Introduction
Daisaku Maeda, a fourth-generation wood artisan from Matsumoto, has dedicated his life to the craft of luxury woodworking with a focus on coniferous trees. Born in Kamakura and having spent the past 40 years in Matsumoto, Maeda has not only inherited a rich legacy but has also embraced a proactive approach to preserving and innovating traditional Japanese techniques. His work beautifully marries tradition with modernity, ensuring that the art of conifer processing continues to thrive in contemporary lifestyles.
Interview
Career
Untold Japan: Can you tell us a bit about yourself and your background as an artisan?
Daisaku Maeda: I was born in Kamakura. Moved to Matsumoto with my father when he established his studio there. Since then, I have lived in Matsumoto for 40 years.
UJ: What inspired you to pursue this craft, and how did you get started?
Maeda: For the past 120 years, I have been continuing a legacy as the fourth generation. Initially, the approach was somewhat passive, driven by the belief that "if we do not take over this technology, it will disappear." However, about five years ago, I came to realize the true needs of Japanese technology today. With this realization, the desire to carry on this legacy has grown more proactive. Our unique expertise lies in the luxury processing of softwood, known as conifers, a technique exclusive to Japan.
In the midst of a global movement towards utilizing sustainable timber, such as coniferous trees that can be harvested for timber within 30 years, I feel compelled to further promote the technology I possess. While conifers are commonly used for mass production by machinery abroad, the concept of elevating them to luxury status is absent.
In Japan, we have a tradition of transforming conifers into luxury materials, as seen in historical structures like Horyu-ji Temple. Craftsmen who work with wood have also been involved in reforestation for centuries. Historical records even show instances of reforestation efforts dating back hundreds of years, and when we use wood from these forests, we feel a connection to those who planted them long ago. Therefore, I too engage in reforestation for the sake of the future. Conifers, which form a forest in just 30 years, are preferable to those that take 200 years to grow into a forest after reforestation.
UJ: Are there any particular cultural or personal influences that shape your work?
Maeda: Through my interactions with people from other countries and travels abroad, I became aware of Japan's unique ability to process conifers into luxury goods. Until then, it was taken for granted, and I hadn't noticed it. Utilizing traditional techniques, I create products that fit into contemporary lifestyles. Also, I am a sashimono craftsman, and the good thing about that is that I can combine different materials. Whether it's replacing the wooden drawer handles with copper or blending hard and soft woods, it's a technique unique to my craft. We are exploring the potential of processing coniferous trees. For instance, chairs, originally Western products, are beyond the expertise of Western craftsmen. What if we utilize coniferous wood for chair production? This is something only Japanese craftsmen can achieve. I want people to perceive coniferous chairs as "Japanese chairs".
As we delve deeper into the artistic process, Maeda explains the unique methods and traditional techniques he employs, blending them with modern technology to create his masterpieces.
Artistic Process
UJ: What specific techniques do you use in your craft, and what makes them unique?
Maeda: Traditionally, artisans have often crafted objects by mimicking the forms found in nature. For instance, the technique of replicating the curve of a clamshell is one of Japan's traditional methods. While we continue to uphold these traditional techniques, we also integrate various modern technologies into our production processes. In the past, when there were many craftsmen, each specialized in their own field, and one could focus solely on their expertise. It has become necessary, however, to diversify skills due to the declining number of craftsmen.
This includes tool craftsmen, such as those who produce planes. The production of a plane, a tool used for shaving wood, requires skilled craftsmen to make the blade and the base.
However, such craftsmen have become scarce. The disappearance of tool craftsmen is a potential scenario in the near future. Currently, we are even making our own plane bases from wood. As lifestyles evolve, so do materials and the skills to utilize them. However, the essence of culture remains unchanged.
UJ: How do you decide on the materials you use, and what role do they play in your creations?
Maeda: We have started using larch wood more frequently. This decision was heavily influenced by the fact that my grandfather planted larch trees around the current studio location. It was his suggestion, asking, "Why not use the larch trees we planted?" Larch wood is difficult to process, but it holds value due to the sentiment of the planter. Nowadays, we prioritize purchasing wood from nearby sources whenever possible. Furthermore, we actively utilize waste materials. Upcycling has become prevalent in the fashion and food industries, and it's also achievable in the realm of woodworking.
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