What is Edo Hyōgu?｜Edo Hyōgu

Hyōgu generally refers to the mounting technique of producing kakejiku (hanging scrolls), kansu (handscrolls), sutra books, albums of calligraphy and paintings, frames, byōbu (folding screens), tsuitate (screens), fusuma (sliding doors), and other items by pasting kireji textile or paper together using pastes. It also refers to the finished products themselves. The act of production is sometimes called "Hyōsō."

Kireji: Decorative textiles used for framing paintings, calligraphy, and other artworks. Materials such as shōken (pure silk), kinran (brocade), donsu (damask), cotton, or hemp are selected according to the intended use.

Hyōgu is broadly categorized into Kyō Hyōgu, Kanazawa Hyōgu, and Edo Hyōgu, known as the three major Hyōgu traditions.

Edo Hyōgu

On November 16, 2022 (Reiwa 4), seven categories of Edo hyōgu, namely kakejiku (hanging scroll), kansu (handscroll), byōbu (folding screen), gaku (frame), fusuma (sliding door), tsuitate (screen), and kabeharitsuke (wallpapering) entered the list of Nationally Designated Traditional Craft Products by the Ministry of Economy, Trade and Industry. The designs used in Edo hyōgu are characterized by the refined stylish tastes of the city of Edo when the chōnin (townspeople) culture flourished.

"Edo hyōgu" products, crafted using natural materials and the advanced techniques of artisans, have been passed down through generations. While demand has declined in recent years due to the decrease in traditional Japanese-style rooms, new initiatives are underway to bring to life its craftsmanship value and enduring appeal in modern living spaces. This includes developing products matching western-style rooms.

History of Hyōgu

The art of Hyōgu is believed to have been introduced to Japan from China alongside Buddhism around the Asuka period (538-710), or certainly by the Heian period (794-1185) at the latest, as techniques for protecting and decorating Buddhist scrolls, paintings, and others.
Major center cities of respective periods had many large temples and monasteries, creating high demands for mounting Buddhist scriptures and paintings. The practice began in the first permanent capital Nara and then developed in Kyoto.
The scope of hyōgu works diversified with the times. In the Edo period (1603-1868), the technique came to be used for kakejiku, byōbu, and fusuma. Also, the rise of the tea ceremony "sadō" was deeply connected to hyōgu development. Hyōgu items were recognized as tea utensils, and thus achieved a uniquely development in Japan.

The Beginnings of Edo Hyōgu

Hyōgu production became active in the capital Edo city during the early Edo period (1603-1868). Under the sankin-kotai or alternate assistance system, the residences of local feudal lords (daimyo) in the capital city were expanded and many artisans working for them also moved to and settled in the capital, fostering the development of townsmen culture. Calligraphy and painting became cultural elements deeply familiar even among the populace, promoting the Edo-hyōgu products to be used widely.

Due to differences in climate and natural conditions between Edo and Kyoto, the concentration of pastes used and other conditions differ between two cities, and the names of tools and work processes also differ. The Edo artisans preferred for making existing items more user-friendly, changing forms of tools like brushes for improved usability.

A publication "Fūzoku Gahō No. 91 (Illustrated Book of Customs, published in 1895 (Meiji 28))" has the following description regarding the differences between Edo and Kyoto hyōgu techniques in the chapter of the kyōji profession in the publication "Shinsen Hyakko Zu (Newly Selected Hundred Craftsmen Illustrations)":

"The use of glue also differs between Edo and Kyoto. Unlike Kyoto, Edo experiences strong winds, which can cause hanging scrolls to be buffeted by the wind, leading to backing peeling or warping. It is advisable to adjust the glue, using a thicker consistency. It is said that when an Edo-hyōgu artisans work in Kyoto, or Kyoto-hyōgu specialists in Edo, and mount scrolls or other items without considering the environmental differences, the result may not be satisfactory, regardless of the skill level of the artisans." (Translated)

Ishokujyu nouchi kashoku osana etoki no zu dai yon (Illustrated Book for Children regarding Occupations concerning Clothing, Food and Housing No. 4) — *Ishokujyu nouchi kashoku osana etoki no zu dai yon* (Illustrated Book for Children regarding Occupations concerning Clothing, Food and Housing No. 4)
(Source: National Diet Library Digital Collection)

Designs of Edo Hyōgu

The designs seen in Edo hyōgu products are characterized by the refined stylish touch preferred in Edo where townspeople culture flourished.
When extravagance was prohibited during the Edo period, the townspeople discreetly and subtly incorporated luxurious materials in their refined style. Such intentions are also expressed in Edo-hyōgu designs. On the other hand, the elegant designs of the Genroku era (1688-1704) are another characteristic of Edo hyōgu.
Edo, actual Tokyo, has been a city constantly evolving in pursuit of fresh inspiration. Similarly, the designs of Edo hyōgu will surely continue to change.

Hyōgushi / Kyōji

A professional hyōso craftman is called hyōgushi or kyōji.

A kyōji originally referred to a person whose profession was copying sutra texts, or a craftsman who mounted sutra texts onto handscrolls. They also mounted kakejiku, byōbu, fusuma, and other works of calligraphy and painting.
The meaning of both "shi" in hyōgushi and "ji" in kyōji are synonymous with "takumi" meaning master craftsman, signifying a master who established a company through his skill in an era. Those masters are chosen individuals as artisans and their numbers were limited.
Establishing social standings recognized by themselves and others, with their dedication through years of experience they never ceased to refine their craft and innovate. Even in an era of rapid progress, they have left behind a legacy of great achievements.

Kyōji (wood block print) — *Kyōji* (wood block print)

Saigashokuninburui (Colored illustration of professions of craftsmen) — *Saigashokuninburui* (Colored illustration of professions of craftsmen)

In some cases, the names are used according to the items handles: hyōgushi for handling decorative items including kakejiku, byōbu, and art pieces, and Kyōji for handling daily items including fusuma, shōji (wooden lattice-framed paper door), and wallpaper. However, in modern times, the term "hyōgushi" is increasingly used as a general term.

Hyōgu items are crafted by artisans possessing a wide variety of techniques. The types of materials used also span a broad range. The job of hyōgushi involves selecting materials including paper and textile based on their knowledge and aesthetic judgment to meet customer requests. They honor the techniques of material artisans, preserving and enhancing their value while also incorporating new designs and techniques to meet the needs of the time. Expressing this value and sending it out into the world is the task of hyōgushi. They also undertake repairs of completed items, enabling their continued use.

Hyōgu is profoundly connected to Japan's traditional culture, and hyōgushi artisans play a vital role in preserving and passing on cultural assets.

Crafting fūtai or decoration strips for hanging scroll — Crafting *fūtai* or decoration strips for hanging scroll

Edo Hyōgu
in the Modern Era

Hyōgu products are not only suitable for traditional Japanese rooms. Even in contemporary western-style architecture, displaying a work of kakejiku, byōbu, or tsuitate in the living room, bedroom, or entryways creates spaces imbued with Japan Modernism.
Fusuma doors can also be incorporated as room dividers in Western-style rooms. The warming touch of the materials creates a high-quality atmosphere.
In recent years, the textiles used for mounting have also become more varied, as well as many beautiful modern washi Japanese papers available.
Why not incorporate traditional crafts handmade by artisans into your interior decoration style, or enjoy displaying your own unique hyōgu item like an art piece?

Kakejiku in Bedroom — Artwork by QIAN YUAN

Kakejiku in Entrance — Artwork by Killi Okaji

When introducing new Edo-hyōgu products or replacing existing ones, we sincerely hope you will choose works of fine materials crafted using traditional techniques. We would be honored if you would entrust the work to the hyōgu artisans (members) of the Associations of Tokyo Hyougu Kyouji Interior, who carry on the tradition of the Edo hyōgu.

For inquiry or ordering Edo-hyōgu works, please contact:
(Website of the Associations of
Tokyo Hyougu Kyouji Interior)

"Edo Hyōgu" entered the list of Nationally Designated Traditional Craft Products by the Ministry of Economy, Trade and Industry on November 16, 2022 (Reiwa 4).

Products

Kakejiku, kansu, fusuma, byōbu, gaku, tsuitate, kabeharitsuke
Techniques and Methods (Manufacturing Processes)

Refer to the "Notification"
Raw Materials

Refer to the "Notification"
"Products (works) of Edo hyōgu" produced using traditional techniques, methods, and raw materials shall be affixed with a "dento shōshi (tradition certification label)."

Notification

Name of the Traditional Craft
Edo Hyōgu
Traditional Techniques or Methods
1. For kakejiku and kansu, the following techniques or methods shall be used:
  1. The "hada urauchi (skin backing)" shall be performed to back the artwork and textile, followed by "mashi urauchi (additional backing)."
  2. "Kiritsugi (cut and connect)" shall be performed around the honshi (artpiece).
  3. "Ageura (final backing)" shall be performed using a "uchibake" brush, followed by "urazuri (back rubbing)" after drying.
2. For byōbu, gaku, fusuma, and tsuitate, the following techniques or methods shall be used:
  1. The base pasting shall be performed using the methods of "honeshibari (bone binding)," "betabari (full-coverage pasting)," "minobari (shifted layer pasting)," "mino’osae (shifted layer covering)," "mawarisuki," and "fukurobari (bag-style pasting)."
  2. The byōbu hinges shall be attached using the "wing attachment" method
  3. The finishing pasting shall be performed using the "uwabari (top covering)" method.
3. For kabeharitsuke, the following techniques or methods shall be used:
  1. The base pasting shall be performed using the "mawaribeta/sōbeta," "fukurobari," and "kiyobari" methods.
  2. The finishing pasting shall be performed using the "uwabari (top covering)" method.
Traditionally Used Materials
1. Paper shall be washi Japanese paper.
2. Textile shall be silk, cotton, kudzu cloth, banana fiber (mibashō) cloth, or woven materials possessing equivalent properties.
3. Paste shall be wheat starch glue (shōfunori) or materials possessing equivalent properties.
Regions of Manufacture
- Tokyo Prefecture
  Chiyoda Ward, Chuo Ward, Minato Ward, Shinjuku Ward, Bunkyo Ward, Taito Ward, Sumida Ward, Koto Ward, Shinagawa Ward, Meguro Ward, Ota Ward, Setagaya Ward, Shibuya Ward, Nakano Ward, Suginami Ward, Kita Ward, Arakawa Ward, Itabashi Ward, Nerima Ward, Adachi Ward, Katsushika Ward, Edogawa Ward, Hachioji City, Mitaka City, Fuchu City, Chofu City, Higashimurayama City, Kunitachi City, Fussa City, Musashimurayama City
- Saitama Prefecture
  Saitama City, Kawagoe City, Kasukabe City, Soka City, Toda City, Namegawa Town in Hiki District, Kawajima Town in Hiki District)
- Chiba Prefecture
  Urayasu City
- Kanagawa Prefecture
  Kamakura City
Date of Designation
November 16, 2022

Ministry of Economy,
Trade and Industry:
Regarding the Designation of Traditional Crafts