_01
Until the time of the third Jihei’s grandfather -the first Jihei- he had shouldered axes and climbed into mountains. When he found a promising tree, he felled it, rough-shaped it with a hatchet.
Freshly cut wood isn’t ready for use; a new one is like a vegetable, so fresh water runs from it. It takes five to seven years to dry.
The first Jihei was born in Nagoya into a family of kijishi -woodturners- whose craft had been passed down for five generations. Known for his exceptional technique, he specialized in ultra-thin turning, shaping wood so delicate that it was almost translucent.
_02
The first Jihei was not satisfied with creating the wooden base alone. He aspired to complete his pieces as lacquerware, applying urushi himself. It was during that time that he met Rosanjin who reached the pinnacle of food, art and lifestyle. Rosanjin often visited his workshop in Nagoya and offered guidance in the most direct and intimate way.
This encounter left a lasting impression. From it emerged a distinctive style—Jihei's hallmark—where bold, unrefined hatsuri carving was brought into balance with the precision of ultra-thin turning. It is a spirit of contrast and harmony, of discipline and raw energy, that the second and third Jihei continue to carry forward in their own work.
_03
First Jihei Murase was born in 1898.
1932, Became one of the Ten Artisans of the Matsuo Family and got the name “Jihei”
1957, Showed works at the craft exhibition by Japan and the Union of Soviet Socialist Republics. Ministry of culture in Soviet purchased the work.
1959. Won a prize at the Japan Traditional Craft Exhibition
1962, Showed at the Japanese Institute of culture in Rome, Italy when it was opened
1963, Showed at The National Museum of Modern Art, Kyoto when it was opened
_04
Jihei Murase II
The second Jihei Murase was born in 1927
1963, Parent(First Jihei) and Child(Second Jihei) Exhibition at Mitsukoshi NIhombashi
1976, Inherited the name “Jihei Murase” as the second generation
Exhibition at Mitsukoshi (Nihombashi, Nagoya, Fukuoka, Osaka), Meitetsu, Kyoto Saga Kicho, Osaka Gallery Doujima, Sendai Kanegendou, and more.
From Tree to Product
I want to make a product which touches deep inside person's heart.
_05
The work of a kijishi—a traditional woodturner—begins by listening to the voice of the wood. Each tree possesses its own character: its warps and cracks, moisture content, and the land in which it grew. The artisan reads these signs to discover how best to honor and make use of the material. Rather than imposing on the wood, the craft person adjusts the angle of the blade and the movement of the tools, responding to the nature of the material. In doing so, the full potential of the wood is brought forth.
_06
Kanna-bō—long woodturning tools—are not sold anywhere, so Jihei enters the forge and make them ourselves. Then he tunes the finest details—the angle of entry, the bite of the blade—to suit each piece. Wood is like people: some are unruly, some are gentle. Too gentle, and there’s no thrill. Finding that edge—this is the true pleasure of a kiji-shi.
_07
As the old saying goes, “There is no teacher greater than wood itself.” The essence of a kijishi's craft lies in this quiet dialogue—listening, respecting, and working in harmony with the wood. This is both the foundation of the artisan’s practice and the starting point of every creation.
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The word urushi (lacquer) is believed to originate from uruwashi, meaning "beautiful" in ancient Japanese. Uniquely among trees in Kanji(Japanese), the lacquer tree is written not with the "tree" radical, but with the "water" radical, reflecting the deep reverence people have held for its rare and precious sap since ancient times—a true gift of nature.
So iconic is lacquerware to Japan that the word Japan itself came to signify these exquisite works in the West. To this day, lacquerware is recognized around the world as a quintessential expression of Japanese artistry and identity.
_09
After learning all about the various types of wood, he keeps using expensive woods that sculptors never use since his product exists as a tool.
If he only thinks about making outline of products, cheap wood can be a candidate because carving wood surface several centimeters is enough.
However, a water container as an example needs to be hollowed out to stores over 3-5 liters of water inside. Durable and leak-proof, these are important requirements to select wood.
There are various kinds of art; something surprising or interesting to the eye. His policy is not like that, he says "I want to make a product which touches deep inside person's heart.
Even it is not used (i.e. as a water container), I hope person thinks "I want to have it" or "I want to keep it by my side for the rest of my lifetime".
