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00:00AI-san, this year, you really got to experience the traditional Japanese culture, didn't you?
00:08Yes, I did.
00:11I was surprised by the amazing skills of the various craftsmen,
00:15but I was also very impressed by the humorous words of the craftsmen, which are rarely seen.
00:25That's great!
00:27You can't do it without me, can you?
00:30Looking back on my life, I don't feel like I've lost anything.
00:36This time, we will send you a special edition of the famous words of the craftsmen that resonated with AI-san.
00:58In the city of dyeing, in Shinjuku, there are only a few dyeing workshops in Edokomon.
01:05The fourth generation, Hirose Yuichi-san.
01:09AI-san also made Edokomon, didn't you?
01:13At that time, Hirose-san's feelings were conveyed in a single word.
01:18Colors and patterns are made for the sake of that person.
01:22It's really like a craftsmanship, isn't it?
01:25There's nothing more to be happy about.
01:28It's just dyeing with all my heart.
01:32This moment is the most nerve-wracking.
01:34That's right.
01:36I often hear that it's like a craftsmanship,
01:39but it's Hirose-san's joy to make it with a person who really wears it.
01:48The patterns of Edokomon appear to be seamless at first glance.
01:51However, when you look closely, delicate patterns appear.
01:58These unique patterns were the characteristics of Edokomon.
02:02You showed us how to dye such patterns, didn't you?
02:09First, to decide on a pattern,
02:11decide on a pattern pattern carved in Japanese paper.
02:19And the most important task of dyeing is
02:22to put glue on the fabric from the top of the pattern.
02:34From the top of the pattern,
02:36apply the glue made with mochigome and nuka.
02:41At this time, if you don't apply glue evenly,
02:44the pattern will be uneven and it won't be useful.
02:47This is the most difficult task for craftspeople.
02:58When you peel off the pattern,
03:00it looks like you drew a pattern on the fabric with glue.
03:06In detail,
03:07there are points that are less than 1 mm,
03:10but they are neatly lined up without sticking to each other.
03:14This technique is what gave birth to the Edo period.
03:21If you dye the fabric as it is,
03:23only the glue part will not be dyed and it will become a pattern.
03:32Mr. Hirose has amazing skills,
03:35but he didn't intend to become a craftsman in the first place.
03:40When he was in college,
03:42he was an active windsurfer.
03:45It was a wonderful story of the timing when he became a craftsman.
03:52Since I was a child,
03:54my aunt has been watching me.
03:57My uncle and aunt have been telling me,
04:00since I was a child,
04:02that I should do it.
04:04But at that time,
04:07you were also an active windsurfer, right?
04:10Did you want to go there?
04:12I wanted to go there.
04:14I wanted to do it a little more.
04:17I was on the road until I was about 30 years old.
04:20I thought it would be okay for me to go in from there.
04:24But it wasn't like that.
04:26I learned technology at the time of the Shun period.
04:30I learned technology at the time of the Shun period.
04:33I learned technology at the time of the Shun period.
04:36At that time, I didn't think it was such an important thing.
04:40But now that I think about it,
04:42I feel that I had to do it at this timing.
04:48Learning technology at the time of the Shun period.
04:52At that timing,
04:54the enemy of what you make changes.
04:58KASAMAYAKI
05:00KASAMAYAKI is the oldest baked goods in Kanto,
05:03which is transmitted to Kasama City.
05:07It was durable, easy to use, and cheap,
05:10so it spread as a daily necessities.
05:15In 2020, along with MASHIKOYAKI,
05:18KASAMASHIKO,
05:20KASAMAYAKI was recognized as a Japanese heritage
05:23by the Ministry of Culture, Sports and Tourism.
05:27You bought it, didn't you?
05:31At the KAMAMOTO of KASAMAYAKI,
05:33which continues from the Edo period,
05:35Hiroshi, the 4th generation,
05:37and Koichi, the 5th generation,
05:39were protecting the KAMA.
05:44In the first place,
05:46what made you decide to do KASAMAYAKI?
05:51I didn't want to put out the fire.
05:53You didn't want to put out the fire.
05:55In a word.
05:57You were going with it.
05:59Yes.
06:00In fact, when Otsu-san took over,
06:02KASAMAYAKI was on the verge of extinction.
06:05Even so,
06:06you were moved by the feeling of protecting the KAMA.
06:10Especially when we were in college,
06:14we were pushed into plastic,
06:16and everyone was in a situation of quitting KAMAMOTO.
06:20I see.
06:21We had to do something about it.
06:23We were in that situation.
06:27You did your best.
06:28I did my best.
06:29You did your best.
06:31That's wonderful, really.
06:33I'm glad you've come this far.
06:36Looking back on my life,
06:38I don't feel like I've lost anything.
06:43That's wonderful.
06:46Looking back on my life,
06:48I don't feel like I've lost anything.
06:50Just like Otsu-san and Ai-san,
06:52I want to keep pushing forward.
06:57It's around here.
06:59It's modern.
07:01Thanks to Otsu-san's hard work,
07:03many young artists have been born in KASAMAYAKI.
07:08This is beautiful, too.
07:10The blue.
07:12At some point, KASAMAYAKI became popular
07:15due to its free style.
07:18Ai-san,
07:19you were moved by the meaning of tradition
07:21that Otsu-san had in mind.
07:23I don't want to change the way it is now.
07:27Tradition is something that has been made
07:30for a hundred years.
07:33What we're making now is very important.
07:37If it's inherited,
07:39in a hundred years,
07:41it will be a piece of art.
07:44So I want to cherish the present.
07:50I see.
07:52In a hundred years, it will be a piece of tradition.
07:55The importance of not losing anything
07:57has become clear to me.
08:04And the person I met in Oda, Akita,
08:07was Mr. Shibata,
08:09a craftsman.
08:13The traditional technique of bending wood
08:15without using any nails.
08:21Now, bento boxes are famous.
08:26Yes, they are.
08:27Bento boxes have been around for a long time.
08:30Now, bento boxes are popular.
08:32Many people make bento boxes.
08:34When my father was in his prime,
08:39he used to make bento boxes and sweets.
08:44He used to make sweets.
08:45Yes, he used to make sweets.
08:47He used to make a lot of those.
08:50So you've been making a lot of bento boxes.
08:53Yes, I've been making bento boxes for a long time.
08:56There are so many kinds of bento boxes.
08:59I've been making bento boxes for the past 20 years.
09:06Now, bento boxes have become famous.
09:10They were born from the voices of customers at the exhibition.
09:16Mr. Shibata's words touched my heart.
09:24For example, there is a bento box called Nagate.
09:26Nagate, yes.
09:27It's a long bento box.
09:28Yes, it is.
09:29It was made in the first half of the Heisei Era.
09:34It's quite old.
09:37But it's still stylish enough to be called a new style.
09:44At that time, when my father sold it in the city,
09:49he said he wanted a bento box that could be used in a small town.
09:55I see.
09:56I was inspired by his words.
10:01I think that selfishness leads to ideas.
10:05I think it's the customer's selfishness.
10:08But I think it's the moment when the value of a product is greatly improved
10:14by making a bento box with a particular style.
10:20No matter how you make a bento box,
10:24the customer's words are always for you.
10:28Ms. Ai, I will do my best from now on.
10:34The work of binding bento boxes is called Sakura no Kawatoji.
10:38It's a delicate and time-consuming work,
10:42but I learned the importance of each work with those words.
10:50I feel like I can't miss each step.
10:54If you feel like you don't care about others,
11:00you'll make a mistake when you're done.
11:04So I think it's important not to feel like you don't care about others.
11:12It's the best.
11:14Not only the best technology,
11:18but also the feeling of the maker is important.
11:27I had a chance to talk with the students of Okayama Osafune.
11:35I was moved by the words of each craftsman,
11:40not only those who work in the industry.
11:49Especially Mr. Yokoyama, a carpenter.
11:53I was impressed by his attitude and words to pursue the ultimate.
12:00The width of a sword is fixed.
12:04If you keep sharpening it, it will become thinner.
12:07That's right.
12:09Is there a limit?
12:11Yes, there is.
12:13I actually sharpen it,
12:17but the main thing is to keep it.
12:20So I think about it.
12:24He sharpened it to keep a precious sword.
12:27I felt a kind of romance.
12:31In addition, the respect and the thought of becoming a sharpener were wonderful.
12:39Why did you decide to become a sharpener?
12:43My senior was a swordsman.
12:46He told me to try it.
12:49I was doing my hobby.
12:52When I saw it, I thought I could be a sharpener.
12:58I have been practicing for a long time.
13:02Why did you decide to try it?
13:04At that time, I was a salaryman, but I quit my job.
13:10At that time, he told me to try it.
13:15So it's a little late.
13:18I started when I was 30 years old.
13:23What is interesting about becoming a sharpener?
13:26I think that sharpeners have an image of mental training and suffering.
13:39However, people who are actually involved in sharpening can't quit because it's too interesting.
13:48I think everyone is like that.
13:51It's so profound.
13:54I think I can still get there.
14:02I'm sure Mr. Ai can't quit because it's too interesting.
14:06Will I be able to get where I want to go someday?
14:10I'll do my best.
14:15Mr. Ishizaki, a sharpener who makes a sheath to hold a sword, said it was a difficult task.
14:24Cut it in half like this.
14:27There is a line in the middle here.
14:31Cut it to the point where you can see this line.
14:34Cut it to the point where you can see this line.
14:39I agree.
14:42I've been doing the same thing for 50 years.
14:46It's a long time.
14:50I've been doing this for 55 years.
14:53What do you mean?
14:55I don't go any further than 1mm.
14:59If I can clear this 1mm quickly, I can work more smoothly.
15:06I'm going to hit it at 1mm.
15:10If I don't hit it at this point, the part that was hit hard will rust.
15:15That's why I hit it at this point.
15:18Does it rust?
15:19Yes.
15:20If I hit it hard, the part that was hit hard will rust.
15:24That's why I hit it at this point.
15:26He said he wouldn't go any further than 1mm even after 55 years.
15:32I was impressed and surprised.
15:37Mr. Ishizaki's words, which express the difficulty of making a sword by hand, were amazing.
15:47Actually, the sword is not straight.
15:50It's twisted.
15:53It's difficult to adjust it.
15:59It's hard to make it straight.
16:03It's easier to understand if it's tilted.
16:08Sometimes I don't know which one to put the blade in.
16:15It's difficult to make it perfect.
16:21He's a craftsman who aims for the best.
16:26I was surprised.
16:28He still has a lot to say.
16:32It's very difficult to maintain.
16:35Even if I make a good sword...
16:38Mr. Aoi was impressed by Mr. Saito's story.
16:50Mr. Saito's thoughts on making fireworks.
16:59It's very difficult to maintain.
17:03Even if I make a good sword, it's difficult to make it the same.
17:12I want to maintain it.
17:15I want to make it look more clear.
17:24It's important to keep polishing your arms, but it's also important not to lose your skills.
17:32He made me think.
17:51Many traditional crafts were damaged in Noto Peninsula.
17:56November.
17:58It's been 12 years since the Kougei Expo was held in Ishikawa Prefecture.
18:11At the Shiinoki Art Museum, they sell Erisuguri.
18:21At the Kanazawa 21st Century Museum,
18:24people from all over Japan came to experience traditional crafts.
18:37At the Ishikawa Prefectural Art Museum,
18:40there was an event to promote traditional crafts,
18:44such as the Utsuwa, which is essential to the food culture of Kanazawa,
18:48and the Kougei, which colors food.
18:52The Kougei, which has a long history,
18:55was exhibited for a year to commemorate this day.
19:01In the program, we will continue to introduce the current situation of traditional crafts in the north and the movement toward reconstruction.
19:10Currently, the World of Decorative Arts is being held at the Tokyo Konoeshidan Shireibu Chousha.
19:21They exhibit works of artists who have the technology to connect with the next generation,
19:28such as pottery, dyeing, embroidery, gold, woodworking, and dolls.
19:35They convey a message of decoration and work created from historically and artistically valuable techniques.
19:45For more information, please visit the official website of the exhibition.
19:49As part of the social contribution activities,
19:52the NUFG, which supports the tradition and innovation of Japanese crafts,
19:57holds the Kougei Artist League.
20:00Thirteen Kougei artists who are active around the world support young creators who are aiming for the next generation.
20:07The finalists will be able to participate in the exhibition at the Nihonbashi Mitsukoshi Main Store
20:12and have the opportunity to participate in the auction.
20:15Currently, we are accepting entries from young creators in the Kanto and Koshinetsu regions.
20:21For more information, please visit the website.
20:24Tominaga Ai's past and future will be broadcast on TVer and Hulu.
20:29Please subscribe to our channel.
20:32Next time, we will talk with the designer of the Ushikubi Tsumugi,
20:36which was held in Ishikawa Prefecture.
20:39We will also talk with Tominaga-san,
20:42who made a special costume for us.