[{"data":1,"prerenderedAt":1641},["ShallowReactive",2],{"menu:main":3,"post-hasami-ja":34},{"items":4,"slug":32,"title":33},[5,15,23],{"_key":6,"_type":7,"label":8,"linkType":10,"page":11},"b32b8579b18c","menuItem",{"en":9,"ja":9},"Stories","internal",{"slug":12,"title":13},"stories",{"en":9,"ja":14},"ストーリーズ",{"_key":16,"_type":7,"label":17,"linkType":10,"page":19},"872dc86f84e3",{"en":18,"ja":18},"About",{"slug":20,"title":21},"about",{"en":18,"ja":22},"私たちについて",{"_key":24,"_type":7,"externalUrl":25,"label":26,"linkType":10,"page":28},"6c666e1ef85c","https://shop.suki.com",{"en":27,"ja":27},"Collection",{"slug":29,"title":30},"collection",{"en":27,"ja":31},"コレクション ","main","Header",{"_createdAt":35,"_id":36,"_rev":37,"_system":38,"_type":41,"_updatedAt":42,"body":43,"craft":65,"credits":70,"excerpt":125,"featuredImage":128,"featuredItems":141,"heroImage":142,"language":145,"location":146,"orderRank":147,"previous":148,"season":162,"slug":164,"storyBlock":165,"storyImages":1625,"title":1638},"2026-05-11T07:14:24Z","82c3a96d-0910-4244-9cd3-c348d15e8c06","3pJV0OtayAVeRUf181ggz5",{"base":39},{"id":36,"rev":40},"3pJV0OtayAVeRUf181PM0r","post","2026-10-20T16:31:09Z",{"en":44,"ja":56},[45],{"_key":46,"_type":47,"children":48,"markDefs":54,"style":55},"688c99d824a3","block",[49],{"_key":50,"_type":51,"marks":52,"text":53},"61b9d65609ff","span",[],"What is it that makes Hasami a place to remember? A small town in Nagasaki, away from everything else, nestled in the valley between mountains and rivers, is home to a 400-year-old ceramic town. Here, everything is braided together: people, nature, product, and culture. No one is out of sync — dozens of hands are involved in finishing one product. But what happens when one link snaps? We studied what preservation for the traditional craft industry means for Hasami and how a wave of new ideas and communities are vital to a new beginning for an age-old industry.",[],"normal",[57],{"_key":58,"_type":47,"children":59,"markDefs":64,"style":55},"8cc6b719b58a",[60],{"_key":61,"_type":51,"marks":62,"text":63},"7fb14693b0be",[],"波佐見が、心に残る場所であるのはなぜでしょうか。長崎の、人里離れた山と川に抱かれる谷あいに、四百年の歴史を持つ焼きものの町があります。ここでは、人も自然も、ものも文化も、すべてが編み合わさるようにつながっています。誰もが歩調を合わせ、一つの製品を仕上げるまでに、何十もの手が関わります。けれど、そのつながりの一つが途切れたら、何が起こるのでしょうか。私たちは、波佐見にとって伝統工芸産業を守るとはどういうことなのか、そして、新たな発想やコミュニティの広がりが、長い歴史を持つ産業の新たな出発に、なぜ欠かせないのかを探りました。",[],[66],{"_key":67,"_ref":68,"_type":69},"242cf90108d6","a3b491c7-d7c3-4f47-934e-279406f99390","reference",{"en":71,"ja":104},[72,89],{"_key":73,"_type":47,"children":74,"markDefs":84,"style":88},"a1e6aa918736",[75,79],{"_key":76,"_type":51,"marks":77,"text":78},"faf6598c7abb",[],"Words by ",{"_key":80,"_type":51,"marks":81,"text":83},"809461339385",[82],"d68d83688057","Megumi Koiwai",[85],{"_key":82,"_type":86,"href":87},"link","https://www.instagram.com/megsgumis/","spaned",{"_key":90,"_type":47,"children":91,"markDefs":101,"style":88},"bec81227ea84",[92,96],{"_key":93,"_type":51,"marks":94,"text":95},"4255dd058f7e",[],"Photographs by ",{"_key":97,"_type":51,"marks":98,"text":100},"951d07074678",[99],"74afa73107f9","Jun Yang Chin",[102],{"_key":99,"_type":86,"href":103},"https://junyangchin.com/",[105,115],{"_key":73,"_type":47,"children":106,"markDefs":113,"style":88},[107,111],{"_key":108,"_type":51,"marks":109,"text":110},"ca881bc29f6f",[],"文 ",{"_key":80,"_type":51,"marks":112,"text":83},[82],[114],{"_key":82,"_type":86,"href":87},{"_key":90,"_type":47,"children":116,"markDefs":123,"style":88},[117,121],{"_key":118,"_type":51,"marks":119,"text":120},"e5a5fd5cee2f",[],"写 ",{"_key":97,"_type":51,"marks":122,"text":100},[99],[124],{"_key":99,"_type":86,"href":103},{"en":126,"ja":127},"Born from its own landscape, this ceramic town runs as one — stone, water and many hands shaping four hundred years of craft.","土地の風景から生まれたこの焼きものの町は、ひとつにつながって息づいています。石と水、そして数多くの手が、四百年にわたる手仕事の歴史を紡いできました。",{"_type":129,"alt":130,"asset":133},"imageWithAlt",{"en":131,"ja":132},"Forest landscape in Hasami, Japan, with a large leaning tree trunk surrounded by dense woodland and soft natural light filtering through the trees.","日本・波佐見の森の風景。うっそうとした木立に囲まれて大きな幹が斜めに伸び、木々の間からやわらかな自然光が差し込んでいます。",{"metadata":134,"url":140},{"dimensions":135},{"_type":136,"aspectRatio":137,"height":138,"width":139},"sanity.imageDimensions",0.78125,1600,1250,"https://cdn.sanity.io/images/cu91stib/production/a244bcbe40b91ed2f080d8cbc16d57e59e6f3885-1250x1600.jpg",null,{"_type":129,"asset":143},{"_ref":144,"_type":69},"image-f8dde96e28b4928ddb95e504fe68def39aaf5e6b-2400x3000-jpg","ja","kyushu","0|04i003:",{"featuredImage":149,"slug":158,"title":159},{"_type":129,"alt":150,"asset":152},{"en":151},"Traditional boat carrying visitors along the historic canal of Kurashiki, Japan, lined with white-walled storehouses and willow trees at dusk.",{"metadata":153,"url":157},{"dimensions":154},{"_type":136,"aspectRatio":155,"height":138,"width":156},0.8,1280,"https://cdn.sanity.io/images/cu91stib/production/1643ab9ad00e2210bbf348080992d4794b959742-1280x1600.jpg","the-lineage-of-kurashiki",{"en":160,"ja":161},"Kurashiki","倉敷",[163],"spring","hasami",[166,222,270,356,425,465,577,687,753,799,856,976,1055,1140,1189,1280,1353,1444,1545],{"_key":167,"_type":168,"block1":169,"block2":212,"imageLayout":55},"6ec7c52c11ce","storyblock",{"_type":170,"blockOvertitle":171,"blocktitle":173,"body":176,"textColumns":210,"textPosition":211},"block1",{"en":172,"ja":172},"Chapter 1/6",{"en":174,"ja":175},"Hasami: A Quiet Abundance","波佐見：静かな豊かさ",{"en":177,"ja":193},[178,186],{"_key":179,"_type":47,"children":180,"markDefs":185,"style":55},"7b71c1d06bae",[181],{"_key":182,"_type":51,"marks":183,"text":184},"ddbd882d610b",[],"We arrived in Hasami, a small town north of Nagasaki Prefecture, on a warm early spring day. With a population of about 14,000, locals say the town resembles the shape of a cat’s face. Surrounded by mountains, it is the only town in the prefecture that does not face the sea. For us Tokyoites, it felt incredibly spacious and instantly nostalgic; passersby greeting one another is a kind of friendliness missed in the city.",[],{"_key":187,"_type":47,"children":188,"markDefs":192,"style":55},"0117784dc1b1",[189],{"_key":182,"_type":51,"marks":190,"text":191},[],"As we drove past stretches of lush green wheat fields, we saw traces of a 400-year-old ceramic industry everywhere: century-old houses, brick chimneys, and the faded signage of former pottery studios. Hasami has no major tourist attractions, and few people come without a specific reason—but it offers many reasons to stay. There’s nothing flashy about it, and it doesn’t try to be. Instead, there’s a rare, quiet abundance in the people, the work, and the surrounding nature.",[],[194,202],{"_key":195,"_type":47,"children":196,"markDefs":201,"style":55},"c08fe6087579",[197],{"_key":198,"_type":51,"marks":199,"text":200},"572ee07afb2b",[],"春先の暖かな日、私たちは長崎県北部の小さな町、波佐見に到着しました。人口はおよそ一万四千人。地元の人によると、町の形は猫の顔に似ているそうです。山々に囲まれた波佐見は、県内で唯一、海に面していない町です。東京で暮らす私たちには、どこまでも広々と感じられ、着いた途端に懐かしさが込み上げてきました。道ですれ違う人たちが挨拶を交わす。その親しみやすさは、都会ではいつの間にか遠ざかっていたものでした。",[],{"_key":203,"_type":47,"children":204,"markDefs":209,"style":55},"d31b62d09a76",[205],{"_key":206,"_type":51,"marks":207,"text":208},"4922a6022069",[],"青々とした麦畑の間を車で走ると、四百年続く窯業の痕跡があちこちに見えてきました。築百年の家々、レンガの煙突、かつての窯元の色あせた看板。波佐見には大きな観光名所がなく、特に目的もなく訪れる人は多くありません。それでも、ここに留まりたくなる理由は、いくつもあります。華やかさはなく、そうあろうともしていません。その代わり、人々にも、仕事にも、周囲の自然にも、ほかではなかなか出会えない、静かな豊かさが満ちています。",[],"two","left",[213,218],{"_key":214,"_type":215,"asset":216},"f374f3e31998","imageWithCaption",{"_ref":217,"_type":69},"image-b3448db682c811c6d1b9371e27fc70ea852f4946-1280x853-jpg",{"_key":219,"_type":215,"asset":220},"5f608623ed54",{"_ref":221,"_type":69},"image-65aeae90761543a0e8d5f97f6aec792f51796423-1280x853-jpg",{"_key":223,"_type":168,"block1":224,"block2":261,"imageLayout":55},"b682c70a4636",{"_type":170,"body":225,"textColumns":259,"textPosition":260},{"en":226,"ja":242},[227,235],{"_key":228,"_type":47,"children":229,"markDefs":234,"style":55},"354193fd2a04",[230],{"_key":231,"_type":51,"marks":232,"text":233},"d4e88ca093f3",[],"When I was asked to write about this town—known for producing about 17 percent of Japan’s daily-use ceramics—I thought I knew what to expect. But Hasami seems to exist beyond the average person’s understanding. For centuries, its wares were produced and sold under the name Arita-yaki (有田焼); only in the 2000s did Hasami-yaki (波佐見焼) begin to receive recognition in its own right.",[],{"_key":236,"_type":47,"children":237,"markDefs":241,"style":55},"c4c7870b7d6a",[238],{"_key":231,"_type":51,"marks":239,"text":240},[],"Arguably, Hasami is more than just a ceramic town. Somewhat removed from everything else, it has built its reputation on a highly specialized division of labor known as bungyōsei (分業制), with techniques passed down through generations. Its success depends on more than craftsmanship—it is an industry shaped by community, resilience, and a willingness to welcome new people and ideas.",[],[243,251],{"_key":244,"_type":47,"children":245,"markDefs":250,"style":55},"be1c16d01b45",[246],{"_key":247,"_type":51,"marks":248,"text":249},"e24edf8abc2d",[],"日本の日用食器の約17パーセントを生産するこの町について書いてほしいと依頼されたとき、私はどんな場所なのか、ある程度想像できているつもりでした。けれど、波佐見は世間一般に知られている姿には収まりきらない場所のようです。何世紀もの間、この地の器は「有田焼」の名でつくられ、売られてきました。「波佐見焼」として独自に認められるようになったのは、2000年代に入ってからのことです。",[],{"_key":252,"_type":47,"children":253,"markDefs":258,"style":55},"d388cda07005",[254],{"_key":255,"_type":51,"marks":256,"text":257},"97e69246a23e",[],"波佐見は、単なる焼きものの町ではないのかもしれません。ほかの地域から少し距離を置くこの町は、世代を超えて受け継がれる技術と、高度に専門化された「分業制」によって、その名を築いてきました。その成功を支えているのは、職人の技だけではありません。地域のつながり、困難を乗り越える力、そして新しい人や発想を迎え入れる姿勢によって、この産業は形づくられているのです。",[],"one","right",[262,266],{"_key":263,"_type":215,"asset":264},"04c9ad4d6d11",{"_ref":265,"_type":69},"image-685a8c9a3d77a4605f2c642bebfdf563bd171239-1280x1706-jpg",{"_key":267,"_type":215,"asset":268},"82177d1b8f42",{"_ref":269,"_type":69},"image-faba3cc3b4dd8247db87b63b5d1c257dc1964921-1280x1707-jpg",{"_key":271,"_type":168,"block1":272,"block2":339,"imageLayout":55},"ea5abf621796",{"_type":170,"blockImage":273,"blockOvertitle":276,"blocktitle":278,"body":281,"textColumns":259,"textPosition":260},{"_type":215,"asset":274},{"_ref":275,"_type":69},"image-5c421dbc1e16d0fc41b9b344349e81e8d7be58a5-1280x1600-jpg",{"en":277,"ja":277},"Chapter 2/6",{"en":279,"ja":280},"The Landscape of Hasami ","波佐見の風景",{"en":282,"ja":306},[283,291,299],{"_key":284,"_type":47,"children":285,"markDefs":290,"style":55},"cb14de7eee27",[286],{"_key":287,"_type":51,"marks":288,"text":289},"74710b4bc8ea",[],"Hasami, as it turns out, is a trifecta for ceramic production: surrounding mountains that yield pottery stone—the raw material processed into clay—rivers that provide water, and akamatsu pine from the forests used as firewood. It felt as though the town’s life work — unknowingly, of course — had always been to produce ceramics on this very land. I was shocked, almost skeptical, that everything that was needed for ceramic production existed so readily without people deliberately manufacturing the environment for profit.",[],{"_key":292,"_type":47,"children":293,"markDefs":298,"style":55},"c8fad10167db",[294],{"_key":295,"_type":51,"marks":296,"text":297},"801a15987006",[],"I have never seen pottery stones in the wild, and I would assume most of us haven’t. Beneath us in the river lay a moss-covered, rugged white rock, flecked with grey, large enough to feel like its own landscape. It looked exactly like what you see when you look down from an airplane—a patchwork of fields. It was a pottery stone—one of many lying quietly around the area. The river was so clear we could almost see the bottom of the stone, where it rooted itself beneath the water. There was something almost omniscient about it: a stone shaped over centuries by the force of the river, rain, and wind.",[],{"_key":300,"_type":47,"children":301,"markDefs":305,"style":55},"e72e4c5f5b0b",[302],{"_key":295,"_type":51,"marks":303,"text":304},[],"It felt kismet and it only made sense that over centuries, the people of Hasami adapted their wellbeing and livelihoods with nature —not against it.",[],[307,315,323,331],{"_key":308,"_type":47,"children":309,"markDefs":314,"style":55},"b19b07d8c162",[310],{"_key":311,"_type":51,"marks":312,"text":280},"dba8e484d5c0",[313],"strong",[],{"_key":316,"_type":47,"children":317,"markDefs":322,"style":55},"b33241c5fc57",[318],{"_key":319,"_type":51,"marks":320,"text":321},"1dd20980febe",[],"波佐見には、焼きものづくりに欠かせない三つの恵みがそろっていました。粘土へと加工される原料の陶石を産する周囲の山々、水をもたらす川、そして薪となる森の赤松。この土地で焼きものをつくることが、町にとって初めから定められた仕事だったかのように感じられました。もちろん、町自身がそれを知るはずもありません。利益のために人が意図的に環境を整えたわけでもないのに、必要なものがこれほど自然にそろっている。そのことに驚き、にわかには信じがたいほどでした。",[],{"_key":324,"_type":47,"children":325,"markDefs":330,"style":55},"6de2b59ac91d",[326],{"_key":327,"_type":51,"marks":328,"text":329},"d4c0707c91b4",[],"私は、自然の中にある陶石を見たことがありませんでした。おそらく、多くの人もそうではないでしょうか。私たちの眼下の川には、苔に覆われ、灰色の斑点が混じる、ごつごつとした白い岩がありました。それ自体が一つの風景に思えるほどの大きさです。その姿は、飛行機から見下ろす、畑がつぎはぎのように広がる景色にそっくりでした。それが陶石でした。この一帯に、静かに横たわる数多くの石の一つです。川の水は澄みきっていて、水中にどっしりと根を下ろした石の底まで、見えそうなほどでした。川の流れや雨風によって、何百年もかけて形づくられた石。そこには、すべてを知っているかのような佇まいがありました。",[],{"_key":332,"_type":47,"children":333,"markDefs":338,"style":55},"1f50daa2e6d2",[334],{"_key":335,"_type":51,"marks":336,"text":337},"fe6bef278b9b",[],"それは、運命の巡り合わせのように感じられました。何世紀にもわたり、波佐見の人々が自然に逆らうのではなく、自然に寄り添いながら暮らしと生業を育んできたことが、ごく自然な成り行きに思えたのです。",[],[340,344,348,352],{"_key":341,"_type":215,"asset":342},"fae7f8903602",{"_ref":343,"_type":69},"image-4a5733381772e568700c5c8f9702229bc5ce7fe0-1280x853-jpg",{"_key":345,"_type":215,"asset":346},"366b8377609e",{"_ref":347,"_type":69},"image-42d6f0ed4aec74895c156ccdf4704301abf3b1a8-1280x1707-jpg",{"_key":349,"_type":215,"asset":350},"21aad7860d69",{"_ref":351,"_type":69},"image-151ede10d25752b96154ac91d989216b1de4fe2c-1280x1707-jpg",{"_key":353,"_type":215,"asset":354},"dc11bf87d484",{"_ref":355,"_type":69},"image-0fb58e2bf6ba4325dcf6c9ed97696739a76fbaad-1920x1280-jpg",{"_key":357,"_type":168,"block1":358,"block2":412,"imageLayout":55},"02817c6902dc",{"_type":170,"blockImage":359,"body":362,"textColumns":259,"textPosition":211},{"_type":215,"asset":360},{"_ref":361,"_type":69},"image-003ef90f369c01a0ad1c33b94e410032696a15ab-1280x1600-jpg",{"en":363,"ja":387},[364,372,380],{"_key":365,"_type":47,"children":366,"markDefs":371,"style":55},"ae9f85ae4593",[367],{"_key":368,"_type":51,"marks":369,"text":370},"d8cdacd55808",[],"Nakaoyama —located just a few minutes from central Hasami— is known as one of the areas that supported the mass production of Hasami ware from as far back as the Edo period. Now most of the houses are empty, but I could picture the pottery town that once thrived here: worn green crates once used to ship ceramics, plaster molds left behind, and fragments of broken plates scattered along the paths. Now, there are roughly only 100 people left in Nakaoyama, but it was once a town bursting with people working in the industry altogether. The houses were built tightly next to each other, almost without space between them. It made it easier to carry clay, molds, and finished ceramics on long wooden planks, squeezing through the narrow paths to deliver pieces from one workshop to another.",[],{"_key":373,"_type":47,"children":374,"markDefs":379,"style":55},"aad2e999542d",[375],{"_key":376,"_type":51,"marks":377,"text":378},"1425a8b1863a",[],"At a viewpoint in Nakaoyama, we could see one of the world’s largest climbing kilns in the distance. This kiln embodies a shared, communal spirit as everyone in Nakaoyama once used the same kiln to fire their ceramics. The Nakaoue climbing kiln site stretches nearly 160 meters and once contained 33 firing chambers. Climbing kiln, also known as noborigama (登り窯) is exactly how it sounds like; it’s a series of stepping kiln chambers along the hillside of the mountains. This ensures the heat to travel efficiently from the lower chambers upward, making it easier to maintain an even temperature throughout the entire kiln. It was also the perfect invention during the mass production period to fire as many ceramics at once.",[],{"_key":381,"_type":47,"children":382,"markDefs":386,"style":55},"ccb81e9758f4",[383],{"_key":376,"_type":51,"marks":384,"text":385},[],"The structure of the climbing kilns harnessed the landscape that already existed in Hasami working with nature’s resources. The results of the ceramics created in climbing kilns were magic — the final results in color and the finish are up entirely by nature’s work.",[],[388,396,404],{"_key":389,"_type":47,"children":390,"markDefs":395,"style":55},"cc452547b2f5",[391],{"_key":392,"_type":51,"marks":393,"text":394},"a85b1ef2bd01",[],"波佐見の中心部からわずか数分の場所にある中尾山は、江戸時代から波佐見焼の大量生産を支えてきた地域の一つです。今では多くの家が空き家になっていますが、かつてここで栄えた焼きものの町の姿を思い描くことができました。器の出荷に使われていた、使い込まれた緑色の通い箱。残された石膏型。小道のあちこちに散らばる、割れた皿のかけら。現在、中尾山に暮らす人はおよそ百人にすぎませんが、かつては窯業に携わる人々であふれていました。家々は、隙間がほとんどないほど密集して建てられています。その配置は、長い木の板に粘土や型、完成した器を載せ、狭い路地を縫って工房から工房へと運ぶのに都合がよかったのです。",[],{"_key":397,"_type":47,"children":398,"markDefs":403,"style":55},"2bf1428ab4ed",[399],{"_key":400,"_type":51,"marks":401,"text":402},"4a8f2af409fb",[],"中尾山の見晴らしのよい場所からは、遠くに世界最大級の登り窯の跡が見えました。かつて中尾山の人々は皆、同じ窯で器を焼いていました。この窯には、地域で分かち合い、共に働く精神が表れています。中尾上登窯跡は全長約160メートルに及び、かつては33もの焼成室を備えていました。登り窯とは、その名のとおり、山の斜面に沿って焼成室が階段状に連なる窯のことです。下の焼成室から上へと熱が効率よく伝わり、窯全体の温度を均一に保ちやすくなります。一度にできるだけ多くの器を焼くために、大量生産の時代にふさわしい工夫でもありました。",[],{"_key":405,"_type":47,"children":406,"markDefs":411,"style":55},"62dc062d8b54",[407],{"_key":408,"_type":51,"marks":409,"text":410},"33babefcc9ae",[],"登り窯の構造は、波佐見にもともとある地形を生かし、自然の恵みと共に働くものでした。そこから生まれる器には、魔法のような魅力があります。焼き上がりの色や表情は、ひとえに自然の働きに委ねられているのです。",[],[413,417,421],{"_key":414,"_type":215,"asset":415},"ccc41cb98be3",{"_ref":416,"_type":69},"image-08b530632333c5b3bff8c90e311b5c3620521772-1920x1280-jpg",{"_key":418,"_type":215,"asset":419},"980e2dc7cd7a",{"_ref":420,"_type":69},"image-8c0df6dc6c0e29ac8dc7d8b18de1a4fe1dfcb092-1920x1280-jpg",{"_key":422,"_type":215,"asset":423},"5abc9c462bec",{"_ref":424,"_type":69},"image-4a63f2d3ff22bedf062953a176c03947c620190c-1920x1280-jpg",{"_key":426,"_type":168,"block1":427,"imageLayout":55,"videoBlock":462},"3ef2a5112d55",{"_type":170,"body":428,"textColumns":259,"textPosition":211},{"en":429,"ja":445},[430,438],{"_key":431,"_type":47,"children":432,"markDefs":437,"style":55},"7d0d0eda55f5",[433],{"_key":434,"_type":51,"marks":435,"text":436},"95c96cfcddc5",[],"As you learn about climbing kilns and how it was made, it sounds extremely laborious — and it was. The kiln was made by hand using red bricks, workers carrying it up to the hillside of the mountains. Our confidant and trusted local guide, Kobayashi-san told us that no one alive today can replicate its construction anymore.",[],{"_key":439,"_type":47,"children":440,"markDefs":444,"style":55},"2aac36a201db",[441],{"_key":434,"_type":51,"marks":442,"text":443},[],"In Japan, this kind of practice in labor and effort is known as tema (手間). It’s loosely translated as the time and effort put in by one’s hands. At a glance, we can hardly pin down the intricacies, the labor, and the time that is put into our everyday rice bowls. However, after visiting Hasami, recognizing the efforts put into a single ceramic piece becomes palpable. I once read something from a Dassai (獺祭) sake maker when learning about the essential aspect of craft in Japan: there is no true understanding of a craft unless people recognize the effort —the tema—behind it all. Without tema, there is no product, a value that is often dismissed in the West as inefficient or a waste of time.",[],[446,454],{"_key":447,"_type":47,"children":448,"markDefs":453,"style":55},"eb01782fab5d",[449],{"_key":450,"_type":51,"marks":451,"text":452},"3137177ad909",[],"登り窯のことや、その築き方を知るにつれ、途方もない労力が必要だったことが伝わってきます。実際、そのとおりでした。職人たちは赤レンガを山の斜面へと運び上げ、一つひとつ手で積んで窯を築いたのです。私たちが心を寄せ、信頼する地元の案内人、小林さんは、今ではその築造を再現できる人はもういないと教えてくれました。",[],{"_key":455,"_type":47,"children":456,"markDefs":461,"style":55},"78cf92c4332b",[457],{"_key":458,"_type":51,"marks":459,"text":460},"661c52c137f3",[],"日本では、こうした仕事に注がれる時間や労力を「手間」と呼びます。文字どおり、人の手によって費やされる時間と労力のことです。普段使っているご飯茶碗をひと目見ただけでは、そこに込められた細やかな技や労力、時間までは、なかなかわかりません。けれど波佐見を訪れた後には、一つの器に注がれた手間が、実感を伴って伝わってくるようになります。以前、日本のものづくりの本質について学んでいたとき、日本酒「獺祭」の造り手の言葉を読んだことがあります。その背後にある労力、つまり「手間」を認めなければ、その手仕事を本当に理解することはできない、と。手間がなければ、ものは生まれません。それは、西洋ではしばしば非効率、あるいは時間の無駄として片づけられてしまう価値なのです。",[],{"_type":463,"autoplay":464,"loop":464},"videoBlock",false,{"_key":466,"_type":168,"block1":467,"block2":537,"imageLayout":55},"f2af9b490c27",{"_type":170,"blockOvertitle":468,"blocktitle":470,"body":473,"textColumns":210,"textPosition":260},{"en":469,"ja":469},"Chapter 3/6",{"en":471,"ja":472},"It Takes a Village","町全体で支えるものづくり",{"en":474,"ja":504},[475,483,490,497],{"_key":476,"_type":47,"children":477,"markDefs":482,"style":55},"a0a605f7efe8",[478],{"_key":479,"_type":51,"marks":480,"text":481},"af7beba7916c",[],"According to the official Nagasaki Prefecture website, Hasami has a total working population of about 8,400 people, many of whom are involved in the ceramic industry. We saw how everyone in Hasami has an essential role in every process.",[],{"_key":484,"_type":47,"children":485,"markDefs":489,"style":55},"08dcf22dfd57",[486],{"_key":479,"_type":51,"marks":487,"text":488},[],"As we witnessed, nature, of course, plays a mammoth role in ceramic making, but I have never seen anything quite like the way Hasami functions almost as one big family: somebody is someone’s parent, grandparent, cousin, nephew, or friend. The industry is built on shared practice, shared spaces, and shared beliefs passed down through centuries among families and neighbors. No one is out of sync—just like cogs in a well-oiled machine.",[],{"_key":491,"_type":47,"children":492,"markDefs":496,"style":55},"bdba86db59a6",[493],{"_key":479,"_type":51,"marks":494,"text":495},[],"At times during our trip, we questioned whether any part of the craft or process could be replaced by machines. It’s not a radical line of questioning, as the town is also facing population decline and aging, just like many other rural cities in Japan.",[],{"_key":498,"_type":47,"children":499,"markDefs":503,"style":55},"503b6c305936",[500],{"_key":479,"_type":51,"marks":501,"text":502},[],"When cropping out a single brushstroke on a rice bowl design, it might not look like much at a glance, but the truth is, without that single brushstroke—a line or the stem of a flower—there would never be a complete product.",[],[505,513,521,529],{"_key":506,"_type":47,"children":507,"markDefs":512,"style":55},"4c6cfb81265a",[508],{"_key":509,"_type":51,"marks":510,"text":511},"3dfdc19d6152",[],"長崎県の公式ウェブサイトによると、波佐見の就業人口はおよそ八千四百人で、その多くが窯業に携わっています。私たちは、波佐見の人々がそれぞれの工程で、欠かせない役割を担っていることを目の当たりにしました。",[],{"_key":514,"_type":47,"children":515,"markDefs":520,"style":55},"87375a1b1221",[516],{"_key":517,"_type":51,"marks":518,"text":519},"d2b26d9b744b",[],"この地で見てきたように、焼きものづくりには、もちろん自然が大きな役割を果たしています。けれど、波佐見がまるで一つの大きな家族のように機能する姿は、これまで見たことのないものでした。誰かが誰かの親であり、祖父母であり、いとこであり、甥であり、友人でもある。この産業は、家族や隣人のあいだで何世紀にもわたって受け継がれてきた、共通の仕事のあり方、分かち合う場所、そして信念の上に成り立っています。よく手入れされた機械の歯車のように、誰もがぴたりと歩調を合わせています。",[],{"_key":522,"_type":47,"children":523,"markDefs":528,"style":55},"a256dcbaac51",[524],{"_key":525,"_type":51,"marks":526,"text":527},"db30e2bc7079",[],"旅の途中で私たちは、手仕事や制作工程の一部を機械に置き換えることはできないのだろうか、と考えることがありました。これは突飛な問いではありません。波佐見もまた、日本の多くの地方の町と同じように、人口減少と高齢化に直面しているからです。",[],{"_key":530,"_type":47,"children":531,"markDefs":536,"style":55},"f389a0a482a4",[532],{"_key":533,"_type":51,"marks":534,"text":535},"059745a60fe2",[],"ご飯茶碗の絵柄から一筆だけを切り取ってみると、ひと目には、さほど大きな意味を持たないように見えるかもしれません。けれど実際には、その一筆が、一本の線や花の茎がなければ、器が完成することはないのです。",[],[538,548,557,567],{"_key":539,"_type":215,"asset":540,"caption":542,"title":545},"d70566786915",{"_ref":541,"_type":69},"image-de6c0b5fe2973c204ca1219594b676ea46d45577-1280x1707-jpg",{"en":543,"ja":544},"The dehydration process. The slurry of clay is hung to squeeze out water, then turned into flat sheets of clay. Later, it is reshaped into cylindrical forms for shipping to workshops. ","脱水の工程。泥状の陶土を吊るして水分を絞り、平たい板状にします。その後、円柱状に成形し、各工房へ出荷します。",{"en":546,"ja":547},"Koda Tōdo (Koda clay factory)","Koda Tōdo（陶土工場）",{"_key":549,"_type":215,"alt":550,"asset":552,"caption":554},"d51efd8fd0d2",{"en":551},"Tasaki-san at Takayama kiln ",{"_ref":553,"_type":69},"image-27801371053b30b007062f8099f77db3166a7921-1280x1707-jpg",{"en":555,"ja":556},"Tasaki-san, hand drawing the hanko (stamp) design that goes onto the ceramics. He is one of the few remaining stamp designers alive today.","器に押す印の図案を手描きするタサキさん。現在では数少ない、印のデザインを手がける職人の一人です。",{"_key":558,"_type":215,"asset":559,"caption":561,"title":564},"b041184aa86e",{"_ref":560,"_type":69},"image-91f30bd582fa4f543ff819d5f430bc61fdc32c72-1920x1280-jpg",{"en":562,"ja":563},"A man carefully carrying fired ceramics on a plank to storage.","焼き上がった器を板に載せ、保管場所へと慎重に運ぶ男性。",{"en":565,"ja":566},"Takayama kiln","Takayama窯",{"_key":568,"_type":215,"asset":569,"caption":571,"title":574},"bf2258d0e8b1",{"_ref":570,"_type":69},"image-c00312c5afabf6b04d13e208593428697f29e557-1280x853-jpg",{"en":572,"ja":573},"A man dipping the ceramic with his hands to coat it in glaze. It requires years of practice to apply an even layer of glaze.","器を手で釉薬に浸し、表面を覆う男性。釉薬を均一にかけるには、長年の経験が必要です。",{"en":575,"ja":576},"Wazan kiln","和山窯",{"_key":578,"_type":168,"block1":579,"block2":678,"imageLayout":55},"6dbc95594eb8",{"_type":170,"blockImage":580,"body":583,"textColumns":210,"textPosition":260},{"_type":215,"asset":581},{"_ref":582,"_type":69},"image-683e812eb2cdebc5c96928b5e75c102dc29311a6-1280x1706-jpg",{"en":584,"ja":629},[585,593,600,608,615,622],{"_key":586,"_type":47,"children":587,"markDefs":592,"style":55},"6842cea8b2ba",[588],{"_key":589,"_type":51,"marks":590,"text":591},"8213197fa831",[],"We met an old lady at Wazan, a kiln workshop in Hasami, working on the very last step before shipping the ceramics to distributors. With a bowl in one hand and a paintbrush in the other, she shifts the bowl around to see if there are any areas where the glaze has thinned or worn off. She applies the glaze by hand and fires it once again to avoid a defective product.",[],{"_key":594,"_type":47,"children":595,"markDefs":599,"style":55},"0654e283d19c",[596],{"_key":589,"_type":51,"marks":597,"text":598},[],"It’s a run-of-the-mill job, but it’s a necessary one. Call me crazy — I wouldn’t know where to start to program this level of care into a machine.",[],{"_key":601,"_type":47,"children":602,"markDefs":607,"style":55},"e2cb508ebbab",[603],{"_key":604,"_type":51,"marks":605,"text":606},"5ec2a1525756",[],"The division of labor has been a supportive ecosystem for the people of Hasami. While other ceramic towns relied on small numbers of individual artisans, Hasami established a collaborative system shared across the town.",[],{"_key":609,"_type":47,"children":610,"markDefs":614,"style":55},"53660fba498b",[611],{"_key":604,"_type":51,"marks":612,"text":613},[],"The idea was simple: if everyone was part of the same industry, they might as well work together for a faster and wider production. This uniquely separated Hasami from other ceramic producing towns in Japan.",[],{"_key":616,"_type":47,"children":617,"markDefs":621,"style":55},"7030ce36bc01",[618],{"_key":604,"_type":51,"marks":619,"text":620},[],"As mass production demanded speed, efficiency, and quality, Hasami was able to deliver on all three, with each stage of production handled by specialists devoted to their craft. Notably, neighbors were not competitors but partners, each responsible for carrying the work forward to the next phase of production.",[],{"_key":623,"_type":47,"children":624,"markDefs":628,"style":55},"d9bfc6b3d65d",[625],{"_key":604,"_type":51,"marks":626,"text":627},[],"There were porttery stone polishers, migaki shokunin (磨き職人); clay suppliers, tōdoya (陶土屋); mold makers, kataya (型屋); clay body makers, kijiya (生地屋); kamamoto (窯元) who handled the firing; and uwaeya (上絵屋) responsible for painting and overglazing. There were even artisans dedicated to designing the seals pressed into each piece. Every step belonged to someone. Every role, however small, had its place.",[],[630,638,646,654,662,670],{"_key":631,"_type":47,"children":632,"markDefs":637,"style":55},"d5cabb05b6c5",[633],{"_key":634,"_type":51,"marks":635,"text":636},"c96a6213d39f",[],"波佐見の窯元、和山で、器を卸先へ出荷する前の最後の工程を担う年配の女性に出会いました。片手に器、もう片方の手に筆を持ち、器を回しながら、釉薬が薄くなったり、剥がれたりしているところがないかを確かめています。不良品として出荷されることのないよう、手で釉薬を塗り足し、もう一度焼くのです。",[],{"_key":639,"_type":47,"children":640,"markDefs":645,"style":55},"1646daa8f4a9",[641],{"_key":642,"_type":51,"marks":643,"text":644},"c0865ddf1e98",[],"ありふれた仕事かもしれませんが、欠かすことのできない仕事です。大げさだと言われるかもしれません。それでも、これほどの心配りを機械に組み込むには、どこから手をつければよいのか、私にはわかりません。",[],{"_key":647,"_type":47,"children":648,"markDefs":653,"style":55},"dc0a1b00fd65",[649],{"_key":650,"_type":51,"marks":651,"text":652},"2afa357736e6",[],"分業制は、波佐見の人々を支える生態系となってきました。ほかの焼きものの町が少数の職人に頼る一方で、波佐見は町全体で分かち合う協業の仕組みを築きました。",[],{"_key":655,"_type":47,"children":656,"markDefs":661,"style":55},"2308c379d461",[657],{"_key":658,"_type":51,"marks":659,"text":660},"175ec3b02e95",[],"その発想はシンプルでした。皆が同じ産業に携わっているのなら、力を合わせて、より速く、より多くつくればいい。この仕組みが、波佐見を日本のほかの焼きものの町とは異なる存在にしたのです。",[],{"_key":663,"_type":47,"children":664,"markDefs":669,"style":55},"29f73628d7cb",[665],{"_key":666,"_type":51,"marks":667,"text":668},"a7f1fe090bcd",[],"大量生産に速さ、効率、品質が求められるなか、波佐見はその三つすべてに応えることができました。それぞれの工程を、自らの仕事に専念する専門の職人が担っていたからです。隣人は競争相手ではなく、仲間でした。一人ひとりが、仕事を次の工程へとつなぐ役割を担っていたのです。",[],{"_key":671,"_type":47,"children":672,"markDefs":677,"style":55},"a82695f34c6b",[673],{"_key":674,"_type":51,"marks":675,"text":676},"b411f7021196",[],"陶石を磨く磨き職人、陶土を供給する陶土屋、型をつくる型屋、器の素地をつくる生地屋、焼成を担う窯元、そして絵付けや上絵の焼き付けを担う上絵屋。器に押す印をデザインすることに専念する職人さえいました。どの工程にも、それを担う人がいる。どんなに小さな役割にも、確かな居場所があったのです。",[],[679,683],{"_key":680,"_type":215,"asset":681},"a37eea467c9c",{"_ref":682,"_type":69},"image-d57b409ceb3ff905f21a1c956ccad7af85c6da55-1600x1600-jpg",{"_key":684,"_type":215,"asset":685},"346afa6d9175",{"_ref":686,"_type":69},"image-89b15bc7bfd06cd90dbab76ba654804ef709f868-4096x2731-jpg",{"_key":688,"_type":168,"block1":689,"block2":744,"imageLayout":55},"eb14df9b75d0",{"_type":170,"blockOvertitle":690,"blocktitle":692,"body":695,"textColumns":210,"textPosition":211},{"en":691,"ja":691},"Chapter 4/6",{"en":693,"ja":694},"The Hands That Shape Hasami","波佐見をかたちづくる手",{"en":696,"ja":719},[697,705,712],{"_key":698,"_type":47,"children":699,"markDefs":704,"style":55},"fcaf5df36ea1",[700],{"_key":701,"_type":51,"marks":702,"text":703},"03499faafb47",[],"I was surprised to learn that most of the processes behind the ceramic distributed as mass-produced industrial goods are, in fact, sustained by highly physical, hands-on labor.",[],{"_key":706,"_type":47,"children":707,"markDefs":711,"style":55},"424326c3eb4e",[708],{"_key":701,"_type":51,"marks":709,"text":710},[],"At an otherwise quiet site, we visited the clay maker Kōda Tōdō, founded in 1889. We heard a sound: clink, clink. A craftsman sat on the ground, carefully striking each stone with a small hammer, removing the reddish portions — traces of iron remaining within the white pottery stone.",[],{"_key":713,"_type":47,"children":714,"markDefs":718,"style":55},"127a74cef56c",[715],{"_key":701,"_type":51,"marks":716,"text":717},[],"His name was Honda-san, his hands behind his back, shoulders hunched as he stood in front of the stone pile as he spoke to us. He was “polishing,” a process known as migaki (磨き). His skin, weathered by years under the sun, tells of the fifty years he has spent hammering the stone by hand since he was twenty-five.",[],[720,728,736],{"_key":721,"_type":47,"children":722,"markDefs":727,"style":55},"bf0ad1a9012e",[723],{"_key":724,"_type":51,"marks":725,"text":726},"9d8041486cfa",[],"大量生産の工業製品として流通する器。その制作工程の多くが、実は体を使った手作業に支えられていると知り、驚きました。",[],{"_key":729,"_type":47,"children":730,"markDefs":735,"style":55},"1cf9d029ac41",[731],{"_key":732,"_type":51,"marks":733,"text":734},"698fbd9b050b",[],"私たちは、1889年創業の陶土製造所、コウダ陶土を訪れました。静かな敷地に、カン、カン、と音が響きます。一人の職人が地面に座り、小さな金槌で一つひとつの石を丁寧に叩き、赤みを帯びた部分を取り除いていました。白い陶石の中に残る、鉄分の痕跡です。",[],{"_key":737,"_type":47,"children":738,"markDefs":743,"style":55},"c8be5858b501",[739],{"_key":740,"_type":51,"marks":741,"text":742},"6c9033dae247",[],"その職人はホンダさんといいました。石の山を前に、背中で手を組み、肩を丸めて立ちながら、私たちに話をしてくれました。彼が手がけていたのは、「磨き」と呼ばれる工程です。長年の日差しにさらされ、年季を重ねた肌が、二十五歳の頃から五十年にわたり、手で石を叩き続けてきた歳月を物語っていました。",[],[745,749],{"_key":746,"_type":215,"asset":747},"32b7d90fb7c4",{"_ref":748,"_type":69},"image-b33e4e704ab98443700a901607ead66186a43461-1280x1707-jpg",{"_key":750,"_type":215,"asset":751},"ad5f3a777e12",{"_ref":752,"_type":69},"image-149f89010741312c6c8f94dc0f391ffaeaac0298-1280x1707-jpg",{"_key":754,"_type":168,"block1":755,"block2":790,"imageLayout":55},"eeca2a747772",{"_type":170,"body":756,"textColumns":259,"textPosition":260},{"en":757,"ja":773},[758,766],{"_key":759,"_type":47,"children":760,"markDefs":765,"style":55},"654db5418b87",[761],{"_key":762,"_type":51,"marks":763,"text":764},"e8d52eb52b8e",[],"As you can imagine, it is not an easy technique, under the scorching heat or the piercing cold. It’s also an extremely tedious and subdued line of work, not to mention a kind of work that has no manual or instructions; entirely dependent on muscle memory. In a world where the art of paying attention feels lost, Honda-san is hell-bent on his work.",[],{"_key":767,"_type":47,"children":768,"markDefs":772,"style":55},"f9ecd8851e99",[769],{"_key":762,"_type":51,"marks":770,"text":771},[],"The stone must keep the right size, ensuring that none of it goes to waste while determining exactly how much to shave away. A machine could never replicate the attention each piece receives by him.",[],[774,782],{"_key":775,"_type":47,"children":776,"markDefs":781,"style":55},"199e616dfddb",[777],{"_key":778,"_type":51,"marks":779,"text":780},"2d6608da111c",[],"想像に難くないように、焼けつくような暑さの中でも、身を切るような寒さの中でも、この技を振るうのは容易ではありません。ひたすら根気を要する、地味な仕事でもあります。しかも、手引きも説明書もなく、頼りになるのは体に刻まれた感覚だけ。注意を向けるという営みが失われつつあるように感じられる世界で、ホンダさんは一心に仕事に向き合っています。",[],{"_key":783,"_type":47,"children":784,"markDefs":789,"style":55},"bafc91a2b2ad",[785],{"_key":786,"_type":51,"marks":787,"text":788},"30de87d59131",[],"どこまで削り落とすかを正確に見極めながら、無駄を出さないよう、石を適切な大きさに保たなければなりません。ホンダさんが一つひとつの石に注ぐ細やかな気配りを、機械が再現することはできないでしょう。",[],[791,795],{"_key":792,"_type":215,"asset":793},"0004dcf41a15",{"_ref":794,"_type":69},"image-734a4f13fa4f98180010f236e76c9689d7bcdef9-1280x1707-jpg",{"_key":796,"_type":215,"asset":797},"0d6bbaa10891",{"_ref":798,"_type":69},"image-5527bce8a030d85c4b3946ff1c05566bde89c538-1280x1707-jpg",{"_key":800,"_type":168,"block1":801,"block2":843,"imageLayout":55},"86c5c2f502a5",{"_type":170,"body":802,"textColumns":259,"textPosition":211},{"en":803,"ja":826},[804,812,819],{"_key":805,"_type":47,"children":806,"markDefs":811,"style":55},"e224fc593f6d",[807],{"_key":808,"_type":51,"marks":809,"text":810},"c0b71145f0e7",[],"“Why do you keep doing this job?” our photographer Jun asks.\n“I don’t know… I guess it’s fun,” he mutters under his breath.",[],{"_key":813,"_type":47,"children":814,"markDefs":818,"style":55},"17dc95c27b9d",[815],{"_key":808,"_type":51,"marks":816,"text":817},[],"Later, the clay maker owner Kōda-san told us reluctantly, “He’s the only person left who can be that precise.”",[],{"_key":820,"_type":47,"children":821,"markDefs":825,"style":55},"41d4d96f7e73",[822],{"_key":808,"_type":51,"marks":823,"text":824},[],"While the idea of specialized work creates high quality ceramics in which it positions Hasami a strong traditional craft industry, it also makes it a vulnerable one as well. Everyone has an extremely specialized and particular role that only a certain person can perform,which also makes an industry fragile. As most people in Hasami are dependent on the ceramic industry, if one part falls, it affects the other parts as well. As of today, there are still people that are capable of doing the job, but what happens when they are gone?",[],[827,835],{"_key":828,"_type":47,"children":829,"markDefs":834,"style":55},"896bc4d15bcc",[830],{"_key":831,"_type":51,"marks":832,"text":833},"bc7c7126bfec",[],"「どうして、この仕事を続けているんですか？」と、写真家のJunが尋ねます。\n「わからないな……楽しいからかな」と、ホンダさんは小さな声でつぶやきました。\n後に、陶土製造所の経営者であるコウダさんは、重い口を開くように、こう話してくれました。「あそこまで正確にできるのは、もう彼しかいないんです。」",[],{"_key":836,"_type":47,"children":837,"markDefs":842,"style":55},"2d9656a53df0",[838],{"_key":839,"_type":51,"marks":840,"text":841},"2f521de4cb7c",[],"仕事の専門化は、質の高い器を生み出し、波佐見を力強い伝統工芸の産地にしています。その一方で、それは弱さにもつながっています。一人ひとりが極めて専門的で、その人にしか担えない役割を持つことが、産業全体を脆くもしているのです。波佐見では多くの人が窯業に暮らしを支えられているため、一つの工程が立ち行かなくなれば、ほかの工程にも影響が及びます。今はまだ、その仕事を担える人がいます。けれど、その人たちがいなくなったら、どうなるのでしょうか。",[],[844,848,852],{"_key":845,"_type":215,"asset":846},"22354d30ba98",{"_ref":847,"_type":69},"image-533b14cc6b35ee23b49ec34193d1a8ba9d90d5a1-1280x853-jpg",{"_key":849,"_type":215,"asset":850},"a835489fd8a5",{"_ref":851,"_type":69},"image-3274814ab22215454fa720ecab881c62a768947c-1280x853-jpg",{"_key":853,"_type":215,"asset":854},"633be1b43ba1",{"_ref":855,"_type":69},"image-4e3e2d520c8c783c16e42170eaedabb9b07406a6-1920x1280-jpg",{"_key":857,"_type":168,"block1":858,"block2":938,"imageLayout":55},"a479ee7ae691",{"_type":170,"body":859,"textColumns":259,"textPosition":211},{"en":860,"ja":897},[861,869,876,883,890],{"_key":862,"_type":47,"children":863,"markDefs":868,"style":55},"cda028bf4498",[864],{"_key":865,"_type":51,"marks":866,"text":867},"cc530430a768",[],"At a clay body maker factory, a woman named Arisa-san was working on slip casting. Jun asked her, “If I were to start learning slip casting today, where would I begin?” She paused, slightly unsure by the question, as if there was a manual to this line of work.",[],{"_key":870,"_type":47,"children":871,"markDefs":875,"style":55},"47448a0cb29f",[872],{"_key":865,"_type":51,"marks":873,"text":874},[],"“You have to start by learning the thickness of the clay body,” she said.",[],{"_key":877,"_type":47,"children":878,"markDefs":882,"style":55},"7a2e95a2fb4b",[879],{"_key":865,"_type":51,"marks":880,"text":881},[],"Jun asked how someone learns that.",[],{"_key":884,"_type":47,"children":885,"markDefs":889,"style":55},"e5795ff3c8c2",[886],{"_key":865,"_type":51,"marks":887,"text":888},[],"“It’s a feeling… I suppose,” she said, pausing again.",[],{"_key":891,"_type":47,"children":892,"markDefs":896,"style":55},"8c7a1013acef",[893],{"_key":865,"_type":51,"marks":894,"text":895},[],"We watched as she poured the liquid clay into the mold. There was a rhythm to the way she worked: dump, wait, swirl, flip; dump, wait, swirl, flip. She didn’t need a watch or a timer — only years of experience guided her forward. She instinctively understood how the required thickness changed from one mold to another. Later, she told us it had taken her five years to master slip casting on her own.",[],[898,906,914,922,930],{"_key":899,"_type":47,"children":900,"markDefs":905,"style":55},"8bd8e4426b36",[901],{"_key":902,"_type":51,"marks":903,"text":904},"bdedf2b1f213",[],"生地づくりの工場で、アリサさんという女性が鋳込みの作業をしていました。Junが尋ねます。「もし今日から鋳込みを習うとしたら、何から始めればいいですか？」彼女は少し戸惑ったように、言葉を探しました。まるで、この仕事に手引きがあることを前提にした問いだったからです。",[],{"_key":907,"_type":47,"children":908,"markDefs":913,"style":55},"45573f4bd0e4",[909],{"_key":910,"_type":51,"marks":911,"text":912},"f269af345988",[],"「まずは、生地の厚みを覚えるところからですね」と、彼女は答えました。",[],{"_key":915,"_type":47,"children":916,"markDefs":921,"style":55},"bf0dd75dba92",[917],{"_key":918,"_type":51,"marks":919,"text":920},"18ab7eb64f28",[],"ジュンが、それはどうやって覚えるのかと尋ねると、彼女は再び少し間を置きました。",[],{"_key":923,"_type":47,"children":924,"markDefs":929,"style":55},"fdd4064cd2e2",[925],{"_key":926,"_type":51,"marks":927,"text":928},"33d96ec86406",[],"「感覚……ですかね。」",[],{"_key":931,"_type":47,"children":932,"markDefs":937,"style":55},"e71013a8cd2c",[933],{"_key":934,"_type":51,"marks":935,"text":936},"162ea9cf16e4",[],"私たちは、彼女が型に泥状の陶土を流し込む様子を見つめました。その動きには、一定のリズムがありました。注ぐ、待つ、回す、返す。注ぐ、待つ、回す、返す。時計もタイマーも必要ありません。長年の経験だけが、次の動きを導いていました。型ごとに必要な厚みがどう変わるのかを、彼女は感覚で理解していたのです。後に、一人で鋳込みをこなせるようになるまで、五年かかったと教えてくれました。",[],[939,949,958,968],{"_key":940,"_type":215,"asset":941,"caption":943,"title":946},"8884e0fbbe6c",{"_ref":942,"_type":69},"image-22ff1289f5ea0bed48f4397344bdf42cd611b4a8-1920x1280-jpg",{"en":944,"ja":945},"The slurry streams through the sieve to remove any clumps or particles.","泥状の陶土をふるいに通し、塊や異物を取り除きます。",{"en":947,"ja":948},"Scenes from Fukuda clay mold factory","フクダの生地工場の風景",{"_key":950,"_type":215,"asset":951,"caption":953,"title":956},"37168604270a",{"_ref":952,"_type":69},"image-e9dfc92b05c182eb7d640a2f6599b018df00842a-1920x1280-jpg",{"en":954,"ja":955},"A woman hastily going back and forth between her workstation and the molds.","作業台と型の間を、忙しく行き来する女性。",{"en":957,"ja":948},"Scenes from Fukuda clay mold factory ",{"_key":959,"_type":215,"asset":960,"caption":962,"title":965},"fd2f93726bf1",{"_ref":961,"_type":69},"image-6ad38a9f48e4a91d7b4bfaaae5ddbee892228826-1280x1920-jpg",{"en":963,"ja":964},"Arisa-san is a specialist in slip casting. She turns over the white plaster molds, pouring out thick, muddy clay with precision to maintain an even thickness.","鋳込みを専門とするアリサさん。白い石膏型をひっくり返し、とろみのある泥状の陶土を正確に流し出すことで、生地の厚みを均一に保ちます。",{"en":966,"ja":967},"Arisa san, a ikomi craftperson","鋳込み職人のアリサさん",{"_key":969,"_type":215,"asset":970,"caption":972,"title":975},"ba74abc5c904",{"_ref":971,"_type":69},"image-de29952b0bf1bb6c0e91396e328288ea41aa934c-1280x1707-jpg",{"en":973,"ja":974},"Rows of white plaster molds on a flat surface. Liquid clay is poured into the molds and left to dry at around 30°C.","平らな台の上に並ぶ白い石膏型。型に泥状の陶土を流し込み、約30℃の環境で乾燥させます。",{"en":957,"ja":948},{"_key":977,"_type":168,"block1":978,"block2":1046,"imageLayout":55},"d5b5b57ead00",{"_type":170,"blockImage":979,"body":982,"textColumns":259,"textPosition":211},{"_type":215,"asset":980},{"_ref":981,"_type":69},"image-d3e9c6e2ccf8226764d8001f1ae52d943222e79e-1280x1600-jpg",{"en":983,"ja":1013},[984,992,999,1006],{"_key":985,"_type":47,"children":986,"markDefs":991,"style":55},"f602f0ac694c",[987],{"_key":988,"_type":51,"marks":989,"text":990},"c74482691c96",[],"Fukushima-san runs a mold making factory. He flipped through decades’ worth of notes that only he seemed to understand. It was a pencil-written notebook documenting the shrinkage rate of every mold he handles at his factory.",[],{"_key":993,"_type":47,"children":994,"markDefs":998,"style":55},"3a7eaf5c33bf",[995],{"_key":988,"_type":51,"marks":996,"text":997},[],"“I’ve recorded how the shrinkage changes depending on the kiln and the clay,” he explained, “so I know what size to make the molds.”",[],{"_key":1000,"_type":47,"children":1001,"markDefs":1005,"style":55},"f075cc60511c",[1002],{"_key":988,"_type":51,"marks":1003,"text":1004},[],"In another workshop, people sat side by side at their desks — occasionally interrupted by a cat weaving between their finished pieces. Each had a hot flask beside them, a lamp of their choosing, and a chair with a flattened cushion carefully placed. Their movements, almost identical to the ones before them, stop my steps; you could easily lose yourself watching their technique. After years of routined work, their movement is second nature to them.",[],{"_key":1007,"_type":47,"children":1008,"markDefs":1012,"style":55},"fdda581aeed2",[1009],{"_key":988,"_type":51,"marks":1010,"text":1011},[],"There are many reasons why communal work is meaningful to the individual. It builds trust among people, and the work and craft become the glue that binds them together. From a business standpoint, success doesn’t belong to one person; it belongs to everyone involved. Conversely, the ecosystem in Hasami can only function if everyone is working in tandem.",[],[1014,1022,1030,1038],{"_key":1015,"_type":47,"children":1016,"markDefs":1021,"style":55},"d9c73b56cff6",[1017],{"_key":1018,"_type":51,"marks":1019,"text":1020},"0817b7f89662",[],"フクシマさんは、型づくりの工場を営んでいます。彼は、自分にしか読み解けないような、何十年分もの記録をめくって見せてくれました。それは、工場で扱う一つひとつの型について、収縮率を鉛筆で書き留めたノートでした。",[],{"_key":1023,"_type":47,"children":1024,"markDefs":1029,"style":55},"497a9920bfb6",[1025],{"_key":1026,"_type":51,"marks":1027,"text":1028},"a54a42c4821c",[],"「窯や土によって収縮率がどう変わるかを記録しているんです」と、彼は説明します。「だから、型をどの大きさでつくればいいのかわかるんです。」",[],{"_key":1031,"_type":47,"children":1032,"markDefs":1037,"style":55},"ee32362a7d95",[1033],{"_key":1034,"_type":51,"marks":1035,"text":1036},"fce205d509e3",[],"別の工房では、人々が机を並べて座り、作業をしていました。ときおり、仕上がった器の間を縫って歩く猫が、その手を止めます。それぞれの傍らには温かい飲み物の入った魔法瓶があり、好みの照明が置かれ、椅子には使い込んで平たくなった座布団が丁寧に敷かれていました。先ほど目にした人たちとほとんど同じ動きに、私は足を止めます。その手技は、いつまでも見入ってしまうほどでした。長年、日々繰り返してきた仕事によって、その動きはすっかり体の一部となっているのです。",[],{"_key":1039,"_type":47,"children":1040,"markDefs":1045,"style":55},"8843c07e5637",[1041],{"_key":1042,"_type":51,"marks":1043,"text":1044},"8a783fdc4cc3",[],"共に働くことが、一人ひとりにとって意味を持つ理由は、いくつもあります。人と人の間に信頼が育まれ、仕事や手仕事が、皆を結びつけるものになります。事業として見ても、成功は一人のものではなく、関わるすべての人のものです。同時に、波佐見の生態系は、誰もが足並みをそろえて働いてこそ、成り立つのです。",[],[1047,1051],{"_key":1048,"_type":215,"asset":1049},"cbc39c03ffa8",{"_ref":1050,"_type":69},"image-fce99edbc34b12ba125949df200e9dafc50d5d46-1280x1600-jpg",{"_key":1052,"_type":215,"asset":1053},"1f27ff90aace",{"_ref":1054,"_type":69},"image-e8d7c273185af27a7ff172712077353b88fc605c-1280x1600-jpg",{"_key":1056,"_type":168,"block1":1057,"block2":1127,"imageLayout":55},"b98ad4468a6d",{"_type":170,"blockOvertitle":1058,"blocktitle":1060,"body":1063,"textColumns":210,"textPosition":211},{"en":1059,"ja":1059},"Chapter 5/6",{"en":1061,"ja":1062},"When the Village Thins","町の担い手が減っていくとき",{"en":1064,"ja":1094},[1065,1073,1080,1087],{"_key":1066,"_type":47,"children":1067,"markDefs":1072,"style":55},"f2c3898c540b",[1068],{"_key":1069,"_type":51,"marks":1070,"text":1071},"cf86af3967c2",[],"What makes Hasami strong is also what makes it vulnerable. In a town where each role is carried by only a handful of people — sometimes just one — the loss of a single link can put the whole chain at risk.",[],{"_key":1074,"_type":47,"children":1075,"markDefs":1079,"style":55},"b451f8d6f096",[1076],{"_key":1069,"_type":51,"marks":1077,"text":1078},[],"We went to an old jazz cafe called Doug, run by a snazzy eighty-year-old man, Masato Tateishi-san. He is the last standing seal (hanko) designer that also runs a cafe.",[],{"_key":1081,"_type":47,"children":1082,"markDefs":1086,"style":55},"4e2a888fcfdb",[1083],{"_key":1069,"_type":51,"marks":1084,"text":1085},[],"People told us that almost every stamp design you see on plates from Hasami was made by Tateishi-san. I spotted one at Wazan — a yellow mimosa carved by him. I traced the mimosa with my fingers, thinking about the person behind the design.",[],{"_key":1088,"_type":47,"children":1089,"markDefs":1093,"style":55},"8fcbfeb5d607",[1090],{"_key":1069,"_type":51,"marks":1091,"text":1092},[],"Later, Wazan's president told us that he wouldn’t know what to do when Tateishi-san is gone. “There are textures, patterns, a certain feeling that only a hand-carved stamp can create,\" he said almost wistfully.",[],[1095,1103,1111,1119],{"_key":1096,"_type":47,"children":1097,"markDefs":1102,"style":55},"a2bf600cdb5d",[1098],{"_key":1099,"_type":51,"marks":1100,"text":1101},"326c62e860db",[],"波佐見の強さを生むものは、その弱さにもつながっています。一つひとつの役割を、ほんの数人、ときにはたった一人が担う町では、一つのつながりが失われるだけで、連なり全体が危うくなることがあります。",[],{"_key":1104,"_type":47,"children":1105,"markDefs":1110,"style":55},"351142b236ea",[1106],{"_key":1107,"_type":51,"marks":1108,"text":1109},"0b14066104ba",[],"私たちは、マサト・タテイシさんという、粋な八十歳の男性が営む、昔ながらのジャズ喫茶「ダグ」を訪れました。彼は、喫茶店も営む、最後の現役の印の図案師です。",[],{"_key":1112,"_type":47,"children":1113,"markDefs":1118,"style":55},"900e576d0de8",[1114],{"_key":1115,"_type":51,"marks":1116,"text":1117},"4dc2c4f3c57c",[],"波佐見の皿に見られる印の図案は、ほとんどがタテイシさんの手によるものだと聞きました。和山でも、その一つを見つけました。彼が彫った、黄色いミモザです。その図案を生み出した人に思いを巡らせながら、私は指先でミモザをなぞりました。",[],{"_key":1120,"_type":47,"children":1121,"markDefs":1126,"style":55},"251c0f6f5579",[1122],{"_key":1123,"_type":51,"marks":1124,"text":1125},"41329cd04d40",[],"後に、和山の社長は、タテイシさんがいなくなったらどうすればいいのかわからない、と話してくれました。「手彫りの印でしか出せない質感や模様、独特の味わいがあるんです」と、どこか寂しげに語りました。",[],[1128,1132,1136],{"_key":1129,"_type":215,"asset":1130},"b1263c75b1ee",{"_ref":1131,"_type":69},"image-e57031873e2af8d09e0f35b92778f022d8c50148-1920x1280-jpg",{"_key":1133,"_type":215,"asset":1134},"b787821f7618",{"_ref":1135,"_type":69},"image-741b42a2a7f0550b7359ae8bb4d69422b2a8fdf7-1920x1280-jpg",{"_key":1137,"_type":215,"asset":1138},"ab7228864e97",{"_ref":1139,"_type":69},"image-a4da43b1a270dd085fd96d65fe086c84ec8ebf01-1920x1280-jpg",{"_key":1141,"_type":168,"block1":1142,"block2":1180,"imageLayout":55},"09495986dcdc",{"_type":170,"blockImage":1143,"body":1146,"textColumns":259,"textPosition":260},{"_type":215,"asset":1144},{"_ref":1145,"_type":69},"image-762b2e4a7ec9eb6559d283654b339cb33add47b2-1280x1600-jpg",{"en":1147,"ja":1163},[1148,1156],{"_key":1149,"_type":47,"children":1150,"markDefs":1155,"style":55},"da260c6d8df7",[1151],{"_key":1152,"_type":51,"marks":1153,"text":1154},"90bb727fc63f",[],"The same worry runs through other factories and workshops as well. Fukushima-san, the mold maker, has a two-month wait for new orders. The whiteboard above his desk is marked in red throughout May, with due dates and to-dos written all over it. Across Hasami, there are only around ten people capable of making molds at his level, and most are significantly older than Fukushima-san.",[],{"_key":1157,"_type":47,"children":1158,"markDefs":1162,"style":55},"38db82995bc3",[1159],{"_key":1152,"_type":51,"marks":1160,"text":1161},[],"A couple running Nishino Tōdo, a 130-year-old clay supplier, said they have lost more than half their clients in the past decade, and told their three children not to take over the work, describing it as physically demanding, financially unstable, and offering little job security.",[],[1164,1172],{"_key":1165,"_type":47,"children":1166,"markDefs":1171,"style":55},"4103327335fe",[1167],{"_key":1168,"_type":51,"marks":1169,"text":1170},"ffdc503ed0a2",[],"同じ不安は、ほかの工場や工房にも広がっています。型職人のフクシマさんのもとでは、新たな注文は二か月待ちです。机の上のホワイトボードには、五月いっぱい、納期や作業の予定が赤字でびっしりと書き込まれていました。波佐見全体でも、彼と同じ水準で型をつくれる人は十人ほどしかおらず、その多くはフクシマさんよりもかなり年上です。",[],{"_key":1173,"_type":47,"children":1174,"markDefs":1179,"style":55},"05ef63fadace",[1175],{"_key":1176,"_type":51,"marks":1177,"text":1178},"1c7e1798f77f",[],"創業百三十年の陶土供給業者、ニシノ陶土を営む夫婦は、この十年で取引先が半分以下になったと話してくれました。体への負担が大きく、収入も不安定で、将来の見通しも立ちにくい仕事だとして、三人の子どもたちには家業を継がないよう伝えたそうです。",[],[1181,1185],{"_key":1182,"_type":215,"asset":1183},"14aca89daf1f",{"_ref":1184,"_type":69},"image-2bdf772cf6b4fe5dd08b7dfa2b4bdf536da8f8f8-1920x1280-jpg",{"_key":1186,"_type":215,"asset":1187},"a3b137c21eb0",{"_ref":1188,"_type":69},"image-fd0dfdb6969b4fb79c340ab28e3e00195ffed8d0-1920x1280-jpg",{"_key":1190,"_type":168,"block1":1191,"block2":1271,"imageLayout":55},"af79081f3b52",{"_type":170,"body":1192,"textColumns":210,"textPosition":211},{"en":1193,"ja":1230},[1194,1202,1209,1216,1223],{"_key":1195,"_type":47,"children":1196,"markDefs":1201,"style":55},"f97c7e947711",[1197],{"_key":1198,"_type":51,"marks":1199,"text":1200},"78ff113f7e04",[],"These aren't just stories of an aging population or succession, but it is the symptoms of how the entire system is interconnected—and it’s not as simple as changing the system overnight.",[],{"_key":1203,"_type":47,"children":1204,"markDefs":1208,"style":55},"c304ee80df98",[1205],{"_key":1198,"_type":51,"marks":1206,"text":1207},[],"The rising cost of pottery stone has been a growing concern each year, due to the shortage of people mining in Amakusa, where nearly 80 percent of Hasami ware is made using it. Hasami ware has always been sold as everyday tableware—affordable, accessible, a staple of Japanese households—making it difficult to simply pass those rising costs onto the price tag.",[],{"_key":1210,"_type":47,"children":1211,"markDefs":1215,"style":55},"43a8c552c0c9",[1212],{"_key":1198,"_type":51,"marks":1213,"text":1214},[],"Switching to alternative materials might seem like a way out, but as the president of Saikai Toki, a local trading company, explained:",[],{"_key":1217,"_type":47,"children":1218,"markDefs":1222,"style":55},"2f3900632850",[1219],{"_key":1198,"_type":51,"marks":1220,"text":1221},[],"“Even if we try to switch to another material, everything—from molds and glazes to firing methods—has been developed to match the specific clay we use. The entire town would have to change at once. It's not realistic.”",[],{"_key":1224,"_type":47,"children":1225,"markDefs":1229,"style":55},"e741f07bd6e9",[1226],{"_key":1198,"_type":51,"marks":1227,"text":1228},[],"Hasami now stands at a crossroads: raising its prices, reshaping its identity, or finding and building a new community to become more resilient to the status quo.",[],[1231,1239,1247,1255,1263],{"_key":1232,"_type":47,"children":1233,"markDefs":1238,"style":55},"8571ac8794fd",[1234],{"_key":1235,"_type":51,"marks":1236,"text":1237},"39cf6027a963",[],"これらは、単なる高齢化や後継者不足の話ではありません。仕組み全体がいかに密接につながっているかを示す兆候でもあります。そして、その仕組みは一夜にして変えられるほど単純なものではないのです。",[],{"_key":1240,"_type":47,"children":1241,"markDefs":1246,"style":55},"88f5a7d8deee",[1242],{"_key":1243,"_type":51,"marks":1244,"text":1245},"c71408f9ca1f",[],"陶石の価格上昇は、年を追うごとに深刻な懸念となっています。波佐見焼の約八割に使われる天草陶石の採掘を担う人が不足しているためです。波佐見焼はこれまで、手頃で手に取りやすく、日本の家庭に欠かせない日常の食器として売られてきました。そのため、原料費の上昇を、そのまま販売価格に転嫁することは容易ではありません。",[],{"_key":1248,"_type":47,"children":1249,"markDefs":1254,"style":55},"4b0ccd827621",[1250],{"_key":1251,"_type":51,"marks":1252,"text":1253},"ec13222125b7",[],"別の原料への切り替えが打開策に思えるかもしれません。けれど、地元の商社、西海陶器の社長は、こう説明してくれました。",[],{"_key":1256,"_type":47,"children":1257,"markDefs":1262,"style":55},"24c7c1764678",[1258],{"_key":1259,"_type":51,"marks":1260,"text":1261},"9565dee1ef13",[],"「別の原料に切り替えようとしても、型や釉薬から焼成方法まで、すべてが今使っている特定の土に合わせてつくられているんです。町全体が一度に変わらなければなりません。それは現実的ではありません。」",[],{"_key":1264,"_type":47,"children":1265,"markDefs":1270,"style":55},"e69756c28fce",[1266],{"_key":1267,"_type":51,"marks":1268,"text":1269},"3b5008b02923",[],"今、波佐見は岐路に立っています。価格を引き上げるのか、自らのあり方を見つめ直すのか。それとも、新たな仲間を見いだし、コミュニティを築くことで、現状の課題にしなやかに立ち向かう力を育てていくのか。",[],[1272,1276],{"_key":1273,"_type":215,"asset":1274},"fdef114eafd4",{"_ref":1275,"_type":69},"image-7233a627ab8b1c84137fb23030034c19d26a0aea-1280x1600-jpg",{"_key":1277,"_type":215,"asset":1278},"1f611c8c1301",{"_ref":1279,"_type":69},"image-603c148eef90dfd7e690557837d72063a3f12744-1920x1280-jpg",{"_key":1281,"_type":168,"block1":1282,"block2":1340,"imageLayout":55},"2908830500b4",{"_type":170,"blockImage":1283,"blockOvertitle":1286,"blocktitle":1288,"body":1291,"textColumns":259,"textPosition":260},{"_type":215,"asset":1284},{"_ref":1285,"_type":69},"image-2002312a7e72f2cb20ffd5fce489c2373de31d38-1280x1600-jpg",{"en":1287,"ja":1287},"Chapter 6/6",{"en":1289,"ja":1290},"What’s Next For Hasami","波佐見のこれから",{"en":1292,"ja":1315},[1293,1301,1308],{"_key":1294,"_type":47,"children":1295,"markDefs":1300,"style":55},"7ce3d072ad71",[1296],{"_key":1297,"_type":51,"marks":1298,"text":1299},"e8c2e9eeb4c6",[],"There is a risk that knowledge and skill are dependent on a single person, and the economy is also reliant on each other, but because of this, there is also a noticeable culture that is unique to Hasami: everything exists together in the effort of nurturing one another.",[],{"_key":1302,"_type":47,"children":1303,"markDefs":1307,"style":55},"debff8102a25",[1304],{"_key":1297,"_type":51,"marks":1305,"text":1306},[],"The relationships between people, and between people and nature, are deeply interconnected—interlaced in ways that feel both lived and intuitive. We saw this in the people we encountered. Despite the town’s relative seclusion, the people of Hasami were willing to open up, welcoming strangers that felt sincere.",[],{"_key":1309,"_type":47,"children":1310,"markDefs":1314,"style":55},"c7bcaa005ec0",[1311],{"_key":1297,"_type":51,"marks":1312,"text":1313},[],"The Hatanaka couple, who run a community hub in Nakaoyama—once a pottery workshop, now renovated by locals into a community hub—embodied this spirit. There was nothing performative in their hospitality, no sense of pretension, only a quiet generosity.",[],[1316,1324,1332],{"_key":1317,"_type":47,"children":1318,"markDefs":1323,"style":55},"edb45efe8f60",[1319],{"_key":1320,"_type":51,"marks":1321,"text":1322},"1c06547625e3",[],"知識や技術がたった一人に委ねられていることには、危うさがあります。地域の経済もまた、互いに依存し合っています。けれど、だからこそ波佐見には、独自の文化が根づいているのです。あらゆるものが共にあり、互いを育み、支え合おうとする文化です。",[],{"_key":1325,"_type":47,"children":1326,"markDefs":1331,"style":55},"a3b6ec56276f",[1327],{"_key":1328,"_type":51,"marks":1329,"text":1330},"dbe59d7c969d",[],"人と人、そして人と自然の関係は、深く結びついています。そのつながりは、日々の暮らしに根ざし、感覚として身についているかのように織り合わされています。私たちは、出会った人々の中に、その姿を見ました。ほかの地域から少し離れた町でありながら、波佐見の人々は心を開き、誠実さの感じられる見知らぬ訪問者を迎え入れてくれました。",[],{"_key":1333,"_type":47,"children":1334,"markDefs":1339,"style":55},"1408d36124f5",[1335],{"_key":1336,"_type":51,"marks":1337,"text":1338},"e0e0fadaac24",[],"中尾山で交流の拠点を営むハタナカさん夫婦は、その精神を体現していました。かつて焼きものの工房だった建物を、地元の人々が改修して生まれた場所です。二人のもてなしには、見せかけも気取りもなく、ただ静かなおおらかさがありました。",[],[1341,1345,1349],{"_key":1342,"_type":215,"asset":1343},"079d5f364588",{"_ref":1344,"_type":69},"image-788b7f831788a689cb94e7a62a40249ea598b3af-1920x1280-jpg",{"_key":1346,"_type":215,"asset":1347},"48dcd519fc9c",{"_ref":1348,"_type":69},"image-142a72ecbe5154503a2355d763457792c1bd758c-1280x1707-jpg",{"_key":1350,"_type":215,"asset":1351},"02df54036b36",{"_ref":1352,"_type":69},"image-e1d3ba6e24bbf12cb11d279cc4c244acc1ca1503-1920x1280-jpg",{"_key":1354,"_type":168,"block1":1355,"block2":1435,"imageLayout":55},"eadd92989688",{"_type":170,"body":1356,"textColumns":259,"textPosition":211},{"en":1357,"ja":1394},[1358,1366,1373,1380,1387],{"_key":1359,"_type":47,"children":1360,"markDefs":1365,"style":55},"daa3b9146280",[1361],{"_key":1362,"_type":51,"marks":1363,"text":1364},"13839a9170a1",[],"“Come, come! Look—there’s fukinoto. I’ll fry it up and make tempura for us.”",[],{"_key":1367,"_type":47,"children":1368,"markDefs":1372,"style":55},"0dd93a5bc019",[1369],{"_key":1362,"_type":51,"marks":1370,"text":1371},[],"Mrs. Hatanaka crouched beneath a budding plum tree, her eyes bright as she smiled at us. Soon after, they baked pizza for us in an oven made from a repurposed kiln while sharing stories after stories.",[],{"_key":1374,"_type":47,"children":1375,"markDefs":1379,"style":55},"1bb1cc47a9c2",[1376],{"_key":1362,"_type":51,"marks":1377,"text":1378},[],"We learned that Hasami cannot exist without its people, and this struck a chord when we were speaking to Kobayashi-san about the succession of his ceramic business.",[],{"_key":1381,"_type":47,"children":1382,"markDefs":1386,"style":55},"495ce5929c52",[1383],{"_key":1362,"_type":51,"marks":1384,"text":1385},[],"“More than the business, I want my children to keep the rice fields going. If no one takes care of it, the land will be left untended and abandoned,” he said.",[],{"_key":1388,"_type":47,"children":1389,"markDefs":1393,"style":55},"5f72a61e5f32",[1390],{"_key":1362,"_type":51,"marks":1391,"text":1392},[],"It felt like this came from Kobayashi-san’s intrinsic understanding of how things are bound together in Hasami. Nothing—even agriculture and nature—can exist on its own; it must be preserved communally.",[],[1395,1403,1411,1419,1427],{"_key":1396,"_type":47,"children":1397,"markDefs":1402,"style":55},"2bcdaff61cce",[1398],{"_key":1399,"_type":51,"marks":1400,"text":1401},"a4a932bbe9cf",[],"「こっち、こっち！ ほら、ふきのとう。揚げて、みんなで天ぷらにしましょう。」",[],{"_key":1404,"_type":47,"children":1405,"markDefs":1410,"style":55},"2a491dceb6f7",[1406],{"_key":1407,"_type":51,"marks":1408,"text":1409},"7ab703332aa6",[],"ハタナカさんの奥さんは、つぼみをつけた梅の木の下にしゃがみ込み、目を輝かせながら、私たちに笑いかけました。その後、使わなくなった窯を改造したオーブンでピザを焼いてくれました。話は次から次へと尽きることがありませんでした。",[],{"_key":1412,"_type":47,"children":1413,"markDefs":1418,"style":55},"8f7f7cbadb34",[1414],{"_key":1415,"_type":51,"marks":1416,"text":1417},"ca1e61d2517a",[],"波佐見は、そこに暮らす人々なしには成り立たない。そのことを実感した私たちの心に、小林さんと焼きものの家業の継承について話していたときの言葉が、深く響きました。",[],{"_key":1420,"_type":47,"children":1421,"markDefs":1426,"style":55},"d70443badf28",[1422],{"_key":1423,"_type":51,"marks":1424,"text":1425},"b86977e6381d",[],"「商売よりも、子どもたちには田んぼを続けてほしいんです。誰も手をかけなくなれば、土地は荒れて、放置されてしまいますから」と、彼は言いました。",[],{"_key":1428,"_type":47,"children":1429,"markDefs":1434,"style":55},"227cbffb8af0",[1430],{"_key":1431,"_type":51,"marks":1432,"text":1433},"5b8168b72194",[],"その言葉は、波佐見のあらゆるものがどう結びついているのかを、小林さんが身をもって理解しているからこそ出てきたように感じられました。農業も自然も、何一つ、それだけでは成り立ちません。皆で共に守り、受け継いでいかなければならないのです。",[],[1436,1440],{"_key":1437,"_type":215,"asset":1438},"946dc6ee9da1",{"_ref":1439,"_type":69},"image-db558d4c049990c4c008b0fcb5b3ed2d9a30eec9-1280x1280-jpg",{"_key":1441,"_type":215,"asset":1442},"5d9ee00abca1",{"_ref":1443,"_type":69},"image-a8fd67d100af4f33a03824c22ea4f52d7e338c61-1280x1280-jpg",{"_key":1445,"_type":168,"block1":1446,"block2":1511,"imageLayout":1544},"cb33381b4377",{"_type":170,"body":1447,"textColumns":210,"textPosition":211},{"en":1448,"ja":1478},[1449,1457,1464,1471],{"_key":1450,"_type":47,"children":1451,"markDefs":1456,"style":55},"2831987c74b5",[1452],{"_key":1453,"_type":51,"marks":1454,"text":1455},"3ef3e62d9511",[],"So, what does preservation mean for Hasami? The people of Hasami have given us some clues to reflect on. As Kobayashi-san said, perhaps preservation or inheritance isn’t necessarily about the technique itself, but rather about how to sustain and support the connection within the community.",[],{"_key":1458,"_type":47,"children":1459,"markDefs":1463,"style":55},"043cdbde3c3c",[1460],{"_key":1453,"_type":51,"marks":1461,"text":1462},[],"The old lady we met at Wazan, who hand-painted any defective ceramics before shipping, could easily let someone else do it. We were told by her son, who now runs the business, that she doesn’t have to keep working.",[],{"_key":1465,"_type":47,"children":1466,"markDefs":1470,"style":55},"9a6dd1396c8c",[1467],{"_key":1453,"_type":51,"marks":1468,"text":1469},[],"“But she seems to love being at her desk, working, so I don’t say much,” he told us with a smile.",[],{"_key":1472,"_type":47,"children":1473,"markDefs":1477,"style":55},"8e8db1aa97a0",[1474],{"_key":1453,"_type":51,"marks":1475,"text":1476},[],"In modern society, we tend to think that we live independently, making our own choices of our own accord. However, Hasami flipped that narrative for me. The old lady at Wazan, who still checks each ceramic with her own hands; Tateishi-san, who still makes stamp designs well into his 80s; and the women who work in the factories, sitting at their workstations hand-painting and attaching parts to unfinished ceramics for hours—they all keep doing the work because they know they are part of something much bigger: that we do not exist on our own.",[],[1479,1487,1495,1503],{"_key":1480,"_type":47,"children":1481,"markDefs":1486,"style":55},"567ba0311d58",[1482],{"_key":1483,"_type":51,"marks":1484,"text":1485},"a98cd74ac9e9",[],"では、波佐見にとって、守り継ぐとはどういうことなのでしょうか。波佐見の人々は、私たちに考えるための手がかりをくれました。小林さんの言葉にあったように、守ることや受け継ぐことは、必ずしも技術そのものだけではなく、地域の中のつながりをどう支え、持続させていくかということなのかもしれません。",[],{"_key":1488,"_type":47,"children":1489,"markDefs":1494,"style":55},"2fa4d0b9088b",[1490],{"_key":1491,"_type":51,"marks":1492,"text":1493},"b7c4aac74173",[],"和山で出会った、出荷前の器の不具合を手で塗り直していた年配の女性も、その仕事を誰かに任せることはできます。今、家業を営んでいる息子さんによれば、彼女はもう働き続ける必要はないのだそうです。",[],{"_key":1496,"_type":47,"children":1497,"markDefs":1502,"style":55},"89a34ae82dc9",[1498],{"_key":1499,"_type":51,"marks":1500,"text":1501},"2c7d09195c2e",[],"「でも、あの机に座って仕事をするのが好きみたいなので、あまり何も言わないんです」と、彼は笑顔で話してくれました。",[],{"_key":1504,"_type":47,"children":1505,"markDefs":1510,"style":55},"4b1a79d0c1ca",[1506],{"_key":1507,"_type":51,"marks":1508,"text":1509},"1d5ae0da45d3",[],"現代社会では、私たちは自立し、自分の意思で選択しながら生きていると考えがちです。けれど、波佐見での経験は、私のその見方を覆しました。今も自らの手で一つひとつの器を確かめる和山の女性。八十代になっても印の図案をつくり続けるタテイシさん。そして、工場の作業台に向かい、何時間もかけて器に手で絵を付け、部品を取り付ける女性たち。皆が仕事を続けているのは、自分がもっと大きな営みの一部であると知っているからです。私たちは、誰も一人きりでは成り立たないのです。",[],[1512,1516,1520,1524,1528,1532,1536,1540],{"_key":1513,"_type":215,"asset":1514},"62141d67fab1",{"_ref":1515,"_type":69},"image-4e5b42f71d2ced582bb56c7b563fc9e564475084-1280x1600-jpg",{"_key":1517,"_type":215,"asset":1518},"32130fed7b4e",{"_ref":1519,"_type":69},"image-9760d90bd2c9c8d43009b1cc1d48d5fc7069fbb4-1280x1600-jpg",{"_key":1521,"_type":215,"asset":1522},"00fb2273e702",{"_ref":1523,"_type":69},"image-8d1b8b63aa6d7d01a5b4c0c1361e58ef3b4f0239-1280x1600-jpg",{"_key":1525,"_type":215,"asset":1526},"2694d68a8de7",{"_ref":1527,"_type":69},"image-aba10a64f506d56a9ece51907b069a76435a4ff1-1280x1600-jpg",{"_key":1529,"_type":215,"asset":1530},"de012febae98",{"_ref":1531,"_type":69},"image-6cd151e44bb8254684e9bdf10f185ed1247d6d94-1280x1600-jpg",{"_key":1533,"_type":215,"asset":1534},"671c98ac75cc",{"_ref":1535,"_type":69},"image-09c949d768f79ba29859defbd903c58768b35291-1280x1600-jpg",{"_key":1537,"_type":215,"asset":1538},"ba77b30f218f",{"_ref":1539,"_type":69},"image-5514d3bd46a37f46dbe7427d089796a1a125c930-1280x1600-jpg",{"_key":1541,"_type":215,"asset":1542},"df1cb9887686",{"_ref":1543,"_type":69},"image-3c93671fac9244ef9938e9620ce2d7b196d607af-1280x1600-jpg","minimal",{"_key":1546,"_type":168,"block1":1547,"block2":1612,"imageLayout":55},"d2ff60621db6",{"_type":170,"body":1548,"textColumns":210,"textPosition":260},{"en":1549,"ja":1579},[1550,1558,1565,1572],{"_key":1551,"_type":47,"children":1552,"markDefs":1557,"style":55},"0595fad8f380",[1553],{"_key":1554,"_type":51,"marks":1555,"text":1556},"b10dd686cd45",[],"As far as the livelihood and the future of the industry in Hasami goes, it lives on by welcoming people from outside and reimagining a new life with the next generation. There was a young Japanese man we met at Tōbō Ao, a firing factory, who studied sculpture in Italy. He was looking for a place with access to a kiln in order to work on his own craft, and now lives in Hasami.",[],{"_key":1559,"_type":47,"children":1560,"markDefs":1564,"style":55},"f486bb2e5bc7",[1561],{"_key":1554,"_type":51,"marks":1562,"text":1563},[],"We also met an international couple at Studio Wani, run by Miriam, who is originally from Germany, and her husband, Kenichiro-san. And of course, during our stay in Hasami, we were also welcomed into the community as well.",[],{"_key":1566,"_type":47,"children":1567,"markDefs":1571,"style":55},"117ba64816ef",[1568],{"_key":1554,"_type":51,"marks":1569,"text":1570},[],"Funnily—or perhaps coincidentally—hasami in Japanese can also mean scissors. No one knows the true etymology of the town’s name, but it feels like an apt play on words.",[],{"_key":1573,"_type":47,"children":1574,"markDefs":1578,"style":55},"519ab68c328e",[1575],{"_key":1554,"_type":51,"marks":1576,"text":1577},[],"Scissors cannot cut unless both blades move together; in the same way, ceramic making in Hasami cannot exist unless every part of the system works as a team. Because Hasami operates as a dependent ecosystem, this is precisely why the town feels open and willing; new people and new relationships continue to be woven in, allowing Hasami to carry on into the future.",[],[1580,1588,1596,1604],{"_key":1581,"_type":47,"children":1582,"markDefs":1587,"style":55},"bddc346c5e46",[1583],{"_key":1584,"_type":51,"marks":1585,"text":1586},"603fe98eee71",[],"波佐見の暮らしと窯業の未来は、外から人を迎え入れ、次の世代と共に新たな生き方を思い描くことで、つながれていきます。焼成を手がける陶房アオでは、イタリアで彫刻を学んだ若い日本人男性に出会いました。自身の制作に取り組むため、窯を使える場所を探していた彼は、今では波佐見に暮らしています。",[],{"_key":1589,"_type":47,"children":1590,"markDefs":1595,"style":55},"f61f54e2099f",[1591],{"_key":1592,"_type":51,"marks":1593,"text":1594},"e0abbc9b50b5",[],"また、スタジオ・ワニでは、ドイツ出身のミリアムさんと、夫のケンイチロウさんという国際結婚の夫婦にも出会いました。そしてもちろん、滞在中の私たちも、このコミュニティに温かく迎え入れてもらいました。",[],{"_key":1597,"_type":47,"children":1598,"markDefs":1603,"style":55},"39dfe061332a",[1599],{"_key":1600,"_type":51,"marks":1601,"text":1602},"c454a86fb8be",[],"面白いことに、あるいは偶然にも、「はさみ」という響きは、道具の「鋏」にも通じます。町の名の本当の由来は誰にもわかりませんが、どこかしっくりくる言葉遊びに感じられます。",[],{"_key":1605,"_type":47,"children":1606,"markDefs":1611,"style":55},"2f949fe9fb1f",[1607],{"_key":1608,"_type":51,"marks":1609,"text":1610},"6e12491660c3",[],"鋏は、二枚の刃が連動して初めてものを切ることができます。同じように、波佐見の焼きものづくりも、仕組みのすべてが一つのチームとして働かなければ成り立ちません。互いに支え合う生態系として営まれているからこそ、この町は開かれ、新しいものを受け入れようとしているのでしょう。新たな人々や関係が織り込まれ続けることで、波佐見は未来へと歩みをつないでいくのです。",[],[1613,1617,1621],{"_key":1614,"_type":215,"asset":1615},"30b83c219b85",{"_ref":1616,"_type":69},"image-ae9f0986e0367b5b957029b313a8abdf126e818a-1280x1707-jpg",{"_key":1618,"_type":215,"asset":1619},"707f806acb4f",{"_ref":1620,"_type":69},"image-2fda177dd17f8841ba6d9189d25349ce6e62eefc-1920x1280-jpg",{"_key":1622,"_type":215,"asset":1623},"c6e883ac8af0",{"_ref":1624,"_type":69},"image-20774c31027cdfff8fcbe19010a9b6bed1230f0d-1280x853-jpg",[1626,1630,1634],{"_key":1627,"_type":129,"asset":1628},"7d5802ade19d",{"_ref":1629,"_type":69},"image-e279a86dbaa840734ed8307eee9017c91c01cc10-1280x1680-jpg",{"_key":1631,"_type":129,"asset":1632},"8a93664cd6ea",{"_ref":1633,"_type":69},"image-5641de49352ccea95f49be52e0fab2e5d3a38fad-1280x1707-jpg",{"_key":1635,"_type":129,"asset":1636},"9441fbd4f98b",{"_ref":1637,"_type":69},"image-3d268d95c095b54256937df1e638f99a3bd99e56-1920x1280-jpg",{"en":1639,"ja":1640},"Hasami","波佐見",1792615590857]