Applying my experience, architectural design to my career as a transcriptionist
Tomonobu Inazaki, the master of Kyoushindo Inazaki, before starting working as a kyoshi craftsman, he was involved in architectural design. “I went to an architectural design school and worked at the design office for about three or four years and during this time, I also got my architect's license."
After working in architectural design, he returned to the family business, which he had been helping out since he was a student. “We also do interior related works as well, so now I can do interior design, which broadened the scope of my current work. Also, this kind of work needs imagination, so I think my imagination was nurtured through architectural design.”
What are the difficulties in work? Inazakisan says it's everything. “We are dealing with irreplaceable items, such as paintings of old artists. If we make a mistake, the work will never appear in the world again, so the job does not allow any mistakes. We have to work very carefully.”
“The glue used for the Hyogu is moisture. It weakens the paper when moisture is applied. The paper is very difficult to handle when it is moisturized. You need to practice about 10 years before you can touch the real work.”
Creating a Hyogu requires a variety of tools and techniques, and requires years of experience and patience. “There is no perfection in this technique, so I'm always in training. It's a never-ending practice, as the materials and objects are constantly changing." His journey as a Hyogu craftsman may have just begun.
