

All of these embody the aesthetic of wabi-sabi that “accepts the passage of time and change as they are.” Deterioration and discoloration are also respected as evidence of history.
Through these three experiences, participants can experience Japanese aesthetics not “as concepts” but “physically.”
Only by moving their hands, breaking a sweat, and taking time does the concept of wabi-sabi truly sink in—not as mere theory, but as a value system deeply rooted in Japanese life and thought.

Sustainability and Continuity: A Culture That Thinks in Century-Long Terms

In today’s consumer society, “disposability” is the norm.

However, the chopsticks made at Mogami Kogei have the potential to become “century-old family treasures.”
Even if scratched or dulled, you simply shave the surface. Apply oil or lacquer again, and they regain new brilliance. This cycle can theoretically be repeated forever.

Kintsugi at Shikata Kizou Lacquerware Shop is the same. Broken ceramics are revived with new attire. They may break again someday. But when that happens, they’re repaired again with kintsugi. Through this repetition, a single object lives on for a hundred, two hundred years.
This way of thinking even transcends the concept of “environmental consideration” preached by modern sustainability discourse.
It’s a fundamental change in the relationship with objects. A shift in positioning where objects are not “things to possess” but “things to nurture” and “things to care for.”

In the Hakone hiking experience, this essence of sustainability appears most clearly.
The Old Tokaido Highway has been preserved and loved in units of 400 and 800 years.
Walking this path is about feeling what previous generations left for future generations, and it’s also about accepting the obligation to preserve similarly for the next generation.

Respect for Regions and Craftsmen: Rediscovering Local Value

Kyoto’s Shikata Kizou Lacquerware Shop, Tokyo’s Mogami Kogei, Hakone’s Explore Hakone. What these three experiences share is that they’re all provided by “craftsmen and businesses deeply rooted in their regions.”

The craftsmen at Shikata Kizou Lacquerware Shop have continued to face the material of lacquer and its culture for 156 years since 1867 in the ancient capital of Kyoto. The Mogami family at Mogami Kogei has protected and developed the traditional technique of Edo sashimono since its establishment in 1912. Shin Kaneko of Explore Hakone studied in America, gained experience in corporations, saw the world, yet still chose to return to his hometown of Hakone at age 30.
These choices are by no means nostalgia. They’re endeavors to deeply recognize the value of “cultural assets” existing in their regions and to pass them on to the next generation while further developing them.
In an age of advancing globalization where the same things can be obtained anywhere, region-specific cultures and techniques are becoming increasingly rare and precious. Yet at the same time, many of these values are overlooked and face the danger of extinction.

What these three experiences provide is not simply experiencing “nostalgic Japan,” but helping us realize the importance of “rediscovering local value.” Through interactions with craftsmen and local guides, participants witness firsthand the richness of region-rooted wisdom, techniques, and human relationships. And through that experience, they begin to realize that similar local values exist in the regions where they themselves live.

Learning Through Experience: From Knowledge to Physical Understanding

Finally, what’s important is that the essence of these three experiences lies in a “qualitative transformation of learning.”

You can read explanations of kintsugi on websites. You can watch videos of Edo sashimono on YouTube. You can learn the history of the Old Tokaido Highway from books.
However, these are merely information inputs to the “head.”

You actually grip a hand plane and shave wood while adjusting the amount of force. At that moment, the resistance transmitted to your fingertips, the sound of the wood, the rising fragrance—all of these enter your brain at once. And only then does the answer to the question “Why do Edo sashimono craftsmen train for decades?” become engraved as bodily memory.
Similarly, the tension when carefully drawing lacquer with a brush in kintsugi. The sense of achievement upon reaching Hakone Pass and the scenery of Lake Ashi spreading before your eyes. These multi-sensory experiences can never be obtained through mere knowledge.

Such experiential learning is also proven neuroscientifically. Learning that stimulates multiple senses simultaneously is engraved in many areas of the brain at once and stored as deeper memory. Moreover, learning while moving the body activates broader areas of the brain.
In other words, these three experiences are not just “tourism” but are also the most effective learning methods from a neuroscientific perspective. The reason participants comment that “my life changed” or “my way of seeing things changed” is because not just their knowledge level but their body and brain itself have transformed.

Conclusion: A Proposal for How to Engage with Japanese Culture

What is “True Richness”?

Learning kintsugi in Kyoto, making chopsticks in Tokyo, walking ancient paths in Hakone. After finishing these three experiences, what remains in participants’ hearts?
It’s probably an awakening to “the depth of relationship with objects.” We who live in modern society are surrounded by objects. However, most of them exist as “things to consume” or “things to dispose of.” Even the joy of acquiring objects vanishes in an instant.

But what about the chopsticks you made yourself? What about the kintsugi you repaired yourself? What about the Old Tokaido Highway you walked with your own feet?
In all these objects and experiences, your own time, effort, joy, and connections with craftsmen and regions are engraved.

Such objects and experiences exist precisely in material environments that are not necessarily “rich.” Rather, the simpler the object, the more deeply you can feel the thoughts and techniques embedded in it.
The “richness” modern society provides is primarily quantitative. More things, newer technology, more convenient functions. However, what these three experiences suggest is that “richness” may rather be qualitative. Deep relationships with objects. Taking time to nurture objects. Feeling connections with craftsmen and local people. Inheriting culture from the past and passing it on to the next generation.

Don’t all of these constitute true richness?

Why Japanese Culture is Needed in the Age of Globalization

Interestingly, many participants in these three experiences are foreigners. Why do people from around the world participate in these experiences?
One reason is that in a world homogenized by globalization, the desire for “local and unique culture” has actually increased. In an age where there’s a Starbucks everywhere you go, the same fashion brands line up, and the same smartphones are used—within that, cultures and techniques that exist only in specific regions, such as Kyoto’s lacquer, Edo’s sashimono, and Hakone’s ancient paths, appear extremely precious and attractive.

However, that’s not all. Another reason is empathy with the “alternative values” that Japanese culture provides. In the world of global capitalism that prioritizes efficiency, speed, and newness above all, Japanese culture presents values such as “time, craftsmanship, and local wisdom.” These values can serve as a counterbalance to the problems modern society has fallen into (environmental problems, overconsumption, diluted human relationships).
In other words, Japanese cultural experiences are not merely “nostalgia for the past” but presentations of “different approaches” to problems modern society faces.

A Call to Participants: To the Next Step

Participating in these three experiences itself is already one important choice. However, how you incorporate the insights gained from the experiences into daily life is where their true value is tested.
How to reflect the wabi-sabi aesthetics learned through kintsugi in how you relate to objects in your own home. How to apply the essence of monozukuri learned through Edo sashimono to your own profession and human relationships. How to apply the layers of time and respect for regions felt on the Old Tokaido Highway to how you face the place where you live.
Experiences are, in a sense, only “beginnings.” Real change occurs in the daily life that follows.

At the same time, what these three experiences suggest is that many more craftsmen, techniques, and region-specific cultures still exist throughout Japan. After Kyoto, Tokyo, and Hakone, where will you head next? Takayama’s woodwork, Wajima’s lacquer, Sado’s gold and silver mine sites, and small workshops run by unknown craftsmen.
Participants who once awaken to the depths of Japanese culture eventually transform into “seekers.”

Finally: Reconstructing Relationships with Objects

Currently, interest in sustainability is growing worldwide.
However, true sustainability cannot be achieved through environmental technology and policy alone. It requires a transformation of the relationship with objects itself.

Kintsugi, Edo sashimono, the Old Tokaido Highway. Through these three experiences, participants learn a “different way with objects.” It’s one wisdom accumulated over thousands of years of Japanese culture.
Isn’t that wisdom one of the things most needed in the world today?

The spirit of cherishing objects. The attitude of respecting craftsmanship. The endeavor to protect regional culture. The patience to nurture something over time. And the sense of responsibility to connect culture from the past to the future.
All of these are passed from the hands of Kyoto’s lacquer shop, Tokyo’s woodwork craftsman, and Hakone’s guide to participants, one by one. At that moment, Japanese culture becomes not a relic of the past but a bridge to the future.

The post “Kintsugi at Shikata Kizou Lacquerware Shop, Mogami Kogei, and Old Tokaido Highway Hiking” – Three Premium Experiences to Discover the Depths of Japanese Culture first appeared on Kogei Japonica.

A Cultural Revolution Starting from Your Feet—Thousand-Year Traditions Reborn

The traditional craft of “Nishijin-ori,” passed down for a thousand years in Kyoto’s Nishijin district, is breathing new life into modern lifestyles.
The innovative sneaker brand “FUGA” launched by Sakura Corporation in July 2025 centers on “fusion”—where tradition meets innovation, culture meets function—offering a truly unique footwear experience.

A New Experience of “Wearing Japan”

Each pair of “FUGA” shoes is woven with Kyoto’s atmosphere and the craftsman’s soul.
With every step, you feel the breath of “Japan” accompanying your daily life.
Truly—”Wearing Japan.” From your feet up, quiet yet powerful Japanese beauty quietly resides in your everyday life. This brand concept proposes cultural value that transcends mere footwear.

Overwhelming Presence Created by Traditional Craft Materials

Kinran (Gold Brocade)—Magnificent Beauty Inherited from Armor to Modern Times

FUGA shoe uppers use traditional “Kinran” sourced from Kyoto’s Bando Shoten.
This luxury textile has a history of being used for armor and Noh costumes.
It features three-dimensional, gorgeous patterns woven with silk threads and gold-silver threads, with manufacturing processes that incorporate remarkable craftsmanship.
At Bando Shoten, only about 30 meters are woven per day on a single loom through an extremely careful process.

The process from order to completion takes approximately 3 months as follows:

• 1. Dyeing – Delicate work creating the foundation of color
• 2. Warping – Preparing warp thread rolls and setting them on the loom
• 3. Weaving – Thread-by-thread weaving by craftsmen’s hands
• 4. Finishing – Quality assurance through sizing and inspection work

Each process is handled by specialized craftsmen through division of labor, ensuring incomparable quality.
Most remarkably, due to the characteristic of Kinran having different expressions with each bolt, the pattern appearance differs for each pair, making every shoe a one-of-a-kind piece in the world.

Kyo-kumihimo—A Beautiful Legacy from the Heian Period

The shoelaces use “Kyo-kumihimo.”
This technique is a traditional braiding technology dating from the Heian period, historically used for kimono obi-jime and tea ceremony utensil decorations.
By combining dozens of fine threads, it achieves both durability and flexibility, creating unique luster and coloring.

By carefully braiding several to dozens of threads while crossing them, beautiful three-dimensional braided patterns with deep shadows emerge on the surface.
This Kyo-kumihimo adds quiet presence to your feet.

Brand Concept “Fuga” and the Fusion of Innovation

The name “FUGA” carries deep meaning.
One is the Japanese word “Fuga” symbolizing Japanese aesthetic sensibility. Fuga is Japan’s unique aesthetic of feeling nature, seasons, and the quietness deep within the heart.

The other is the initials of four English words:

• Fusion – Harmony between tradition and modernity
• Unique – One-of-a-kind value in the world
• Generation × Great – Universal value transcending generations
• Authenticity × Amazing – Amazing experiences only genuine items possess

Therefore, FUGA is a name meaning “fusing tradition and innovation, conveying true beauty across generations.”

Three Models Proposing Diverse Lifestyles

Easy in (40,700 yen) – Japanese Aesthetic Consciousness Blending into Daily Life

The main feature is a design that allows you to slip on “smoothly” without using hands, with a softly designed heel section that makes foot insertion surprisingly smooth.
It balances functionality that accompanies busy modern people’s daily lives with refined Japanese aesthetic consciousness.

Standard (41,800 yen) – Classic Model Perfecting Versatility

Neither too narrow nor too thick—the form designed with exquisite balance works regardless of scene, from city walks to travel exploration to business casual.
This pair directly conveys FUGA’s appeal to those experiencing it for the first time.

RGS (46,200 yen) – Ultimate Fusion of Propulsion and Beauty

The bow-shaped sole design flexibly accompanies foot movement, providing a natural walking sensation as if being guided.
The innovative design absorbs impact upon landing while converting that energy into propulsion for the next step.

World-Standard Technology Supporting Functionality

All models adopt Italy’s Vibram “MEGA GRIP” soles, which have proven performance in harsh environments including mountaineering, skiing, and running.
Excellent grip and flexibility support comfortable walking in all scenarios.

A Sacred Place Born in Kyoto Arashiyama

The brand’s first flagship store “FUGA Kyoto Arashiyama” opened on Saturday, July 12 in Kyoto’s Arashiyama.
In this special place where tourists and locals intersect, they provide the unique FUGA experience of touching, wearing, and walking in traditional craft beauty.

Store Information

• Name: Flagship Store “FUGA Kyoto Arashiyama”
• Address: 20-24 Sagatenryuji Tsukurimichi-cho, Ukyo-ku, Kyoto City, Kyoto Prefecture
• Business Hours: 10:00～18:00
• FUGA Official Website: https://fugakyoto.jp/
• Instagram: @fuga_kyoto

Innovative Challenge Pioneering the Future of Traditional Crafts

With changing times, Japanese handicrafts and culture are gradually disappearing.
FUGA was born from a sense of crisis that it would be too regrettable for this beauty and technique to be forgotten as the number of people inheriting them decreases.

Based on the philosophy that tradition continues to live not just by “protecting” it but by “utilizing” it, they have created entirely new value by fusing Japanese traditional materials and techniques with “sneakers,” an indispensable part of modern lifestyle.

Summary – Cultural Renaissance Starting from Your Feet

What FUGA proposes is not merely a fashion item.
It is cultural innovation demonstrating new possibilities for Nishijin-ori, which while being traditional craft, has continuously evolved with the times.

The fusion of striking design that captivates hearts at first glance with craftsmanship passed down across a thousand years is broadcasting new aesthetics from modern people’s feet.

“Step into uniqueness”—FUGA’s message indicates a firm step toward the future of traditional crafts.
This brand, which revives Kyoto’s quiet aesthetic consciousness in modern times and broadcasts it to the world, will become a new milestone in Japan’s traditional craft industry.

The post FUGA Sneakers Featuring Nishijin-ori Weaving Revolutionize the Future of Traditional Crafts—Kyoto’s New Aesthetic Vision for the World first appeared on Kogei Japonica.

Tomoo Hosono, who studied industrial and spatial design, creates the “Mirror Cruise” series – kaleidoscopes crafted from stainless steel pipe with a minimalist aesthetic. Using teleidoscopes that transform viewed scenery into patterns through mirrors, these pieces offer a world of unique geometric artistry to enjoy.
These streamlined, minimal kaleidoscopes also serve as attractive interior objects that add color to everyday life while harmonizing with room decor.

Meanwhile, Chitoshi Takabayashi crafts the “Towk” series of kaleidoscopes featuring wooden bodies. His works offer otherworldly experiences through designs that capture light from lamps and candles. Though both artists use oil kaleidoscopes, their contrasting expressive approaches create uniquely engaging pieces that spark curiosity in viewers.

During the exhibition period, the restaurant “Gastero” on the first floor of “Purveyors” will feature projected kaleidoscope patterns. This event offering an enchanting kaleidoscope experience – like peering into a treasure chest – runs from Saturday, December 21, 2024, to Sunday, January 5, 2025.

Tomoo Hosono | Mirror Cruise

Born in Gunma Prefecture, 1969.
1993: Graduated from Chiba University’s Department of Industrial Design. Worked as an in-house designer focusing on spatial design.
1997: Began creating kaleidoscopes.
1998-2001: Participated in art events nationwide as a kaleidoscope artist.
2001: Contributed to Kitaro concert video production. Created kaleidoscopes for Amami Park exhibition facilities.
2001-2002: Participated in ACCENT ON DESIGN (NY).
2015: Featured as one of Japan’s three greatest kaleidoscope artists on TV Asahi’s “Anger New Party.”
2018: Solo exhibition at +NOTION (Ginza).
2019-2021: Solo exhibitions at Dream Blue (Chiba).
Numerous other curated exhibitions.

Chitoshi Takabayashi | Towk

In 2007, traveled alone to America to study under kaleidoscope masters Randy and Shelly Knapp.
After returning to Japan and a period of reflection, began creating kaleidoscopes in 2009.
Consistently pursues expression in pure white, creating cloud-like glass objects whose layering and light effects produce depth, shadows, and dimensionality, giving internal images unique character.
Since 2021, has hosted “Weekend Acorns” events at his Yokohama atelier, inviting guests to enjoy kaleidoscopes under candlelight and incandescent bulbs while experiencing music and drinks, and presenting collaborative scopes with other artists.

Information

Mirror Cruise x Towk Kaleidoscope Duo Exhibition
DATE: December 21, 2024 (Sat) – January 5, 2025 (Sun)
PLACE: Purveyors Kiryu Store
2-11-4 Nakamachi, Kiryu City, Gunma Prefecture
TIME: 12:00-19:00 (Irregular holidays during New Year’s)
URL: https://note.com/purveyors/n/n78adfb2de70a

Admission

Free

Venue

Purveyors Kiryu Store
Address: Purveyors, 2-11-4 Nakamachi, Kiryu City, Gunma Prefecture 376-0035
Phone: 0277-32-3446
Located 1km west along the street from Kiryu Station North Exit, on the right side. 15-minute walk from station.

About Purveyors

Opened in March 2017 in Kiryu City, Gunma Prefecture, as a concept shop curating around the theme of bringing travel and fieldwork more into daily life.
The store name “Purveyors” reflects our hope that the products we select as procurement specialists during our travels will become essential to our customers.
We select items across categories including outdoor gear, apparel, and lifestyle products, all through our distinctive perspective rather than limiting ourselves to outdoor items alone.
In July 2022, we opened our second location, Purveyors Nasu Branch, at GOOD NEWS in Nasu, Tochigi Prefecture.
URL: http://purveyors2017.jp/

The post Special Exhibition Features Two Master Kaleidoscope Artists (Tomoo Hosono and Chitoshi Takabayashi) Creating Mystical Worldviews – “Purveyors” first appeared on Kogei Japonica.

Purveyors, a shop themed around travel and outdoor activities, will host a solo exhibition by master sculptor Kenji Sato, based in Asahikawa, Hokkaido.
This exhibition is realized under the direction of “ORIGAMUM HERITAGE STUDIO,” which handles creative and art direction for events and products primarily in Japan.

Kenji Sato has built his career since age 22 and has been active for over 50 years, with his works affectionately known as “Ken-chan Bears.”
His works uniquely arrange Hokkaido’s traditional wooden bears using chamfering techniques.
His exceptional craftsmanship creates pieces freehand with precise and detailed work without preliminary sketches.
This exhibition allows visitors to handle unique pieces created through half a century of experience and tens of thousands of polishing repetitions, featuring around 50 works including wooden bears.

Kenji Sato Profile

1950: Born in Furano City, the lavender town
1973: Studied under his brother Noriaki Sato, founder of “Sato Bears”
1985: Established independent creative woodcarving “Sato” in Asahikawa City
1996: Began carving owls with his unique method
2002: Focused on fish, creating salmon, flounder, sculpins, and deep-sea fish on various customer orders
2018: Introduced roughly cut carved bears as “Ken-chan Bears,” which he had been working on previously
Continues to present

Information

Kenji Sato Solo Exhibition
DATE: 2024/11/16(Sat) – 12/1(Sun)
PLACE: Purveyors Kiryu Store
2-11-4 Nakamachi, Kiryu City, Gunma Prefecture
TIME: 12:00-19:00 (Closed Mondays and Tuesdays)
URL: https://note.com/purveyors/n/na7f39e7fe7a6

Special Bonus

One person free from café menu groups at Gastero, the restaurant on Purveyors’ 1st floor.
(Limited to those who like and repost Kogei Japonica’s X or Instagram)
Please show the screen to staff.
*Only during exhibition period
Target X post: https://x.com/KogeiJaponica/status/1857185132203122747
Target Instagram post: https://www.instagram.com/p/DCXoeNYBwOJ/

Admission

Free

Venue

Purveyors Kiryu Store
Address: 2-11-4 Purveyors, Nakamachi, Kiryu City, Gunma Prefecture 376-0035
Phone: 0277-32-3446
Located 1km west on the street in front of Kiryu Station North Exit, on the right side. 15-minute walk.

About Purveyors

Opened in March 2017 in Kiryu City, Gunma Prefecture, as a concept shop curating under the theme of bringing travel and fieldwork more into daily life.
The store name “Purveyors,” meaning “suppliers” or “providers,” reflects our hope that the products we select as purveyors while traveling will become our customers’ go-to items.
We select everything from our biased perspective, not just categorizing outdoor items, but including apparel and lifestyle products.
In July 2022, we opened Purveyors Nasu Branch, our second store, at GOOD NEWS in Nasu Town, Tochigi Prefecture.
URL http://purveyors2017.jp/

The post [Special Bonus Available] Solo Exhibition of Kenji Sato, Creator of Popular Wooden Bears, at “Purveyors” – Expected to Sell Out first appeared on Kogei Japonica.

The global art market continues to expand year after year, with total transactions reaching approximately $65 billion in 2022 (according to the “Art Market Report 2022” by Art Basel and UBS).

Of particular interest is the secondary market, where collectors resell artworks. This sector accounts for over 50% of all art transactions, with a trading volume of about $35 billion in 2022.

The secondary market’s vitality stems from the perception of art as an investment that can generate further value after initial purchase. Crafts and artworks are attracting attention as asset-building tools due to their potential to appreciate over time, thanks to their rarity and cultural significance.

This trend applies to Japanese traditional crafts as well, with platforms like ARTerrace, an e-commerce site dealing in traditional crafts and artworks, adding new value to this liquid market.

The “Forgery Problem” Lurking in the Art Market – A Deep Shadow and Its Impact

As the art market expands, the issue of forgeries has become increasingly apparent. According to FBI investigations, approximately 20% of artworks traded in the global art market are forgeries. This problem is particularly prevalent in high-value art and collectibles, creating a demand for reliable means to verify the authenticity and ownership of artworks.
Forgeries circulate in the market for various reasons, often exploiting collectors’ desire to own expensive pieces or their interest in rare artworks as investments. Forgers and individuals selling fake pieces capitalize on this collector psychology, skillfully introducing counterfeit works into the market. Particularly for pieces with high economic returns, forgery techniques have become so sophisticated that even experts struggle to discern authenticity.

The proliferation of forgeries has serious consequences for the entire market. First, the circulation of works with uncertain authenticity erodes collector confidence, diminishing the credibility of the entire art market. This risks devaluing legitimate pieces. Moreover, the abundance of forgeries in the market can distort the evaluation of specific artists or genres, potentially leading to long-term cultural losses.

The Function of Certificates – Limitations of Long-standing Methods

Traditionally, certificates of authenticity or appraisal documents have been the primary means of verifying artwork authenticity. These documents, issued by artists, galleries, or specialized appraisers, guarantee the genuineness of a piece. For instance, the Louvre Museum and major galleries provide certificates with artwork sales to assure collectors of authenticity.

However, the certificate system has significant limitations. Firstly, there’s a risk of certificate forgery. Additionally, certificates often rely on information from the time of issuance, failing to record subsequent trading history or ownership changes. The risk of loss or alteration of certificates makes it challenging to maintain their authenticity long-term.
Furthermore, in multiple market transactions, the chain of certificates may break, leading to unclear ownership history and potentially negatively impacting the artwork’s evaluation and value. Consequently, relying solely on certificates has been recognized as insufficient in solving the forgery problem.

Global Responses – Transformation through Blockchain Technology and NFT Implementation

To combat forgery issues, the art market has turned to technological innovation, with a focus on blockchain technology. This technology allows for recording artwork history and ownership in a digital ledger, providing transparent and immutable management. Offering far greater reliability and security than traditional certificates, it enables collectors to trade with confidence.

1. Tagsmart – Combining Digital Certificates with Physical Tags

2. Verisart – Blockchain-based Certificate Management

Verisart allows artists and galleries to register digital certificates for artworks, which are then recorded on the blockchain. Each time an artwork enters the market, its transaction history and ownership information are recorded in the digital ledger, permanently preserved in an unalterable form.

Verisart excels in authenticating high-value artworks and collectibles, offering a system where artists can directly register certificates. This minimizes the risk of forgeries while providing collectors with a secure environment for art transactions. Verisart also adopts a hybrid approach combining physical and digital certificates, doubly ensuring artwork security.

3. ARTiFACTS – A System for Recording Artwork Provenance

ARTiFACTS utilizes blockchain technology to digitally manage artwork provenance. It allows transparent tracking of where an artwork was created, how it was traded, and who owns it. Information recorded on the blockchain is immutable, greatly enhancing the reliability of artwork transactions.

This system aims to reduce forgery risks by allowing artists, galleries, and auction houses to register artworks and clarify their origins. It’s particularly useful for high-value fine art and collectibles, serving as an important tool in ensuring transparency across the art market.

4. Prooftag – Unique Authentication with Bubble Tag Technology

Prooftag’s Bubble Tag is applied not only to fine art but also to expensive wines and luxury items. This technology not only prevents art forgeries but also provides an environment where owners can trade with confidence, gaining strong support especially for high-value collector’s items.

5. Blockchain Art Collective (BAC) – Merging Physical Artworks with Digital History

The NFC tag contains detailed information about the artwork, and scanning the tag allows verification against the digital certificate on the blockchain. Owners can prove the authenticity of the artwork and confirm its history. BAC’s technology is gaining attention as a secure alternative to physical certificates, particularly effective in preventing forgeries of expensive artworks and antiques.

Global Initiatives – Creating New Markets with NFTs and Blockchain

Initiatives using NFT and blockchain technology are being implemented worldwide, not just in the art and luxury goods markets. For example, in the UK, a market for selling works by young artists as NFTs is rapidly growing as a new sales method for contemporary art.

This allows emerging artists to access a global market and deliver their works to collectors worldwide without relying on traditional galleries or auction houses.
In the United States, NFTs are also being utilized in the Hollywood industry. Digital content such as movies and music are being sold as NFTs for ownership and distribution rights, bringing transparency to content transactions.
Copyright holders of films and music can now track where and how their works are being used, and secure profits from secondary use through smart contracts.

ARTerrace’s Innovative Approach – Authenticity Verification Using 3D Scanners and NFTs

Pre-verification Through Dialogue with Traditional Craft Artists and Studio Visits

The works handled by ARTerrace are created by carefully selected artists, including many works by traditional craft artists designated as Living National Treasures. ARTerrace engages in direct dialogue with all artists, visits their studios, and witnesses the creation process. This thorough pre-verification allows them to understand the artist’s individuality and techniques, grasping the background of artwork creation and establishing a state where there’s no room for forgeries.

Understanding the creation process deeply before the artwork is completed, ARTerrace digitizes the work through 3D scanning with full confidence in its authenticity. This method ensures that the sold artwork is completely recorded not only with physical proof but also with digital data, accurately preserving the work’s shape, texture, and details.

Detailed Digitization Using 3D Scanner Technology

Traditionally, authentication of artworks and crafts often relied on visual inspection and certificates, leaving a risk of forgeries entering the market. In contrast, ARTerrace uses proprietary 3D scanner technology to digitize artworks with high precision. This technology records the shape, texture, and minute details of the surface of the work in detail, capturing nuances that might be overlooked in conventional authentication.
Particularly for handcrafted works, which embed the artist’s unique techniques and characteristics, this meticulous digitization completely protects the work’s uniqueness. Even for works by Living National Treasures, accurately capturing every detail eliminates the physical risk of forgery, strongly proving that each work is one of a kind.

Guaranteeing Authenticity and Ownership with Ethereum-based NFTs

The data digitized by 3D scanners is recorded on the blockchain as Ethereum-based NFTs. NFTs serve as digital certificates, guaranteeing the authenticity, ownership, and transaction history of the work in an immutable form.
This completely eliminates the risks of forgery and loss common with paper-based certificates, enhancing transparency through digitization.

NFTs on the blockchain are tamper-proof, ensuring that transaction histories and ownership never become opaque. Buyers and collectors can always verify the past history of a work, with digital records guaranteeing who owned it at what point.
As the NFT is automatically updated with each transaction, accurately recording ownership changes, buyers can participate in transactions with peace of mind.

Proving Authenticity in the Secondary Market – Establishing Transaction Reliability with New Technology

In the secondary market, the authenticity of artworks is crucial. When collectors resell works among themselves, without a means to prove that a work is genuine, trust in transactions can be lost. Therefore, the secondary market requires a system that accurately evaluates the value of artworks and crafts and eliminates the risk of forgeries.

The secondary distribution system provided by ARTerrace offers the most robust countermeasure against forgery issues, based on three pillars: deep trust relationships with traditional craft artists, high-precision digitization using the latest technology, and Ethereum-based NFTs. All works are guaranteed authentic before sale, with accurately recorded data from 3D scans and NFTs transparently managing ownership and transaction history.

Moving forward, ARTerrace will continue to incorporate cutting-edge technologies to enhance transparency and reliability in the art market. While preserving Japanese traditional crafts, they will evolve as a new art trading platform that eliminates forgery risks and ensures the secure transfer of artworks to future generations.

A New Art Market Born from Technology and Tradition

The issue of forgeries remains a serious challenge for art markets worldwide. To address this, various businesses are introducing innovative technologies to improve transparency and reliability in the art market. In particular, technologies such as Web3, blockchain, NFTs, and 3D scanners are gaining attention. These digital technologies are becoming increasingly popular as means to guarantee the authenticity of artworks and crafts and manage ownership transparently and immutably.
In the past, the art market relied on certificates and appraisal documents to guarantee the authenticity of works, but these carried risks of forgery and loss. However, with the introduction of NFTs based on blockchain technology and detailed digital data from 3D scanners, the risk of forgeries has been significantly reduced, creating an environment where collectors and buyers can participate in transactions with confidence.

This technological innovation not only eliminates the risk of forgeries but also opens up new possibilities for preserving the value of artworks through digital technology and passing them on to future generations. The traditional art market is becoming more transparent and reliable, creating new value in the global market.
In the future, the art market is expected to continue seeing a fusion of technology and tradition, providing a more trustworthy trading environment for artists, collectors, galleries, and auction houses. This evolution promises to reshape the landscape of art commerce, making it more accessible, secure, and globally connected than ever before.
As we move forward, the integration of these advanced technologies with traditional art practices will likely lead to new forms of artistic expression and appreciation. It may also open up opportunities for smaller artists and collectors to participate in the global art market on a more level playing field.

The use of blockchain and NFTs in the art world goes beyond just preventing forgeries. It also has the potential to revolutionize how art is created, shared, and monetized. For instance, artists can now easily create limited edition digital artworks, or attach digital experiences to physical pieces, enhancing the overall value and engagement with their work.
Moreover, these technologies are fostering a new era of transparency in art provenance. Collectors can now trace the entire history of an artwork from its creation through every sale and exhibition, adding a new layer of storytelling and value to each piece.
As the art world continues to embrace these technological advancements, we can expect to see even more innovative solutions emerge. From virtual reality art galleries to AI-assisted authentication processes, the future of the art market is bound to be as creative and dynamic as the artworks it showcases.

In conclusion, while the challenge of forgeries has long plagued the art world, the advent of new technologies is providing robust solutions. Platforms like ARTerrace are at the forefront of this revolution, combining respect for traditional craftsmanship with cutting-edge digital solutions. As these technologies continue to evolve and gain widespread adoption, we can look forward to a future where the authenticity and value of artworks are more secure than ever before, fostering a thriving, trustworthy global art market.

The post Addressing Forgery Issues in the Art Market: The Future of Art Trade with Blockchain Technology first appeared on Kogei Japonica.

4 Case Studies of Crafts × NFT Utilization

1. Digitalization of Traditional Crafts by ARTerrace

ARTerrace is advancing a project to transform traditional craft works into NFTs, delivering their appeal to collectors worldwide. By exhibiting and selling one-of-a-kind pieces created by artisans in digital spaces, they are increasing the recognition of craft works not only in the domestic market but also in international markets. Additionally, the stories behind the works and the artists’ techniques are preserved as digital data, allowing buyers to acquire the pieces with a deep understanding of these aspects.

ARTerrace’s initiative not only guarantees the authenticity of works through NFTs and provides an environment where buyers can trade with confidence but also contributes to widely conveying the appeal of Japanese culture.

2. Digital Expansion of Kyoto’s Traditional Crafts

Kyoto’s traditional crafts are also advancing in digitalization using NFT technology. In particular, handmade crafts such as lacquerware and ceramics are being sold as NFTs, allowing them to reach a wide range of domestic and international collectors. Works that were previously traded only within Japan are now entering the global market through digital spaces, contributing to increased international recognition of craft products.

By utilizing NFTs, Kyoto’s artisans are establishing new revenue sources and gaining means to pass on the value of their works to the next generation. It is expected that the inheritance and promotion of traditional crafts will be further advanced in the future.

3. Fusion of Kanazawa Gold Leaf and NFTs

Gold leaf craft products famous in Kanazawa are also advancing their fusion with NFTs. In a project that digitalizes and sells art pieces using gold leaf as NFTs, a format has been adopted where buyers are provided with both digital art and physical gold leaf works as a set. Buyers can enjoy both the digital value and the physical work, creating a new form of collection.

Moreover, gold leaf works that have been transformed into NFTs have their ownership clearly managed using blockchain technology, making authenticity guarantees easier and enabling highly reliable transactions for international collectors.

4. Nishijin Textile NFT Project

Nishijin textile, a representative traditional craft of Kyoto, is also using NFT technology to spread its value worldwide. By transforming the designs and production processes of textiles crafted by Nishijin artisans into digital art as NFTs and providing them to buyers, a new way of enjoying traditional crafts is being proposed. In particular, Nishijin textiles as digital art offer visual appeal and technical precision to collectors, receiving high evaluations in the NFT market.

This project aims to spread the appeal of crafts to younger generations and digital natives, symbolizing the fusion of traditional crafts and digital technology.

The Potential of Crafts and NFTs

1. Monetization of Traditional Crafts

NFTs can serve as a tool to provide new revenue sources for traditional craft artists. Traditionally, the sale of physical works was the main means of revenue, but by utilizing NFTs, it becomes possible to sell works as digital art, and a mechanism is built where revenue is generated even during resale and secondary distribution of works. Artisans can anticipate long-term revenue, enhancing the sustainability of traditional crafts.

2. New Methods of Craft Expression

By utilizing NFTs, new possibilities for expression arise in traditional crafts. Through exhibitions and sales using digital art and 3D models, it becomes possible to create value for works beyond physical constraints. It’s possible to convey the appeal of crafts in new forms to younger generations and digital natives, expanding opportunities to develop new fan bases for traditional crafts.

3. Expansion into Global Markets

The use of NFTs greatly promotes the expansion of craft products into international markets. The transparency and reliability of ownership utilizing blockchain technology provide reassurance even to international collectors, creating a foundation for Japanese traditional crafts to be highly valued worldwide. It is expected that the recognition of craft products will spread internationally, and new markets will be developed.

Introduction to ARTerrace’s Crafts × NFT Initiative

ARTerrace Inc. is developing new initiatives to protect and promote Japanese traditional crafts using NFT technology. In particular, they aim to more widely convey the background of craft works and the artisans’ thoughts, realizing ledger management using blockchain technology through “Kogei-J NFT”. This initiative by ARTerrace not only connects the value of traditional crafts to the next generation but also contributes to increasing recognition in domestic and international markets.

Features of Kogei-J NFT

“Kogei-J NFT” is a next-generation ledger management system independently developed by ARTerrace, which uses blockchain technology to manage the authenticity, ownership, and distribution routes of craft products in a highly transparent manner. Everything from the birth of a work to the transfer of ownership is recorded and made publicly accessible, creating an environment where buyers can purchase works with peace of mind.

A major feature of this system is the use of the latest high-precision 3D scanning technology. The details of craft works are accurately recorded down to the finest points, making authenticity verification easier. By digitizing each detail of the artisan’s handwork in detail, the value of the work is protected, and a highly reliable digital certificate is provided to buyers.

Furthermore, Kogei-J NFT adopts “Arweave”, a decentralized storage based on Web3.0 technology, realizing a mechanism to permanently store video and image data of works. Once information about a craft work is issued as an NFT, it continues to be permanently protected.

This technology provides a long-term and secure storage environment that was not possible with conventional data storage technologies, making it ideal for recording works of high cultural value.

Partnerships with Artists and Market Expansion

ARTerrace, based on trusted relationships with many renowned craft artists including Living National Treasures, is expanding works as NFTs to domestic and international collector markets. In the world of traditional crafts, the background of works and the techniques of artists are highly valued, so it is possible to convey this information accurately and transparently using NFT technology.

Moreover, ARTerrace plans to implement secondary market functions in the fall of 2024. It is expected that the trading of craft products will become more active not only at the initial sale but also during subsequent resales, bringing sustained value to craft artists and collectors.

Conclusion

The fusion of crafts and NFTs is gaining attention as a technology that offers new possibilities for traditional crafts. The fact that traditional crafts from regions such as Kyoto and Kanazawa, including ARTerrace Inc., are advancing digitalization and expansion into international markets using NFTs is a significant step for the future craft market.

As the authenticity and value of craft products are guaranteed through NFTs, and new ways of enjoying works are proposed, it is expected that the appeal of traditional crafts will not only be passed on to the next generation but will also spread globally.

The post The Potential of Crafts and NFTs: Fusion of Traditional Crafts and Digital Technology first appeared on Kogei Japonica.