project 1. paper making in japan (slide presentation) (sem 1, 2015/2016)

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1.0 INTRODUCTION 2.0 HISTORY

PAPER MAKING IN JAPAN

NAME : NURUL AQILA AHAMAD KAMAL 1412832

LECTURER : ASST. PROF. DR. SHAMZANI AFFENDY AAD 2110 CONSERVATION

4.0 MATERIALS 5.0 METHOD

6.0 TECHNIQUES 7.0 APPLICATIONS

3.0 CASE STUDY

8.0 CONCLUSION 9.0 REFERENCES

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1.0 INTRODUCTION 1. Although paper was originally made in China in the first century, the art was brought to Japan in 610 AD by Buddhist monks who produced it for writing sutras. 2. Since its introduction to Japan, papermaking has been at the center of Japanese life, both the religious and the secular. 3. Paper plays an important role in many rituals, ceremonies and festivals during special occasions, as well as, in countless ordinary everyday activities. .

1 PAPER MAKING IN JAPAN

Figure 1: Edgeworthia Chrysantha (in the Thymelaeaceae family), Botanical Garden, Genova Pegli Source: eFloras, (2009), Edgeworthia Chrysantha [Photograph] Vol. 13, Cambridge, MA

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1. Washi is a style of paper that was first made in Japan.

2. Commonly made using fibers from the bark of the gampi tree, the mitsumata shrub (Edgeworthia chrysantha), or the paper mulberry, but also can be made using bamboo, hemp, rice, and wheat.

2.0 HISTORY OF WASHI


2.0 HISTORY OF WASHI

2. It was not until the 13th century that knowledge of papermaking reached Europe - 600 years after the Japanese had begun to produce it. 3. By the late 1800's, there were in Japan more than 100,000 families making paper by hand. Then with the introduction from Europe of mechanized papermaking technology and as things "Western" became sought after including curtains (not shoji) and French printmaking papers (not kozo), production declined until by 1983 only 479 papermaking families were left.

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• The word "washi" comes from wa 'Japanese' and shi 'paper', and the term is used to describe paper made by hand in the traditional manner.

Figure 2: Illustrations of Washi Papermaker Source: (Edu Period), Washi Papermaker [Painting], City Of Edo (known now as Tokyo)

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3.0 CASE STUDY OF WASHI


3.0 CASE STUDY OF WASHI

• ‘Washi’ is also a perfect example of the four principles of Japanese aesthetics: purity, tranquility, harmony, and respect, and is a perfect manifestation of that culture.

• The making of Washi is one of the most labor intensive processes

in the world and has no parallel.

• The materials it uses produce sheets of incredible resilience which have gained the wonder and admiration of not only artists, by papermakers around the world.


3.0 CASE STUDY 1. Tesuki washi (handmade Japanese paper) was invented in 105

AD by a Chinese official named Cai Lun, and introduced to Japan in 610 AD by Doncho, a Buddhist monk from Korea.

2. The name Sekishu comes from the Sekishu region (present-day Iwami), where the paper was first produced.

3. The paper is also known as Sekishu-banshi (‚half sheets of Sekishu‛) because of the cut of the paper.

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SEKISHU WASHI


3.0 CASE STUDY 4. However, the name Sekishu is probably much older.

5. As Kamisuki Chohoki (A Handy Guide to Papermaking), a

book written by Kunisaki Jihei and published in 1798, states that Kakinomoto No Hitomaro, a leading official in the area, taught papermaking skills to the local people sometime around 704-715 AD.

6. From then on, for over 1300 years, the art of handmade washi has been maintained and preserved within the area.

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SEKISHU WASHI


4.0 MATERIAL OF WASHI As with all papermaking, some basic ingredients are needed. 1. Fiber 2. Water 3. Chemicals 4. Vats 5. Beaters (hand beating is preferred to the

use of a hollander beater, as it does not shorten the fiber, as with cotton linters for instance) and dryers (sun, loft or heated plates).

Figure 3: Hollander beater Source: Denis Diderot (1968), Hollander Beater [Illustration]

Diderot Encyclopédie, Dutch.


4.0 RAW MATERIAL • The raw materials for Sekishu washi are kozo, mitsumata, and gampi

shrubs.

• Kozo and mitsumata are cultivated in the region but gampi grows wild. Sekishu-banshi made from Sekishu kozo is well known as the strongest paper produced in Japan.

• By the Edo period (1603-1867), Sekishu-banshi was popular among Osaka merchants for use in account books, and that name became widely known.

*Whenever a fire broke out, the merchants did not hesitate to throw their account books into a well to protect the records; the merchants were not worried about the paper being damaged by water.

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SEKISHU WASHI PAPER MAKING IN JAPAN

• Kozo (paper mulberry) is said to be the masculine element, the protector, thick and strong.

• It is the most widely used fibre, and the strongest.

• It is grown as a farm crop, and regenerates annually, so no forests are depleted in the process.

Figure 4: Kozo (Paper Mulberry Strip Bark) Source: Georgia Tech [2013], Paper Mulberry Strip Bark [Photograph], Atlanta, Georgia

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4.0 RAW MATERIAL


• Mitsumata is the ‘feminine element’: graceful, delicate, soft and modest.

• Mitsumata takes longer to grow and is thus a more expensive paper.

• It is indigenous to Japan and is also grown as a crop.

Figure 5: Mitsumata Source: Georgia Tech [2013], Mitsumata Strip Bark [Photograph], Atlanta, Georgia

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4.0 RAW MATERIAL


• Gampi was the earliest and is considered to be the noblest fibre.

• Noted for its richness, dignity and longevity. It has an exquisite natural sheen.

• Often made into very

thin tissues used in book conservation and chine-collé printmaking.

Figure 6: Gampi Source: Georgia Tech [2013], Gampi Strip Bark [Photograph], Atlanta, Georgia

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4.0 RAW MATERIAL


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5.0 METHODS & 6.0 TECHNIQUES • In light of the unique traditional techniques and methods employed to

make Sekishu-banshi by the Sekishu-banshi Craftsmen's Association, Sekishu-banshi was designated as an Important Intangible Cultural Property in 1969.

• In addition, the techniques and methods used for Sekishu-banshi have been completely preserved by the crafts people who live in Misumi Town. To ensure even further improvement of the art, Sekishu Washi Cooperative was established, and Sekishu washi was declared a ‚Traditional Craft‛ by the Minister of Economy, Trade and Industry in 1989.


5.0 METHODS OF WASHI

1. Steaming 2. Stripping 3. Boiling in Alkali 4. Bleaching 5. Neri (adding of vegetable mucilage) 6. Nagashi-Zuki (The papermaker dips

the sugeta (hinged mold) into the vat and brings it up full of solution.)

7. Stack 8. Pressing 9. Drying 10. Cutting 11. Inspection


1. Cultivating bushes (kozo) for raw materials. Kozo and mitsumata are cultivated in the region but gampi grows wild. Sekishu-banshi made from Sekishu’s kozo is well known as the strongest washi paper in Japan.

Figure 7: Cultivating bushes (kozo) for raw materials. Source: Sekishu Washi [2013], Cultivated [Photograph], Iwami Region

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2. Harvesting raw materials. Branches from the shrubs are usually harvested from December to January. The branches are cut off at an angle with a sickle..

Figure 8: Harvesting raw materials. Source: Sekishu Washi [2013], Harvesting {Photograph], Iwami Region

3. Steaming branches (kozo mushi). The branches are steamed in a process called seiromushi, which can be easily done by a few people. Seiromushi makes it easy to strip the branches of their bark.

Figure 9: Steaming branches (kozo mushi). Source: Sekishu Washi [2013], Steaming [Photograph], Iwami Region



4. Stripping the bark (kawa hagi). The branch is held in one hand and the bark in the other, and then both are wedged between the feet so that the bark can be stripped from the branches in such a way that the stripped bark makes a cylinder shape.

Figure 10: Stripping the bark (kawa hagi). Source: Sekishu Washi [2013], Harvesting {Photograph], Iwami Region

5. Drying black bark. The stripped black bark is tied up in bundles to be dried in the wind. After drying well, the bark is stored.

Figure 11: Drying black bark. Source: Sekishu Washi [2013], Drying [Photograph], Iwami Region



6. Scraping black bark (Sozori). After the black bark is softened in water, each bark piece is put on a stand and its outer layer is carefully scraped off with a knife. When using kozo, to heighten the quality, the epidermis is left between the outer layer and the inner layer.

Figure 12: Scraping black bark (Sozori). Source: Sekishu Washi [2013], Scrapping {Photograph], Iwami Region

7. Washing (Suisen). The scraped white bark is washed by clear water to remove all impurities.

Figure 13: Washing (Suisen). Source: Sekishu Washi [2013], Washing [Photograph], Iwami Region



8. Boiling (Shajuku). The bark is unbundled and boiled in a large caldron containing a 12% alkali solution. While boiling, the bark is turned every 30 minutes for about 2 hours so that they can be boiled evenly. And then the bark is steamed..

Figure 14: Boiling (Shajuku). Source: Sekishu Washi [2013], Boiling [Photograph], Iwami Region

9. Removing impurities (Chiri Tori). The boiled bark strips are inspected one by one and all impurities are carefully removed by hands in clear water. When using kozo, the harshness is first removed before doing the above procedure...

Figure 15: Removing impurities (Chiri Tori). Source: Sekishu Washi [2013], Removing [Photograph], Iwami Region



10. Beating (Kohkai). The bark is beaten with an oak stick to loosen the individual fibers. In the original Sekishu method, the bark is beaten 6 times from right to left and back, turned over and beaten again. It is turned over 6 times in total..

Figure 16: Beating (Kohkai). Source: Sekishu Washi [2013], Beating [Photograph], Iwami Region

11. Making the sheets (Kamisuki). Water, a paper solution, and tororo-aoi are combined in a sukibune, or paper-making vat, and evenly mixed with a bamboo stick. Three steps are then taken, called kazushi, choshi, and sutemizu, to make Sekishu-washi.

Figure 17: Making the sheets (Kamisuki). Source: Sekishu Washi [2013], Making [Photograph], Iwami Region



12. Scooping (Kazushi). The paper solution is quickly scooped from the vat onto the mat.

Figure 18: Scooping (Kazushi). Source: Sekishu Washi [2013], Boiling [Photograph], Iwami Region

13. Spreading (Choshi). The mat is shaken back and forth to spread the solution evenly over the screen, to entwine the fibers and make layers. The thickness varies according to the number of times the mat has been shaken.

Figure 18: Spreading (Choshi) .Source: Sekishu Washi [2013], Chosi [Photograph], Iwami Region



14. (Draining) Sutemizu. Draining off the water. When the layers have the desired thickness, the excess water and paper solution are drained off from the mat.

Figure 19: (Draining) Sutemizu. Source: Sekishu Washi [2013], Stearyl Water [Photograph], Iwami Region

15. Moving sheets to paper beds (Shito Utsushi) After the water has been drained off, the washi sheets are moved to paper beds. The sheets are piled one by one onto paper beds. Approximately 250 sheets of paper are made in a day.

Figure 20: Moving sheets to paper beds (Shito Utsushi) Source: Sekishu Washi [2013], Shito Utsuhi [Photograph], Iwami Region



16. Pressing out water (Assaku). After leaving the sheets on paper beds overnight, weights are added to press out the remaining water.

Figure 21: Pressing out water (Assaku). Source: Sekishu Washi [2013], Assaku [Photograph], Iwami Region

17. Stripping (Shito Hagashi). When the water has been pressed out, the sheets are separated one by one.

Figure 22: Stripping (Shito Hagashi) Source: Sekishu Washi [2013], Shito Hagashi [Photograph], Iwami Regio



18. Brushing (Hoshiita Hari). The damp sheets are brushed onto wide boards.

Figure 23: Brushing (Hoshiita Hari). Source: Sekishu Washi [2013], Hoshiita Hari [Photograph], Iwami Region

19. Drying (Kansoh). The sheets are sun-dried outdoors. While the washi is drying, it acquires its proper stiffness and beautiful appearance

Figure 25: Drying (Kansoh). Source: Sekishu Washi [2013], Kansoh [Photograph], Iwami Region



20. Selection (Senbetsu). After the sheets have dried, they are carefully inspected. Any sheet with tears, holes, shrinkage, a bad surface, or an uneven thickness is rejected.

Figure 26: Selection (Senbetsu). Source: Sekishu Washi [2013], Senbetsu [Photograph], Iwami Region

21. Cutting Washi that has been chosen in the final selection process is cut to make various paper products.

Figure 27: Cutting Source: Sekishu Washi [2013], Cutting [Photograph], Iwami Region



22. Sekishu Washi. Using washi made from kozo, mitsumata, and gampi, various types of paper and products are made, including Sekishu-banshi, an Important Intangible Cultural Heritage. Other products include Japanese painting and calligraphy paper, certificate paper, paper for dyed products, envelopes, stationery, postcards, business cards, colored paper, notebooks, and traditional Japanese letter paper.

Figure 28: Sekishu Washi Source: Sekishu Washi [2013], Sekishu Washi Product [Photograph], Iwami Region

APLICATIONS OF WASHI

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PAPER MAKING IN JAPAN 26

Until the early 20th century, the Japanese used washi in applications where wood pulp paper or other materials are currently used. This is partly because washi was cheaper, but also because the unique characteristics of washi made it a better material. The different uses of washi are too numerous to mention, but include the following:

CLOTH FURNITURE

BAGS, HANDFAN ART


Cloth: Kimono

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Source: Modern styles of Furisode [2005, Kimono [Photograph], Immanuel Giel


Furniture: Lantern Lamp

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Source: Japantstic [2013, Lantern Lamp [Photograph] Samurai.jp


Art: Origami

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Source: Paper Making [2009] Origami [Photograph] Hubpages


Other Applications: Hand Fan, Bags.

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Source:: [2009] Paper Making [Photograph] Hubpages

6.0 CONCLUSION • Japanese papers, whether made by

hand or by machine are so distinctive that they cannot be mistaken in origin.

• Machine made papers are being used more frequently now because of market demands for large quantities and speedy deliveries.

• No matter the method used: the papers are all incredibly beautiful.

• The usage is infinite – that is the attraction of Washi and what makes it so different from other kinds of papers in the world.

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REFERENCES Books: i. Sukey (1978). Washi: The World of Japanese paper. Tokyo: Kodansha International Hughes.

ii. Denis Diderot (1968). Diderot Encyclopédie: Hollander Beater. Dutch Articles: i. Hidaka Washi (2013). Japanese Paper for Restoration of Cultural Assets. http://japanese-

paper.hidakawashi.com/paper-TENGU/material.html

ii. Kazuko Hioki, (2013) Special Collections Research Center, University of Kentucky Libraries. http://exhibits.uky.edu/education/JPN-405-Fall-2014/hioki.papermaking.htm

iii. Geogia Tech. (2010) Teacher‘s Guide, Washi: Japanese Papermaking Workshop http://www.ipst.gatech.edu/amp/education/TeacherManualJapan.pdf

Magazines: i. Kazuma Osaki (January 2015) Japanese Textile. Paper, Updated. Transforming Washi To Meet Modern Need,

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REFERENCES Websites:

i. eFloras Vol. 13 .(2009) , Edgeworthia Chrysantha , Retrieved from The Garden Geeks

http://www.thegardengeeks.com, (10.30 pm. 09 September 2015)

ii. Sekishu Washi (2009), History of Sekishu Washi, Iwami Region Retrieved from Sekishu Washi http://www.sekishu.jp/en/history/index.html (2.34 pm. 08 September 2015)

iii. UNESCO‘s Intangible Cultural Heritage (2014), Washi Traditional Japanese Handmade Paper ‘Washi‛ Retrieved from UNESCO http://www.unesco.org/culture/ich/en/RL/01001 (10.04 pm. 08 September 2015)

iv. Obon-Festival (2012), 10 Festivals That Will Make You Feel Out Of This World, Retrieved from Chris Quek, Fotopedia https://peregrinatewithme.wordpress.com(12.04 am. 09 September 2015)

v. The Japanese Paper Place (2013), About Washi. Retrieved from JPP http://www.japanesepaperplace.com/abt-japanese-paper/about-washi.htm (8.04 am. 10 September 2015)

vi. The Ancient Egyptian Culture Exhibit (2009), Ancient Egyptian Papyrus Retrieved from EthanHolman http://www.ethanholman.com/history/egypt/dailylife/papyrus.html (12.55 pm. 10 September 2015)

vii. Awagami Factory (2010), Washi Basics Retrieved from Awagami http://www.awagami.com/basics.html#preface (7.55 pm. 14 September 2015)

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THE END

ALHAMDULILLAH

THANK YOU

BY: NURUL AQILA AHAMAD KAMAL


project 1. paper making in japan (slide presentation) (sem 1, 2015/2016)

Design