In February, one of the last remaining Katazome-shi production studios in Japan closed due to the sudden death of Mr. Kawakatsu, the owner of Wazome Kogei. This tragic news has left paper lovers, artists and bookbinders throughout the world deeply saddened.
Although some individual artisans in Japan continue to explore the katazome method on washi, currently, there are no other commercially-operated studios. The death of Mr. Kawakatsu is not only a great loss to the art, but a reminder of the tenuous future faced by these ancient heritage crafts.
Katazome
“kata” translates to “stencil”
“zome” is a form of the word “to dye”
The traditional art of Katazome was originally developed for printing on silk for kimonos. Every step of the process, from creating the tools and materials needed for the application, to the printing process is done by hand. This art of stencil dyeing involves great skill and patience.
Katagami
“gami” means “paper”
Originally the stencils were created by hand-cutting a design into katagami, this is a purpose-made paper composed of laminated layers of a natural dye and coating used in Japan for centuries called kakishibu, a powder made from fermented and dried green persimmon juice.
As kimonos fell out of favour, following World War II, the original owner of Wazome Kogei studio, Mr. Kuriyama, decided to try using the same process to create designs on washi using the same process. The absorbent nature of paper allows the inks/dyes to permeate the fibres and produces the wonderful intense colours of these papers.
Katazome-shi
“shi” is another word meaning “paper”, so literally translates to “stencil-dyed paper”
Unlike cloth, wet paper is not usually considered a durable material. Artisans select only kozo-fibre washi to form the base of their designs. The paper must not only be absorbent enough to support the resist and carry the inks, but also strong enough to endure the process of rinsing. The rinsing process involves rubbing the surface by hand under cold running water to remove the resist. The result is a strong, durable paper.
All the material used for these papers, from soy-based inks on handmade kozo-fibre washi to the rice paste resist are produced sustainably, in ways that respect the environment and ensure longevity of the final work.
Every stage must be completed with care: from cutting the stencil, to preparing the resist (a multi-step process in itself), to applying the inks, and rinsing the final product – even the timing between steps is crucial. Years of training and practice are part of the process of becoming a katazome artist.
The skills and knowledge necessary to successfully execute these beautiful papers cannot be understated. These papers are now more precious than ever.
We have managed to source some of the remaining stock which we hope you will enjoy. In addition, we stock a range of small vintage katazome papers, direct from the studio. The small scale of the patterns on these vintage papers make them ideal for end papers in bookbinding, covering small books and boxes or for paper crafts and decoupage.