Masafumi Arita: The Renaissance of Mizuhiki

12 Sep 2007 Category: Arts & Crafts, Events & Exhibitions, Japan

Masafumi Arita: The Renaissance of Mizuhiki

So much more than a simple gift ribbon: The Japanese Mizuhiki craft is usually seen on special envelopes for presenting money as a gift, or an offering at a funeral. Masafumi Arita tries to revive this traditional art form with the help of old craftmen's knowledge and technique.

Designer Masafumi Arita always loved to create modernised folk art. One day, he stumbled upon Mizuhiki and some remaining craftsmen showed him this unique art of twine cording - a tradition in danger of slowly fading away, like so many ancient Japanese crafts. Masafumi Arita got curious and took action, and his “Iida Mizuhiki Art” exhibition is opening now on September the 18th at Tokyo’s Misuzudo Gallery. PingMag wanted to know all about Mizuhiki!

Written by Chiemi
Translated by Natsumi Yamane

How did you encounter this ancient tradition of Mizuhiki?

At last year’s Design Award, people from Japan Brand – an organisation that promotes the traditional arts and crafts of Japanese small and medium-sized enterprises internationally – introduced me to the Iida Kanae Society of Commerce and Industry. The city of Iida, in Nagano prefecture, had long thrived on the Mizuhiki industry until everything was rationalised during World War II. It began to be printed on paper and that reduced the jobs for Mizuhiki craftsmen. However, Mizuhiki is a highly sophisticated technique and this project is an attempt to stop it from vanishing completely.


A traditional Mizuhiki factory in Iida, Nagano prefecture: Tightly wound paper cords are painted in the auspicious colours red and white.

”Weaving” paper cord from long pieces of paper - these machines make one cute clattering sound!

How did you, mainly a textile designer, get involved in the Mizuhiki exhibition project?

For several years, I have been creating textile works on the theme of various folk arts from around the world, starting with Scandinavian designs. Then, as an accomplishment to the series, I made a work called Izumonesia on the theme of the Izumo district in the Shimane prefecture where I was born and raised. At the time, I had just finished a work that actually had a form resembling Mizuhiki and I showed it to the person from Japan Brand - that was when he told me about this project. The people from Iida were also on the spot so everything could develop very quickly from there.

A fated encounter, so to speak – it’s not that you had been interested so much in Mizuhiki before…

Not at all. (laughs) But at the time, I felt that Japanese culture should be approached with a global perspective, and I wanted to kind of culturally revitalise this seemingly despondent country - which coincided with my encounter with Mizuhiki and its cultural implications. As I studied more about this craft, I became more aware of its beauty and the antiquity of its tradition. At that time, I was also revisiting Japanese history and folklore. So that came at exactly the right moment, too. Moreover, my perspective changed and I started regarding older things as perhaps more futuristic; sensing the future in age-old things, as objects of one era becoming out of date in the next.

This is how the paper material is dyed: almost like some kind of installation.

Beautiful sight! Gold and silver dyed, twisted paper cords, bound in batches of varying length.

No doubt, traditional objects that survive all trends and changes must have a certain strength and timeless quality…

Right. And they have gone through countless selections. Or better: Through those selections, these objects have the power to resurge over and over again. However, the circumstances surrounding Mizuhiki were getting harsher, and it was altered from its original beauty. So, I wanted to extract only its very essence by a method of subtraction and, at the same time, represent Mizuhiki in a modern way – basically, with a simple colour that stems from our mythical folklore. Actually, this opinion seemed to be quite shocking to the traditional craftsmen…

A simple and beautiful collection of Mizuhiki based on pine, bamboo and plum motifs, made using traditional techniques. Designs by Masafumi Arita.

Awesome! “Matsu Musubi (Bonsai)” designed on the theme of a pine tree.

Wonderful! This one was designed in the image of a bamboo tree – “Take Musubi.”

How would you explain Mizuhiki to foreigners and Japanese kids who have never heard of it?

I would call it a ward against evil or an auspicious charm. Also, it’s a marriage knot, as you can see it being used at weddings and engagements. If you explain it in a New Age fashion, Mizuhiki might be magical goods that bring a wonderful synchronism. (laughs)

The origin of Mizuhiki is said to come from Ono no Imoko: He visited China in the 7th Century as an official envoy and the gifts he brought back were said to have been tied with red and white hemp strings. ‘Red’ and ‘white’ are commonly used as special colours in Japanese Shinto. ‘Red’ symbolises blood which means ‘life’ and ‘white’ is the colour of milk, representing ‘food’. So Mizuhiki has three meanings – the two colours symbolise the “origin of life,” the act of tying means “to bring people together” and it serves as a ward or a charm, too.


Fragile delicateness! “Ume Musubi” designed on the theme of a plum flower.

“En Musubi (marriage knot)” painted and tied in two colours.

In what ways do you think Mizuhiki manufacturing can be revitalised?

Mizuhiki gift cards might be used as lucky charms - and even more as means of communication and be introduced all over the world. Also, there are many ideas for commercialisation, like, for example, mobile phone straps and free gifts with Japanese tea products. As Japanese are already too familiar with Mizuhiki, it might be difficult in the country. But, I’m sure it will be appreciated as works of art anywhere else.


Masafumi Arita holding red and white Shimenawa made with the same traditional Mizuhiki technique.

Finally, what attracts you in Mizuhiki, in one word?

I think it’s in the way it expresses traditional Japanese culture and spirit in a very sophisticated manner combined with all the Mizuhiki craftsman’s knowledge and techniques.

Masafumi, thank you very much for your enlightening story. Now, have a look at these beautiful art works at the coming exhibition!

Exhibition Information
Iida Mizuhiki Art “Iida Mizuhiki” – The Attraction and the Perspective of Iida Mizuhiki
Date: September 18th – September 30th, 2007
Location: Misuzudo Gallery, 2-1-2 Kanda, Chiyoda Ward, Tokyo.

9 Comments

  1. Truly amazing what you can do with twine, oh so elegant. I never ceased to be amazed by the designs i see on Japanese cards.

    Posted by: Andrei Sarusi on September 12th, 2007 at 7:49 pm

  2. Mizuhikis are wonderful. It’s a shame the “tradition in danger of slowly fading away”. While I sometimes see derivations of it used on contemporary packaging and stationery here in the US, it’s enlightening to know the rich history behind these intricate knots. Thanks for this article, I wish I’m in Tokyo right now. その事を見て行きたい！

    Posted by: sheiko on September 12th, 2007 at 10:30 pm

  3. Uninteresting.

    Posted by: Anonymous on September 13th, 2007 at 8:03 am

  4. Mizuhiki… mizuhiki.. lovely.

    Posted by: yaschan on September 18th, 2007 at 6:26 am

  5. I’ve seen Mizuhikis on cards and always wondered about them! Thank you so much for this post :D

    Posted by: Ling on September 19th, 2007 at 11:24 pm

  6. Simply elegant designs here. I would like a good luck love charm and a money making one -_^

    Posted by: maki on September 28th, 2007 at 12:40 am

  7. It’s amazing to see how those ancient wood engine work! Well, some people today doesn’t care about old art anymore. So I think it’s good to bring them alive again, in Pingmag.

    Posted by: RM on December 21st, 2007 at 1:48 am

  8. Uninteresting.

    Posted by: halı yıkama on January 11th, 2009 at 7:50 am

  9. Thanks hayatım, very nice…

    Posted by: halı yıkama on March 21st, 2009 at 7:31 pm

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