Author: Johnny

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Japanese Weapons: Defense and combat

When it comes to Japanese weapons, most envision a warrior or samurai with a sword and not just any sword, but the world-renowned Japanese katana – a curved blade engineered for fighting with supreme efficiency. However, Japan’s ancient warriors also took to lesser-known weaponry that was possibly more interesting. Let’s take a look at some of Japan’s unique weapons from years gone by.

The Katana

Japanese weapons are incredibly unique, with the Katana being one of Japan’s most famous. Japanese weapons are typically made by highly trained and skilled blacksmiths, and the Katana is no exception. Japanese blacksmiths’ method of repeatedly heating and folding the steel made the Katana’s sharpness and strength unique amongst the world’s swords. known for its strength and sharpness, the Katana earned the reputation as the soul of the samurai, a reputation that lasted long after the samurai abandoned Japanese weapons for the pen in a focus on education.

Fans of War

In ancient Japan, fans weren’t just implements intended to provide relief from summer’s heat and humidity but were traditional Japanese weapons. War fans varied in size, materials, shape, and use. One of the most significant uses was as a signalling device. These signalling fans came in two varieties; a fan that has wood or metal ribs with lacquered paper attached, and a metal outer cover or a solid open fan made from metal and or wood.
Traditionally, the commander would raise or lower his fan and point in different ways to issue commands to Japanese soldiers. War fans could also be used as Japanese weapons, with the art of fighting with war fans being known as tessenjutsu.

Kiseru Battle Pipes

Kiseru is a Japanese weapon derived from a smoking pipe traditionally used for smoking a small serving of kizami, a finely shredded tobacco product. During the Edo period, Japanese weapons were frequently used as objects for flaunting financial status. Since the general population were prohibited from carrying sharper Japanese weapons, an elaborate Kiseru carried slung from the waist often served the purpose. Although not all were designed for fighting, a glance at pipe’s size and weight might give away its user’s intent.

Manriki-Kusari

Although the Manriki-Kusari gained fame as a ninja weapon, police officers actually adopted these Japanese weapons to disarm and capture criminals. The collapsible chain could be rolled up, concealed and easily transported. When it comes to Japanese weapons, the  Manriki-Kusari served many functions; it could be used for climbing, restraining an enemy, and could be wrapped around body parts for extra protection.

Yumi

As the original samurai weapon, the Japanese bow has a long and bespoke history. Isolation from other cultures allowed Japan to develop its own unique archery tools and techniques, amongst other Japanese weapons. Japan’s oldest hunting and ceremonial bows date back to 10,000 BCE and, without the wood binding technology of other countries, Japan was able to develop very long wooden bows, some over 2.5 meters, to maximize their power.

Fukiya

The Fukiya is one of many Japanese weapons that is associated with ninjas, as depicted in 17th-century ninja scrolls. These blow-darts made little noise, were easy to transport and could double as flutes, pipes, or breathing straws. Where materials were limited, bamboo or paper would be used as substitutes. Poisoning the darts made these Japanese weapons extra effective against the enemy. Today, Fukiya has evolved into an international sport, similar to archery.

Shuriken

Widely known as throwing, ninja, or Chinese stars, these traditional Japanese weapons are known most commonly as hand-hidden blades.  The art of wielding the shuriken is known as shurikenjutsu and was taught as a minor part of the martial arts curriculum of many famous schools. Although they come in various shapes and sizes, the classic throwing star with multiple points spun in flight is smaller and more manageable and therefore required less skill to throw than long throwing knives or other Japanese weapons.
At Atelier Japan, our makers have stood the stead of time, prevailing among huge global disturbances and remaining unwilling to go backwards. Our makers have taken care and time to create authentic Japanese fans, pottery, tea and silverware from authentic materials for you to enjoy. Browse the Atelier Japan website to discover our unique collections.

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Japanese Craft: An ancient history

Japanese craft has a long and traditional history throughout Japan. Included in Japanese craft are handicraft, a sometimes more precisely expressed as artisanal handmade craft style, that includes a wide variety of useful and decorative objects all of which are made completely by hand using simple tools. As well as traditional Japanese craft many modern craft pieces are now produced by independent studio artists, working with traditional craft materials and or processes to protect the nature of traditional crafts. Let’s take a look at what makes Japanese craft so unique.

Types of Craft

According to the Japanese Ministry of Education, Science and Culture, Japanese craft can be divided into eight auspicious categories: pottery, textiles, lacquerware, metalwork, dollmaking, bamboo and woodwork, papermaking and miscellaneous. These categories of craft can then be further divided into a number of more specific subcategories. The Japan Kōgei Association agrees with the distinct definitions set for Japanese craft and the many variations are protected by the government. In order for an object to be officially recognised as traditional Japanese craft, it must meet all five of the following requirements:

  • The item must be practical enough for regular use.
  • The item must predominantly be handmade.
  • The item must be crafted using traditional techniques.
  • The item must be crafted using traditional materials.
  • The item must be crafted at its place of origin.

Each individual craft requires a set of specialised skills, and those who work in crafts are eligible, either individually or part as a group, for inclusion in the list of Living National Treasures of Japan. Although Japanese craft serves a functional or utilitarian purpose, they are often handled and exhibited in a similar way to visual art objects.

History of the Craft

Japanese craft dates back since centuries to when humans settled on Japan’s islands. Handicrafters used natural, indigenous materials, a tradition which continues to be emphasised today. Traditionally, objects were created to be used and not just to be displayed and therefore the border between what was Japanese craft and what was Japanese art was not always very clear. Japanese craft had close ties to folk art, but developed into fine art as well as becoming part of the concept of wabi-sabi aesthetics. As time developed, crafts became increasingly sophisticated in their design and execution with craftsmen and women becoming artisans with increasing sophistication.
By the end of the Edo period and the advent of the modern Meiji era, industrial production was introduced. This lead to Western craft objects and styles being copied and they began to replace the traditional Japanese types. Traditional Japanese craft began to wane, and disappeared in many areas, as tastes and production methods changed. Specific crafts that had been practised for centuries were increasingly under threat, while others that were more recent developments, introduced from the West, saw a rise.
Although Japanese craft was is seen as a National Treasure under the protection of the imperial government, it took some time for their intangible cultural value to be fully recognised. In order to further protect traditional Japanese craft and art, in 1890, the government instituted the Guild of Imperial Household Artists, who were specially appointed to create works of art for the Tokyo Imperial Palace. These artists were considered amongst the most famous and prestigious and worked in areas such as painting, ceramics and lacquerware.
The Second World War left Japan devastated and as a result, Japanese craft suffered. The government decided to introduce a new program known as Living National Treasure, to recognise and protect the craftspeople of the fine and folk art skill set. Inclusion in this list came with financial support for the training of new generations of artisans so that the traditional art forms could continue. Although the government has taken steps, private sector artisans continue to face challenges trying to stay true to traditional Japanese craft whilst at the same time reinterpreting old forms and creating new ideas in order to survive and remain relevant to consumers.
Despite modernisation and westernisation, a number of Japanese craft and art forms do still exist, partly due to their close connection to certain Japanese traditions such as tea ceremonies and martial arts. Many exhibitions and displays take place every year to exhibit a number of both modern and traditional kōgei artists in an effort to introduce Japanese craft to an international audience.
At Atelier Japan, our makers powerfully encapsulate ancient and artisanal Japanese craft that has been articulated for the modern audience. All of our products are intricately made by hand to create authentic Japanese products for you to enjoy in the comfort of your home. Visit our website and browse our bespoke range of teas, fans, jewellery and pottery.  https://www.atelierjapan.co.uk/
                   

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Japanese Lacquerware: Intricate ancient craft

Japanese lacquerware is a Japanese craft used within a wide range of fine and decorative arts. Japanese lacquerware is crafted from a deep and shiny lustre of black or red, and is sometimes adorned with a gold leaf or mother-of-pearl inlay. Japanese lacquerware was introduced to the West during the 16th century but only began to spread more widely in the 17th century when the Dutch East India Company, immediately enthralled royalty and nobility to Japanese lacquerware. Let’s take a look at the history and intricate processes that are carried out to achieve exquisite and unique lacquerware products.

A step back in time

Japanese lacquerware uses a unique substance called urushi which has been used to produce holy ceremonial ornaments, works of art and utilitarian objects for thousands of years. The oldest urushi lacquered ornaments discovered in Japan date back to around 7000 BC, during the Jōmon period, and they remain the world’s oldest urushi lacquer objects to date. Japanese lacquerware technology is believed to have been invented by the Jōmon as they learned to refine urushi, a process which took several months. This process also began to see the use of iron oxide and cinnabar, the products used for creating the distinctive red Japanese lacquerware. Lacquerware was traditionally used in pottery, different types of wooden items and, in some cases, burial clothes for the dead were also lacquered. Since so many lacquered objects have been discovered, that are said to have been from the early Jōmon period, it is indicated that Japanese lacquerware was clearly a highly established part of Jōmon culture.
Many experts are divided on whether Jōmon lacquerware was derived from Chinese techniques or invented independently as many traditional crafts and industrial arts produced throughout Japanese history were initially influenced by China. As Japan entered the Edo period, they saw an increase in the growth and use of lacquer trees and the development of the techniques used. By the 18th century, coloured lacquers came into wider use to craft more unique and bespoke Japanese lacquerware. In recent decades, there has been an effort made by the Japanese government to preserve the art of making Japanese lacquerware.

An introduction to urushi

Urushi is a natural sap found in the urushi tree with its beauty and lustre being one of the many appeals that urushi has when used for Japanese lacquerware, the extraction which, uses and maximises the natural vitality of the urushi tree. Urushi is one of the most durable natural lacquers available, making it perfect for crafting a range of Japanese lacquerware ornaments that are designed to stand the test of time. Astoundingly, the urushi tree creates this intricate sap to heal itself when it becomes damaged, this quality has many characteristics important to the making of Japanese lacquerware. Starting from its unique drying process caused by humidity, to its great strength after drying, urushi allows for durable and incredibly hard finishes for Japanese lacquerware once dry. Moreover, urushi lacquer is resistant to water, acids, alkali, alcohol and heat as well as having antibacterial effects, making it a truly remarkable substance to craft from.

A valuable asset

Urushi is a highly valuable asset to the Japanese lacquerware industry and takes a lot of time and knowledge to collect. Urushi is tapped by carving the bark of the urushi tree with a horizontal long groove that’s left to produce a clear milky-white sap. Before urushi sap can be collected, it takes at least 10 if not 15 years for a fully developed urushi tree to grow big enough to be tapped. The urushi tree yields around 100 to 200 grams of raw urushi sap in its whole lifetime, making it a very precious and expensive substance which is why Japanese lacquerware is so valuable. Due to its valuable nature, it takes a highly skilled and experienced urushi collector to tap the trees, this is often done from June to October and is a painstaking experience where the collector extracts the Japanese lacquerware sap drop by drop.
The whole extraction process is incredibly natural and relies on a skilled urushi collector to collect the sap entirely by hand. The skill, knowledge and decision making to collect urushi sap is very complex, and since each tree is different, urushi collectors must understand the conditions of each tree. From the angle of the tree trunk to the direction of the sun, many variables have to be taken into account before the sap can be collected to make traditional Japanese lacquerware.
At Atelier Japan, we use only the finest traditional craft techniques. Our makers have stood the test of time and have prevailed among huge global disturbances, remaining unwilling to go backwards. Visit Atelier Japan to explore the products that our makers have taken care and time to craft. https://www.atelierjapan.co.uk/
 
                

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Maiko: The history of apprentice geisha and their Fan

Maiko, known as apprentice geisha in Kyoto and Western Japan, have a long and bountiful history. The role of a Maiko is to perform songs and dances, and play the shamisen or other traditional Japanese instruments for visitors during ozashiki, a form of geisha gathering. Maiko are usually introduced to the geisha lifestyle around 15 to 20 years old and become a geiko, a qualified geisha, after learning how to dance the traditional dances, play the shamisen and speak Kyō-kotoba, the dialect of Kyoto. Let’s take a look at the unique journey of the well known traditional Japanese geisha and her origins where she will have started as a Maiko.

What makes the Maiko

The translation of Maiko literally means ‘Woman of Dance’, o-shaku (御酌), ‘one who pours (alcohol)’ or Hangyoku (半玉), the ‘Half-Jewel’ as apprentice geisha were paid half of the wage of a full geisha whilst in training and were often found to be serving alcohol during performances. Maiko originated from women who served green tea and dango, a Japanese dumpling made from rice flour, to people who visited the Kitano Tenman-gū or Yasaka Shrine, two of the most famous shrines in Kyoto. Maiko also served tea at the temple teahouses in the temple town, a tradition that dates back over 300 years. Tradition is still evident in modern Maiko. In the mornings, Maiko take authentic lessons to polish their performance skills and at night they go out to work. The evening sees Maiko girls dancing, singing, playing the shamisen and serving visitors at exclusive ochaya, establishments where patrons are entertained by geisha.

A certain look

Characterised in appearance by distinctive Japanese costumes and makeup, the signature Maiko style is instantly recognisable. The white make-up and elaborate kimono and hair of Maiko mirrors the popular image that is held of geisha. During their career, a Maiko will wear different kinds of nihongami, traditional Japanese hairstyles, depending on their rank, formality and occasion. They often decorate their hairstyles with seasonal kanzashi, traditional hair ornaments, and unlike geisha, Maiko use their own hair and not wigs. Typically, at the start of a Maiko’s career, she will wear the traditionally elaborate makeup and dress every day but, as she becomes a trained geisha, after three years of her profession, her elaborate makeup and dress becomes lighter and simpler as she will be known more for her talent and skill rather than her appearance.

The Maiko fan

The history of the Japanese hand fan is a beautiful and cultural piece of the past. Used as a way to keep cool, for decorative purposes or in this case entertainment, the hand fan has changed vastly in terms of purpose however the unique style and craft has continued to stay the same. Geisha of all types often use hand fans for performance or as an accessory, especially Maiko. Maiko fans are used in the famous fan dances that apprentice geisha are trained to perform and execute with true elegance. Geisha and Maiko also use fans as a way of expressing themselves and they are critical elements in their dances. More so in previous years, the fan was used to cover a geisha’s face in an act of purposeful shyness, while using the eyes emotively to portray a sense of mystery and enticement. Fans could be held in many ways to show different feelings.

Kamogawa Odori

More than any other place in Japan, Kyoto is known for geisha and Maiko. Though visiting a traditional tea house is very difficult without invitation, geisha and Maiko from Kyoto’s traditional geisha districts put on public dance displays every spring and summer, giving visitors an excellent chance to witness the skill and grace of Kyoto’s best performing artists. The Kamogawa Odori Dance or The Kamo River Dance is performed in May by the Pontocho geisha and shares its long tradition with the Miyaki Odori Dance, both of which date back to the Kyoto Exposition in 1872. The Kamogawa Odori is unique in its extensive use of fans during the dancing, where geisha and Maiko weave around the stage in swirling patterns, twirling fans in one hand and flower bouquets in the other.
Geisha and Maiko use only the best quality traditional products for dressing and entertaining including their kimono, shoes, and of course fans, keeping craftsmen in work and preserving their knowledge and history for years to come. At Atelier Japan, we have an exclusive range of traditional Maiko fans that have never before been sold outside of Japan, explore our unique range of handcrafted fans and purchase your own piece of authentic Japanese culture. https://www.atelierjapan.co.uk/product-category/komaruya/maiko-geisha-fan/
 
               

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Marukyu Koyamaen Matcha: Award-winning matcha

Over the last few years, matcha has recently become a highly established ingredient in the modern Western culinary and beverage world and is now well known globally due to its powerful health benefits. However, this unique blend dates back nearly a thousand years to a time when dynasties ruled China and Shogun clans ruled Japan. Let’s take a look at the beautiful history of matcha and how Atelier Japan’s own Marukyu Koyamaen made its mark in the Japanese tea trade.

Varieties of Tea

When it comes to tea, there are three main categories. Completely oxidized and fermented teas such as black teas, half-oxidized teas known as oolong teas and, most commonly, non-oxidized teas that are green, such as matcha. Most Japanese teas are of the green variety and a lot of effort goes into maintaining the beautiful green colour of the fresh leaf together with all of its health-preserving properties.
In Japan, there are two different methods of tea cultivation, both of which give contrasting results. One method is to let the tea bushes grow and bud without any shade from the sun. This method was originally introduced from China for the growing of leaf tea and is used to produce the most common tea in Japan known as Sencha. The other method of cultivation is to shade the tea bushes completely. This method was originally developed in Japan for the production of finely powdered tea, such as matcha, but later extended to the production of the high-quality Japanese leaf tea known as Gyokuro.

History of Marukyu Koyamaen

In the Genroku period (1688-1704), a man by the name of Kyujiro Koyama began to cultivate and manufacture matcha and tea in the village of Uji and Ogura in Kyoto. His work was the beginning of what was to become the renowned Marukyu Koyamaen. Over the last 400 years, Koyamaen have devoted themselves to producing the highest quality tea generation after generation.
During the following generations, the quality of tea was raised through improvements in all aspects of the cultivation, treatment and production, thus establishing the tradition of Ujicha. The fourth generation of Koyamaen began marketing the matcha and tea, and by the eighth generation, Motojiro, the market had been extended to the whole country. A standard of high quality, consistent from cultivation to the final product, was achieved, and the tea was highly esteemed. It is well known that Marukyu Koyamaen stands for the highest quality standard of tea as well as being one of the oldest established tea manufacturers in Uji; today, they supply their high-quality tea to many prestigious temples, shrines, and tea ceremony houses.

Authentic Flavour and Appraisal

For generations, Marukyu Koyamaen matcha and teas have been carefully inspected and produced by succeeding directors. Through repeated training, honing of skills and techniques, their knowledge of how to produce the finest teas and maintain their quality has been constantly improving. Whilst preserving tradition, Koyamaen promote technologically innovative production techniques. In recent years, Koyamaen have been focusing on developing new products such as their patented Mizutate Ousu in which matcha tea can be made with cold water. Marukyu Koyamaen now ranks among the foremost producers of fine teas in Japan.
Every year, as part of their efforts to improve the quality and consistency of their teas from the growing stage to the final processing, Marukyu Koyamaen submit their tea and matcha for appraisal in competitions. So far, Marukyu Koyamaen has come first in Japan’s National Tea competition twenty one times, first in Kansai’s Regional Tea Competition nine times and first in Japan’s National Tea Tasting Competition twice.
Want to experience the inspiring flavour award-winning, authentic matcha? Marukuyu Koyamaen’s matcha is one of the finest blends that the world had to offer. With its smooth taste and natural flavour, their matcha blend is truly one of a kind. Visit their full collection to discover more award-winning Japanese matcha for a transportive experience like no other. https://www.atelierjapan.co.uk/product-category/koyamaen/matcha/

Want to learn more?

Read all about the health benefits here: https://www.atelierjapan.co.uk/2018/01/08/the-health-benefits-of-matcha/

Fancy getting more inspiration?

Discover how matcha can be your perfect summer drink here: https://www.atelierjapan.co.uk/2018/04/10/matcha-green-tea-the-perfect-summer-drink/
 
Selected Matcha Green Tea by The Ura Senke SHOKANOMUKASHI                   

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Japanese Gardens: The significance of aesthetics

Japanese gardens are often affiliated with the natural and botanical culture that the Japanese embrace. Japanese gardens are made to reflect a small landscape with its basic principle being to create harmony and balance. The oldest Japanese text based on Japanese gardens is Sakuteiki (Records of Garden Making) the work of which was based on verbal traditions which were published for the first time in the 11th century.

Types of garden

There are many different types of Japanese gardens that can be explored. There are the contemplation or thinking styles of Japanese gardens, also known as kanshō, which are designed to be studied and enjoyed from one specific place. The stroll or walking styles of Japanese gardens, known as shūyū, are intended to be looked at from a path. The boating or pleasure-boat styles of Japanese gardens, or funasobi, are centred on a large pond and, lastly, the many-pleasure style of Japanese gardens, or kaiyū, which have a central pond and many paths, combining aspects of kanshō, shūyū and funasobi gardens.

Favoured features

Water
Japanese gardens always incorporate water into their landscapes, whether it be a pond or a stream. Water has the ability to capture the essence of nature which is what makes  Japanese gardens so distinctive and appealing to observers. In traditional gardens, the ponds and streams are carefully placed according to Buddhist geomancy, the art and science of putting things in the place most likely to attract good fortune. It is believed that the water of gardens will allow the owner of the garden to have a healthy and long life if the flow goes from the east to west, where evil is carried away. Another favourable arrangement of water flow in Japanese gardens is from the north, which represents water, to south which represents fire, both of which are opposites, or yin and yang, which are said to bring good luck.
Rocks and Sand
Rock, sand and gravel are an essential feature of Japanese gardens. The specific placement of stones in the gardens are designed to symbolise and represent islands and mountains, as well as be an aesthetically pleasing property of traditional gardens. Rock placement is generally used to portray nature in its essential characteristics, which is the essential goal of all Japanese gardens.
Garden Bridges
Bridges first appeared in Japanese gardens during the Heian period with the bridge symbolizing the path to paradise and immortality. Bridges are usually, made from, stone, wood or logs that have been covered with moss to create wither an arched or flat structure. During the Edo period, when large promenade Japanese gardens became popular, streams and winding paths were constructed alongside a series of bridges, to take visitors on a tour of the scenic views of the garden.
Stone Lanterns ans Water Basins
Japanese stone lanterns date back to the Nara period and the Heian period. Originally they were located only at Buddhist temples, where they lined the paths and approaches to the temple. According to tradition, they were introduced to the tea garden by the first great tea masters, and in later gardens, they were used purely for decoration. Stone water basins, also known as tsukubai were originally placed in Japanese gardens for visitors to wash their hands and mouth before the tea ceremony.
Trees and Flowers
Nothing in Japanese gardens is natural or left to chance; each plant is chosen according to their aesthetic principles, either to hide undesirable sights or to serve as a backdrop to certain garden features to create a picturesque scene. Trees are selected and arranged by their autumn colours, moss is used to give Japanese gardens their ancient feel and flowers are carefully selected by there season of flowering. Some complimenting plants are chosen for their religious symbolism, such as the lotus, sacred in Buddhist teachings, or the pine, which represents longevity.
Fish
Fish, particularly nishiki-goi, also known as coloured carp, or goldfish are used as a decorative element in gardens, an influence borrowed from that of the Chinese garden. Goldfish were developed in China more than a thousand years ago by selectively breeding Prussian carp for colour mutations. By the Song dynasty, many colourations had been developed. These newly bred goldfish were then introduced to Japan in the 16th century where they were popularly used in Japanese gardens amongst other breeds of fish, such as koi and carp.
 
At Atelier Japan, we understand the true importance of traditional Japanese aesthetics, that’s why all of our collections are handcrafted by master artisans to create pieces that are time honoured and reflective of Japan’s cultural design. Explore our collections to browse more of our bespoke collections of fans, tea, silverware, jewellery and pottery.
 
               

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Japanese Silver: Trading over time

Although Japanese silver has been used in Japan internally since the earliest periods of Japan’s history, the precious metal became most prominent in terms of external trade and industry in the 16th-18th centuries. After having imported silver from China until this time, the dynamic shifted in this era with China importing Japanese silver in exchange for their coveted silks.

General History of Silver in Japan

In the 16th and 17th centuries Japan engaged in maritime trade on a large scale for the first time. Europe, particularly the Netherlands and Portugal, turned to Japan for trade. Japanese silver mines would become one of the chief sources for silver in the worldwide market. After William Adams, the English navigator, initiated trade with Japan on behalf of the Dutch East India Company, the Dutch were given extensive rights to trading with Japan over other European countries. Most Japanese silver trading happened in Nagasaki, a coastal city on the northwestern island of Kyushu. Initially, Japan was keen to exchange their silver for the desirable silk which China was famous for producing. Originally China was the main exporter of silver in the East, but when their mines started to deplete this title shifted to Japan, with China ironically becoming one of the biggest procurers of Japanese silver. By the 17th century, Japan was exporting so much of the precious Japanese silver that the Tokugawa Shogunate tried many different methods to minimize this trade. Most of these ventures backfired, particularly the attempt to abolish the itowappu silk monopoly. In 1668 the trading of silver externally was banned completely. However, although the Shogunate successfully halted exportation by the 1760s, the silver mines of Japan were already highly depleted.  

Iwami Ginzan

Iwami Ginzan was the largest Japanese silver mine in the whole of Japan and was in operation for nearly four hundred years, from 1526-1923. Situated in the Iwami province, this site was highly contested and has been owned by different factions and families over the centuries. Iwami Ginzan opened under the stewardship of ‘Bakufu’, the then government, and was later managed by the infamous Fujita Company in the Meiji and Taisho eras. Between the 16th and 17th centuries this Japanese silver mine could produce as much as 150 tons of Japanese silver a year due to imported technology. The Japanese refined a technique imported from Korea and China called haifuki-ho and this was first used in Iwami Ginzan. This process involved adding lead to the Japanese silver ore and blowing hot air into the mixture to melt them together. Excavations of the site started in 1993 and since its closure in 1923 no documents of the actual management of Iwami Ginzan have been found, though a lot can be learned through records of political history. Iwami Ginzan became a national heritage site in 2007.

Kyoto and Silver

Ginkaku-ji is one of Kyoto’s most famous temples. It is easy to confuse this pavilion with Kinkau-ji, which is the more renowned of the two. Kin in Japanese means gold, and Gin is the word for silver. Kinkaku-ji was originally the home of Shogun Ashikaga Yoshimitsu and was made into a complex that was then converted into a Zen Buddhist temple on his request after his death. The pavilion has had to be repaired twice due to fires, but the roof is still made from pure gold-leaf. The building of Ginkaku-ji was initiated by Ashikaga Yoshimasa but the Japanese silver leaf covering that he desired to top the temple with was not achieved before his death and has still never been applied, even in renovations. Instead there is lacquer on the roof which gives off a Japanese silver sheen, which still creates a stunning sight. Despite the fact that actual Japanese silver is not used, this temple is still known as Ginkakuji, the temple of silver, and is a popular monument in Kyoto. In terms of real silver trade in Kyoto, the main use in tradition in this city has been in inlay, which we have discussed in a previous blog. Kyoto has always used silver for many of their crafts and designs but was never known as a silver-producing region. However, Japanese silver is an important aspect of trade, featuring heavily in many traditional art forms in the city.

Silver on Atelier Japan

Used particularly in inlay design, Atelier Japan features many different products that are made from Japanese silver, or use the precious metal in their designs. Kazariya-Ryo produce pure silverware in a variety of different objects, and Zinlay provide our stunning inlay items, which use both Japanese silver and gold, all available to purchase on Atelier Japan.
 

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Japanese Etiquette: A guide to the unique culture of Japan

Japan is widely known to have a very unique society, especially when it comes to Japanese etiquette and even more so when compared to its neighbouring countries in North East Asia. It can be quite difficult for Westerners to understand these differences and usually, as long as you act polite and respectful, a Japanese person would not expect you to know all the ins and outs of their culture and what is classed as Japanese etiquette. However, there are some simple insights that can help anyone trying to break into the business world in Japan and ensure you will make the most out of any experience with a Japanese company.

First Impressions

Japanese etiquette is highly important when it comes to first impressions. The first impression that you create when meeting a prospective Japanese business partner is crucial to the success of the whole relationship. In Japan, tardiness is considered impolite, and often Japanese people will arrive early with the general view that it is much better to be too early than too late, punctuality is a large part of Japanese etiquette. So, if you think that you might be running behind even by just a few minutes, it’s best to let them know.
When meeting someone for the first time, it’s important to know the custom of giving and receiving business cards, as this interaction will establish how the person views you and create an affiliation which leads to trust. If you are given a business card, ‘meishi’, Japanese etiquette requires that is to be presented in both hands with the face up. The polite response is to take the card in both hands and read it carefully before putting it away neatly. Commenting on the card will also go a long way. A big cultural faux pas would be to stuff the card in a back pocket and sit on it, throw it away or write on it in front of the person. This is an easy mistake to make, so this a custom of Japanese etiquette to be careful of.
The society in Japan is very hierarchical with a strong emphasis on age, with the older person being superior. It is traditional Japanese etiquette to refer to each other by the person’s surname plus the suffix ‘san’, and remembering this will pleasantly surprise the person you are meeting.

Honour

Courtesy is a good word to remember when visiting Japan or meeting Japanese people; Japanese society is very honorific, and the idea of ‘face’ and loss of it is an incredibly important part of Japanese etiquette, almost to an extreme level. If you are associating with a Japanese person, anything that causes you embarrassment or loss of face would also affect them. The language used by the Japanese will be polite and tempered and it is not normal for them to use aggressive or assertive language. When dealing with a difficult situation, it is Japanese etiquette to stay calm as this will help to resolve any problems sooner.

Meetings

Typically, Japanese etiquette suggests that the purpose of a meeting in Japan is to affirm your relationship and endorse prepared work rather than discussing new ideas. New proposals will often not be accepted in the meeting, so don’t panic if you feel you aren’t getting anywhere. Usually, many of the associates will attend, particularly if you are not that familiar with each other. It is traditional of Japanese etiquette for the most senior representative to talk and the junior associates to remain silent, although this is now changing to match the increasing need to speak English in business relationships.
Don’t worry about getting an immediate response to the ideas that you bring to the table as this is not typical of Japanese etiquette. Whoever you are meeting represents their whole company and therefore will need to return to their colleagues and discuss extensively. Japan is a consensual society where everything must be viewed meticulously, which can create a slow process that other countries are not used to. The idea behind this way of conducting business is that when the respective parties are ready to go forward with an idea, it will have been so extensively planned that everything will then move very quickly and effectively.

Language and Relations

Japanese is linguistically very different from both English and other Indo-European languages and therefore can be difficult to grasp. Structurally, Japanese is the opposite of English, you’ll find that simple sentences in English become quite long when translated into Japanese, and vice versa.
There is a concept relating to Japanese business arrangements that the relationship comes first and the business will follow.  The Japanese traditionally have social events after formal events, and there are several different layers to these. The idea behind this piece of Japanese etiquette is to create a more relaxed and personal atmosphere to build trust. These social interactions can also be very fun and give you a chance to sample traditional sake or Japanese beer with locals who know all the best ones.

Things Not To Do

Finally, and perhaps most importantly, there are a few things to avoid doing in Japanese company that are culturally very different and go against Japanese etiquette. Don’t blow your nose in public; the Japanese will instead sniff. This is quite difficult for westerners to get their heads around as the opposite is polite respectively, but in order to avoid awkward stares, this is a good rule to follow. Furthermore, slurping when eating noodles and soup is considered polite, showing that you enjoy the food. So you can forget your grandma’s rules about making noise when eating and relax. Swearing is not part of the Japanese language, instead, they would express disrespect in different ways. It’s not natural for them to openly express disrespect to others, although unfortunately Western swear words are making their way into young Japanese culture, particularly the media.
If you keep in mind these Japanese etiquette rules, they will help you make the most of this wonderful country and reciprocate the respect that is already present within Japanese society. If you are looking to discover more on Japanese culture and tradition, why not take a look around the Atelier Japan website where you can find an exquisite range of traditionally handcrafted fans, tea, pottery and jewellery. 
 

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Japanese Myths and Legends: An ancient approach

Japan, like many other countries and cultures, has a rich and mysterious tradition of Japanese Myths and Legends passed down from generation to generation. As is true of any myth, the stories often have different versions and can contrast hugely. Much of Japan’s history is already steeped in mystery, so it can be difficult to distinguish myth from history.

Japan’s Gods and the Creation Myths

There are many religious Japanese Myths and Legends to explore. In Shinto religion, gods are synonymous with nature and are one and the same. There are thousands of kami (deities) in Japan, as there are local gods of every region and town, and many Japanese will revere the kami of their nearest shrine. However, there are also famous deities recognised by all as the main gods of Japanese Myths and Legends. In the Kojiki (‘Record of Ancient Myths) and the Nihon Shoki, which both chronicle Japan’s history and legend, the gods come about in the creation story through particles forming the heavens where the gods appear. These gods are collectively known as the ‘Kotoamatsukami’.
When these celestials formed the earth, more gods appeared. Izanagi (the ‘exalted male’ deity) and Izanami (the ‘exalted female’ deity) are perhaps the most famous of the gods, as they are sent to rule on earth and start life there. They eventually have children, after a failed attempt where two abominations were formed, to the eight great islands of Japan, all representing different aspects of nature. When Izanami died in childbirth, one legend is that Izanagi, stricken with grief, travelled to ‘Yomi’, the underworld, to bring her back. He was too late as her body had already decayed. Izanagi had to flee the underworld after Izanami, who had eaten food there and become one of the dead and decaying spirits, chased him. When he escaped, he purified himself from the effects of Yomi, which fits in with the Japanese ideology of death and decay as impure. From the water of his left eye Amaterasu was formed; from his right eye, Tsukiyomi-no-Mikoto the moon god; and from his nose, Susanoo, the trickster god of the sea.

Amaterasu and Susanoo

These two of the three are particularly notorious in Japanese Myths and Legends and modern-day Japan. In all stories surrounding the two, they are seen to have distinct sibling rivalry. Susanoo is often represented as an annoying brother who loved to play tricks and upset Amaterasu. There is also a common portrayal of him as a ‘snot-nosed’ boy, and several stories that suggest he was formed from snot. In the most widely accepted version of the myth of Amaterasu and Susanoo, the brother terrorises his sister after they had a competition to see who could produce the most divine children, by throwing a half-flayed horse (Amaterasu’s sacred animal) into her weaving hall. The display upsets Amaterasu so much that she runs away and shuts herself up in a cave. Since she is the Sun Goddess, the world and the heavens fall into darkness, causing the other gods to get involved. They all go to the cave to try to get her to come out, but she refuses. In the end, she is caught by a ‘strong-armed’ god when she peeks out of her hiding place to see an amusing display put on by the goddess of merriment. The Sun is restored to the universe and Susanoo is exiled. However, on earth he saves a human girl from a dragon which he then defeats, and then marries the girl, creating descendants that Jimmu, the first emperor of Japan in legend, is said to relate to.

The Hare of Inaba

Moving away from Japanese Myths and Legends surrounding gods, Japan has many legends concerning morals and metaphorical political ideals. One of these is the tale of the ‘Hare of Inaba’. In one version of this urban myth, a hare tricks some crocodiles into forming a bridge for him to cross over to an island. The crocodiles learn of the trick and tear off all the hare’s fur. The hare, sobbing about his misfortune, is told by a group of men passing by that he should bathe in sea water and then dry in the sun. He follows this advice but this leads to more pain as the salt burns his wounds. Another man tells him to wash in fresh-water and to then roll in cattails pollen. This time it works and the grateful hare promises the man, who turns out to be the fairy Okumi-nushi-no-Mikoto, that he will marry the princess Yakami. This story is widely taken to metaphorically represent Japan’s struggle to escape barbarism and the beginning of modern Japan. The ‘Hare of Inaba’ is still one of the most popular Japanese Myths and Legends story today, and often features in festivals, artwork and shrines.

The Tale of Genji

Another famous Japanese Myths and Legends story was written by the noblewoman Murasaki Shikibu, who was also a lady-in-waiting, around the year 10,000 CE. Centering on Genji, the son of the emperor in the tale and his mistress, this story tells of Genji’s exploits at court. In the tale, Genji’s mother dies and this causes him to be branded a commoner by his father, since Genji was also not popular at court. After having ventures of his own outside court-life, Genji’s position in the palace is later restored after his father dies and the crown prince later abdicates in favour of a son who turns out to be Genji’s. This Japanese Myths and Legends story is believed to be representative of contemporary court life, and provides unrivalled insight into the life of nobles and imperials at this time, despite being entirely fictional.

Mythology Represented on Atelier Japan

Japanese Myths and Legends still have a firm place in current Japanese society, and influence many art forms and religious representations. Atelier Japan features fans, produced by our wonderful makers Komaruya, that embody these ancient Japanese Myths and Legends. The Japanese God of Thunder fan and the Japanese God of Wind fan both draw on the heritage of Japanese kami, and the Tale of Genji fan showcase this legendary story that still has relevance with Japanese society today. Browse our website to discover our unique range of handcrafted Japanese products. 
 

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Japanese Business Etiquette: Building bridges overseas

Overview

Japanese Business Etiquette is quite separate from others, even from those in neighbouring countries in North East Asia.  Amongst themselves there is a clear Japanese Business Etiquette in terms of hierarchical structure and coded behaviour for interaction. The most noticeable feature to external eyes is the bowing culture.  There are subtle differences between bows, reflecting both social and gender differences.
The good news is that none of this should concern people who are not Japanese!  A simple rule of thumb for a UK national dealing with the Japanese is to act politely in the way that you normally would and this will usually be more than enough.
There are, however, a few things that might be worth bearing in mind.

Punctuality

In Japan it is impolite to be late.  Japanese will err on the side of being much too early, and wait, rather than be late.  If you are going to be late, then it is important to contact your host in advance and warn them, if a delay is inevitable.  At receptions, Japanese turn up exactly on time and, when the senior man present decides it is time to go, those in his group will all leave together.

Business Cards and Introductions

In Japan the exchange of business cards is important.  It establishes affiliation which brings the ability quickly to trust.  A Japanese will hand you his business card, usually with both hands, with the face up and script towards the recipient, so that it is easy to read.  The normal response is to spend a little time looking and perhaps to make a little small talk, such as “I see your office is in Tokyo” or something similar.
You should not write on someone else’s business card when they are present.
When meeting several people for the first time, it is often customary to place cards in front of you, with cards reflecting the seating plan, so that you can remind yourself who is who.
Business cards should be put away carefully, preferably in a business card holder, but a wallet or Filofax or similar neat storage is fine.  Best not to follow one senior example of throwing all cards away as you leave a function! Also, do not put in your back pocket and then sit on them.
For those introducing people, particularly in a business context, there is a responsibility to ensure that the introduction has a good chance of success.  The role of the intermediary in Japanese culture is highly respected and important. If an introduction leads to a bad experience, the reputation of the intermediary will be adversely affected.

Names

Japanese usually call each other by surname plus san. First names are rarely used, unless someone has spent a long time living abroad and says that he prefers it.
When referring to yourself or a close colleague you would not normally use the suffix “san”.
Amongst Japanese themselves, there is a strong sense of social hierarchy, generally age related.  Two Japanese from the same background will refer to themselves as senior (senpai) and junior (kouhai).  This relative relationship is lifelong, even though the junior may in due course exceed his senior’s career trajectory.  Chairmen and Presidents of companies are obliged to consult with their predecessors (but not necessarily follow advice) when making major strategic decisions.  

Face

The concept of face is common throughout East Asia, but probably most important in Japan.  To lose face is to be humiliated and whilst no one wants to lose face in negotiations, the Japanese will often go to some lengths to ensure that their counterparts do not lose face either.  Consequently, strong or assertive language will not normally be used by them, and they will be confused by aggressive language or behaviour from others in meetings.
The watchword is courtesy.  The Japanese will normally go out of their way to be courteous and will greatly appreciate similar behaviour.

Gender

Japanese business culture is still male dominated.  Women are often in larger teams but women in positions of real responsibility are still rare.  Things are slowly changing, and the current government is committed to changing this, but a western business person is likely to be struck by the relative lack of female participation.

Meetings

Japanese companies will often bring several representatives to a meeting.  Government meetings may well be smaller. The less they know you, the more are likely to attend.  Traditionally, only the senior Japanese representative will speak, and others (more junior) will say nothing.  This has begun to change, at least with those who are more comfortable in English. From a Japanese perspective, a meeting’s purpose is to confirm relationships and endorse work already prepared.  It is not a proactive environment in which new ideas will be immediately accepted, although new ideas can be introduced, as long as there is no expectation of immediate response.

Consensus

Japan is a consensus society, with everyone buying in to what has officially been agreed.  Consequently, each individual represents his whole organisation at meetings. Do not, therefore, expect decisive responses to suggestions which have been made for the first time at a meeting.  They will need to go back and consult widely before responding. The best meetings will have been well prepared in advance.
A secondary aspect of this consensus culture, is that Japanese effectively do their “due diligence” before committing to a project.  The process can be time consuming and frequent questions will often be repeated. This is because they have come from a different stakeholder, and the answers will be checked for consistency.  If an inconsistency is not explained, it may cause confusion.
The corollary of this initial slow decision making is that, when consensus is reached and a decision is made to commit, the whole organisation will swing behind and move extremely quickly and effectively.  
One of the means by which consensus is achieved for major decisions is through a process called ‘nemawashi’.  Literally, this means going around the roots of a tree when transplanting, and refers to the wide networking through all stakeholders that needs to be undertaken when proposing major change.  
Culturally, both through their education system and the collective approach to society, Japanese are encouraged to focus on precise detail, and to be wary of a conceptual approach.  Change tends to be incremental (kaizen means continuous improvement) and radical change is unsettling.  Processes are agreed through wide consultation; once agreed they can be repeated forever.  However, even the smallest change or discretion can be seen as too much for an individual to approve.  Creating precedent is time consuming, and something that most Japanese would prefer to avoid.

Face value

As part of the collective or consensual society, a Japanese is representing the group at any official event.  He will only answer a question with approved wisdom. Pressure to give an honest opinion will cause confusion.  The Japanese word for the official opinion is ‘tatemae’ or outward face.  Genuine personal opinion is called ‘honne’.  This may be obtained when your trusted relationship has deepened, or during a social event when alcohol has loosened inhibitions.  As all discussion under the influence is considered ‘off the record’, you cannot refer to this in subsequent meetings, even if everyone knows what has been said.

Language

The Japanese language is linguistically extremely different from English and other Indo-European languages.  Syntactically, sentences are constructed in the opposite way so, when interpreting, it can take until the end of the sentence before the meaning is clearly positive or negative.  Translated answers will also seem long as interpreters will use more formal, honorific language. Japanese all learn English at school for several years, but the majority do not practice regularly and have little self confidence.  
Many businesses will have trusted English speakers, but the layer of confidence is often very thin.  Colleagues with less exposure to international contacts may have very little competence, although listening ability is often better than they let on.
Ambiguity is often a virtue in Japanese, as traditionally it can allow both parties to emerge from a meeting with face intact.  Business meetings will need clarity, but this is usually achieved by coordinating the agenda and content before a meeting so that there are few surprises.
Taking an interpreter to meetings in Japan, at least until you are confident about the English language capability of your counterparts, is a sensible precaution.

Nommunication

Traditionally, Japanese will want to add social events to formal meetings.  This allows a more relaxed setting in which to get to know each other and build the necessary trust.  The Japanese word “nomu” means to drink, normally alcohol, and “nommunication”, is the process of talking in a relaxed setting with a drink and some food.  The Japanese will tell you proudly that this is the most important part of any business relationship. Karaoke often follows at a second party, but is not obligatory!
When in a social setting, you will probably find that the Japanese sense of humour is quite closely aligned to British humour.  They love word play and subtle irony. You will also find that their English language ability improves with a couple of drinks!

Long term relationships

It is often said that Japanese make relationships and that business will follow.  There is some truth in this. Taking time to build relationships is of critical importance and once made, you can expect them to be honoured for a long time.  Breaking off a business relationship, particularly abruptly, can badly affect a reputation.
Japanese business etiquette is something often seen in Japan as well as their other customs. Japan continues to take care to support these traditions. When you order from Atelier Japan, you’re directly supporting the culture and the spirits of Japanese makers that have kept traditional Japanese craft alive for centuries. Browse our website to discover more of our range of artisinal fans, tea, jewellery and pottery.