Summer Research on Paper
2022 July 16 (Sat) to 2022 August 28(Sun)
2022 July 16 (Sat) to 2022 August 28(Sun)
“Paper” has not only played a very important role in conveying history, culture, and art, but it is also very close to you.
From the time you wake up in the morning until you sleep, you are surrounded by various types of paper and paper products every day.
If you don’t have the paper to use, it’s hard!
What do you know about such indispensable paper?
The paper that you used to take for granted has amazing power and secrets!
Why don’t you challenge for independent research on “paper” this summer?
We also have experiments that you can do at home and books that are useful when you want to know more about paper.
2022 May 24 (Tue) to 2022 July 3（Sun）
As June 8th is the anniversary of the founding of the Paper Museum, we would like to introduce the brief history of the museum and some of its important collections.
2022 March 19 (Sat) to 2022 May 15
“Kami-Waza Grand Prize” is a competition with the theme of creation with pursuing the possibilities of “paper” by free thinking. This competition is the oldest paper art contest, which celebrated 30th competition in 2021, and known as a gateway for creators, students and craft writers. It originally started in 1991 by the citizen group “Shimada Kami-Waza Explorers ” in Shimada City, Shizuoka Prefecture, and it is now sponsored by Tokushu Tokai Paper Co., Ltd. and co-sponsored by paper manufacturers and trading companies.
Hundreds of works are submitted from all over the country every year under the condition that paper can be used freely regardless of the form such as flat surface or three-dimensional. The paper used is a wide variety of paper, including fancy paper, which has a wide variety of colors and patterns and is characterized by its texture, as well as newspaper, cardboard, and Japanese Washi.
Please take this opportunity to enjoy the world of various “Kami-Waza” such as works that can only be made with paper, which have suppleness, elasticity, and strength, or works which will surprise you as “is it really made of paper?”.
※The part of exhibits will be changed during the exhibition period.
Hosted by: Paper Museum Tokushu Tokai Paper Co., Ltd.
Special Cooperation by: Oji F-Tex Co., Ltd. SHINSEI Pulp & Paper Co., Ltd., TAKEO Co., Ltd. Heiwa Paper Co., Ltd.
30th Grand Prize ”示相化石 S-4” 榎本大翔 Enomoto Daisuke
2021 December 4 (Sat) to 2022 February 27
This is because the paper was perceived as clean, and probably it was a material suitable for a sacred festival place for that time as it was easy to work with, and at the same time it could be easily returned to nature by burning it or flushing it into a river or sea.
In this Theme Exhibition, we introduce the Traditional Cut Paper, among various Cut Paper made by cutting paper like handicrafts, used for religious ceremonies such as New Year’s decorations and “Kagura” which is Shinto music and dancing especially on the New Year’s Day in the Tohoku region.
The Tohoku region is said to be a treasure trove of the Traditional Cut Paper, but we understand that in addition to the changing times, the impact of the 2011 Great East Japan Earthquake has made it extremely difficult to inherit the Cut Paper culture. We hope that this exhibition will give you an opportunity to experience a part of the wonderful Cut Paper culture.
2021 September 18 (Sat) to November 7(Sun)
After that, various factories opened one after another around Oji, and it rapidly developed as a major industrial area. Since there were many paper-related factories, Oji became to be called “The Birthplace of Western Paper”. It was Shoushi-Gaisha that initiated the development.
In this exhibition, we will follow the hardships and challenges of Eiichi Shibusawa, who played a leading role from the establishment of Shoushi-Gaisha to its management and was active as a leader in the modern paper industry, and traces the footsteps left in Oji, Tokyo.
2021 March 16 (Tue) to August 29 (Sun)
On the other hand, due to the hoarding of toilet paper and tissue paper which we saw last year, the importance of paper products, which are daily necessities, has surfaced again.
In addition, expectations for paper products are increasing in the global trend toward less plastic daily life.
We are surrounded by many paper products, not only in what we usually see, but also in places we cannot see or notice, and we are living a convenient and comfortable life supported by them.
It would be great if the Special Exhibition give us an opportunity to feel the characteristics, versatility, depth, and potential of the paper material, through the paper products around us that we usually don’t care about, and at the same time, to think about what we can do in daily life against the big issue of global environmental problems we are facing today.
2020 October 24 － 2021 February 23
The Paper Museum was founded 1950, in the area of Tokyo known as Oji, which is known as the birthplace of Western Paper in Japan. It used of the building of Oji Paper Co., Ltd.’s Oji Mill, but later it was decided to move to a location in Asukayama Park, and the new Museum opened in 1998.
While this museum passes on historical materials detailing the progress of Japan’s western paper industry, it has also aggressively collected material about washi (Japanese paper), from the time the museum was founded. By respecting the technology and culture of washi that has been passed down from long ago, and studying the technology and history of both washi and western paper, the Museum has aimed for the further development of Japanese paper industry.
This year marks the 70th anniversary of the founding of the Museum so we decided to open a special collections exhibit. We hereby introduce important items held by the Paper Museum, which has operated with the doctrine of learning from history.
2020 June 2 － October 4
Japanese leather-like paper is a type of imitation leather made of washi that arose in the early Meiji period . It was modeled after the decorative leather used on the walls and ceilings of palaces belonging to medieval European royals and nobles.
In addition to being a popular export item to Europe, where it was used as wallpaper, it beautified the walls of Western-style buildings, such as the Rokumeikan between the Meiji and early Showa (1926-1989) periods in Japan.
Production of leather-like paper temporarily came to an end around the middle of the Showa period, but was later revived by Takashi Ueda, the founder of the Kinkarakami Institute who made use of engraved wooden cylinders owned by the Paper Museum. Because of differences in the production method used, he called the newly revived washi “kinkarakami ” to distinguish it from the previous leather-like paper.
Under the designation “Bearer of Techniques Selected for Preservation” given by the Agency for Cultural Affairs of Japan, Mr. Ueda has been involved in the production of kinkarakami for use in the restoration of important cultural properties throughout the country.
In this exhibition, elaborately engraved wooden cylinders used in the production of leather-like paper, samples of leather-like paper produced during the Meiji period and other related materials drawn mainly from the Paper Museum’s collection will be on display, along with reproductions of leather-like paper and original kinkarakami creations by Mr. Ueda.
2019 March 16 － June 9
Since the Edo period, the city of Shiroishi in Miyagi prefecture and its environs have been known as a washi-producing center. Shiroishi washi flourished under the protection and patronage of the Lord of Shiroishi Castle, the Katakura clan, and was known as one of the “Three Whites of Shiroishi” (washi, umen noodles, kudzu). Because of the paper’s high strength and durability, it was used to make shifu, a woven paper textile, and kamiko, or paper clothing. So high was the quality of these products that the Date clan of Sendai presented them as gifts to the Tokugawa Shogunate and the Imperial Court.
Like washi at paper-making centers elsewhere, however, Shiroishi washi entered into a decline from the start of the Meiji period (1868). In 1940, Nobumitsu Katakura, the then lord of Shiroishi Castle; Chutaro Sato, a local kimono wholesaler; and Tadao Endo, a handmade paper craftsman, founded the Oshu Shiroishi Kyodo Kogei Kenkujo (Oshu Shiroishi local crafts research institute). The institute conducted surveys and research on Shiroishi’s traditional culture with the goal of reviving shifu weaving and the production of Shiroishi washi.
This exhibition, while focusing on shifu and kamiko, seeks to introduce the history of Shiroishi washi, its method of production and the activities of the Oshu Shiroishi Kyodo Kogei Kenkujo to restore once-lost traditions that have led to their preservation today.