Japanese traditional craft stationery is highly valued both domestically and internationally as artistic pieces that combine delicate craftsmanship with practicality.
Even in this era dominated by electronic devices, these traditional stationery items remain consistently popular, embodying the essence of Japanese culture.
In this article, we will introduce a ranking of existing traditional craft stationery based on their popularity, historical background, and characteristics.
Table of Contents
Traditional Craft Stationery: Top Authentic Recommendations Ranking
1st Place: Kumano Brushes (Kumano Fude): Hiroshima Prefecture
Kumano brushes are traditional crafts produced in Kumano-cho, Aki District, Hiroshima Prefecture, and enjoy particularly international recognition among Japanese stationery. Their distinctive feature is the use of animal hair from goats, horses, deer, raccoon dogs, weasels, and cats as raw materials. The most significant characteristic of Kumano brushes is the manufacturing method that uses a wooden mold called “Koma” to shape the brush tip without trimming the bristles. This technique significantly improves the brush’s elasticity and ink retention, making them beloved for various uses from calligraphy to makeup brushes.
Hiroshima Prefecture ranks 15th nationally in the number of traditional crafts by prefecture (5 items), but among them, Kumano brushes are especially popular and highly supported by calligraphy enthusiasts and artists both domestically and internationally. Each brush is carefully handcrafted by artisans, and the uniqueness of each brush is part of their charm. This tradition has been passed down for over 400 years in Kumano-cho, which continues to be recognized as the center of brush making even in modern times.
2nd Place: Ogatsu Inkstone (Ogatsu Suzuri): Miyagi Prefecture
Ogatsu inkstones are high-quality inkstones produced in Ogatsu, Ishinomaki City, Miyagi Prefecture. They are known for being carefully carved and polished by inkstone craftsmen one by one. Their production flourished due to the patronage of the Date clan and the abundant availability of high-quality raw materials for quarrying. The characteristics of Ogatsu inkstones are their excellent tactile sensation when grinding ink and their beautiful finish.
Miyagi Prefecture ranks 19th nationally in the number of traditional crafts by prefecture (4 items), but Ogatsu inkstones are particularly highly valued among them. Despite being affected by the Great East Japan Earthquake in 2011, their traditional techniques have been preserved and have attracted attention as a symbol of reconstruction. Inkstones are essential tools for calligraphy and Japanese painting, and Ogatsu inkstones are positioned as the pinnacle of this craft.
3rd Place: Akama Inkstone (Akama Suzuri): Yamaguchi Prefecture
Akama inkstones are produced in and around Shimonoseki City and Ube City in Yamaguchi Prefecture, using “Akama stone,” a stone suitable for inkstones, as the raw material. The characteristic of Akama inkstones lies in their dense stone quality, which allows for finely grinding ink and producing ink liquid with excellent color development and spreadability.
Yamaguchi Prefecture ranks 24th nationally in the number of traditional crafts by prefecture (3 items), but among them, Akama inkstones are particularly popular. Historically, they have been a traditional craft since the Edo period and have been favored by calligraphers and literati for their high quality. Even in modern times, their traditional manufacturing methods are preserved, and they receive high evaluations from both domestic and international markets as luxury stationery.
4th Place: Unshu Abacus (Unshu Soroban): Shimane Prefecture
Unshu abacuses are traditional calculating tools produced in Nita-cho and Yokota-cho in Nita District, Shimane Prefecture. They maintain handcrafted manufacturing methods even today, with each one carefully crafted by artisans from material selection to meticulous finishing. The raw materials for the beads primarily come from high-quality wood sourced from Tochigi, Gunma, Saitama, and Iwate Prefectures.
Shimane Prefecture ranks 19th nationally in the number of traditional crafts by prefecture (4 items), but Unshu abacuses are recognized as particularly excellent crafts among them. As Japan’s traditional calculating tools, their precision and durability are highly valued worldwide, and they continue to be used in abacus education and practical work even in the modern era of widespread computer use. They also possess aesthetic beauty as interior decorations and are popular among collectors.
5th Place: Suzuka Ink (Suzuka Sumi): Mie Prefecture
Suzuka ink is a high-quality ink produced in the Shiroko district of Suzuka City, Mie Prefecture, and is the only ink designated as a traditional craft in Japan. Currently, this tradition is preserved by only one establishment, “Shinseido,” making it a precious existence. Suzuka ink is produced in the Suzuka region, blessed with a climate and natural environment suitable for ink making, using carefully selected materials and traditional techniques.
Mie Prefecture ranks 15th nationally in the number of traditional crafts by prefecture (5 items), and Suzuka ink is particularly valuable among them. It is evaluated as a top-grade tool for calligraphy, characterized by excellent ink color development, smooth grinding feel, and high preservation qualities. Due to its production by a limited number of craftsmen, it has high rarity value and receives enthusiastic support from calligraphers and collectors.
6th Place: Toyohashi Brush (Toyohashi Fude): Aichi Prefecture
Toyohashi brushes are high-quality calligraphy brushes manufactured in and around Toyohashi City, Aichi Prefecture. Their high quality and delicate craftsmanship receive high evaluations even from professional calligraphers. Aichi Prefecture ranks 5th nationally in the number of traditional crafts (15 items), being a region where traditional crafts flourish, and Toyohashi brushes are positioned as one of the particularly elaborate crafts among them.
The characteristic of Toyohashi brushes is that they are finished with selected hair, each meticulously crafted by artisan techniques. Their beautiful brush strokes and usability have earned support not only from calligraphers but also from Japanese painters and artists. While preserving traditional techniques, product development to meet modern needs is also being conducted, attracting attention for both cultural inheritance and innovation.
7th Place: Nara Brush (Nara Fude): Nara Prefecture
Nara brushes are high-quality brushes made in and around Nara City and Yamatokoriyama City in Nara Prefecture. Nara, said to be the birthplace of brush making in Japan, has a deep historical background. The oldest existing brushes in Japan are the 17 “Tempyo brushes” belonging to Emperor Shomu, which are still carefully preserved in the Shosoin Repository. Nara brushes, made in a region with such historical value, are valued as precious cultural heritage that conveys traditional techniques to the present day.
Nara Prefecture ranks in the middle nationally in terms of the number of traditional crafts by prefecture, but Nara brushes as stationery occupy a special position. The pride of being the birthplace of brush making is reflected in the quality of their products, earning high support from calligraphers and artists. Particularly noteworthy is the perfect balance between faithfully preserving ancient techniques while also making improvements to suit modern usage. Nara brushes, with their exquisite balance of tradition and innovation, play an important role as inheritors of Japanese culture.
8th Place: Banshu Abacus (Banshu Soroban): Hyogo Prefecture
Banshu abacuses are traditional abacuses made primarily in Ono City, the center of East Harima located in the southeastern part of Hyogo Prefecture. In this region blessed with a mild climate, abacus making developed as a side business during the agricultural off-season. The techniques cultivated over a long history and the manufacturing methods that utilize the characteristics of the region are the features of Banshu abacuses.
Hyogo Prefecture has various traditional crafts, but among them, Banshu abacuses are recognized as crafts that combine practicality and artistry. In modern times, although practical demand has decreased due to the spread of digital calculators, abacus learning in educational settings is being reevaluated for its effectiveness in improving calculation ability and concentration. Additionally, interest is increasing both domestically and internationally in their beauty as interior decorations and as items that embody Japanese traditional culture. Banshu abacuses, carefully crafted one by one by artisans, continue to be supported by enthusiasts as stationery with warmth and individuality not found in mass-produced products.
9th Place: Kawajiri Brush (Kawajiri Fude): Hiroshima Prefecture
Kawajiri brushes are mainly calligraphy brushes produced in Kawajiri-cho, Kure City, Hiroshima Prefecture. They have long been widely known throughout Japan as high-grade brushes and have become representative brush crafts of Hiroshima Prefecture along with Kumano brushes. In recent years, they have expanded their product line not only to calligraphy brushes but also to painting brushes and makeup brushes, responding to a wide range of demands. Kawajiri-cho is located in the southern part of Hiroshima Prefecture and has a climate and environment optimal for brush making.
Hiroshima Prefecture is nationally famous as a brush production area, and Kawajiri brushes differentiate themselves with their unique techniques and quality. Kawajiri brushes, carefully handcrafted by artisans, excel in writing comfort and durability, earning deep trust from professional calligraphers and artists. While preserving traditional manufacturing methods, they also actively develop products to meet modern needs, maintaining their value as traditional crafts while enhancing their presence in modern society. The fact that Kawajiri brushes continue to establish their own position despite having strong competition from Kumano brushes within Hiroshima Prefecture is a testament to their quality and tradition.
10th Place: Nara Ink (Nara Sumi): Nara Prefecture
Nara ink is a traditional ink produced in Nara City, Nara Prefecture. Following Suzuka ink from Mie Prefecture, it was the second ink to be designated as a traditional craft. There are two types of ink: “Pine Smoke Ink” made by burning pine resin, and “Oil Smoke Ink” made by burning rapeseed, sesame, or paulownia oil, each with different characteristics. Nara ink is made based on traditional methods that have continued since ancient times, and its high quality is highly valued both domestically and internationally.
Nara Prefecture is a rare region that has both Nara brushes and Nara ink, making it a treasure trove of traditional craft stationery. The characteristics of Nara ink include good ink development (the speed at which ink dissolves in water), rich expression of light and dark shades, and resistance to discoloration of written characters or pictures over long periods. Additionally, the unique scent when grinding ink stimulates the five senses during the creation of calligraphy or Japanese paintings. In modern times, while mass-produced liquid ink has become common, handmade Nara ink remains an essential tool for those pursuing authentic calligraphy and Japanese painting. While preserving tradition, improvements to suit modern uses are also being advanced, playing an important role in the inheritance of Japanese culture.
Regional Distribution of Traditional Crafts and the Position of Stationery
Distribution Status of Traditional Crafts Throughout Japan
Traditional Japanese crafts are widely distributed throughout the country, but Tokyo (18 items), Kyoto Prefecture (17 items), Niigata Prefecture and Okinawa Prefecture (16 items each), and Aichi Prefecture (15 items) have particularly many traditional crafts. In these regions, artisan techniques have historically developed with the patronage of domains and the shogunate, leading to the development of diverse crafts. Regarding stationery, rather than being concentrated in specific areas, there are distinctive traditions across the country, including Hiroshima Prefecture, Miyagi Prefecture, Yamaguchi Prefecture, Shimane Prefecture, Mie Prefecture, and Aichi Prefecture.
Among prefectures with many traditional crafts, Tokyo leads with 18 items, including many famous items such as Edo Kiriko glass and Tokyo Some Komon dyeing. Meanwhile, traditional crafts specializing in stationery have developed in close relation to the natural resources and historical backgrounds of their regions. For example, the development of Kumano brushes is due to the availability of animal hair in the region and the system for technical inheritance, while Ogatsu inkstones originate from the geological characteristics that yield high-quality stone materials.
Characteristics and Modern Value of Stationery Crafts
Japanese traditional stationery crafts are recognized as having cultural and artistic value beyond mere practical items. These crafts are deeply connected to calligraphy and washi paper culture, embodying Japanese aesthetics. In modern times, they are being reevaluated in connection with movements to reconsider the culture of handwriting and the goodness of analog amid advancing digitalization.
Traditional craft stationery is gaining attention not only for its intricate craft techniques but also for sustainability and environmental considerations. These products, which use natural materials and have durability for long-term use, align with new values arising from reflection on disposable culture and are gaining support from younger generations as well.
The Modern Value of Traditional Craft Stationery
Evaluation and Development in Overseas Markets
Japanese traditional craft stationery has been receiving high interest and evaluation in overseas markets in recent years. Particularly brushes such as Kumano brushes and Nara brushes have seen an increase in collaborations with international makeup brands due to their expanded use as makeup brushes. Additionally, inkstones and ink are gaining popularity as collectors’ items due to their beautiful designs and storytelling aspects.
Among the wealthy in Europe, America, and Asia, interest in Japanese traditional crafts is growing, and stationery in particular serves as a gateway to experiencing Japanese culture as items that can be used daily. Furthermore, with the spread of social media, the appeal of traditional crafts is being visually transmitted worldwide, attracting attention from younger generations as well. Japanese stationery crafts, which are enhancing their presence in international markets through the fusion of traditional techniques and modern design, have also become important elements of cultural diplomacy.
Inheritance and Innovation of Artisan Techniques
For the continuous development of traditional craft stationery, the inheritance and innovation of artisan techniques are essential. In each region, programs for training young artisans and workshops for learning traditional techniques are being held, focusing on passing down these skills. Additionally, efforts to continue innovation while preserving tradition can be seen, such as fusion with digital technology and the introduction of new materials.
For example, at events like the “Craft Stationery Exhibition,” new stationery items that fuse traditional techniques with modern design are introduced. Items such as the “ShapeN Ballpoint Pen” utilizing Ouchi lacquer techniques and the “Pencil Holder/Cap” using Edo carpentry techniques demonstrate new possibilities for traditional crafts. Such innovative attempts expand the market for traditional craft stationery and contribute to their survival and development. While facing challenges such as aging artisans and lack of successors, Japanese traditional stationery continues to explore adaptation to a new era.
Inheritance and Development of Traditional Stationery
Challenges and Initiatives in Technical Inheritance
In the field of Japanese traditional crafts, especially stationery, the aging of artisans and shortage of successors have become serious challenges. For example, Suzuka ink is currently preserved by only one establishment, “Shinseido,” making its preservation and inheritance an urgent issue. In response to these situations, various initiatives such as technical training systems and programs for nurturing young artisans are being implemented in each region.
Furthermore, attempts to modernize traditional crafts and explore new markets can be observed. Kumano brushes, for instance, have successfully expanded into makeup brushes and are gaining high evaluation in international markets. Such movements to ensure the survival and development of traditional techniques by broadening their uses are becoming more active.
The Position of Traditional Stationery in Modern Society
In modern society with advancing digitalization, traditional stationery is acquiring a new position. These items are attracting attention from both domestic and international audiences not merely as practical tools but as means to experience Japanese culture and spirituality. Particularly overseas, Japanese traditional stationery is finding new value in connection with concepts like “Slow Life” and “Mindfulness.”
In educational settings as well, there is a growing emphasis on understanding Japanese culture and cultivating sensitivity through traditional stationery. For example, the Unshu abacus is being reevaluated as an educational tool that nurtures not only calculation skills but also concentration and logical thinking ability. In this way, through the fusion of tradition and innovation, Japanese stationery crafts continue to play important roles in the new era.
Conclusion
Japanese traditional craft stationery continues to hold high value today for its elaborate techniques and beauty. In this article, we introduced 10 types of traditional stationery: Kumano brushes, Ogatsu inkstones, Akama inkstones, Unshu abacuses, Suzuka ink, Toyohashi brushes, Nara brushes, Banshu abacuses, Kawajiri brushes, and Nara ink in a ranking format.
These crafts each have their unique characteristics and charm, transcending mere tools to become works of art that embody the depth and delicacy of Japanese culture.
They are treasures of Japan that have developed against the background of regional history and culture and have been passed down to the present day.
Traditional craft stationery is finding new value and significance in modern society, with efforts being made in both inheritance and development. Efforts continue from various angles, including preserving artisan techniques and nurturing young talent, responding to modern needs, and expanding into international markets. Japanese traditional stationery, while being a heritage of the past, also holds potential as a cultural resource for the future, and its charm will continue to fascinate many people.
