It is said that the origin of this craft dates back to 1834, when a man named Kyubei Kagaya, who ran a glass shop in Odenmacho, Edo, began engraving on the surface of glass, imitating British-made cut glass.
There is an anecdote that Commodore Perry, who arrived in Japan on his Black Ships during the late Edo period, was astonished by the exquisite cut glass bottles presented to him by Kagaya.
During the Meiji era, Western-style cutting and engraving techniques were introduced through technical guidance from the British. Many of the sophisticated cutting techniques used today are believed to have originated at this time. In the Edo period, cut glass was applied to clear glass, but nowadays, products using "colored overlay" glass are the mainstream.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. Accurately determine the placement according to the pattern.

  2. "Rough grinding," "third grinding," and "stone grinding" shall be performed by hand using an iron disc, grinding stone, or equivalent tool.

  3. Polishing shall be done manually using a wooden wheel, felt disc, bristle brush disc, or equivalent tools to produce a glossy finish.

  4. The cuts should be deep, sharp, and accurate, with a clear and distinct finish.

   

  raw materials

  The material used must be molded glass (crystal glass or soda glass).

• Work scene

  Work scene

  The technique of cutting the surface of glass using a metal or grinding wheel disc is called "kiriko." EDO Kiriko (Cut Glasses) is a type of glass craft created using this kiriko technique. In EDO Kiriko (Cut Glasses), no preliminary drawings are made during the cutting process. The craftsmen rely only on the slightest lines and dots they make on the glass to cut out the intricate traditional patterns that are its defining characteristic. EDO Kiriko (Cut Glasses) is created by the skilled eyes and hands of experienced artisans. EDO Kiriko (Cut Glasses) includes products called "suki," which use clear glass as the base material, and products called "irokise," which use glass coated with a film of colored glass on the surface of clear glass. Here, we will introduce the process of making "irokise" EDO Kiriko (Cut Glasses).

  Step 1: Dividing and marking

   

  

   

  

  First, decide how to distribute the design on the glass surface and mark the areas where the design will be placed. The marks are made using a bamboo stick or brush and red iron oxide pigment.

  Using the marks you've made as a guide, use a whetstone to thinly and shallowly carve out diagonal lines and other lines that will serve as the basis for the design.

  These series of steps are called "calculation" or "marking."

  

  Step 2: Rough grinding and third grinding

   

  

  A metal disc called a "kanaban," which rotates at high speed, is applied to the shallow grooves marked with ink, and the grooves are widened by grinding them down.
  At this stage, the glass is scraped away by sand particles placed on the surface of a metal plate. The sand is first thoroughly moistened with water to create a loose paste, which is then poured onto the metal plate, and the glass is then placed against it for processing.
  The sand used here is called "corundum sand," and it is classified into grades from "first grade sand" to "third grade sand" depending on the size of the sand particles. For the initial processing, the coarsest "first grade sand" is used. Processing using "first grade sand" is called "rough grinding."

  

  ● Rough grinding
  The surfaces and lines being roughly ground are kept to about three-quarters of the intended finished width and depth, so that fine adjustments can be easily made during subsequent processing.
  The distinct lines called "main ribs" that are etched at the boundaries of the patterns, and the chrysanthemum patterns that appear in the video, are created through a technique called "rough rubbing."

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  ● Third hanging
  Using the grooves created during the "rough grinding" stage as a guide, we then perform even finer processing. The procedure is the same as for the "rough grinding," but here we use "third-grade sand," which has finer grains.
  In addition to sand, metal plates of varying sizes and thicknesses are selected and used according to the pattern and size of the object being processed. This process is called "third polishing."

  

  Step 3: Stone placement

   

  

  The patterns carved out through "rough grinding" and "third grinding" are refined, and the processed surface is polished to a smooth finish. These processes are carried out using a grinding wheel disc. Fine patterns are carved out at this stage, using a grinding wheel disc rather than a metal plate.
  These processes are collectively called "stone placement."
  "Stone polishing" is the final step in the carving process, so the stone is carefully polished to remove any rough, sandy texture.

  

  工程4： 磨き

   

  

  After processing, the opaque surface is polished to restore the glass's original transparent shine.
  The surface of the metalwork, coated with water and polishing powder, is placed against a rotating polishing disc to polish it.
  There are various types of polishing discs, including wooden discs made from paulownia or willow boards, as well as felt discs and bristle brush discs. These discs are used according to the product being polished.
  No matter how good the cut is, if the polishing isn't good, the cut glass won't stand out.
  Polishing is an essential step in bringing out the full appeal of cut glass.

  The process is complete once the polishing is finished.

  

   

• Close-up

  Close-up

  The art of making glass sparkle: EDO Kiriko (Cut Glasses))

  Cut glass, with its countless tiny facets reflecting light and sparkling brilliance, has captivated people's hearts both in the past and present. Cut glass production in Japan began during the Edo period. The technique is called "kiriko," and since then, numerous masterpieces have been created. Among them, kiriko made in Edo (present-day Tokyo) is cherished as a glass craft called "EDO Kiriko (Cut Glasses)," and this tradition continues to this day. We visited the workshop of Yasunori Kimura, one of EDO Kiriko (Cut Glasses) artisans.

   

  A disc, water, and a light bulb

  The workshop felt a little dark to eyes accustomed to the brightness outside. Mr. Kimura was facing the workbench placed by the window at the back. The low hum of the motor turning the disc and the sound of running water echoed in the room. The incandescent light bulb on the workbench illuminated Mr. Kimura like a spotlight as he pressed glass against the rotating disc. When Mr. Kimura noticed us, he stopped working and greeted us.
  They explained that they had just been polishing the surface of the glass. For polishing, they use a disc made of stone that is rotated at high speed by a motor. During this process, the surface must be kept constantly wet with water. The sound of water was the sound of water being poured onto the disc.

  

  The bare light bulb is used to concentrate light on the part being processed. When he was making colorless, transparent cut glass, he used a 60W bulb, but when he started making colored cut glass, he switched to a 100W bulb.
  Kiriko glassmaking involves cutting and shaping the surface of the material. Kimura explained that because the pattern created by the disc is viewed through the glass from the opposite side of the surface being cut, sufficient brightness is necessary.

  

  Unseen effort, unseen skill

  A wooden box placed beside the workbench contained glasses in various stages of processing. I asked Mr. Kimura if I could see one of them, and he kindly showed it to me. It had a simple design with striking straight lines, accented by a small circle. He said it was a reproduction of an old design, commissioned by a wholesaler.
  "I think this is a pre-war design. It's a type of 'fastening pattern.' It's difficult and time-consuming to make, so it probably became too expensive and eventually fell out of favor."
  "Colored overlay" cut glass is made from a transparent glass base overlaid with a thin layer of colored glass. The pattern is then created by scraping away this colored layer.
  In the case of this glass, the ratio of colored to transparent parts is approximately 4:6, with the transparent part being more prominent, and there is no pattern in the transparent part. Therefore, the glass must be cut uniformly and without unevenness.
  A "fastened pattern" refers to a pattern where the design is aligned horizontally and fastened at a specific point. Precise alignment requires considerable skill. In this design, the pattern has horizontal transitions a few centimeters from the bottom and a few centimeters from the rim. This is called a "double fastening."
  Even patterns that appear simple and easy at first glance can look beautiful only because of the solid techniques and meticulous craftsmanship involved. The "Edo style" embodies the spirit of meticulous workmanship that goes into the unseen details.

  

  Glass undergoes a magnificent transformation.

  "Just now, I was putting a stone on the bottom," Kimura said, pointing to the glasses inside the wooden box.
  Kiriko glassmaking initially involves cutting the glass with fine particles of sand called emery or industrial diamonds, which results in a slight roughness on the processed surface. This roughness is then smoothed out using a whetstone. In addition, the patterns created by cutting with sand or diamonds are also shaped and finished using the whetstone.
  EDO Kiriko (Cut Glasses) features traditional patterns composed of fine lines and small facets. The artisans engrave these millimeter-scale geometric patterns onto the glass using whetstones, without any preliminary sketches.
  Glass that has been processed with a whetstone looks beautiful enough as is. However, the true charm of cut glass is brought out by the final finishing touches.
  "It will become even shinier if you polish it," Kimura said, and then went to the trouble of taking the finished product out of its packaging box.
  The transparent parts were flawlessly smooth and clear, and light danced at every edge of the cuts. There was a beauty there that could never be achieved with just ordinary glass.

  

  A balance of brilliance and warmth

  The brilliance of cut glass is determined by the depth and angle of the cut grooves. The quality of the cut is determined by the sharpness of the edge of the disc used to cut the material and the angle at which the material is applied to the disc. The sharper the edge of the disc, the more brilliantly the cut shines.
  "I don't really use discs with sharp edges. No matter how shiny and beautiful the finish is, when I hold it, it just feels like it might hurt," Kimura says.
  EDO Kiriko (Cut Glasses), including tableware, sake cups, and stationery, has been cultivated as something that people touch. Therefore, not only its beauty but also its tactile quality is highly valued. Achieving the right balance between these is a testament to the craftsman's skill.
  The warmth you feel in the brilliance of EDO Kiriko (Cut Glasses) may be due to the thoughtful care that goes into it from the craftsmen.

  

  Craftsman Profile

  ​Yasunori Kimura

  Vice Chairman, Tokyo Cut Glass Industry Cooperative Association

  After graduating from high school, he apprenticed under his father, Yoshio Kimura. He is the third generation to take up this profession, having been in the field for 32 years.
  The first head of the family business was Mr. Bunzo Kimura, Yoshio's uncle.
  In 2000, it received the Glassware Times Co., Ltd. Encouragement Award.

  Anecdotes

  Cut glass patterns

  EDO Kiriko (Cut Glasses) features patterns that have been passed down from the Edo period to the present day. From plants such as chrysanthemums and hemp leaves to everyday Edo-era items like basket weaves and lattices, a variety of subjects are skillfully incorporated into the designs. These patterns, beloved by the people of Edo, transcend time and continue to adorn Kiriko glasswork today.
  The craftsmen combine these patterns to create their own unique designs. The patterns reflect the craftsman's preferences, so by looking at the patterns used, they can roughly guess whose work it is among their peers.
  ● Kikushige
  ● Hemp leaf
  ●Basketweave
  ● Nanako (fish eggs)

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