【所属・肩書 Affiliation & title/role】
関岡木版画工房　Sekioka Woodblock Print Studio

【専門分野・制作／研究領域 Area of practice/research focus】
千社札の企画・製作、江戸・明治期の古版木の調査・復刻、木版文化の普及・継承

Planning and production of senjafuda (name slips), research and reproduction of Edo and Meiji period woodblocks, and the preservation and promotion of woodblock print culture

【自己紹介文 Short bio】
1990年生まれ。大学卒業後に一般企業へ就職したのち、24歳から母方の家業であった日本橋石町松村系という摺師の系統を受け継ぐ川嶋秀勝に師事。現在、職人として11年目。工房では伝統的な材料とやり方を大切にし、主に千社札に関する企画・製作を行う。江戸・明治時代の古版木調査や復刻、ワークショップなどを通して木版文化の普及・継承にも努めている。

Born in 1990. After graduating from university and working in the private sector, I began training at the age of 24 under Hidekatsu Kawashima, a surishi (printer) from the Nihonbashi Kokucho Matsumura lineage, which my mother's family had long been part of. I am now in my eleventh year as a professional craftsman.

At our studio, we value traditional materials and methods, focusing primarily on the planning and production of senshafuda. Through research and reproduction of Edo- and Meiji-era woodblocks, as well as workshops and educational activities, I am committed to preserving and passing on Japan's woodblock print culture.

【参加にあたっての抱負 Aims for taking part 】
木版画にとって和紙は1番大事と言って過言ではありませんが、現在は材料、後継者不足などの理由により上質の和紙が手に入りづらくなっています。今回の研修は和紙の現場を訪れそれぞれ産地の特性や課題を認識し、木版画にとって良い紙を残すためにできる事は何かを考えていきたい。そして和紙生産者、木版画に携わる人々がお互いに協力できる体制の構築を模索したい。

Washi is arguably the most important element in woodblock printing. However, in recent years, high-quality paper has become increasingly difficult to obtain due to material shortages and a declining number of papermakers. Through this training program, I hope to visit papermaking sites, learn about the unique characteristics and challenges of each region, and explore ways to help sustain the production of quality paper for woodblock printing. I also aim to build stronger networks of cooperation between papermakers and those engaged in the woodblock print tradition.