The origins of FUKUYAMA Koto (Japanese Harps) are said to date back to the early Edo period, around the time Fukuyama Castle was built. In the castle town of Edo, performing arts flourished, and in Fukuyama, too, singing and musical performances were popular, encouraged by successive feudal lords.
From the late Edo period to the Meiji era, many outstanding koto players emerged. Because of this, there was a high demand for koto in Fukuyama, and koto making began there early on.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The construction of the first type of vessel shall be carried out using the following techniques or methods:
  (1) After "sawing the grain," allow it to air dry outdoors for at least 12 months.
  (2) After rough carving, finish carving is done by hand.
  (3) The carving on the back of the upper part shall be "Ayasugi carving" or "Komochi Ayasugi carving".

  2. The assembly shall be done using either a "stoppered shell" or a "curved shell."

  3. The finishing shall be carried out using the following techniques or methods:
  (1) The top and back plates shall be fired using a trowel.
  (2) For polishing the top and back plates, use ibotaro and uzukuri.

   

  raw materials

  The wood used for the upper and back panels shall be paulownia.

• Work scene

  Work scene

  The manufacturing process of FUKUYAMA Koto (Japanese Harps) can be divided into five stages: 1) sawing, 2) drying, 3) shell construction, 4) decoration, and 5) finishing.

  Process 1: Sawmilling process

  First, the process begins with selecting and inspecting the raw timber. Paulownia logs are sourced from both Japan and North America, and those with a diameter of 400 to 600 millimeters at the top are selected. Slightly curved logs are considered preferable. These paulownia logs are carefully examined based on their annual rings, curvature, and the presence or absence of knots, and the optimal sawing method is determined. This process is called marking. This process requires the skilled eye of a craftsman. After marking, the sawing begins. First, a process called "big cutting" is performed, in which both sides are cut with a saw to determine the width. Then, the process moves on to "shell cutting" and "board cutting," in which the shape of the koto is roughly cut.

  

  Process 2: Drying process

  The lumber processed in the previous sawing stage is then left to dry outdoors in a natural drying area called "open-air drying." This drying period takes 1 to 3 years and requires exposure to several rainy seasons. Leaving the wood for a long period removes the sap contained in the paulownia wood and allows the wood to dry out, stabilizing its dimensions. This eliminates warping and distortion of the wood. After this, artificial drying is carried out.

  

  Process 3: Kozukuri process

  The process is divided into four stages: hollowing, carving, board attachment, burning, and polishing. Hollowing involves rough shaping using a plane with a tracing function. Once the processing of the parts to be attached is mostly complete, the carving work begins, where carvings are made on the inside of the top. Depending on the grade, patterns such as sudareme (bamboo blind pattern), ayasugi (crossed cedar pattern), and komochi ayasugi (child-bearing crossed cedar pattern) are applied. This is a detailed work that is carefully carved with a chisel. Next, board attachment involves processing and attaching the back plate, which will become the resonating layer. Once the processing of the wood is complete, the process moves on to burning. Burning involves burning the surface with a hot iron. This process brings out the unique colors of the koto. Polishing is done to remove the carbonized material produced during the burning process and to give it a unique luster.

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  Step 4: Decoration process

  This is generally referred to as the decorating process. Due to the large number of decorative parts, the complexity, and the need for intricate workmanship, it is the most time-consuming step in koto making. The main decorative parts are the shiburoku, ryukaku, kashiwaba, ryuzetsu, marugata, maeashi, atashi, and ji, and beautiful kotos are created by making full use of traditional decorative techniques such as inlay, maki-e, and yosegi. In particular, the "tamabuchi maki" decoration on the kashiwaba is a characteristic feature of FUKUYAMA Koto (Japanese Harps). Furthermore, the ryuzetsu is decorated by maki-e specialists, who use techniques such as takamaki-e, hiramaki-e, and togidashi maki-e to create a magnificent world.

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  Step 5: Finishing Process

  The metal fittings are attached, the koto's level is adjusted, and the attachment and detachment of the front legs are adjusted. The instrument is then inspected to ensure its completeness, packaged, and shipped. This is how FUKUYAMA Koto (Japanese Harps) is completed.

  

   

• Close-up

  Close-up

  The exquisite sound FUKUYAMA Koto (Japanese Harps) conveys a new breath of life.

  Everyone knows the famous koto piece "Haru no Umi" (Spring Sea). Fukuyama is located very close to Tomonoura, the setting of this piece. This scenic castle town with a mild climate accounts for a remarkable 70% of the nation's koto production. Among the many traditional crafts, FUKUYAMA Koto (Japanese Harps) is the only musical instrument designated as a traditional craft.

   

  The nostalgic and elegant sound of the koto

  When one hears the sound of the koto, one is inevitably drawn to its elegant, delicate, and sometimes dynamic resonance. The song "Haru no Umi" (Spring Sea), which can be heard from somewhere during the New Year, evokes a refreshing feeling of the new year and somehow soothes the heart. The various beautiful decorations adorning the six-foot (1.82 meter) instrument are also a major attraction of the koto. While the word "koto" now usually refers to the thirteen-stringed koto, in the past it was a general term for stringed instruments. However, in "The Tale of Genji," the terms biwa, so, and kin are distinguished. The difference between so and kin lies in the presence or absence of koto bridges; those with bridges are called "so," and those without are called "kin." However, "so" is not a commonly used kanji, and "kin" is now generally used as the general term.

  

  FUKUYAMA Koto (Japanese Harps) The traditional beauty and skill of FUKUYAMA Koto (Japanese Harps)

  Fukuyama has always been a thriving center for popular songs and music.

  The history of FUKUYAMA Koto (Japanese Harps) dates back to 1619, when Mizuno Katsunari (a cousin of Tokugawa Ieyasu) built a castle in Fukuyama. In castle towns during the Edo period, the arts flourished among the daughters of samurai and townspeople, and in Fukuyama, the feudal lord encouraged singing and music. Towards the end of the Edo period, the koto master Kuzuhara Koto was active in Bingo and Bitchu provinces, which helped to create a foundation for koto production in Fukuyama from an early stage. Miyagi Michio, the koto player famous for "Haru no Umi" (Spring Sea), had a father from Tomonoura in Fukuyama, and it is said that the setting of this song is Tomonoura, a place he often visited as a boy. About 30 years ago, it was quite common for young women to learn the koto as a pastime, along with tea ceremony, flower arrangement, and sewing, and FUKUYAMA Koto (Japanese Harps) shipments peaked around 1970.

  

  The decorative carvings applied to the underside of the upper part of the shoe.

  The craftsmanship of the koto, where traditional Japanese beauty and techniques come alive.

  The decorative carvings on the underside of the koto's upper body include patterns such as sudareme (bamboo blind pattern), ayasugi (woven cedar), komochi ayasugi (child-bearing woven cedar), and hemp-shaped carvings. These are important not only for their acoustic effect, which enriches the sound, but also for their decorative effect. The maki-e (gold lacquer) and kashiwa-ha (oak leaf) parts also play a major role in the koto's decoration. This decorative work involves many decorative parts, requires complex and intricate processing, and is the most time-consuming part. The koto is not just a musical instrument, but also a decorative object that is enjoyable to look at and has a beautiful appearance. "Basically, it's a sound-producing instrument. It's meaningless if it doesn't sound good," says koto craftsman Mr. Ogawa, who has been in this field for 50 years. "It takes about 10 years to become a full-fledged craftsman. The hardest part is carving the upper body. This is the most difficult part. It's where the craftsman's sense is most tested," he told us. His gaze is usually gentle, but when he starts working in front of the koto, he becomes completely serious. However, deep in his eyes, one can feel the deep love for the koto. "Because the materials are natural, each piece is different. The origin of the paulownia wood, its hardness, etc. A good craftsman is someone who can make the most of the material and adapt to its characteristics. It's not just about skill, but also intuition and a good sense of aesthetics."

  

  Detailed work on the decorative parts (oak leaves)

  It also plays a role in the emotional development of children.

  In Fukuyama, the National Elementary and Junior High School Koto Competition is held annually to promote emotional development and improve koto playing skills among children. As a new initiative, they have developed a compact new FUKUYAMA Koto (Japanese Harps) that is easy for even young elementary school students to handle and can be stored in a car. Another feature of this koto is that tuning and other maintenance are much easier than with previous models. "I hope that more people will be able to experience the charm of the koto more easily," says Ogawa. It could be a good opportunity to introduce children and young women to the richness of Japanese sounds, scales and melodies, and to convey the joy of music. Playing the koto is not just about playing an instrument; it should also lead to the development of graceful posture and a rich personality.

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    A collection of completed FUKUYAMA Koto (Japanese Harps)

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    Mr. Ogawa at work

  Craftsman Profile

  Kenzo Ogawa

  He aspired to become a koto craftsman at the age of 18 and is a veteran with 50 years of experience in the field. He is constantly challenging himself to create new products.

  Anecdotes

  Highly decorative Japanese koto

  The underside of the upper part of the instrument is carved for both decoration and acoustic effect. When taut fibers or strings are plucked, they produce sound. This principle is applied to stringed instruments, such as the violin, cello, double bass, harp—familiar instruments in orchestras—as well as the popular guitar. Stringed instruments have been enjoyed in various parts of Asia, adapted to the local culture. What sets the Japanese koto apart is its high level of ornamentation. Numerous scenes depicting the koto have existed in ancient picture scrolls, offering a glimpse into the elegant lifestyle of the aristocracy of the time. The koto was not only enjoyed as a musical instrument, but also served as interior decor or a way to display wealth.

  The important decorative part, maki-e

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