Antiques: Beauty Engendered by the Passage of Time

This chest of drawers, which practically fits in the palm of the hand, features gold inlay and delicate carving.

Intricate precision work
like this is no longer done.

That is what makes this such a
fine and intriguing piece of goldsmithery.

These cogwheels were once used in some sort of machine.

The rust tells us of the passing of time.

Among Kyotoites are numerous people who find such inorganic items irresistible.

I think they encapsulate the charm
of well-used items and the beauty of tools.

The beautiful craft object and the old tools that may resemble junk, though juxtaposed, have stood the test of time and live on in the present.

Each antique is one-of-a-kind.

Core Kyoto delves into the city's sense of beauty as seen by the dedicated experts who unearth value in artifacts for posterity.

Gion, Kyoto's largest entertainment district.

The area is prominent for its high concentration of traditional machiya style buildings.

To its north lies one of Japan's finest antique communities with some 70 stores selling paintings, crafts, and other antiques.

Established in 1983, this store's collection includes an array of ceramics, tea ceremony utensils, crafts, and hanging scrolls.

Both first-time visitors and tourists are drawn in by the 2,000 or more items on display at any one time.

Tachi Yoshitaka stocks only the finest objects that catch his eye.

The shelves boast an abundance of tea utensils characteristic of Kyoto, where tea culture flourished.

This wooden caddy for storing powdered green tea is embellished with makie, a decorative technique using lacquer and gold dust.

The lid depicts a bridge and drooping willow branches.

Thin mother-of-pearl inlay catches the light and sparkles.

This was made
about a century ago.

Creating a design on these rounded
areas is extremely difficult.

Modern artists make all
sorts of things.

But the craftsmen of old trained for
long periods before creating such pieces.

That is why the level of skill
is so different.

These handguards are popular as works of art.

Fitted between the sword blade and hilt to protect the hand, they became objects of elaborate design.

This guard features inlayed metal shrimp.

The goldwork captivates, but it is the craftsman's well-honed skill and artistic sense that shines equally in the base metal.

This is the most wonderful part for us,
that bumpy feeling on your hand.

This is a fish-roe pattern.
The dots are chiseled, one by one.

The pattern continues consistently,
even around the edge.

This is the power of
Japanese artistry.

When the samurai era ended in the late 1800s and sword prohibition was enforced, swordsmiths eased into the world of arts and crafts to eke out a living.

Their metalwork was used locally and shipped overseas, where it was greatly valued.

This tiny chest of drawers, crafted some 150 years ago, incorporates prized techniques that are now all but lost.

It is worth two million yen, or about 15,000 US dollars.

Tachi's merchandise, which dates approximately from the 17th through early 20th centuries, emerged along with the rise of the merchant class.

Gion Matsuri is one of Kyoto's most renowned annual festivals.

The floats are often referred to as "museums on wheels" and afford the festival its legendary pageantry.

They were funded by merchants who prospered from the manufacture of Nishijin textiles and other trades.

These wealthy merchants enjoyed luxurious everyday items and ordered custom-made objects from skilled craftsmen.

Many of the items in Tachi's shop are procured from storehouses belonging to old families who were active in various industries.

I think local merchants had great power
as peaceful times prevailed.

Remarkable artwork emerged as craftsmen
created unique items to be used in daily life.

Not all items were overtly ornate.

This appears to be a simple, black candy box, but the inside of the lid is decorated using the makie gold and lacquer technique.

Beauty in Kyoto, and in Japan,
lies in unseen places.

This expressiveness developed
within Kyoto's culture.

It's a graceful modesty,
unique to Japan.

Ceramics are a perennial favorite in the world of antiques.

Mamezara, or palm-sized dishes, are reasonably priced and beloved by novices.

This pottery shop displays antique mamezara of an assortment of shapes and colors.

Proprietor, Nakajima Kiyotsugu.

These tiny plates incorporate the
same skill used in larger dishes.

Where the clay was sourced
and glaze characteristics - all elements are expressed in
the details through various techniques.

This style of Imari ware from Kyushu features bright, intricate patterns.

Also from Kyushu, this Arita ware has scenes dyed in indigo on translucent backgrounds.

Minpei ware from Hyogo Prefecture was originally popular in the 19th century.

Recently, its simple designs and bright colors have gained the attention of young women.

I also have these.

Nakajima also handles mamezara produced in Kyoto.

This set of dishes, some 200 years old, depicts famous Kyoto sights.

They depict
the scenery of their day.

Some landscapes remain as they were,
while others have changed significantly.

These dishes also served as
souvenirs of Kyoto.

Nakajima's antique mamezara have many fans among Kyoto chefs.

Opened in 2016, this a la carte restaurant is in such demand obtaining a reservation is difficult.

The kitchen's shelf space is primarily filled with antique mamezara.

Chef Nakao Yuzo makes the rounds of antique shops and collects old dishes.

This is my favorite dish.
I like its splashy appeal.

This piece of Kyo ware from Kyoto
is extremely old, dating back centuries.

I like the texture - the matte feel -
and the design.

Nakao is taken by the deep richness which is lacking in modern tableware.

He finds the antique mamezara come in handy when serving small portions, be it an appetizer or a snack to accompany sake.

I favor dishes that spotlight the cuisine,
without being overbearing.

Kyoto has a history of markets being held at temples and shrines.

Shoppers find everything from foodstuffs to daily goods but most are especially fond of the antiques.

Toji was established shortly after the capital moved to Kyoto in the late 8th century.

It holds the Kobo Market on the 21st of each month.

The date commemorates the enshrinement of Kobo Daishi, the temple's chief priest who spread esoteric Buddhism.

The monthly market is believed to have originated with the ritual prayer gathering of his followers on the 21st of the month.

Befitting of the ancient capital, the innumerable antique stalls lining the aisles sell old kimono.

Kitano Tenmangu was founded in the mid-10th century to enshrine Sugawara no Michizane.

In his lifetime, he so excelled at poetry and calligraphy that he came to be worshipped as the deity of learning.

The Tenjin Market is held on the 25th to commemorate his birth on June 25th and death on February 25th.

The market has a festive atmosphere, with its booths offering antiques, handicrafts, and food items.

This building located in the textile neighborhood of Nishijin is a former textile factory renovated into an antique shop.

Hattori Motoaki and Asahi Hisae are partners in the business.

They aim to offer a kind of value which differs from that of the beautiful and refined items stocked by other antique stores, such as, this earthenware from more than 1,500 years ago, as well as utensils reflecting folk beliefs.

There is also a basket filled with ceramic fragments dating from the 16th to 17th centuries.

It takes many people by surprise,
but these are best-selling items.

People like touching something that is
four centuries old and still useful.

More individuals are enjoying
these fragments as they are, or as a dish
for a snack or a plant.

This fragment is early Imari ware,
the first porcelain made in Japan.

Created some 400 years ago, it shows a bird
in flight. People find joy just looking at this.

Many items in Hattori's collection are reminders of changes which occur with the passage of time.

This wooden carving of Daikokuten, a deity of wealth, is missing part of its face.

People believed ailments could be cured
by infusing medicine with Daikokuten's nose.

Perhaps it was effective. The deity's nose was
repeatedly shaved and has changed shape.

The intriguing thing about antiques is
things take on new forms and appeal.

Hattori recommends the joys of repairing objects which have deteriorated over time.

This item clearly shows restoration efforts.

The broken bowl was repaired using kintsugi, or golden joinery.

The fragments are lacquered together to reconstruct the original.

The seams are then decorated with gold powder.

Kintsugi is said to have become prevalent with the rise of tea culture over 400 years ago.

This distinct technique highlights cracks and chips, integrating them into the design.

We can revive dishes which were so damaged
that they were no longer useful.

Each crack and chip gains appeal
and becomes the new focus of interest.

Hattori has tried his hand at restoration using an idea which surpasses kintsugi with its boldness.

He originally only had the right half of this bowl dating back 400 years.

The missing half was created using lacquer and natural materials to complete the tea bowl.

Fragments are fascinating as they are,
but I wanted to use this bowl again.

Usually, I join two like fragments together,
but I couldn't find a perfect fit for this, so I created the missing half
from scratch.

It would be amazing if this
four-century-old fragment - could survive another four centuries,
or even beyond, with these repairs.

Reflecting on the journey undertaken by such items - how their shapes and colors have altered over centuries - is a pleasure unto itself.

Kyoto's shops do not limit themselves to traditional Japanese items.

In this store, you will find folk art from around the world...

lighting fixtures...

and even cogwheels.

In French, this is brocante, or things
exuding an aura of long use.

In Japanese we might call them
"old tools." That's what we handle.

Koizumi Setsu has loved collecting old things since he was a child.

He exhibits old tools that still seem to be of some use, along with components manifesting no clear purpose.

I was born in 1971, just when
lifestyles began to change.

Mass production and consumption
began to take off in the 70s.

But in the years prior to that, much time
was invested in making individual items, both in terms of materials
and craftsmanship.

We sell items that were made
when things were produced with care.

These curios exude a warm,
rich aura, even as they age.

Koizumi offers two examples of how brocante can been used in interior decor.

I combine colors and shapes,
much like in flower arranging.

On top of this rusted block, place this letter
from a sign made in Denmark, then add a wooden box
from France.

He now adds a leather-bound weight and a rusted cogwheel.

Koizumi incorporates different textures such as ceramic and glass, finishing with a pocket watch as an accent.

Only imagination is needed to create such objets d'art.

This is an old lantern.
Brocante pairs beautifully with plants.

Just place a flower inside.

Koizumi recommends beginners pair items in a simple way to achieve a stylish interior touch.

He also carries old tools and curios which attest to the skills of Kyoto's craftsmen.

This bowl was used by lacquer artisans as a container for lacquer.

Years' worth of work has left a unique pattern of layered red and black.

The blending is interesting
for its lack of artifice.

This bumpy, muddy texture has
a unique beauty, a special curiosity.

This handmade stool is something seen
everywhere 40 or 50 years ago.

Farmers sat on it as they worked.
They're made with braided straw.

They're rare as nobody
makes them anymore.

Wooden furniture, such as these carefully crafted, antique drawers, sold well during the pandemic.

People are working more from home now
with increasing time spent at their desk.

I sense that more individuals are opting
to use tasteful, quality items like these.

This customer is delighted by the wooden bookcase and low table she purchased.

A lot of furniture is made from
laminated wood or plywood these days, so I find items luxuriously made
with a single thick board attractive.

And solid natural wood has an allure which
enhances as it ages and draws me to it.

Living a thoughtful lifestyle involves
taking care of the things around you.

Rather than immediately discarding
things we no longer use, we're developing a culture of using
things carefully and preserving them.

The Kyoto Heian Antique Market held monthly at Okazaki Park lures many antique lovers.

A latecomer to the scene, the Heian market was launched in 2019 and features over 100 stalls and a wealth of items drawing visitors of all ages.

7 am, and Koizumi is at the market.

He times his arrival for when stalls are setting up for the day in order to find the best possible items.

Like Koizumi, many professional antique dealers come early to procure items for their own shops.

- 3,000 yen.
- I'll take it.

An enameled container
and cute baskets.

I like things you can use
or store things in.

Koizumi makes a point of visiting booths run by younger sellers, because today's younger crowd finds value in things others would not normally recognize as antiques.

This booth sells old paintings by hobbyists and items which could have been made in a pottery class.

He chooses items overlooked as antiques
and presents them in a way that displays the interesting things
amateurs make, and they sell well.

- Amateur creations are not about money.
- There's no ulterior motive, like business.

- There's freedom in their color and shape.
- They're truly innocent.

That's what makes them interesting.

Koizumi stops by to talk to another shopkeeper acquaintance.

That black item?

This was a tire tube melted down
and perhaps shaped.

- By somebody...
- But it won't sell.

That's unusual.

The neck angle can be adjusted,
and here's the lamp switch.

I worry whether he can
survive by selling things like this.

But he has a different perspective
and has things I would never buy.

Old things are always
being updated.

These sellers are communicating
the appeal of old items to their generation.

They're carrying on the tradition.

Living in Kyoto means being exposed to old things.

The younger generations are writing the next chapter in the history of the local antique community.

Kyoto is home to many shops
offering old tools, curios and antiques.

That draws young people,
who in turn create new antiques.

They are producing
a new antique movement.

Fascinating things continue
to happen here in Kyoto.

Kyoto, where beautiful objects are created imbued with a refined aesthetic sense.

Time-honored antiques tug at the heartstrings of their new owners...

...who, in turn, respect them and use them with care, so they can be passed on, as is part of the Kyoto tradition.