KAWAGUCHI Junpei (Matsue Domain Rattan Artistry)
Written by TOMIKAWA Kyōko
【Table of Contents】
- KAWAGUCHI Junpei: The Eighth-Generation Master of Matsue Rattan Artistry
- The Roots of Matsue (Feudal-Era) Domain Rattan Artistry
- How KAWAGUCHI Discovered Rattan Weaving
- The Ups and Downs of KAWAGUCHI’s Apprenticeship
- Baskets That Showcase Generational Character
- Unfolding a Hidden, Almost Unknown Craft
- Rattan as Contemporary Art: A New Challenge
1. KAWAGUCHI Junpei: The Eighth-Generation Master of Matsue Rattan Artistry
It was during the “Kamiarizuki (神在月)” season—the month when all the deities are said to gather in Izumo—that I visited KAWAGUCHI Junpei (川口 淳平), the eighth-generation master of Matsue Domain Rattan Weaving (松江藩籐細工). Towering clouds greeted me with quiet magnificence as I made an early morning visit to Izumo Taisha Shrine to offer a prayer for the interview ahead.
Today, the former feudal-era Domain of Matsue is divided into Shimane and Tottori Prefectures. However, during the Edo period (1603 – 1868), it embraced the regions of Izumo and Oki—lands of great abundance, which were once a centre of traditional ‘tatara’ ironmaking using iron sand and charcoal. Forming the bedrock of what was once called “Yamato”, this area helped lay the very foundations of Japan. It is here that a quietly enduring tale has continued to unfold across generations.
This is the story of “The Matsue Feudal-Era Rattan Craft Tradition”.
In KAWAGUCHI’s atelier in Yonago City, Tottori Prefecture, charming items adorned with rattan weaving are on display.
Used for everything from cooking utensils to fashion accessories, there exists a tradition of weaving vines and other flexible plant materials into baskets across numerous countries and cultures. What makes “Matsue Domain Rattan Artistry” so unique and rare is firstly its use of rattan, a plant that grows only in tropical regions such as Indonesia and Malaysia.
Using this precious imported material, artisans have quietly continued to craft refined pieces since the late Edo period.
Today, the techniques live on in the hands of KAWAGUCHI Junpei—the eighth-generation master of the craft.
2. The Roots of Matsue’s (Feudal-Era) Domain Rattan Artistry
A ‘kiseru’ smoking pipe case woven by the first-generation artisan NAGASAKI Nakazō, and a tobacco pouch by the third-generation MORIYAMA Chiyoichi—both notable for their exquisite craftsmanship.
The origins of Matsue basketweaving can be traced back to the late Edo period (ca.1750-1867), when NAGASAKI Nakazō (長崎 仲蔵, ca.1824-1912) began working with rattan while travelling regularly between Edo (modern-day Tokyo) and Matsue as a cook in service of the Matsue Domain’s government. As rattan’s availability was limited at the time, Nakazō made items such as tobacco cases and small baskets. His speciality was the “ishidatami-ami (石畳編)” technique, a woven pattern of two strips forming a four-petal motif.
Nakazō’s son, the second-generation NAGASAKI Fukutarō (長崎 福太郎, 1862–1917), developed this technique further by inventing the “hana-musubi (花結び)” method using three strips to create a six-petal floral motif.
The third-generation artisan, MORIYAMA Chiyoichi (森山 千代市, 1887–1970), succeeded Fukutarō as a disciple and went on to produce many baskets for tea utensils. His eldest son, the fourth-generation MORIYAMA Seiichi (森山 誠一, 1908–1943), refined the craft by introducing lacquer finishes to intricate weaves, marking a new development in rattan work.
The fifth-generation NAGASAKI Tōkichi (長崎 藤吉, 1917–1980), who was the second son of Chiyoichi, was enlisted into the military three times, yet survived and focused his career on rattan furniture. His eldest son, NAGASAKI Makoto (長崎 誠, b.1944), became the mentor of KAWAGUCHI Junpei.
Under the sixth-generation NAGASAKI Makoto’s guidance, both the seventh-generation, SUMI Hiroko (角 宏子), and the eighth-generation KAWAGUCHI Junpei were trained.
For over 200 years, since the Bunsei era (1818–1830), “Matsue Domain Rattan Artistry” has been passed down from generation-to-generation, preserving the craft’s refined techniques.
Three cats live in the atelier. This one, Komiké, is friendly and responsive, and even seems to answer when spoken to!
3. How KAWAGUCHI Discovered Rattan Weaving
A new basket crafted using the “hana-ami (花編み)” technique. By placing a container inside, it can also be used as a flower vase.
Originally, KAWAGUCHI worked as a leather craftsman, creating handbags and small accessories. His bags, crafted entirely by hand from the finest leather, were so sought-after that customers sometimes had to wait up to three years for their piece.
“But no matter how many I made, I wasn’t making any money,” he recalls. “That’s because I didn’t account for the time and material costs in the price. It was around this time that I encountered a rattan basket woven by NAGASAKI Makoto, who would later become my mentor.”
Rattan—lightweight and supple—softens when soaked in water and can be shaped freely. Enchanted by the material’s possibilities, KAWAGUCHI began visiting master NAGASAKI.
“When I first met him, I learned that he had no successor. I was astonished that a craft sustained over six generations might end with him. So, I decided that at the very least I would learn the techniques. While continuing my work in leather, I started attending the rattan weaving class he held once a week.”
Five years passed, and still no successor appeared. Then one day, NAGASAKI asked if I would take over.
“I told him, ‘I’m a bag maker—I can’t become a basket weaver.’ But he replied, ‘It’s fine to wear two hats.’ That’s how I began to learn the “hana-musubi” technique.”
1. The process begins by slicing the rattan into strips. A single rattan vine is split into eighths with a small knife, separating the kawa-tō (皮籐: outer peel) from the shin-tō (芯籐: inner core). In Matsue Domain Rattan, only the tougher kawa-tō is used, not the easier to work with shin-tō. 2. The split rattan is then refined. A tool typically used in bamboo craft is employed to even out the width and thickness. 3. A floral pattern is woven using three strips of kawa-tō. (The rattan is moistened beforehand to make it pliable.) 4. Bundles of rattan are stacked in the atelier, ready for upcoming work.
4. The Ups and Downs of KAWAGUCHI’s Apprenticeship
A basket woven by the first-generation artisan, NAGASAKI Nakazō. It takes around 50 years for rattan to develop its amber hue. The beautiful colour of this piece is a testament to the passage of time.
The techniques of Matsue Domain Rattan have traditionally been passed down orally from one generation to the next. Among these techniques, the “hana-musubi” pattern—interlacing six-petals into floral motifs—is a unique hallmark. Being taught this technique is regarded as a sign of succession within the tradition. KAWAGUCHI was to learn it directly from his mentor NAGASAKI, but:
“My master rarely worked on “hana-musubi”, and in recent years hadn’t made any at all. So I had to learn solely from old photographs and from his verbal guidance.”
“I followed exactly what he told me: the width and number of rattan strips. But no matter how many times I tried; I couldn’t get the pattern right. I spent four months experimenting, but nothing worked. There were moments when I thought I might not be cut out for this after all. In the end, I thought, ‘If it still doesn’t work, something fundamental must be wrong.’ I enlarged one of the reference photos—and realized that the number of rattan strips was different.”
When he reduced the number of strips from what he had been told, a beautifully shaped basket finally appeared.
“I asked my master, ‘Could it be that fewer strips are actually used than what you told me?’ And he said, ‘That might be the case,’” KAWAGUCHI recalls with a laugh.
Nonetheless, through the process of trial and error he was able to make written research records.
“In the NAGASAKI family, they had always created pieces freely, without what you might call an ‘instruction manual’. However, thanks to this challenge, I was able to test how shapes change depending on the number of strips used—and those results have been invaluable in my later work.”
A vintage glass bottle adorned with rattan weaving around the neck. KAWAGUCHI collects glass pieces made both in Japan and abroad.
5. Baskets That Showcase Generational Character
Pieces created by KAWAGUCHI’s predecessors that he has bought from antique shops, etc. Each work clearly reflects the individuality of its artisan.
“The rattan pieces made by my mentor, the sixth-generation master, have a certain easiness to them—yet there is a purity, a sense of resolve. The first-generation master, on the other hand, had a precise and meticulous approach. I believe there’s a kind of unspoken understanding passed down through the generations that once the fundamental skills are learnt, you’re free to create however you like. Each generation’s personality is clearly reflected in their work.”
This spirit lives in Matsue Domain Rattan Artistry—master the basics, then build upon them through personal taste and ingenuity.
“Even if you make exactly the same thing, it’ll only amount to imitation. In any field, imitation alone is never enough. Unless you thoroughly digest the technique and express it through your own sensibility, it cannot be called a truly good piece.”
It is precisely for this reason that each eight generation’s baskets shine with individuality and are rich in character.
A piece woven by the third-generation artisan, MORIYAMA Chiyoichi. Its charm deepens with use over time.
6. Unfolding a Hidden, Almost Unknown Craft
A charcoal basket woven around 150 years ago by the second-generation artisan, NAGASAKI Fukutarō. Used for handling charcoal in the art of tea ceremony, the internal ‘washi’ paper is coated with ‘sumi’ (black ink).
Until KAWAGUCHI Junpei took up the craft, Matsue Domain Rattan had remained largely unknown to the wider world.
“There were originally very few pieces being made, and the previous generations were not particularly social or outgoing. They rarely traveled outside of Matsue,” he explains. As a result, the heritage remained obscure until 2004, when NAGASAKI Makoto, the sixth-generation artisan, received official recognition for Matsue Domain Rattan Artistry and designation as a traditional regional craft authorised by Shimane Prefecture.
“Even people from department stores and galleries—who are used to seeing all kinds of crafts—would ask what exactly Matsue Domain Rattan is. This made me realise that unless something changed soon, the craft would never gain wider recognition while my teacher was still alive and well.”
The thought of a 200-year-old tradition quietly vanishing into history was one that KAWAGUCHI could not accept.
“Five years into my apprenticeship, I finally worked up the courage to ask whether I might submit a piece to a public exhibition. My mentor simply replied, ‘Go ahead,’ without much fuss,” he laughs.
In 2023, KAWAGUCHI received the Craft Encouragement Prize at the 98th Kokuten, one of the largest open-call exhibitions in Japan. In 2024, he was officially recognized as a Dento-Kogeishi (伝統工芸士: master of traditional crafts) of Tottori Prefecture. And in 2025, he was awarded the Grand Prize at the 6th Kogei World Competition in Kanazawa.
KAWAGUCHI has undoubtedly played a key role in raising the profile of Matsue Domain Rattan.
“I’m deeply grateful that the reputation of ‘Matsue Domain Rattan Artistry’ is gradually spreading by word-of-mouth,” he says. Rather than loudly proclaiming the value of tradition, his philosophy is quietly resolute: “I want to create good works of art—pieces that people genuinely like and choose to use. That’s the ideal for me.”
1. A basket fitted with a fabric pouch to be used as a handbag. Although basket bags are often thought of as summer accessories, many people use them year-round. 2. Komiké stayed close throughout the interview.
7. Rattan as Contemporary Art: A New Challenge
A section of a new piece called “Lake Side”. Its supple curves resemble soft fabric, and the interplay of light and shadow created by the undulations is strikingly beautiful.
Standing before his latest work titled “Lake Side”, he said, “I had just shown a piece at the Triennale of Kogei in Kanazawa when I heard about this competition, so I made this in just one month.”
“This is the clearest wave form I’ve ever achieved,” he noted.
“I find it fascinating that when light hits it, it casts these really dense shadows.”
Allowing for the dramatic interplay of swells and curves that give the piece its sculptural beauty, the undulating forms are created by combining harder and softer sections of rattan.
The name of the work came after its completion: “Looking from above, the rim of the basket began to resemble the edge of a lake. I imagined—if you could lift a lake out of the earth—maybe it would look something like this.”
Another new piece: “Sobō (素望: one’s cherished hope)”. With light beautifully filtering through, the intricate weaving is exquisite even when viewed from the inside.
Matsue is known for Lake Shinji. Designated as one of the ‘100 Landscapes of Japan’, the lake is renowned for its abundant waters and breathtaking sunsets. It is also one of western Japan’s most important wintering sites for waterbirds, many of which are raised in this rich natural environment.
Like the migratory birds that cross national borders, Matsue Rattan is on the verge of gaining its wings and flying into the wider world via the hands of KAWAGUCHI.
When weaving rattan, one’s hands must be taped for protection as they inevitably suffer from wear tear due to the constant use of knives and awls.
Matsuehan Tōzaiku hachidai KAWAGUCHI Junpei
the 8th-generation artisan of Matsue Domain Rattan Artistry
3-8-7 Kamifukubara Yonago-City Tottori, Japan
Profile
1978 Born in Ishikawa Prefecture, raised in Hiroshima Prefecture
1998 Began creating leather bags and small leather goods at home in Tokyo
2001 Moved to Tottori Prefecture, his wife’s hometown
2002 Launched online sales of leather bags and small goods
2003 Began production and sales of canvas bags
2004 Opened a shop and atelier
2009 Became an apprentice to rattan master artisan NAGASAKI Makoto, and began producing rattan bags
2015 Started selling rattan bags
2020 Began submitting works to open-call exhibitions
2023 Received the Craft Encouragement Prize at the 98th Kokuten Exhibition
2024 Certified as a Dento-Kogeishi (伝統工芸士: master of traditional crafts) of Tottori Prefecture
2025 Awarded the Grand Prize at the 6th Kogei World Competition in Kanazawa
LINK:
Homepage:
https://mint-chu-chu.com
Photographed by TAMURA Hiroaki (田村 浩章)
inquire for this product: info@hikita-ya.com
Please click here to subscribe to our newsletter.