Understand/Experience/Buy
Wood is assembled, lacquer is applied, and decorative metal fittings are made.There are now only a few craftsmen who can perform all three techniques of Echizen tansu.One of them is Norikazu Oyanagi, the fourth generation owner of Oyanagi Tansu.
Oyanagi Tansu was founded in 1907. The first generation of Oyanagi Tansu specialized in *Sashimono for *Dannashu, the second generation in paulownia chests for brides, and the third generation in fittings and furniture.
"Each of them is making products that are in line with the times, but they all have one thing in common: they all want to ‘Custom made’.We are consistent in the way we put our souls into it for the sake of the user,” says Mr.Oyanagi.
Mr. Oyanagi aims to be creative in his craftsmanship while maintaining traditional techniques, and his work ranges from wooden goods to furniture.At the root of this is the spirit of "Shu ha ri," which expresses the idea of evolution in the arts, there is a pursuit of unconventionality: how to innovate the molds that are the crystallization of our predecessors' technology.
This is also shown in the relationship with the user.
Mr. Oyanagi has a new theme of "co-creation" for his own manufacturing.Instead of the traditional style of ordering from a craftsman and waiting for completion, we propose a style in which the customer visits the production area, selects the wood, and participates in the actual work.They want to form a story in which the creation of memories creates family bonds and chests are passed on as treasures.
"There are traces of mischief left behind by children, but over time, the tansu becomes more and more tasteful, and people would say, 'That's my great-grandfather's chest.'.While imagining such a story, I want to do my best to do what I can for users," he said.
The exquisite craftsmanship of Echizen Tansu and the metal fittings that represent good omens were born from the desire to protect houses and people, and have been refined and improved.“A chest is not just a box for storing things,” said Mr. Oyanagi, as if he were expressing the thoughts of his predecessors who continued to make chests in this area.
“I want you to think about the future in what you build new.That's why we are always thinking about how long we can keep the vector of time.”
The way of manufacturing that values the stories that connect users and chests will deepen the relationship between people, including craftsmen, production areas, and bearers, and will weave new connections.
Text / Kumie Satou
