The origins of karakami can be traced back to the Heian period, when it was used as paper for transcribing waka poems. From the medieval period onward, it began to be used on sliding doors and folding screens. During the Edo period, as the Tokugawa shogunate developed the city of Edo, demand expanded and it underwent its own unique development.
The "Wakoku Shoshoku Ezukushi" (Illustrated Compendium of Various Crafts in Japan), published in the mid-Edo period, depicts Edo-era karakami (decorative paper) artisans as craftsmen of the time, indicating that karakami artisans were already active in the industry.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. "Hikizome" means "brush dyeing".

  2. "Mica application and hand-rubbing" involves applying the mica by hand after applying the brush and top coat.

  3. "Woodblock printing with mica" involves applying mica or pigment to the woodblock using a sieve, and then performing "woodblock printing" by hand.

  4. "Gold and silver leaf/sand sprinkling" means "scattering foil" or "sprinkling sand."

  5. "Gold and silver paint application" involves adding glue water to gold leaf powder and drawing lines with a brush.

  6. "Polishing" refers to polishing using a boar's tusk.

  7. "Painting" refers to the process of dissolving pigments in glue water and hand-painting with a brush.

  8. "Shibugata hand-printing" and "Okiage" refer to "printing" using shibugata stencil paper.

  9. "Gold and silver foil stamping" shall be done in one of the following ways:
  (1) Applying glue to the woodblock using a sieve, then "woodblock printing" and "gold stamping".
  (2) After applying glue to the paper using a brush, perform "foil stamping".
  (3) After applying glue to the base paper using a stencil, "foil stamping" is performed.

   

  raw materials

  The base paper shall be Japanese paper (washi) or a fabric made from Japanese paper and natural materials.

• Work scene

  Work scene

  The defining characteristic of EDO Karakami (Decorative Papers) style decorative paper) is undoubtedly its diverse techniques. While based on the woodblock printing of Kyoto karakami, techniques such as stencil printing using persimmon-dyed paper and brushwork developed. These techniques, which were specialized by karakami makers, sarasa makers, and sunago makers, continue to be passed down to the present day.

  Step 1: Woodblock printing with mica

  This technique involves applying a mixture of pigments such as mica (powdered white mica) and gofun (powdered seashells) along with funori (seaweed paste) to a woodblock carved with a pattern, then placing washi paper on top to transfer the pattern. The pigment is sifted and lightly tapped onto the woodblock. Next, washi paper is placed on top of the woodblock, and the pattern is carefully transferred by stroking it with both palms. A characteristic of this method is that it produces soft, plump patterns.

  

  Step 2: Dyeing

  - Brushwork (clove brushwork)
  This technique involves dipping a comb-shaped brush into dye and drawing evenly spaced striped lines. There are different types of brushwork, such as "lattice work" and "mat work."
  ・Coloring
  There are various dyeing techniques, including "total dyeing," where mica or pigment is applied to the entire surface, and "gradation dyeing," where water is first applied with a brush, and then pigment is applied in a gradient manner.

  

  Step 3: Kneading

  A representative technique is "mica-coated hand-crumpling." This technique involves applying color to the entire surface of washi paper, then layering mica on top and softening the paper by hand to create wrinkles and cracks.

  Step 4: Foil stamping

  Raw gluten paste is applied to the woodblock and transferred to Japanese paper. Gold and silver leaf is placed on top, and once it dries and adheres firmly, the excess leaf is removed. The process is finished by applying alum water (dissolved animal glue with alum added).

  2. Techniques of the Sarasa Master

  Step 1: Printing using the traditional stencil printing method.

  This technique involves placing a stencil with a pattern carved into it onto Japanese paper or fabric, and then rubbing the pattern onto the paper using a horsehair brush or round brush dipped in pigment or dye. There are two main methods: "single-color printing" using mica or white pigment, and "multi-color printing" using a combination of six different paints. A distinctive feature of this technique is the crisp, clear finish of the patterns.

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  Step 2: Multi-color printing of the sarasa pattern

  This technique involves printing patterns onto the same paper, using different stencils and pigments. The printing process is repeated as many times as necessary to create a single image.

  

  Step 3: Place up

  This technique involves applying a generous amount of pigment to patterns carved into thick stencils using a wooden spatula, making the patterns appear three-dimensional. It is used to depict family crests and other similar designs.

  

  Step 4: Foil stamping

  The process is the same as the gold leaf application technique used by karakami artisans, but instead of woodblocks, stencils with carved patterns are used.

  3. Techniques of a gold dust craftsman
  The gold and silver leaf patterns often seen on fusuma (sliding doors) are the work of a gold leaf craftsman.

  Step 1: Spreading sand

  This technique involves placing gold and silver flakes into a bamboo tube and then tapping or shaking it to sprinkle them onto washi paper.

  

  Step 2: Scattering foil

  Large and small pieces of gold and silver leaf are scattered using bamboo tubes and other tools. The leaf comes in various forms, including "kirihaku" (cut leaf) which is cut into squares with a bamboo knife, "hahaku" (broken leaf) which is torn by hand, and "nogi" (wild grass) which is cut into long, thin strips.

  Step 3: Applying gold and silver pigment

  This technique involves further refining gold or silver powder, diluting it with glue water, and then applying it with a brush.

  

  Step 4: Drawing

  This technique involves directly painting landscapes, Japanese paintings, and other designs onto washi paper using a brush.

  Step 5: Polishing

  This technique involves placing a woodblock under washi paper that has been pre-treated with sand or mud, and then rubbing it with a boar's tusk to bring out the pattern of the woodblock.

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• Close-up

  Close-up

  The subtle shimmer of mica soothes the soul. EDO Karakami (Decorative Papers)

  Karakami paper, originally produced in Kyoto as draft paper for writing waka poems, later came to be used for folding screens and sliding doors. With the rise of townspeople culture, it also began to be produced in Edo (present-day Tokyo). Having survived a period of decline, Edo-style karakami paper remains in production to this day.

   

  Edo-era karakami (decorative paper) craftsmen are here.

  Bathed in light, the mica sometimes shimmers subtly, sometimes brilliantly. Decaying clouds, Korin waves, carnations, Seigaiha waves, five-seven paulownia, a hundred flowers... Patterns unique to Japan, appreciating the beauty of nature, or elegant gold and silver flecks, emerge on the washi paper. Gazing at karakami is endlessly fascinating. The origins of karakami can be traced back to the Heian period. At that time, "mon-karakami," which had been imported from China (Tang Dynasty), was imitated on washi paper and favored by the nobility as paper for writing waka poems. From the medieval period onward, it began to be used on folding screens and sliding doors, and when the Tokugawa shogunate seized power and Edo prospered, the technique spread eastward.
  Even today, a few "karakami craftsmen" remain in Kyoto and Tokyo. In Tokyo, the Edo-era woodblocks were destroyed in earthquakes and air raids, but the craft is still bravely on its way to recovery. On a day when the snow-covered cherry blossoms were in full bloom, a day that would delight any stylish Edoite, I visited Mr. Koizumi's home (Koizumi Fusuma Paper Processing Factory) in Yushima, not far from Tenjin Shrine.

  

  Dried and finished karakami paper. The light emitted by the mica exudes elegance.

  Having overcome the difficult times...

  Koizumi Shichigoro, an ancestor of the Koizumi family, founded Karahichi in the late 1800s, during the end of the Edo period. Tetsu, the fourth generation, inherited the family business when his father, the previous owner, passed away when he was 19. Like a "temple apprentice," he says he naturally acquired the skills. Tetsu's son, Yukio, the fifth generation, laughs, saying that even as an elementary school student, he was more familiar with the traditional Japanese units of measurement (shaku and sun) than with centimeters or millimeters.
  "I'd been working on sliding doors since I was about 20, but I only seriously decided to learn EDO Karakami (Decorative Papers) techniques around the time the imperial era changed from Showa to Heisei. I learned by trial and error, even at the age of 40."
  Since the period of rapid economic growth, the construction industry has favored new building materials that are low-cost and can be mass-produced, and they have flooded the market. EDO Karakami (Decorative Papers), which is full of delicate aesthetic sense but cannot be produced in large quantities and is expensive, has seen a decline in demand and has experienced a period of hardship.
  "I had the skills, but there was no place to put them to use... There's nothing more painful than that. Economically, we were making a profit from the sliding door business," Tetsu said, reflecting on the past. "Work" is fun, but "business" is not fun at all—Yukio agreed.

  

  Tetsuya Koizumi is a master with 60 years of experience in this field. He even carves the woodblocks himself.

  What we can do for the future 6th generation

  Yukio has four sons. Two of them (Masayuki and Tetsuo) have taken an interest in their father's and grandfather's work and are currently training to take over the business. "In this day and age, it's not enough to just tell them to 'steal' the techniques; you also need to 'teach' them to a certain extent. After that, I want them to learn through trial and error, even if they hit a wall along the way," Yukio says with a smile. Still in their early twenties, the future sixth generation successors are full of enthusiasm, saying, "Grandpa's work is amazing. If we're going to do it, we want to aim for something of national treasure quality."
  "Actually, I'm not that pessimistic about the future. Every household with children will have Hina dolls and samurai helmets, right? Even though lifestyles have become more Westernized, Japanese-style rooms will never disappear from detached houses or apartments. What I can do for my sons is to create the foundation for an environment where EDO Karakami (Decorative Papers) craftsmanship) can be preserved in my generation."

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    "The mica's condition changes depending on the weather and humidity of the day. And of course, it also depends on my mood."

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    Tetsu and Yukio, father and son, work together seamlessly. Their work progresses smoothly and without interruption, thanks to their perfect coordination.

  The timeless beauty of EDO Karakami (Decorative Papers)

  The world, which was based on the premise of mass production and mass consumption, is slowly beginning to change. This trend is also reaching the construction industry, and recently, along with a growing interest in health and the environment, a return to tradition has been added, and washi paper as an interior material is being re-evaluated.
  "Many architects and paperhangers believe that karakami (decorative paper) only exists in Kyoto. I want to promote to the public that karakami in the east is just as good as, if not better than, that in the west, and that it can be used not only for sliding doors but also as wallpaper."
  Even as time passes and lifestyles change, true traditional beauty never feels outdated. The subtle shimmer of mica seems to be telling this to the beholder.

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    The process of printing the pattern ("Hagi") so that the seams align perfectly requires highly skilled technique.

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    EDO Karakami (Decorative Papers) woodblocks are larger than Kyoto karakami woodblocks. As a result, the patterns have a more expansive and generous feel.

  Craftsman Profile

  Tetsu Koizumi

  Born in 1919.

  Born in 1947.
  Yukio says there is still much he can learn from his father, from carving woodblocks to making mica pigments.

  Anecdotes

  EDO Karakami (Decorative Papers) to enjoy as interior decoration

   

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    Used as wallpaper for a traditional Japanese restaurant. The pattern is "Korin Ivy," and the technique is woodblock printing with mica. It is a work by the Koizumi father and son.

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    A brushstroke clove lattice pattern. Enjoy the changing appearance of the washi paper when the light is on and off.