冨永愛の伝統to未来～ニッポンの伝統文化を未来へ紡ぐ～ 2025年3月26日 能登復興支援ＳＰ
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TVTranscript
00:00Hello, my name is Ai Tominaga. I am in Kanazawa City, Ishikawa Prefecture.
00:06Here in Kanazawa City, there is a traditional craft exhibition that brings together traditional crafts from all over the country.
00:13The venue is the Ishikawa Prefecture Memorial Shinoki Exhibition Hall.
00:18Let's go inside.
00:20The Ishikawa Prefecture Memorial Shinoki Exhibition Hall
00:24The Ishikawa Prefecture Memorial Shinoki Exhibition Hall was held in November of last year.
00:30Traditional crafts from all over Japan were brought together.
00:35The exhibition was held, and many people were able to experience the craftsmanship of Ishikawa.
00:45It's been a year since the Noto Earthquake.
00:48In this program, we met various craftsmen and artists.
00:54This time, we will look back on that year and introduce people who are moving towards the future.
01:02Hello.
01:04Good morning.
01:06The person who will guide us is Mr. Oka, the chairman of the Ishikawa Prefecture Traditional Crafts Exhibition Hall.
01:14First, we will ask him about the state of Wajima-nuri, which is about to be restored.
01:21Wajima-nuri is a technique where you apply a good amount of paint to the surface,
01:28and then you use a tool called chinkin.
01:31What is chinkin?
01:33First, you dig with a chisel.
01:35After that, you put the paint in the chisel and sink the gold in it.
01:40The sinking gold is called chinkin.
01:42I see, I see.
01:43For maki-e, you draw a picture with a brush and apply gold to it.
01:49That's called maki-e.
01:53We went to meet the Wajima-nuri craftsmen who were affected by the disaster last April and asked about their situation.
02:03Mr. Haruka Omori, a maki-e artist, is one of them.
02:11Mr. Haruka Omori, a maki-e artist, is one of the Wajima-nuri craftsmen who was affected by the disaster last April and asked about their situation.
02:14The Wajima-nuri craftsmen are all affected by the disaster,
02:19so I don't think they have any jobs.
02:22I think some of them are starting their own business,
02:25but I think it still takes a long time to make things.
02:31In April, Mr. Kishida sent a coffee cup to President Biden of the United States,
02:37and Mr. Omori asked the Wajima-nuri craftsmen for help.
02:41The three young men decided to send a coffee cup to President Biden,
02:48and I thought it would be a good idea.
02:52Mr. Omori drew the name of President Biden with a maki-e.
02:58Mr. Satoshi Marui, a maki-e artist, is one of the Wajima-nuri craftsmen
03:05who sent a coffee cup to President Biden.
03:10We are in a situation where craftsmen are not able to work,
03:14so we need more people who can work.
03:17If not, we can continue with the current Wajima-nuri craftsmanship,
03:21but we need more people who can make things.
03:26The Wajima-nuri craftsmen who make things in the field
03:29say they need to find a place where craftsmen can work for the reconstruction.
03:35The Wajima-nuri craftsmen who make things in the field
03:39say they need to find a place where craftsmen can work for the reconstruction.
03:44The Wajima-nuri craftsmen who make things in the field
03:50What's important is that the cup is not visible,
03:53but it's set on cloth.
03:55Cloth?
03:56Cloth is put on the cup for today.
03:58Really?
03:59Inside?
04:00Yes, at the base.
04:01I can't see it at all.
04:03We make layers of cloth so that you can't see it on purpose.
04:07That's how thick the cloth is?
04:09Yes, we make it in many layers.
04:12I see, it's beautiful.
04:15Even if you hit it when you use it,
04:20you can fix it again and repaint it,
04:26so you can use it like a new one again.
04:31It's a very eco-friendly way of doing things.
04:38And in February this year,
04:40Ishikawa's traditional culture, art, and lifestyle
04:45were launched by Mitsukoshi Nihonbashi
04:50for customers from all over Japan and around the world.
04:55Many traditional crafts were sold
04:58at the Wajima Nuri Traditional Crafts Fair.
05:03So I asked Mr. Sakaguchi,
05:07the president of the Wajima Nuri Traditional Crafts Fair,
05:10about his future plans.
05:13There are many craftsmen who leave Wajima due to water pollution.
05:19It's been about four months now,
05:25and we're still trying to figure out
05:29how many of them are still in Wajima.
05:34There will be fewer young craftsmen in the future,
05:38so I think it's important for young craftsmen
05:42to be able to pass on their skills
05:46to older craftsmen as soon as possible.
05:51Mr. Kazutaka Furukomi, a craftsman from Wajima,
05:56was also asked about the situation at the time
05:59and the activities of the craftsmen.
06:02It was a very big quake,
06:05so I put my wife under the kotatsu.
06:08Then I couldn't move,
06:11and when I looked at the room,
06:14the furniture was all warped.
06:17It was a situation where I couldn't stop.
06:21The factory in his hometown was also in full swing.
06:24The surrounding craftsmen were also in the same situation,
06:27and he thought that most craftsmen had no choice but to close down.
06:33Until then, I hadn't been very conscious of Wajima Nuri,
06:39but I thought that Wajima Nuri would really disappear.
06:46Wajima Nuri is basically a branch,
06:49so if someone disappears somewhere,
06:54I won't be able to finish it.
07:01So I thought about what I could do at that time.
07:07Mr. Furukomi called out to his fellow craftsmen
07:11and launched the project for the future of Wajima.
07:16The Wajima Nuri project was resumed,
07:19and exhibitions were held all over the country.
07:24The people who said they were going to close down
07:27still managed to survive,
07:30and by everyone's efforts,
07:33they were able to buy the goods.
07:35So I'm glad that they started
07:38by renting a small warehouse
07:41in a factory that hadn't closed down.
07:44It was a great experience for me.
07:48Mr. Furukomi introduced the works
07:52that the craftsmen had created.
07:56This is a product by Omori Makei Koubou.
08:01What's interesting about him
08:04is his interest in personalization.
08:07If you look here,
08:09there are three legs on the mackerel.
08:12The mackerel plays with words,
08:14and the mackerel's legs are fast.
08:16The reason why the mackerel's legs are fast
08:19is because there's a treasure in this net.
08:22The mackerel runs away with the treasure.
08:26The other thing is about the technique of maki-e.
08:29It's flat, but it looks three-dimensional.
08:32I think there's a technical interest
08:35and an interest in the costume
08:38that are combined here.
08:41There's not much I can do,
08:44but I'd like to use this opportunity
08:47to create more events.
08:49I'd like to create new products
08:51that have value,
08:53not just to enjoy the present.
08:56I think that's one of my strategies.
09:03This is suzu-yaki.
09:06Mr. Takashi Shinohara,
09:08chairman of the Suzu-yaki Association.
09:12Suzu-yaki was produced mainly in Suzu City
09:15from the late Heian period to the late Muromachi period.
09:22Such suzu-yaki also opened up
09:2518 kama in the city in the Noto Peninsula.
09:29At one point, the production resumed.
09:33Can you tell me what suzu-yaki is?
09:37From the late Heian period to the Muromachi period,
09:40this suzu-yaki flourished at the tip of the Noto Peninsula
09:43for about 400 years.
09:45It went out of business for a while,
09:47but it came back 45 years ago
09:49and is still in production.
09:51If it goes out of business for 400 or 500 years,
09:54it's quite difficult to revive the technology.
09:57There are no documents left.
09:59What's left is the pottery,
10:01the pots from that time.
10:03It's been 45 years, and it's been revived.
10:06This black color is the characteristic.
10:09Is this oil-based?
10:11No, it's not.
10:13So you use the soil from the Noto Peninsula
10:16to make this color?
10:18Yes, that's right.
10:20There's another characteristic to the way it's made.
10:23You try to keep the oxygen level low.
10:26Then the iron in the soil turns black.
10:30Please try to hold it.
10:32Which one should I hold?
10:34This one?
10:35Yes.
10:36This is wonderful.
10:38It's lighter than I thought.
10:40Yes, it is.
10:41It's amazing.
10:42There are various expressions,
10:44but this is all natural.
10:46It's not artificial at all.
10:48It's beautiful.
10:50Each one is different.
10:52The shape is different,
10:54and the expression is different.
10:56When you use it,
10:58the color changes.
11:02I've never seen this kind of color before.
11:07It's chic, isn't it?
11:08Yes, it's chic.
11:09There are a lot of black-tinted pots,
11:11but there are only a few
11:13that make black-tinted pots
11:15in a natural way.
11:19Junichi Ariga, a suzu-yaki artist,
11:22was also one of the victims.
11:25He went to Vizen City,
11:27Okayama Prefecture,
11:29which is the birthplace of the same yakimono.
11:32Ariga is currently working
11:34at Vizen City.
11:37I didn't think
11:39that people would accept it.
11:45Both suzu-yaki and vizen-yaki
11:47don't use yakishime,
11:49which is a kind of yakimono.
11:52So I thought that
11:54vizen-yaki would be a good idea.
12:02Meanwhile,
12:03the kyodo-gama,
12:04which is located in the suzu city's
12:06suzu city pottery center,
12:08was restored.
12:09In December of last year,
12:11Ariga and his young colleagues
12:14re-opened the kama-yaki shop
12:16after the earthquake.
12:18For this day,
12:20Ariga has made
12:22about 100 pieces of work
12:24in the kama-yaki shop.
12:26Young people gathered
12:28and made kama-yaki.
12:30I felt like
12:32I was starting over
12:34and restarting.
12:38I was glad
12:40that I was able
12:42to take a step forward.
12:47Along with Ariga,
12:49one of the creators of kama-yaki,
12:51Taiga Nakajima,
12:53talked to us about the future.
12:58Making kama-yaki
13:01is hard for me to do alone.
13:03I have to work night and day
13:06with everyone.
13:08I'm glad that
13:10I was able to do that.
13:14It's only been a year,
13:16but I don't think
13:18I'll be back to work
13:20right away.
13:22I'll have to prepare
13:24for the next year or two.
13:27I'll have to get back
13:29to my daily life.
13:31That's the next step.
13:35Ariga says that
13:37his love for suzu-yaki
13:39grew stronger
13:41and stronger.
13:43There aren't many people
13:45who make suzu-yaki.
13:47Some people say,
13:49let's do our best
13:51and keep going.
13:53But for me,
13:55it's about who sits
13:57on the chair.
13:59It's about
14:01working together
14:03and competing.
14:05I think that
14:07it affects
14:09how people think.
14:11I think that
14:13if more people
14:15take it seriously,
14:17things will change for the better.
14:23Can you tell us
14:25how suzu-yaki is doing?
14:27There are a lot of people
14:29who want to buy suzu-yaki
14:31and support us,
14:33but we can't answer them.
14:35It's frustrating.
14:37So you're going to rebuild the kiln
14:39and have the makers
14:41come back?
14:43That's right.
14:45We're in the process
14:47of rebuilding the kiln
14:49and the factory.
14:53Mr. Sakaguchi,
14:55the president of
14:57the Wajima-Nuri Traditional
14:59Craftsmen's Association,
15:01and Mr. Shinohara,
15:03the president of
15:05the Wajima-Nuri Traditional Craftsmen's
15:07Association,
15:09and I had a talk session
15:11with them.
15:13I hope that
15:15one day
15:17Mr. Tominaga
15:19will be able to
15:21make suzu-yaki
15:23in Wajima-Nuri or
15:25in Suzu-yaki.
15:27Wajima-Nuri is a
15:29specialized craft,
15:31but what would you like
15:33to do with suzu-yaki?
15:35For example,
15:37how would you like to
15:39design it?
15:43In the case of suzu-yaki,
15:45it's not as detailed as
15:47Wajima-Nuri,
15:49so there are a lot of
15:51individual makers.
15:53They go to the mountains
15:55and dig their own soil.
15:57The good thing about
15:59suzu-yaki is that
16:01you can see the individual makers'
16:03thoughts,
16:05ideas, and way of life
16:07in the form of suzu-yaki.
16:09That's a very nice thing,
16:11so I'd like to see
16:13Mr. Tominaga's suzu-yaki.
16:15All of them?
16:19I can experience
16:21a very difficult process,
16:23so I'm really impressed.
16:25I usually say,
16:27I can't do it,
16:29but I'll do my best,
16:31so I look forward to
16:33working with you.
16:37We have also heard
16:39about the various
16:41traditional crafts.
16:43Noto-jofu,
16:45the highest-grade
16:47Asa-orimono with a history
16:49of 2,000 years.
16:51Yamazaki Asa-orimono Workshop
16:53is the only workshop.
16:55Fortunately,
16:57the damage was
16:59just a minor repair,
17:01but the work
17:03has been restored
17:05since February.
17:09The first Chozaemon
17:11who came to Kanazawa
17:13from Kyoto in the early Edo period
17:15made chaki
17:17using the clay
17:19of the Kanazawa suburbs.
17:21It has been passed down
17:23for over 350 years.
17:25The workshop and gallery
17:27in Kanazawa city
17:29were also severely damaged
17:31by the quake.
17:33The teapots in the city
17:35were also severely damaged.
17:37Traditionally,
17:39the kilns we used
17:41were also completely destroyed.
17:43We can make them,
17:45but we can't burn them.
17:47This is the reality
17:49that we can only imagine.
17:53Chozaemon-san
17:55couldn't throw away
17:57the works that were
17:59damaged by the quake.
18:01If we could
18:03put the souls
18:05that were lost
18:07together again,
18:09wouldn't they
18:11become one?
18:13This teapot
18:15was made from such a thought.
18:17It was a new work
18:19that brought back
18:21the fragments of
18:23my grandfather,
18:25father,
18:27and my own work.
18:29I filled the teapot
18:31with the memories
18:33of each person
18:35and made it
18:37into one shape.
18:39Chozaemon-san
18:41made a teapot
18:43and tried many times
18:45to make it
18:47into one shape.
18:49Chozaemon-san
18:51strongly believes
18:53that using the experience
18:55of the quake
18:57can change the world.
18:59Based on this experience,
19:01I was able to do this.
19:03Creating such a story
19:05may be one of the reasons
19:07that I can change
19:09the industry
19:11in the future.
19:15I really want to
19:17do what I can
19:19in the future,
19:21and I will continue
19:23to do my best
19:25to make the world
19:27a better place.
19:29The Takazawa Candle Shop
19:31was established in 1927.
19:33It is a traditional
19:357-leaf-candle shop.
19:37Because the core of the candle
19:39is hollow
19:41due to the wax
19:43made from plants,
19:45the wax and oxygen
19:47are sucked up from the bottom
19:49to create a bright
19:51and strong flame.
19:53As a result,
19:55the shop was designated
19:57as a national cultural property.
20:01Mr. Takazawa,
20:03the fifth generation,
20:05reopened the shop
20:07as a temporary shop
20:09200 meters away from Akiya.
20:13I think it is very important
20:15to see with my own eyes,
20:17and I am glad
20:19that I was able
20:21to support the shop
20:23in this way.
20:33Next time,
20:35we will try to make
20:37a strong candle
20:39that colors the city of Kyoto,
20:41which is actually
20:43carefully calculated.