About Hosokawa-shi
Hosokawa-shi, a traditional Japanese hand-crafted paper (washi), has long been made by the residents of Ogawa Town and Higashi-Chichibu Village in Saitama Prefecture. In 1978, the Japanese government designated the technique of making hosokawa-shi as an Important Intangible Cultural Asset. Further, in 2014, based on the UNESCO conventions for protection of Intangible Cultural Heritage, it has been listed in the Representative List of Human Intangible Cultural Heritage as "Washi" (including sekishu-banshi, hon-minoshi, and hosokawa-shi).
It is said that the history of papermaking in this region dated back to the 8th century. In the Edo period (1603 - 1867), the population of metropolitan Edo increased, the consumption of paper increasing with it. In the middle of the Edo period, the technique of crafting hosokawa-hosho, a high-quality paper that was being produced in Hosokawa Village in Kishu (now Wakayama Prefecture), was introduced into this region due to its proximity to Edo - a major consumer of such paper. The production of hosokawa-shi increased greatly, and the region flourished as a famous producer of paper.
Hosokawa-shi is made from domestic kozo trees, using traditional production methods and equipment. The long inner fibers of kozo are very strong, and through nagashi-zuki (a method of sheet forming) the fibers are intertwined, making hosokawa-shi paper sturdy. Durability is another important characteristic of hosokawa-shi
Process
1. Harvesting "Kazo"
Hosokawa-shi is made from domestic kozo trees, which is a member of the mulberry family. Kozo is locally called "kazu." The harvested kozo shoots are cut to a length of about 70 centimeters.
2. Steaming the Shoots and Stripping the Bark
The kozo shoots are placed fat-end-down in a cauldron. So that the bark may be easily stripped off the inner wood, the kozo is steamed. After steaming, the bark is immediately peeled off.
3. Scraping the Bark
The dark outer layer of the bark is scraped off, leaving only the white bark within. The dark layer and any blemishes or marks are carefully removed. This task is essential to the production of high-quality paper.
4. Boiling the Bark
The prepared bark is boiled in a cauldron. When the water comes to a boil, soda ash (sodium bicarbonate) is added. It softens the white bark and removes impurities. The individual fibers are now easily separated.
5. Washing and bleaching
When the white bark has been completely cooked, it is placed in cold water where it is cleansed of any alkalinity and bleached by the sun. The white bark is then pulled out one by one with a bamboo stick and again any residual matter and discoloration are carefully removed.
6. Pounding the kozo
To further loosen its fibers in preparation for papermaking, the kozo is struck repeatedly with hardwood rods.
7. Striking the Tororo Aoi Roots
Another essential material when making paper is neri. This mucilage, or viscous starch, is extracted by crushing the root of the tororo aoi plant. When placed in water, neri acts as a suspending agent, spreading the fibers of the kozo evenly throughout. In the papermaking process, neri works to bind the fibers together. Since it is not sticky, the individual layers of paper can be pulled apart one by one during the drying process.
8. Making the paper
The combined materials (water, kozo, and neri) are put into a sukibune (paper making vat) and evenly mixed. Grasping the mold, the papermaker scoops up some of the mixture and pours it across a bamboo screen repeatedly, rocking the screen back and forth until the pulpy fibers have spread evenly over the surface. The washi sheets are moved to kanda (paper beds), onto which they are stacked one by one.
9. Drying
The pressed sheets are peeled off one at a time and placed on wooden boards, there to dry in the sun. When paper is placed on a board and dried in this way, it results in a unique wood grain pattern. These days, often a heated iron plate will be used to dry the paper.
10. Sorting
After it finishes drying, the paper is taken indoors, examined, and sorted. The highest quality paper, with no visible blemishes, is given a rating of 1. Paper that is found to have even the slightest imperfection is given a rating of 2. Each sheet is examined with great care.
VARIOUS Users
Hosokawa-shi is used in many ways, such as Japanese bookbinding, kimono wrapping paper, stencil dyeing paper, repair and restoration of old documents, to name a few. Today, its use is expanding to interior decoration such as wallpaper, interior sliding doors, light fixtures, as well as arts-and-crafts purposes such as printmaking, ink painting, and more.
Paper produced in Ogawa Town, Higashi-Chichibu Village, and nearby is collectively known as "Ogawa Washi." In addition to hosokawa-shi, various other kinds of paper are produced in the area, such as yamatochiri-shi (paper spotted with black outer bark), calligraphy paper, dyed paper, business cards, certificate paper, post cards, and letter paper.
Training Successors
Hosokawa-shi is used in many ways, such as Japanese bookbinding, kimono wrapping paper, stencil dyeing paper, repair and restoration of old documents, to name a few. Today, its use is expanding to interior decoration such as wallpaper, interior sliding doors, light fixtures, as well as arts-and-crafts purposes such as printmaking, ink painting, and more.
Paper produced in Ogawa Town, Higashi-Chichibu Village, and nearby is collectively known as "Ogawa Washi." In addition to hosokawa-shi, various other kinds of paper are produced in the area, such as yamatochiri-shi (paperspotted with black outer bark), calligraphy paper, dyed paper, business cards, certificate paper, post cards, and letter paper.
Hosokawa-shi Craftsmen's Association
c/o Saitama Prefecture Oagawa Washi-Makers' Cooperative Association,
230 O-aza Ogawa, Ogawa-machi, Hiki-gun, Saitama, 355-0321, JAPAN
Copyright「Hosokawa-shi」Hosokawa-shi Craftsmen’s Association
