Winter 2007 , Volume 13, No. 1

 

REVIEW OF WASHI MAKING COURSE
July 2006
by Frances Lunn
This year I was awarded a Winston Churchill Travelling Fellowship to visit conservation studios and paper makers in China and Japan. The funding was very generous, allowing me to spend four weeks in each country.

Whilst researching and planning the trip I came across a review of a trip to studios and paper makers in Japan that had been organised by Hiromi Paper International. This prompted me to contact Hiromi Katayama to ask for advice and information. With her help and contacts I was able to take a washi making course in Kochi prefecture, as well as visiting a very good washi museum, and well known paper makers and tool makers in the area.

The washi making course was held at a training paper making workshop attached to a ryokan inn called ‘Cour aux Dons’. Situated in Kogeimura in Kochi prefecture it was in a stunning location set in a backdrop of mountainous terrain covered with lush vegetation with a natural spring running down to a river lying at the base. I thoroughly enjoyed my stay at the hotel, taking advantage of the relaxing herbal baths and tasting the most delicious food I think I’ve ever had.




Scenery behind the hotel
View of the river and mountains
Boiling dried kozo
Tororaoi after soaking in water
Pulp solution in papermaking vat
The paper making workshop produces it’s own paper and trains young apprentices, as well as being a tourist attraction. In addition to the washi course I took, adults and children can make their own postcards and learn simple dyeing techniques. I had three days to learn the basics of traditional washi making under the guidance of my instructor, Kitaoka Hirofumi. To make washi professionally takes about five days and years of practice, experience and hard work, and my three days really just scratched the surface. It was an excellent learning experience, which gave me a much greater insight, understanding and appreciation of Japanese hand made paper.

A couple of days before I begun the course the raw dried kozo was soaked in water for 24hrs in order to swell the material and wash away any soluble impurities. The kozo was then boiled in a solution of water and alkali for two hours, occasionally stirring to ensure that it cooked well. Once cooked the material was then washed in running water. As there was limited time the plant material wasn’t bleached, but this would normally be done, either naturally by rinsing outside under direct sunlight, or by treating with chlorine. If using chlorine, the material would be thoroughly washed to remove any residual chemical.

The next stage was to remove the remaining bark and other blemishes from the boiled plant matter, and I spent most of the first day doing this. This is a very important step in the process as any imperfections that are missed will become flaws in the paper. The most professional and diligent washi maker will spend two days doing this, as even the smallest speck will mark the paper. It is also one of the most arduous and tiring steps in making washi as you are bent over the material in the same position for several hours at a time. Traditionally paper makers would kneel by a channelled stream picking the specks out in the cold running water.

Once the imperfections had been removed the material needed to be pounded in order to soften and separate the fibres. Traditionally this would have been done by hand with a wooden mallet, but nowadays it is usually done by machine. The fibres were pounded for approximately 1 hour, occasionally stopping the machine to ensure that all the fibre were being beaten evenly. The pounded material was then placed into a naginata beater separator for approx. 30 minutes to further separate the kozo fibres.



Drying washi
Drying washi
The final day was used to dry the paper I had made. The traditional way of drying washi would be to brush the sheets onto wooden boards and leave them to dry outside in the sunlight, which also has the advantage of naturally bleaching the paper. Nowadays, most washi is dried on large steam heated stainless steel drums. The stack of paper was firstly pressed to remove the excess water. The damp paper was then peeled from the paper bed sheet by sheet and brushed onto the drum with a horse hair brush. Once dry the paper was removed and stacked.

I thoroughly enjoyed my trip to tosa washi. I learnt an enormous amount during the course and have a new respect for the craft of washi making and its masters. Having also the chance to visit local tool makers and paper makers was an honour. It was a great opportunity to be able to travel and experience such a fascinating country and culture. Many thank to Hiromi Katayama for all her help and support in organising this trip. Thanks also to the Winston Churchill Memorial Trust without whose funding this trip would not have been possible.

Frances Lunn
Freelance Conservator of Artworks on Paper
FRAN_THE_CAT@HOTMAIL.COM

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