IWANO Heizaburo Seishijo (hand-made washi paper mill)
The process of kamisuki. To make large sheets of washi paper four people need to work together. The pulp mixture, saturated with water, is extremely heavy.
On a late autumn day, thick clouds blanketed the sky as we took a taxi from Takefu Station in Echizen City, Fukui Prefecture, towards the IWANO Heizaburo Seishijo paper mill (岩野平三郎製紙所). Droplets began to fall from the rain-heavy clouds stretching into the distance, then rumbling thunder echoing off the surrounding mountain slopes collaborated to give an almost three-dimensional impression.
“Winter in the Hokuriku region brings a lot of rain. But this rain will soon turn to snow. The thunder you just heard is known as ‘yuki-oroshi no kaminari (雪おろしの雷)’ – thunder that signals snow,” the driver said.
Facing the Sea of Japan, this is typical winter weather in Fukui Prefecture.
The central mountain ranges of Honshu block clouds from the west, so the Pacific side experiences dry air and clear skies throughout winter. The Sea of Japan side, however, remains shrouded in clouds that bring heavy snowfall.
The cold winter is coming, and with it the perfect season for Echizen Washi-making.
Visiting IWANO Heizaburo Seishijo
“Hello, welcome. Thank you for visiting us today.”
We were warmly welcomed with a cheerful smile by IWANO Makiko (岩野 麻貴子), the fourth-generation president and CEO of IWANO Heizaburo Seishijo.
In 2016, IWANO became the first female president of the company since its founding. Although she worked in the company for about 30 years, she was at first not very eager to take over the family business.
“My mother had been telling me since I was a child to succeed the business. As a mother, she wanted to give me the freedom to make my own choices, but at the same time, she felt the business had to be protected… I think she was conflicted, but she still encouraged me to continue the tradition and inherit the responsibility.”
Amid this inner conflict, after graduating university, IWANO initially entered a completely different industry.
“I joined a sewing company because of its warm, at-home atmosphere.”
However, thoughts of the family business never left her mind. Gradually, her resolve strengthened, and three years after graduation, she joined IWANO Heizaburo Seishijo.
“Naturally I learned kamisuki from scratch after joining, but also everything else about washi. I also helped out with kamaba to learn the process, but my main job is kamisuki. It takes about five years to develop the sense needed for paper-making. I’m a bit clumsy, so it took me a bit longer (laughs).”
In Echizen, kamisuki (紙漉き: a process of washi paper-making by hand) has traditionally been carried out by women. Men sometimes assist when needed, but they mostly work on tasks requiring physical strength, such as at the kamaba (釜場: a place to boil and to take care of raw materials) and with the drying process.
Nevertheless, kamisuki is far from being an easy job. For large sheets, several people must work together in perfect unison to handle the heavy, water-soaked pulp mixture and mould. It demands intense concentration and extraordinary endurance.
While the difficulties of kamisuki and kamaba differ, the reason women primarily perform paper-making is unclear. IWANO speculated jokingly with a smile:
“Maybe women are just more able to persevere.”
Where It All Begins: Kumohada Mashi Paper
One of the signature features of IWANO Heizaburo Seishijo is that they create the largest hand-made washi paper in Japan.
Founded in 1865, and currently with a skilled workforce of 25 artisans, IWANO Heizaburo Seishijo is one of the largest handmade washi paper producers in Japan. It is also one of the nation’s premier workshops making the largest handmade washi sheets, which measure up to 2.1 m by 2.7 m.
The founder, IWANO Heizaburo (岩野 平三郎, 1878–1960), born into a family whose livelihood revolved around paper-making for generations, is hailed as the key figure in the revival of Echizen Washi. He was deeply dedicated to the research and development of washi paper. But during the Meiji to Taishō periods (1862–1926), Japanese painters favoured silk over washi due to the insufficient quality of washi at the time.
Encouraged by the Japanese historian and Sinologist NAITŌ Konan (内藤 湖南) and advised by prominent Japanese painters such as TOMITA Keisen (富田 渓仙) and TAKEUCHI Seihō (竹内 栖鳳), Heizaburo persistently engaged in trial and error to advance the research of washi paper for Japanese painting.
In 1926, he finally succeeded in reviving mashi (麻紙: hemp-fiber paper), which had been lost. Named “Kumohada Mashi (雲肌麻紙)” due to its cloud-like appearance formed by enmeshed fibres, this mashi paper is thicker than ordinary washi and features subtle surface undulations that allow nikawa-eki (膠液: dissolved gelatin-glue in water) and pigments to adhere firmly. This revolutionary paper supports thin delicate applications as well as the thick layering of iwa-enogu (岩絵具: Japanese pigments made from ground minerals), which was difficult to achieve on silk. It became a groundbreaking medium for Japanese-style painting.
Illuminated with light from below, we compared the fibres of different IWANO Heizaburo Seishijo’s washi papers (colours differ from the actual paper).
left: Kumohada Mashi paper is made by mixing hemp with paper mulberry and a small amount of ganpi (Wikstroemia plant family), resulting in paper that is supple, strong, and finely textured.
middle: washi made from paper mulberry and hemp.
right: washi made from paper mulberry only.
The Origins of Washi and the Legend of Echizen Paper
Washi paper continues to accompany daily life in Japan as it has through the ages. Its uses are diverse, ranging from stationery to interior fittings, lighting, clothing, miscellaneous goods, toys, and even banknotes.
The origins of paper-making can be traced back to around 2nd century BCE China. There are various theories regarding the exact timing of when paper-making technology arrived in Japan. However, it is generally believed that the widespread adoption of paper-making in Japan occurred during the 7th to 8th centuries as Buddhism spread throughout the country. This was driven by increased demand for paper on which to hand-copy Buddhist sutras.
Additionally, establishment of the Ritsuryō state* system in the early 8th century introduced an administrative structure based on written documentation. This development significantly accelerated the advancement of paper-making technology. The oldest surviving examples in Japan are family register papers produced in 702 under the Ritsuryō system. They were made in Mino Province (美濃国: present-day southern Gifu Prefecture), Chikuzen Province (筑前国: northwestern Fukuoka Prefecture) and Buzen Province (豊前国: eastern Fukuoka Prefecture and northern Ōita Prefecture). These paper documents are currently preserved at the Shōsōin**.
* Ritsuryō state (律令国家): A centralised state system with the Emperor as monarch and operated according to a legal system known as the “Ritsuryo (律令)”.
** Shōsōin (正倉院): A huge repository of ancient treasures and crafts at Tōdai-ji Temple in Nara Prefecture.
In the 9th century, among the aristocracy who were the political elite, the exchange of books, letters, and waka poetry flourished, which led to the further spread of washi paper. From the 12th century onward, as political power shifted to the samurai class, the demand for washi increased for use in official record keeping and architectural interior fittings.
Then came the Edo period (1603–1868). With the rise of commercial publishing and the emergence of kashi-hon ya (貸本屋: rental book services) and terakoya (寺子屋: private education institutes), washi paper became widely accessible among common people, causing a rapid increase in paper production. Paper-making workshops were established all across Japan.
Echizen Washi was used to hand-copy Buddhist sutras as early as the 8th century. From the 14th century through the mid-19th century, it was widely used as the highest quality hōsho paper (奉書紙: official paper for the aristocratic and samurai classes). Furthermore, the Meiji government (1868–1912) adopted Echizen Washi for Japan’s first nationally circulated paper currency, the Dajōkansatsu (太政官札, issued in 1868). Its superior quality and ability to be mass-produced quickly made Echizen Washi highly valued over a long period. Today, it is still recognised as one of the finest types of washi.
There is a legend about the origins of Echizen Washi that continues to endure and be passed down.
About 1,500 years ago, a beautiful woman appeared near the upper reaches of the Okamoto River flowing through the Okamoto district of Echizen City, known as Echizen Goka.
She told the villagers:
“This area has little farmland, so life must be difficult. However, since you are blessed with pure water and abundant trees, you should start making a living by paper-making.”
She taught the villagers how to make paper, then vanished without revealing her name, only saying, “I am a resident of kawakami (the upper river).”
Following her words, the villagers who took up paper-making as their livelihood came to call her “Kawakami Gozen” and enshrined her spirit as the paper goddess at the Okamoto Shrine (岡太神社).
Even today, festivals are held annually, and the residents continue to honour the paper deity with unwavering gratitude.
The main shrine and worship hall of Ōtaki Shrine and Okamoto Shrine, where the spirit of Kawakami Gozen is enshrined. These shrines have a long history, having been recorded in the list of shrines in the Engishiki (927), a code compiled by order of Emperor Daigo. The beautifully majestic main building shows how much people cherish the deity. Although it was lost repeatedly in various battles, the current main building was erected in 1843, at the end of the Edo period. The complex roof structure and intricate carvings give it an overwhelming presence. It has been designated as an important intangible cultural property by the national government.
“Kanzuki” —Made in Winter’s Cold
The origins of paper-making technology can be traced back to around 2nd century BCE China. Initially, worn linen garments and similar materials were used, employing a technique called “tame-zuki (溜め漉き)”, which scoops the pulp mixture all at once. When paper-making techniques were first introduced to Japan, this method was also adopted. However, by the early 700s, Japan began using its own native raw materials, and from the Heian period (794–1185) onward, a uniquely Japanese method called “nagashi-zuki (流し漉き)” was developed and gradually became mainstream.
As a result of the environment and climate of Japan, washi paper underwent a distinct evolution. Its primary raw materials are kōzo (楮: paper mulberry), mitsumata (三椏: oriental paperbush) and ganpi (雁皮: Wikstroemia plant family). Unlike the wood pulp used in Western paper, washi uses only the part of the inner bark called “shirokawa (白皮)”, which is the bast fibre stripped of the outer bark. This results in longer fibres in the paper, a defining characteristic of washi.
How to process fibres without damaging or shortening them is the key to producing high-quality washi.
Dried raw materials used for paper-making.
1. From left: ganpi, mitsumata, and kōzo fibres. 2. Bundle of shirokawa bast fibre of asa (麻: hemp). 3. Packaged kōzo fibres.
Ganpi (雁皮: Wikstroemia plant family) grows very slowly, resulting in fibres that are fine and short, making it very difficult to make paper. “Ganpi-shi (雁皮紙)”, a paper made from 100% ganpi fibres, has a glossy surface, is smooth and finely textured, and is thin yet water-resistant. It is also highly resistant to insect damage and discolouration, making it suitable for long-term preservation.
Mitsumata (三椏: oriental paperbush) has been used as paper-making fibre for about 400 to 500 years. Its fibres are fine and strong, producing smooth, finely textured paper.
Kōzo (楮: paper mulberry), valued for its fast growth, has long, thick, and strong fibres, producing durable yet flexible paper.
At IWANO Heizaburo Seishijo, the traditional method of washi-making is preserved and passed down through generations.
The process begins by extracting the bast shirokawa from the raw lumber, which is then boiled in an alkaline solution for several hours to loosen its fibres. Afterwards, the shirokawa is washed thoroughly and any impurities carefully removed with meticulous attention to avoid damaging the fibres.
Next, the fibres are beaten at high-speed using a machine. This thorough beating process fluffs the fibres up, a crucial step for producing high-quality washi paper.
The carefully prepared pulp fibre solution is then blended in a vat called a “sukibuné (漉き舟)”, and a mucilaginous extract from the roots of the tororo-aoi (トロロアオイ: aibika plant) is added. Preventing them from sinking and allowing them to float evenly in water, this natural mucilage coats the fibres and enables multiple sheets of consistent thickness to be formed.
Once the pulp fibre solution is ready, the paper-making begins. Using a filter frame called a “sugeta (簀桁)”* the papermaker scoops up the pulp fibre solution and gently rocks it back and forth, side to side, to evenly distribute the fibres and allow excess liquid to drip off. Unlike the “tame-zuki” method, which scoops the pulp fibre solution only once, the “nagashi-zuki” technique used here repeats this dipping and spreading multiple times until the desired thickness is achieved. Each pass causes the fibres to interlock and form layers.
The newly formed paper sheets are stacked and compressed under weights overnight to dehydrate. During this time, the tororo-aoi mucilage in the paper reverts to water and disappears, leaving the paper composed purely of plant fibre.
The next day, each sheet is carefully attached to drying boards and placed in a drying room called a “muro (ムロ)”.
Finally, each sheet is inspected one by one, cut and processed as needed. Only then is the washi considered complete.
* sugeta (簀桁) is a tool consisting of a wooden frame holding a horizontal mesh screen made from bamboo or sedge strips.
1. Raw fibres lightly separated by hand after boiling in alkali. The fibres are clearly visible.
2. Stems, scratches, and other imperfections are carefully removed one by one by hand.
3 & 4. Each sheet of compressed paper is carefully adhered to drying boards (3) and then put in a drying room called “muro” (4). At IWANO Heizaburo Seishijo, traditional methods are used, including ginkgo wood drying boards. Because the surface quality of the paper depends greatly on the board, the boards are smoothly finished.
It has long been said that the best, most firm, consistent washi paper is made during the cold winter months. This is because the “neri (ネリ)” — the mucilaginous substance extracted from the tororo-aoi roots — works more effectively when the temperature is colder.
Furthermore, IWANO Makiko emphasises the crucial importance of water quality.
“Soft water is an absolute requirement. Hard water renders the “neri” ineffective, as mentioned earlier. One craftsman had the opportunity to make paper overseas where the water was hard. As soon as he used that hard water, he couldn’t make paper, so he bought soft water and started over. Water absolutely must be soft for washi-making.”
In the cold of winter, only a small amount of tororo-aoi mucilage is needed to achieve a strong “neri” effect. In other words, because the coating of fibres by the tororo-aoi is thinner, the fibres bond tightly with each other, resulting in firmer paper than that which is possible in the hot summer months.
Paper-making: The Timeless “Clouds” of Heritage
Starting with their most representative work Kumohada Mashi, IWANO Heizaburo Seishijo produces a variety of washi paper, including:
– Shiromashi (白麻紙), made of asa (hemp-fiber) and kōzo (paper mulberry), used for sumi-é (ink painting) and nihonga (Japanese-style painting).
– Torinoko paper (鳥の子紙), a top-grade paper made from ganpi (Wikstroemia plant family) and mitsumata (oriental paperbush) fibres, used for hand copying Buddhist sutras, tanzaku (短冊: strips of paper), fusuma (襖: sliding doors), etc.
– Kamigōshi (神郷紙), made solely from kōzo, used for nihonga painting.
They also produce traditionally patterned washi papers such as Tobikumo, Mizutama, and Uchigumo. These patterns are crafted using freshly made Torinoko paper as the base over which “hana (華)” — a paper-making pulp, created by pounding and disintegrating purple and indigo dyed washi paper into granules — is applied.
Tobikumo (飛雲) is made by sprinkling hana over the base paper using a spoon, creating spots that resemble clouds scattered sparsely across the sky.
Mizutama (水玉) is produced by layering coloured paper made from hana dissolved in water over base paper. Then, by dripping water from bundles of straw onto the surface, spattered dotted patterns resembling water droplets (水玉) emerge.
Uchigumo (打雲) is created by dipping base paper, set in a sugeta frame tool, into the vat containing dissolved hana. Unique wavy patterns arise from the motion of the water during the process. Though seemingly simple, mastering this pattern requires such intense practice that one’s pinky finger may bleed, apparently.
“Patterns have gradually evolved over the centuries. Our workshop’s designs have been passed down from the Heian period (794–1180), taught to our first generation by relatives, and then handed down from parent to child until today,” IWANO explains.
Patterns of Tobikumo (1), Mizutama (2) and Uchigumo (3). The base paper, called “Torinoko”, is a glossy, finely textured, and firm washi. Its name comes from its pale yellowish hue, which resembles chicken egg shell. It is used for waka poetry strips and book covers.
Transcending Time and Space — Washi, a Craft of Pure Intention
While IWANO Heizaburo Seishijo’s washi paper is widely admired and used for copying Buddhist sutras by countless temples, it is also cherished by many famous artists such as YOKOYAMA Taikan (横山 大観), SHIMOMURA Kanzan (下村 観山), HIGASHIYAMA Kaii (東山 魁夷), HIRAYAMA Ikuo (平山 郁夫), and HORIKI Eriko (堀木 エリコ), who is presently active as a washi artist.
Even here, halfway around the globe in Switzerland, there was a person who loved the hand-made washi from IWANO Heizaburo Seishijo: the world-renowned painter and artist Franz GERTSCH.
Born in the small village of Mörigen on the lake of Biel, GERTSCH created many photo-realistic works (based on photographs). During his first visit to Japan in 1987, he encountered IWANO Heizaburo Seishijo and their washi paper. He had heard of it beforehand and used it as paper for his woodblock prints, one of his expressive techniques, and has since used IWANO’s washi paper in many of his works, often depicting the natural scenes around his home.
These woodblock print works were created using Kumohada Mashi paper from IWANO Heizaburo Seishijo (All photos by courtesy of the Museum Franz Gertsch)
1. Doris (1989, turquoise, woodcut no 17/18, 218 cm x 157 cm, on Kumohadamashi Japanese paper by Iwano Heizaburo, 244 cm x 184 cm)
2. Das grosse Gras (2001, dark blue, woodcut no 6, on Kumohadamashi Japanese paper by Iwano Heizaburo. Each paper 380 cm x 276 cm, all in all 280 cm x 828 cm)
3. Triptychon Schwarzwasser (1992, black-blue, 3 plates à 237 cm x 185 cm, woodcut no. 6, on 3 Kumohadamashi Japanese paper by Iwano Heizaburo. Each paper 276 cm x 217 cm, all in all 276 cm x 597 cm)
Relying solely on natural light to judge the thickness of the paper, the workshop was overall dimly lit on the day of our visit.
Amidst the sound of rain striking the roof and occasional thunder rolling through, the craftspeople worked quietly under the faint light.
Though the weather could be considered unfavourable, this was a precious blessing for them.
Even with the same materials, their condition likely varies from year to year.
The physical and mental condition of the artisans also changes daily.
They face ever-changing circumstances and willingly accept them.
“When ‘I’ or my ego comes through, or when I’m irritated, I can’t make good paper. Before starting, I have to control myself and be in a state of emptiness and focus; otherwise, the paper becomes rough or the patterns don’t come out well. Even with plain paper, the quality can be completely different.”
Paper that is as close as possible to nothingness, yet exists.
Like air, its presence can become anything.
Nothingness—that is purity.
It is precisely because the paper possesses this purity that it can faithfully absorb the creator’s intent and genuinely fulfil its role.
This is only made possible by the crafts people’s unwavering desire to “make the best possible paper” and the skills they have honed through daily practice and self-discipline.
Despite changes through generations, IWANO Heizaburo Seishijo continues its craft, maintaining stability and high quality.
Each artisan firmly carries with them the company’s history and a pure, ongoing passion for craftsmanship.
LINK:
Homepage:
https://www.iwanoheizaburouseisisho.com/
All photos of Franz GERTSCH’s works by courtesy of Museum Franz Gertsch
inquire for this product: info@hikita-ya.com
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