Tosa Seikō-sen

– High quality paper for the technique using Ink –

tosa seiko sen

Article No. g/m2 size(cm) Image
FO-TOS-001 40 g/m2 63 x 183 Fumiko Osaki_Tosa Seiko-sen_1068
* Material: 100% Mitsumata (Kōchi Pref.)

 

The History of Tosa washi goes back to the Heian period (from 794-1194) and its peak was during the Edo period (1603-1868).Iwado( Niyodogawa town) and some other villages in the Kōchi prefecture produced tesuki washi called „Seicho-shi 清帳紙”. The paper was strong and suitable for applying ink. That is the reason why it was very popular to be used for Daifuku cho (Edo period’s account books). 

In 1879, there were 235 workshops in this area for tesuki washi. But western papers came to the forefront, the amount of workshops were getting less and less… in the Taisho period (1912-1926) the number was around 50, and after World War II, around 20… then, now only one single workshop exists, which is run by the Osaki family.

For surviving from the hardship,there was a big effort of Frontier.

Around the end of 1960s, Calligrapher Etsudo Takeda (竹田悦堂1918-2004) traveled around in Japan to find paper for his calligraphy and he discovered „Seicho-shi清帳紙” made out of Kozo in the Kochi prefecture. He was fascinated this paper and said:

Not much elegance but very rustic paper.(優雅なところは少ないが、全く素朴な紙である)“

Etsudo and Shigeru Osaki, 2nd director of Osaki Seishi jo(尾崎製紙所) started to work together at the end of 1960s. Osaki tried to figure out what kind of paper exactly Etsudo needed. Around 1970, finally they created a big size paper which didn’t exist before for Seicho-shi and which was suitable for calligraphy .

After developing high quality paper for Calligraphy with Kozo, Osaki immediately started to create using the material Mitsumata which is grown and produced by the Osaki family. -This is the Seiko-sen(清光箋).

Since then the Osaki family offers a particular high quality paper for calligraphy (or any art technique using Ink) in Japan.

In contrast to paper made from Kozo or Gampi the slightly-brown colour is purposely kept. When the paper is placed on the handmade drying board, it is pressed against the board with a handmade straw broom. Another featuring aspect of this paper is this brush mark.

Keido Takeda, the son of Etsudo said

the paper is not cheap compare to other papers and I can not use it all the time. But once we use Osaki’s paper, we can easily find the difference…and feel that using ordinary paper is so boring.“

Master:
Fumiko Osaki