Rare Boxwood from Mikura Island Breathes Life into The World of Shogi (Japanese Chess)

In a world where each move can decide the outcome, the quality of the pieces may influence the result. The first step in making engraved pieces is selecting the wood. The wood used is something special. This is Mikurajima, which is in the south of Tokyo. We call it shimatsuge. And this is satsumatsuge, which is the main material used in Japan. Boxwood grows slowly, making its grain dense. It's hard, has the right weight, and is ideal for shogi pieces. Mikura Island, part of the Izu Seven Islands, has a harsh natural environment, so the trees grow slowly. From Mikura Island's shimatsuge, Sumiya selects 40 pieces for one set. But this is no easy task. For example, all 40 pieces in a set must have diagonal striations. That's called torafu, a pattern that naturally forms during the tree's growth. These are essential for high-grade pieces. Matching grain, pattern, and color creates beauty. Sometimes the pieces don't match. For example, I like this part, so I pick it up from here. But I only managed to match 30 pieces, so I gave up. From the chosen wood, he traces a template to fit piece dimensions. Each block yields only one piece. The secret to their beauty lies in understanding the wood's individuality and drawing out its best qualities. Next comes choosing the font for the characters on the pieces. And the font chosen this time is Maki Ryoko. It's a font said to be modeled after calligraphy by a woman from the Edo period named Maki Ryoko. It's very popular. There are over 100 font styles, and the impression of the piece changes dramatically depending on which one is used. The chosen font is printed onto thin paper. This is called jibashi. It's a finished piece, which is affixed to the piece using glue and becomes the guide for carving the character. The roots of Sumiya's craft go back to Osaka. Specifically, the Kansai Komanoukai, Kansai Shogi Peace Club, a group of enthusiasts passionate about shogi pieces. They gather to appreciate and share works by master craftsmen and their own handmade pieces. Sumiya has been a member of the group since high school. He had close-up access to master artisans' work. Those experiences deeply inspired my work. The vice-chair of the group is also a fan of Sumiya's pieces. The carving process is very delicate. By using a slightly soft color, we can make the whole piece a little softer. I think this is a very good way to do it. Another essential tool is this custom jig. It's hard to carve with a freehand, so I make my own jig. I set the pieces in this jig, and turn the wrench to fix them in place. This is how I carve. The carving style used is called yagenbori, a V-shaped engraving. By shifting the V-grooves slightly left or right, you can express a sense of power and dynamism. If you do it normally, it will be too direct. So I try to balance the power of the letters. When the light hits, I try to change the flow of the letters and the movement of the power. I try to change the way I carve so that I can express the power of the letters. It's technically difficult because of the intersection and the roundness. The vertical line goes down, and the power of the part that bounces to the left is difficult to express. It's easy to carve along the wood grain, but sometimes you must go against it. At last, the character for Osho, King, is fully carved. When you look at the finished character, the shadows give it a powerful presence. This is meticulous work that requires intense concentration. The carving takes several days to complete without losing focus. Kyoto Traditional Crafts College, Sumiya once studied woodworking here, and now he is a master carver. Now he teaches younger students two days a week. He is a teacher who thinks with me, so he helps me a lot. What I tell my students is that I want them to learn about the wood grain and the characteristics of the wood so that they can see the best part of the wood. I want them to see the best part of the wood. The day is surely coming when one of these young students will become a leading craftsman of the next generation. Next comes the lacquer application. Though the thin paper jiboshi is still on the pieces, lacquer is applied directly over it. Basically, I apply a thin layer of lacquer to prevent unevenness. If I apply a lot of lacquer, the lacquer will accumulate in the valley. And the V-shape will look bad. To avoid filling the grooves with excess lacquer, he removes the surplus as he applies it. After the third coat, the pieces are set aside. A few days later, a final coat is applied. Then comes the finishing process. Once all the lacquer has dried, the remaining transfer paper, jiboshi, is removed. He uses sandpaper for this. This rub reveals the beautiful characters beneath. However, one piece has lacquer left in the center. The wood wasn't fully dried, causing it to warp. So he lets it dry further and repeats the process. Then he applies a homemade wax to give it shine. Since humidity affects the pieces, he lets them dry further before resuming. Then comes the final step. Waxing to bring out the shine. This also serves to protect the pieces. The more you polish the jiboshi, the deeper the shine will be. The completed Horigoma engraved piece. From wood selection to finishing, the process took about one month. The maker's name is inscribed into the piece, Kozo Sumiya. The pieces are made from the roots of the jiboshi. The hard and soft parts are hard to carve. It's difficult to carve straight lines. That's what the article said. So I don't rush and carve slowly. On this day, an exhibition was being held featuring woodworking artists from the Kansai region. Among the exhibitors were holders of important intangible cultural property, Japan's so-called living national treasures. Among them, Sumiya had entered five works, including his shogi pieces and teaching materials. Woodworking is not just about decorating. It's also about using it. It's an important part of craftsmanship. When you use something beautiful, it warms your heart. It's an important part of craftsmanship to use it with pride. Outstanding skill in woodworking arts. For Sumiya, seeing such skill up close is a precious opportunity. Time is limited. It's difficult to evolve on your own. When I have a chance to see the works of my seniors and teachers, I learn the details of the details that make up the proportions. Even if I start from scratch, it's not easy to learn. Woodworking artisan, Kozo Sumiya. What kind of door to tomorrow will he open with his own hands? From his own hands, a new tradition will be born. That dream will surely come true. Opening the door to tomorrow, he takes another step closer to his dream.