Interview: Ryotaro Kato (Ceramic Artist)
VOICE VOL.7
INTRODUCTION
Cherishing and enlivening the potential of woven patterns. Creating pieces that are beautiful to the eye, enrich daily life, and aid in the preservation of cultural heritage.
Patterns as delicate as a string of countless tiny flowers.
Chiemi Ogura’s bamboo crafts make full use of the potential of bamboo. They call to mind the geometric beauty of cathedral mosaics, while combining with the gentle nature of bamboo as if they hold a microcosm of intricate and profound allure. Sensing the gentle and sincere personality that emanates from her works, we asked her thoughts on craftsmanship.
Interview by Akiko Nakano
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Chiemi Ogura Bamboo Craft Artist
A bamboo craft artist living in Kyoto. One of the features of her works is the delicate weaving. By making the most of the beauty of traditional patterns through weaving and decorative techniques, she continues to create works that are close to Japan’s nature.
PROFILE
How did you come to bamboo as a material, and what is its appeal?
I have always loved the tea ceremony, a culture with a uniquely Japanese spirituality. The tea ceremony utilizes meticulously crafted tools to offer a hospitality that embodies the spirit of “ichi-go ichi-e,” or a once-in-a-lifetime encounter. One of the reasons I chose bamboo was my awareness of environmental issues. Growing up in the mountainous areas of Kanagawa Prefecture, I was concerned about the ongoing destruction of nature by human activities. This led me to pursue a form of craftsmanship that is friendly to the environment. I chose bamboo because it has been rooted in the Japanese environment for a long time and grows quickly. I’ve always had a fondness for plants and flowers, often making pressed flowers or crafting with acorns and seeds I picked up as a child, so bamboo felt naturally close to me.
At first, I had a hard time understanding how to split bamboo, but as I learned about its unique characteristics, such as its ability to split by expanding the spaces between its many vertical fibers, I began to feel its warmth and tenderness when I touched it, and came to love it very much.
Making bamboo strips. First, the process of “splitting” is repeated to make it thinner
Please tell us about the history of bamboo crafts in Japan.
The practice of weaving plant fibers to make baskets and other vessels began in the Jomon period (between c. 14,000 and 300 BC), and a variety of weaves were invented, including the lattice-like Yotsume-ami; Ajiro-ami, which intersects at right angles to form V-shaped pattern; Mutsume-ami, which produces hexagonal and triangular shapes in succession; and Gozame-ami, which looks like a tatami mat. These were applied in everyday items like agricultural and fishing tools, and even strainers used in daily life, and thus simple and easy weaving styles were favored to prevent items from getting caught in intricate patterns.
In the Muromachi period (1336-1573), when the Higashiyama culture* flourished and the foundations of the tea ceremony and flower arrangement were laid, Chinese bamboo baskets with exquisite weaving techniques were imported from China, and bamboo crafts came to be regarded as a valuable art form in Japan. Later, Japanese craftsmen adopted and copied the Chinese style, and Sen no Rikyu used bamboo farming and fishing tools as flower vases and other items, which I believe led to the transformation of these functional crafts into art forms.
*Higashiyama culture:
Refers to the culture of the mid-Muromachi period, epitomized by the Jisho-ji Ginkaku villa of Ashikaga Yoshimasa in Kyoto’s Higashiyama district. This culture represents a fusion of courtier, warrior, and Zen Buddhist cultures, characterized by an aesthetic sense connected to wabi-sabi. Various arts such as Noh theater, tea ceremony, flower arranging, sumi ink painting, gardens, architecture, and renga, linked-verse poetry flourished during this time, nurturing the roots of traditional Japanese culture as we know it today.
(From left to right) Kuro-chiku, Ma-dake, Shira-take
Which kinds of bamboo do you use?
Bamboo varies in characteristics depending on its region of origin. I live in Kyoto, where high-quality bamboo is available, so I try to use local bamboo as much as possible, sourcing it from a long-established bamboo material shop in Kyoto whom I have known for about twenty years.
For my creations, I primarily use kuro-chiku (“black bamboo”) from the area around Oyamazaki and ma-dake (literally, “true bamboo”) from Kameoka. Shira-take (white bamboo), which is ma-dake that has been degreased and dried, is becoming harder to procure as fewer artisans are working with it, so some also comes from Oita Prefecture.
Each bamboo has its unique characteristics, and even bamboos of the same type can vary in thickness depending on the thicket they come from. When creating pieces, the nodal sections are fragile and uneven, so I choose pieces with long intervals between nodes. The design and intended use of the piece also dictate the type of bamboo I select.
Asanoha-ami (hemp leaf weaving)
Tools
In addition to baskets and other utilitarian items, you also work in accessories. Do you have any standards for what you produce?
In the early days of my career, I mainly created traditional flower baskets based on orders from established bamboo basket shops. However, gradually I began to work on pieces that I designed myself. About five years after I started working, I began to exhibit as an independent artist, but my works did not sell easily. While they would sell at established stores, it was difficult to sell expensive crafts under my own name alone, and I struggled with what to do.
Beautiful “Bangle Snow” with delicate weaving
During this time, I took a seminar on product development hosted by Kyoto Prefecture for those involved in traditional industries, where I learned how to approach the creation of new products. While valuing my strengths, I also considered what I could do based on market conditions. I specialized in a delicate technique similar to embroidery, where bamboo strips are inserted to create patterns that resemble flowers, so I decided to create new products utilizing this technique. As I contemplated what to make, I realized that accessories could showcase vibrant patterns, pique interest from many people, and justify a certain expense. Large items like flower or serving baskets might be difficult to use in non-Japanese-style rooms without a place for them, and might only reach those interested in tea or floral arts. Accessories, however, were born from my desire to create something that could garner interest from a broader audience.
An item loved across generations for its elegant and vibrant adornment of the wrist
Sen-biki (Splitting bamboo): Passing strips of bamboo through a splitter to ensure an even thickness
Sen-biki stand
I am attracted to both the design beauty and craftsmanship of your work. Is there a difference between the mindset when designing and the mindset when crafting?
I believe design and craftsmanship do not originate from separate sources. Regarding design, I aim to create pieces that can be used in everyday life. For example, in the case of accessories, I think about designs that harmonize with the body, while I sometimes consider form in pure aesthetic terms.
On the other hand, the structural and decorative aspects established by traditional weaving techniques constitute a special characteristic of bamboo crafts. The weaving patterns are well thought-out, and items made with these techniques are durable enough for practical use. Moreover, because the weaving itself produces a beautiful pattern, items that utilize weaving excel both in functionality and aesthetic appeal.
Personally, I greatly value the challenge of how to best make use of the potential of weaving patterns. For instance, when intertwining bamboo strips of three different thicknesses, changing the width by just 0.1 mm can completely alter the appearance, and the number of patterns within a single circle also changes the impression. I am always striving as I design to find how to make the patterns look their most beautiful.
Haba-biki (Width adjustment): Bamboo splints are pulled between two small knives hammered into a log to obtain the desired width
“Shira-take Flower Container”
What was the response to your exhibit at the JAPAN EXPO 2014 in Paris, and what most impressed you?
At JAPAN EXPO, I exhibited accessories such as bangles and rings, as well as tableware such as round plates and bonbonnieres. My works, which feature lace-like weaving, seemed to resonate well with the French audience. I was particularly delighted by a local visitor who came for two consecutive days and decided to purchase a bonbonniere after careful consideration.
Although baskets are also made in France, the traditional Western ones often feature larger, simpler weaves similar to tatami mat edging. Attendees said that my creations, while still baskets, attracted attention for their delicate weaving techniques.
Goza-me-ami (mat pattern weaving)
What is your vision for the future?
There are three main things that I am aiming for in the future.
First, I want to continue pursuing beauty by leveraging the inherent power of traditional bamboo craft patterns to create ever-better works.
Second, it is not my intention to create products that diverge from daily life, but to create items that people can use to find comfort in their daily lives and that will be cherished for a long time. I would like to create new works in this context.
The third concerns traditional culture. I was originally drawn into this field because I was attracted to the world of tea ceremony, which I continue to practice to this day. I hope to contribute, even if modestly, to the preservation and transmission of Japanese cultural traditions which have been nurtured by so many, such as the tea ceremony and ikebana flower arrangement. For this reason, I plan to continue crafting pieces like baskets used in tea and floral arts, while also creating new items considering current needs, and engaging in activities that connect and sustain our culture.
