58 Australian Wood Review
WOODTURNING
and scrapers. The hook tools cut with
wonderful efficiency (photo 3), and
the scrapers are a delight to watch
(photo 4).
Japanese turning does look unusual to
those trained in the Western tradition
(photo 5). For example, the tools
extend very far over the tool rest and the
movable rest looks insecure compared
to our locked-down device. But the
speed and efficiency of Japanese turners
can’t be denied and, after all, they find
our techniques just as strange.
Turned wares are marketed in many
places. There are small galleries in
turning regions where a range of
souvenirs are sold, from chopsticks
to platters, and most department
stores have a crafts department where
lacquerware is sold. While the majority
of turners work traditionally, when
turners achieve enough status they
might produce showcase pieces for sale
to turning connoisseurs (photo 6).
There are also specialist galleries
where high-end turning is available
and Kihachi Gallery in the town of
Kanazawa is one example (photo 7).
The owner, Yoshiteru Suya, was born
into a woodturning family, but didn’t
want to be a turner, so he decided to
sell quality woodturning. He says that
there is increasing interest in turned
wood covered in clear lacquer that
shows the grain, which he called kijibiki.
Yoshiteru sells a little work abroad,
but says that it is difficult because if
he pushes his individual marketing
too much he will be cut out of the
local network. In some ways the
traditions that keep Japanese turning
alive can stifle creative development.
While the strength of tradition
explains the survival of turning in
Japan, it is also one of the reasons for
its decline because most young people
don’t want to undertake a lengthy
apprenticeship and the population
of turners is aging.
In response, the Yamanaka Training
Centre was opened in 1997. They
offer one-year basic and two-year
- The hook tool slices very
cleanly. Turners constantly
sharpen with a quick flick
on a whetstone. - The Japanese scraper is a
very simple tool used with
remarkable efficiency. - Revered master Torao
Nakajima proudly holds a
one-off platter that could
be used, if you would dare. - Mr Suya in his gallery.
- Eiko Tanaka turning in her
coffee shop. - A nest of Eiko’s bowls that
both defy tradition and
yet depend heavily on it.
She believes her work has
more feminine qualities
than traditional work.
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