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ジャネルの独楽: Part 3

ジャネルが弟子入りしている間、廣井氏はジャネルの生まれ育った場所と新しい故郷である日本の芸術・文化を、日本の伝統工芸を通して表現できるようにと、アメリカの民俗文化や伝承をテーマにした独楽も作ってみるよう勧めた。以下の写真は1980年代からジャネルが作った独楽です。こちらの独楽は洋風のテーマも伝統的独楽もある。

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Newspaper article 新聞記事: Professionals with a Skilled Touch 触の技びと、プロフェッショナルたち

Hiroi-sensei has appeared many times in Japanese newspapers. Below is a translation of an article entitled “Professionals with a Skilled Touch: Whittling – Edogoma Artisan, Hiroi Michiaki” that ran January 1, 2003 in the newspaper Kahoku shinpō. See the original Japanese article at the link below.

廣井先生は多数の新聞記事で特集されています。2003年1月1日、河北新報が廣井先生についての記事を掲載しました。以下のリンクでアクセスできます。

Click here for the original article: 記事はこちら

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Kahoku shinpō (January 1, 2003)

Professionals with a Skilled Touch: Whittling – Edogoma Artisan, Hiroi Michiaki

Surely there isn’t a single person who doesn’t touch objects during the course of their job. However,  there are those who notably work by cultivating years and years of experience and expertise, polishing the instincts of their fingers and hands. Are they somehow different from those of us with “normal” senses, or is their sense of touch something cultivated through their work? We look at the secrets behind three “professionals of the sense of touch”: a sushi chef, a physician, and an Edogoma (Edo top) artisan.

In harmony with the tools, the object’s form is freed

Rumble, rumble.

He inserts a pre-sized piece of dogwood (mizuki) onto the lathe and whittles it. Hiroi Michiaki, a fourth-generation Edogoma artisan (age 69, Sendai, Taihaku ward), says without hesitation, “I couldn’t do anything without my sense of touch.”

While Hiroi-san switches between his tools like the plane and rasp, and when they touch the top, he knows how they change its smoothness. Bit by bit, without even touching [the top directly] with his hands,he feels how much he should shave off and if there are any nicks in the wood from the vibrations transmitted through the edges of his tools. Hiroi-san experienced the family business of making Edogoma from when he was young. “Before you know it,” he said, “you’re feeling it unconsciously.”

One characteristic of the brightly colored Edogoma is the sheer number of different types of tops,from simple tops to ones delightfully brimming with trick mechanisms to enjoy, like leaping tops (tobigoma) or chasing tops (oikakegoma). Only Hiroi-san and his little brother Masaaki, who lives in Tokyo, have inherited the skill of Edogoma-making. Other than them, [Hiroi-san] has two apprentices.

“You know, even among apprentices, they quickly grasp and remember how to feel for the quality of the top and its spin, and they improve fast, too,” Hiroi remarked. “Whether whittling or polishing [the top], you can be certain [it’s good] by touching it, rather than looking with your eyes.”

福助

Click to enlarge.
Click to enlarge.

タイトル:

福助 (fukusuke)
Fukusuke

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日本・中国文化において人気がある人形の福助を表現した独楽である。日本での福助の歴史は十九世紀(江戸時代)頃にさかのぼる。当時は遊女屋や茶屋で幸運をもたらすシンボルとしてよく祭られていた。以来広く使われるようになる。典型的な福助は平伏しているときに正座をしている。今回、廣井先生は福助の独楽ではなく、人形を作った。

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廣井道顕:うんと、これが、これは福助だ。

廣井夫人:うん。

廣井:うんと、福助これはただの福助かな。独楽でないな。置物だな。