Tag Archives: Hiroi Michiaki

Newspaper article 新聞記事:Seven Artisans Compete with New “Sendai Fortune” Products

Hiroi-sensei has appeared many times in Japanese newspapers. Below is a translation of an article entitled “Seven Artisans Compete with New “Sendai Fortune” Products” that ran December 27, 2008 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。2008年12月27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 (December 27, 2008)

The new character of Akiu Craft Village: “Sendai Fortune” kokeshi

Nice to meet you. I’m a kokeshi who is proud of my smile.

Akiu Craft Village

Seven Artisans Compete with New  “Sendai Fortune” Products

The Akiu Craft Village of Akiu, Taihaku Ward, Sendai City will begin selling a new kokeshi this January called “Sendai Fortune.” It was so-named by the seven artisans of Akiu, who made it in the image of a woman calling upon luck. It is being sold as a new character made with a modern twist on traditional arts. The Sendai Luck ranges in size up to about 10 cm tall. They have kokeshi in the shape of smiling girls and based on the zodiac ox. Hiroi Michiaki (75) and the other artisans of the Craft Village made the doll to invite luck, modeling it on the wife of Fukusuke (god of luck).

When kokeshi-making began to feel as though it had hit a slump, Hiroi called on his artisan colleagues. By challenging one another, they aim to increase their technical skills and imbue their wooden products with a new appeal.

The Sendai Fortune kokeshi cost around 2,000-3,000 yen. This time they’ve made about 100 kokeshi, and the Craft Village opens up for sales from January 1-4, 10AM-4PM. In addition, there will be bamboo stilts (takeuma), wooden paddle games (hagoita), and traditional kites (surume tenbata) on sale.

According to Hiroi, “We want to create products that make people excited, and in the future, too, have the luck of Sendai active in many places through the Craft Village’s original character.” Hiroi’s contact information is 022 (398) 2770.

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バテレン当て独楽

Click to enlarge.
Click to enlarge.

タイトル:

バテレン当て独楽 (bateren ategoma)
priest roulette-style top

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バテレンがテーマの独楽。16世紀にカトリック教の宣教師が日本に来始めた際、キリシタンはポルトガル語のPadre(パードレ)から派生し、父・神父を意味する言葉であるバテレンと呼ばれた。宣教師が渡来した初期の頃である当時、日本に来たのはほとんどがポルトガルからのイエズス会修道士であった。廣井先生は16世紀のバテレンのひだ襟のフリルを大袈裟に表現し、ローマ数字を描いて当て独楽の土台にした。当て独楽は独楽遊びの一種である。独楽の軸を回すと、バテレンの長い鼻が土台にある数字に止まるようになっている。

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廣井道顕:うんと、これがね何だっけな。ええと何つったっけな。バテレン。うん。バテレンの当て独楽。ランディス先生にバテレンって何だかって聞いたっけ、分からないって言われたんだな。なんか昔あの、キリストの人をそう呼んだみたいですよね。

ポーラ・カーティス:はい。十六世紀。

廣井:あぁ、十六世紀。えぇ、そんな昔なんだ。ふうん

ポーラ:はい。十六・十七世紀。

廣井:あぁそんな古いのね。

ポーラ:はい。

廣井:でランディス先生分からないわけだな。へへへ。ああそうなんだ。その頃、のやつをこう、作ってたんだよねの当て独楽でゲームするやつね。

 

 

バテレン当て独楽 (priest roulette-style top)

Click to enlarge.
Click to enlarge.

Title:

バテレン当て独楽 (bateren ategoma)
priest roulette-style top

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This top depicts a priest. When Catholic missionaries began to enter Japan in the sixteenth century, they were known as bateren バテレン, a word that comes from Portuguese padre, “father.” Most of the first missionaries entering Japan during this time were Portuguese Jesuits. Here, Hiroi-sensei has depicted a sixteenth-century priest with exaggerated frills at his neck to form the base of the roulette-style top, which features Roman numerals. A roulette-style top is a kind of game. Someone spins the handle at the top, and the priest’s long nose lands on the winning number on the base.

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Hiroi Michiaki: Umm what was this? What is it called? A bateren [priest]. Yeah. It’s a bateren roulette-style top. I asked Landis-sensei what a bateren was, and she said she didn’t know. It’s sort of what Christians used to be called in the past.

Paula Curtis: Yes. In the sixteenth century.

Hiroi: Ahh, the sixteenth century. That long ago? Hmm…

Paula: Yeah, in the sixteenth and seventeenth centuries.

Hiroi: Ohhh it’s that old?

Paula: Yeah.

Hiroi: Then Landis-sensei wouldn’t know, huh? Heh heh heh. Ahh I see. It’s someone from that time period, and I made a roulette-style top game from it.

 

 

Newspaper article 新聞記事: “Edo tops” made in Sendai 仙台でつくられる「江戸ごま」

Hiroi-sensei has appeared many times in Japanese newspapers. Below is a translation of an article entitled “’Edo tops’ made in Sendai .” 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。「仙台でつくられる「江戸ごま」」という記事も掲載しました。以下のリンクでアクセスできます。

Click here for the original article in Japanese.

日本語での記事はこちら

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“Edo tops” made in Sendai

These endlessly beautiful items…
“For me, there is only this path.” – Hiroi

When you say “tops,” you might imagine tops you’d play with outdoors, but these are “land tops” (jigoma 地独楽). Edo tops are a type of tops known as known as “parlor tops”“(zashikigoma 座敷独楽),  which you enjoy by spinning them in your home and decorating with them. In addition to single-block tops, there are all kinds of tops that rely on centrifugal force.

The blueprints for the tops are in my arms

“Even if you ask me how many types [of tops] there are,r” says artisan Hiroi Michiaki of the tops he has vividly colored, “If you were to categorize them like kokeshi, it would probably be over a thousand. Well, probably about 600.”

To the question “are there blueprints?” Hiroi says but one word: “No.” When I reply, “Then they must be in your head, right?”, he says, “No, there’s nothing in my head. But these arms have memorized them. My hands move on their own.” I’m speechless for a little while at this perhaps profound statement.

Edo tops—Wax polish makes the bright colors–the characteristic red but also purple, green, and yellow– stand out all the more. Once, these tops were intended for the children of high-status warriors and wealthy merchants, having little to do with commoners. As such, the finishing touches were minded to the smallest detail, and except for the single block tops, “they express the characteristics and old tales of each time period, and there’s no [top] without a history.”

This is something that can be said for all of Hiroi’s wooden toys, and even if they appear to have no origin story, that is simply a product of having forgotten it in the present day.

The spirit (kokoro) that protects tradition

When asked about the “spirit” of continuing to make Edo tops, a central part of [Japanese] wooden toy traditions, he dismissed this question smoothly, saying, “[Tops] are not something to tout as tradition. Because I was born an artisan, there’s no other path for me.”

On the subject of successors, he first said, “Right now about ten people are coming [to apprentice],” seemingly unworried, but added regretfully, “It would be difficult for them all to inherit [the practice].”

Why Edo tops in Sendai?

“During the war, we evacuated to Miyagi. We lost our chance to return to Tokyo,” Hiroi said, adding, “In Tokyo, there are many people in Tokyo with resources and many people who understand [our work]. And people who suggested I come back.” Saying that his younger brother was working hard on making tops in Tokyo now, Hiroi seems determined to preserve the Edo top tradition here in Sendai’s Fukuhara.

Hiroi also makes kokeshi, but doesn’t seem very interested in them.“Kokeshi are easier to make compared to tops, and sell well, but…” he said, although he was unable to identify the reason why he wasn’t motivated to make them.

There are Edo artisans here

Hiroi’s wife, listening to us nearby, says, “When we have an order deadline approaching he procrastinates. Then when he starts, he’ll skip meals and stay up turning the lathe late into the night. If he’s even a little unsatisfied with the result, he’ll just toss it out.” Because these tops now are being gifted to an orphanage , Hiroi-san has stopped tossing out ones he doesn’t like.  

Hiroi, who was born an artisan, aims only to create the best products. Right now, he only makes direct sales aimed at about sixty people without going through wholesalers. His reason is that “if you sell them in stores, they can mark them up to absurdly high prices.”

“Despite all the effort you put in, you don’t make much money. It’s the kind of work only an idiot could do,” Hiroi says [joking], finally adding, “This is the only path for me, now and forever.”

Media Post: Hiroi at the Workshop メディアポスト:工房での廣井先生

These photos show Hiroi-sensei, Mrs. Hiroi, friends, and apprentices spending time in the workshop in the early 1980s.

1980年代、廣井先生と夫人、ご友人、お弟子さん。工房にて

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