September 2025

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[Ceramic Japan's Medicinal Herb Teapot Has Been Added]

Crafted from heat-resistant ceramic suitable for direct flame, this “Medicinal Herb Teapot” is perfect for brewing hojicha or barley tea. Like traditional medicinal teapots, it can also be used to decoct Chinese herbs and other medicinal preparations. Beyond the teapot's inherent heat retention and mellow flavor, the contrast between its matte texture and brass handle creates a beautiful aesthetic. Its character deepens with each use.

Ceramic Japan's Medicinal Herb Teapot
https://www.shokunin.com/en/ceramicjapan/dobin.html

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[Bookmark]

The other day, I found an old bookmark inside a book I happened to open. I bought it as a small souvenir for myself during my first trip to America when I was in high school. Though the red string that originally came with it was gone, seeing the bookmark tucked inside the book, still bright in color, made me feel a little happy at this long-awaited reunion.

Reflecting on bookmarks, mine started with free ones from bookstores, often using book jackets or even the purchase receipt. Sometimes I'd use the stub from a museum or tourist attraction ticket I'd visited on my travels. Though seemingly ordinary and commonplace, bookmarks actually have a long history, said to have been born alongside the creation of books themselves.

The exact origin of the bookmark remains unclear. One theory traces it back to the mid-1st century AD, when Christian clergy would place a piece of their monastic robe between pages to mark their place in the Bible, showing reverence for this sacred text. The oldest surviving bookmark is a leather one found attached to a 6th-century Coptic manuscript, discovered in the ruins of an Egyptian monastery. In Europe during the 16th century, when movable type printing became widespread, paper knives used to cut open sewn-bound books served as makeshift bookmarks. However, because metal rust damaged the books, silk ribbons that did not harm the paper became the norm by the 19th century. Paper bookmarks then became mainstream, while luxurious leather or silver bookmarks were favored by the wealthy.

Meanwhile, the prototype of the bookmark in Japan is believed to be the ivory “sen” (divination stick), which arrived alongside Buddhist sutra scrolls. From the Nara to the Heian periods, bamboo or wooden sen were used. The Pillow Book also mentions a tool called “kefusan,” which served a role similar to the modern bookmark.

Entering the Edo period, as books became more widespread among the common people, they began using “paper twists” (koyori) made by twisting paper, or placing roadside flowers between the pages as markers. In fact, the term “shiori” (bookmark) began to be used in its modern sense during this era. When Tokugawa Mitsukuni, lord of the Mito domain, presented a silk-wrapped paper fragment to Emperor Go-Mizunoo, the emperor was greatly pleased. He then recited the waka poem by the monk Saigyo:
“吉野山 去年のしをりの 道かへて まだ見ぬかたの 花を尋ねむ”
(Last year, I found splendid cherry blossoms at Yoshino Mountain and broke a branch as a marker. This year, I'll take a different path to seek out blossoms in places I've never seen before.)
It is said that the Emperor then named this paper fragment “shiori” (branch-marker). Originally, “shiori” referred to the act described in the waka—breaking a branch as a marker while walking mountain paths. From this, the term came to be used for bookmarks indicating where one left off in a book, as well as for beginner's guides.

The appearance of thick paper bookmarks as we know them today in Japan dates back to 1892 (Meiji 25). It is said that Shunyodo Bookstore first included a color-printed bookmark with Ozaki Koyo's “Three Wives.” They gained widespread popularity after the Taisho era. When inexpensive complete editions called “enbon” became popular in the early Showa period, bookmarks featuring advertisements were produced in large numbers, becoming items for collection and exchange.

Thus, bookmarks—which have connected people and books while changing materials and forms with the times—have evolved not merely as “markers,” but as reflections of each era's culture, art, and trends. So, how about we, in the modern age, also try making our own bookmarks and enjoy the process?

For this, we recommend the Koichi Odanaka Calendar from the Handicraft Forum. It features printed stencil-dyed designs inspired by Japanese craftsmanship and seasonal motifs. While many cherish this calendar annually, once you've finished using it, simply cut out the design, punch a hole in the edge, thread your favorite string through it, and it transforms into a charming bookmark that will serve you well for years to come. Laminating it enhances durability, making it suitable as a small gift too.

A handmade bookmark crafted from the pages of the year gone by. Each time it catches your eye in a favorite book, you might sense the long history of bookmarks and the subtle warmth of culture woven into daily life.

Teshigoto Forum's Koichi Odanaka Calendar
https://www.shokunin.com/en/teshigoto/calendar.html

References
https://ja.wikipedia.org/wiki/%E6%A0%9E
https://www.gentosha-book.com/bookshelf/renaissance11/

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[The Artisans of Aubusson]

Mainland France currently has 96 departments, grouped into regions of 2 to 7 departments each. This time, we visited the small village of Aubusson in the Creuse department of Nouvelle-Aquitaine.

Located in central France, this compact town has a population of about 3,000 and is nestled among mountains through which the Beauze and Creuse rivers flow. Aubusson, with its rows of picturesque stone houses straight out of a postcard, is renowned for tapestry weaving dating back to around the 15th century. This craft grew into a vital industry for Aubusson, even leading to the establishment of a royal workshop. It holds the IGP (Protected Geographical Indication) designation, granted only to works woven in this region. In 2009, its traditional techniques were inscribed on UNESCO's Intangible Cultural Heritage list. Even today, artisans across various trades involved in tapestry—dyeing, weaving workshops, cartouchiers (craftsmen who create patterns for looms from original designs), restorers—carry on this tradition.

My first stop was Château de Villemonteix. Seeing the tapestries adorning the cold, stark stone walls for warmth made it clear why stone castles needed tapestries. The famous “Lady and the Unicorn” tapestries were also discovered in a nearby castle. The town boasts numerous ateliers and galleries. Witnessing the actual weaving process firsthand, I was astonished by the intricate detail and sheer volume of work involved. Before weaving begins, the design is finalized. A broad spectrum of color variations is defined, and to faithfully reproduce light and shadow from the original artwork, artisans vary thread thickness and materials (wool, silk, linen, etc.) to achieve lustrous and translucent effects. Sometimes, combining different colored threads is used to convey softness in the composition. This demands an artisan's skill that cannot be explained by textbook methods alone.

France has the term “savoir-faire.” It seems to be a concept particularly valued in the traditional craftsmanship of high-end brands. This word, formed by combining “savoir” (to know) and “faire” (to make), is often translated literally as “know-how.” Yet, that feels far too simple and bland. It carries a much deeper meaning, encompassing unique techniques, sensibilities, and creativity cultivated over centuries—closer to what Japan calls “master craftsman's skill” or “artisan's craftsmanship.” It likely demands not just method but also “refined taste” and “ingenuity.”

Another surprising fact: during production, weavers only ever see the reverse side of their work! The front remains hidden until completion. Imagine spending those long months filled with both anticipation and anxiety. I hear there's a ceremony to cut the warp threads from the loom after completion. Just imagining the emotions at that moment makes my heart race.

At the International Tapestry Center in the town center, you can see precious tapestries preserved since ancient times, alongside contemporary works, and learn how pieces are created. They run various projects to train young artisans, raise Aubusson's profile through tapestry, and attract tourists. One such project is the collaboration with Studio Ghibli, “Aubusson: Weaving the Imaginary World of Hayao Miyazaki.” Tapestries depicting scenes from Spirited Away were exhibited at the 2005 Aichi Expo, while a scene from Princess Mononoke was displayed in the French Pavilion at the Kansai-Osaka Expo. You might encounter them again somewhere in the future, so keep an eye out.

Lately, whenever I learn about the “savoir-faire” of different countries, I find myself renewed in my appreciation for the wonderful “savoir-faire” of my own country that I often take for granted. I feel this sense of comfort and wonder while enjoying a bowl of miso soup.

Showroom Information
https://www.shokunin.com/en/showroom/

References
https://www.cite-tapisserie.fr/ja/cite-internationale-de-la-tapisserie-aubusson
https://madamefigaro.jp/lifestyle/230707-tapestry.html
https://www.tokyoartbeat.com/articles/-/aubusson-tapisserie-news-202301