Mizuhiki: Knots of Connection
Most foreigners see Mizuhiki — the Japanese art of knot-tying — merely as a form of decoration. But for the Japanese, Mizuhiki is seen as a formal and meaningful gesture, and they feel a sense of gratitude when receiving gifts adorned with Mizuhiki.
Sense of Wander: ★★★★☆
This exquisite golden crane stands as a testament to the artistry showcased at the shop “Hiraoka Yuinou-ho” in Kanazawa, where a myriad of Mizuhiki masterpieces are on display.
KANAZAWA, Japan — Kanazawa, a city steeped in time-honoured traditions, serves as a guardian of the enduring legacy of Kaga culture. Its centuries-old tapestry of arts and culture, intricately woven into the city’s museums, galleries, historic monuments, shops, and artisan’s studios, contributes to the vibrant mosaic of Japanese heritage. Amid the diverse array of crafts flourishing in Kanazawa, Mizuhiki stands out as a distinguished artisanal expression.
While exploring the rich cultural fabric of Japan, particularly within stationery stores and gift shops, I found myself inevitably captivated by the sophistication of envelopes and gift wrappings. Adorned with strings of gold, silver, red, and white, these intricate knots, showcasing motifs from delicate flower blossoms to elaborate creatures like cranes and tortoises, bear profound symbolism. Collectively known as Mizuhiki, the name is derived from the intricate process that brings these knots to life.
Mizuhiki, at its core, embodies resilient paper cords crafted by twisting thin strips of paper. To ensure both durability and a lustrous sheen, these paper strands undergo a stiffening process, using glue made from seaweed and white clay, which dissolves upon contact with water. The term "Mizu," signifying water, combined with "hiku," meaning to apply, succinctly captures this transformative process. These paper strands are often adorned with coloured silk threads or metallic foil, resulting in a seamless blend of traditional craftsmanship and aesthetic finesse. Today, the term Mizuhiki collectively refers to knot works fashioned from this distinctive material.
A wide selection of shugi-bukuro, a special envelope used in Japan to gift money during celebrations, is presented at At Tsuda Mizuhiki Orikata. Each envelope is elegantly adorned with Mizuhiki, adding a touch of artistry to the gift-giving tradition.
Mizuhiki: A Brief History
How is Mizuhiki connected to the ancient Japanese practice of knot-tying? As we explore the evolution of this art form, one can’t help but wonder: When and where did Mizuhiki take its current form? What profound symbolic meanings does it convey, bridging social and cultural significance both in the past and present?
There have been various assumptions regarding the origin of Mizuhiki. Some suggest its ties to Nichi-Min boeki, or “Japan-Ming Trade,” the tributary exchange between Japan and China between the 15th and the mid-16th century, involving the use of white and red ropes to secure goods. However, these were robust hemp ropes, not paper, intended to prevent the contents from falling out.
A more plausible origin dates back to the Asuka period (592-710), potentially linked to the Kenzuishi, Japanese tributary envoys sent to the Sui rulers in China during Empress Suiko’s reign (593-628). Upon their return, the envoys presented offerings tied with red and white strings, symbolising prayers for a safe voyage. This art, believed by many, eventually spread among ordinary people. Yet, it’s important to note that once again, these strings were crafted from hemp, not paper.
While the Japanese art of Mizuhiki may have drawn inspiration from ancient Chinese knots, which were primarily associated with clothing, adornments, and object decorations, the distinct forms that these two artistic traditions have evolved into lead me to believe in their unique origins. But it’s plausible that these traditions may have crossed paths at some point.
In her recent publication, Chie Nagaura, a Mizuhiki culture researcher, designer, and prolific author on the subject, posits that the origin of Mizuhiki predates even the era of Kenzuishi.
According to Nagaura, Mizuhiki’s roots extend back to Shinto rituals, where hemp and cotton threads — a symbol of holiness since ancient times — were initially used as offerings to the gods. Among the earliest recorded gifts presented to the goddess Amaterasu, the Sun Goddess, were “threads of hemp and cotton.” Over time, cotton threads gave way to paper. In a captivating continuity, contemporary divine talismans, known as “shinsatsu” or “ofuda” in Japanese, distributed by shrines or temples, are now wrapped in paper and tied with hemp strings or Mizuhiki.
Let’s not forget that paper — a material utiquitous in our everyday lives now — held significant value in the past. During the Heian period (794-1185), paper gained popularity among aristocrats, serving as a writing material for copying sutras and official documents. Due to its rarity, paper eventually replaced cotton in Shinto rituals. In a world where paper was not as abundant as it is today, Mizuhiki became intertwined with the acts of sealing and warding off evil spirits in religious contexts.
According to Yoshikawa Kobunkan (National History Dictionary), the tradition of presenting offerings to the gods transformed into the custom of giving gifts to people. At first, these items were wrapped in cloth and secured with linen, but over time, linen gave way to paper strands.
This 3-piece set of betrothal gift, including a crane (alcohol gift), a turtle (snack gift), makes it a perfect addition to handmade wedding ceremony. Image courtesy of Hiraoki Yuinou-ho.
During the Muromachi period (1336-1573), with the rise of the Samurai, the practice of wrapping gift items in plain paper and fastening them with Mizuhiki gained popularity. Red and white dyed paper strands became established for binding gifts, coupled with the “origata” etiquette — wrapping gifts with handmade paper without using scissors, tape, or glue. This tradition originated among upper-class Samurai families and eventually spread to commoners by the end of the Edo period (1603-1868).
With roots dating back to ancient Japan, Mizuhiki has evolved to become closely associated with the delicate craft of wrapping. In the latter part of the 20th century, there was a rising demand for Mizuhiki, especially in the context of betrothals, weddings, and gift exchanges. Today, these meticulously crafted knots grace envelopes, known as kinpu, exchanged as heartfelt gifts during occasions such as births, weddings, funerals, and the New Year.
What is “Kaga Mizuhiki”?
In Kanazawa, Mizuhiki works of art manifest in vivid forms of plum blossoms, bamboo, pines, as well as cranes and tortoises symbolising longevity. These three-dimensional models, known as “Mizuhiki-zaiku,” represents the Kaga-style Mizuhiki, which didn’t come into existence until the early 20th century.
Around 1915, Soukichi Tsuda, founder of Tsuda Mizuhiki Orikata, ventured into the business of “Yuino,” a Japanese traditional engagement ceremony where both families exchange gifts. In importing the two-dimensional model of “Mizuhiki-orikata,” Tsuda dedicated himself to the study and devised a way to create three-dimensional Mizuhiki without creating any folds. This innovation was essential to preserving the elegant taste of this applied art, giving rise to what we now refer to as Kaga Mizuhiki.
Today, the influence of Kaga Mizuhiki reaches far and wide. It not only graces the establishment of Tsuda Mizuhiki Orikata (津田水引折型) — now run by the fifth generation — but also adorns engagement decorations (yuino-kazari) and decorated kinpu throughout Kanazawa. These creations are all inspired by the distinctive style conceived by Soukichi Tsuda.
A samurai figurine adorned in armor, serving as a doll piece for Boy's Festival and Children's Day, vividly exemplifies the essence of Kaga Mizuhiki, a three-dimensional style conceived by Soukichi Tsuda. Image courtesy of Tsuda Mizuhiki Orikata.
A meticulously crafted tortoise, adorned with strands of gold and green, exudes elegance as it rests on a shelf inside the shop “Hiraoka Yuinou-ho” in Kanazawa.
Unleash Creativity with Mizuhiki
During my time in Kanazawa, I took advantage of the chance to join a Mizuhiki workshop at Hiraoka Yuinou-ho (平岡結納舗), situated not far from the renowned Omicho Market. It was during this workshop that I crafted my very first Mizuhiki brooch.
To my surprise, the art of Mizuhiki is not as challenging as it may seem, perhaps due in part to my formal training on the jeweller's bench for over three years and my experience with Chinese knots.
Colours
The workshop began with the selection of Mizuhiki strings. My task was to choose three colours from a diverse array of paper strings.
It's important to note that the colour of these paper strings often holds significance and may be selected based on the occasion. Red, white, and gold are commonly used for auspicious events, while black and white are reserved for expressing condolences or during unfortunate circumstances. In situations of illness or disaster, where the giver wishes to convey sympathy, a combination of red and white — or no Mizuhiki at all — may be employed. However, these guidelines are general rules and may vary based on cultural or religious considerations.
Setting aside meanings and symbolisms, I opted for a combination of red, orange, and gold, echoing the hues of maple leaves during the autumn season.
Strings
The Mizuhiki strings provided for my work were of exceptional quality, boasting a core made of washi paper covered in silk threads. This type of string offers a distinct advantage — especially for first-timers who require ample time for cord adjustment, the strings maintain their original condition and hardly show any creases on the surface.
This is very different from the strings I bought for practice, some of which are wrapped in polypropylene; these tend to distort easily and develop creases on the surface when bent, hindering the creation of elegantly curved loops.
In Mizuhiki, the awaji misubi (left) is a basic knot that can be transformed into various creations — such as the ume-musubi (right), also known as “plum blossom” knot — depending on the size of the loops, number of strings and knots.
Knots
The knots created in Mizuhiki are referred to as “Musubi”. It begins with the fundamental “awaji misubi” knot — a versatile base that can morph into various creations depending on factors like loop size and string count.
Addition twists of the strings could turn an “awaji misubi” into “ume-musubi,” also known as the “plum blossom” knot. Using pink thread reminiscent of plum blossoms, I adorned the base of my brooch with “ume-musubi,” bringing more volume and depth to the piece.
Before finalising the design, I incorporated some seed pearls on top, completing the brooch in about 30-40 minutes! Of course, this wouldn’t have been possible without the guidance of Shinko Hiraoka, who currently leads the shop.
By combining the awaji misubi and ume-musubi knots, this beautiful brooch was born.
As someone who has explored various types of handcrafts and is familiar with working with hands, I didn’t find Mizuhiki difficult. Knowing that everything starts with the basic knot also implies that once the fundamentals are mastered, countless possibilities can emerge.
After the workshop, I had a chat with Shinko, who shared with me that the driving force behind the shop is her 90-year-old mother-in-law, the creative mind behind most the items on display. It was astonishing to discover that their shop has served over 8,000 families in Kanazawa, predominantly for engagement gifts.
Mizuhiki as Knots of Connection
In Japan, traditional engagement gifts serve as a means to foster understanding between the families of the bridegroom and the bride. Each gift carries a symbolic meaning, and the meticulous presentation reflects the giver’s respect for the recipient. While the value of money remains unchanged regardless of the wrapping, the act of wrapping it with beautiful paper is a sincere expression of congratulations.
Most foreigners see Mizuhiki — the Japanese art of knot-tying — merely as a form of decoration. But for the Japanese, Mizuhiki is appreciated as a formal and meaningful gesture, and they feel a sense of gratitude when receiving gifts adorned with Mizuhiki. .
This deep sense of respect and gratitude is, in part, attributed to the fact that, even in this age of efficiency, Mizuhiki knots resist mechanisation and require the touch of skilled hands. Beyond their various associations, different knots — or musubi — signify more than just the act of knotting strings; they represent the connection of people to people, heart to heart
That said, the next time you find yourself seeking creative gift-wrapping ideas, consider trying your hand at Mizuhiki. With just the basics, you can infuse your gift with heartfelt sentiments for your significant other, a friend, or even a family member, conveying the message that you care.
In Kanazawa, the time-honoured tradition of Mizuhiki seamlessly intertwines with contemporary expression. Here, a bouquet of flowers is meticulously crafted using the art of Mizuhiki. Image courtesy of Tsuda Mizuhiki Orikata.
Tips for wanderer — where you can learn or buy Mizuhiki in Kanazawa:
Hiraoka Yuinou-ho 平岡結納舗
10-11 Oyamamachi, Kanazawa, Ishikawa 920-0918, JapanTsuda Mizuhiki Orikata 津田水引折型
1 Chome-1-36 Nomachi, Kanazawa, Ishikawa 921-8031, Japan
Kanazawa Crafts Hirosaka
1-2-25 Hirosaka, Kanazawa, Ishikawa 920-0962, Japan
Reference:
Nagaura, Chie. (2022). Nihon mizuhiki: Musubu, inoru, okuru, Nihon no katachi [Japanese Mizuhiki: Tying, praying, giving, the form of Japan] Seibundo-shinkosha Publishing Co.