Tokyo Explorer

Naohiro Kurihara, owner of the renowned antiques shop, Fuji-Torii on Tokyo’s fashionable Omotesando is a man for whom the future of the past is a lifelong passion; a passion that he hopes will see him ensure today’s antiques remain appreciated for many generations to come.

In managing the longest running shop on the street so often compared to Paris’ Champs D’Elysees, Mr. Kurihara recalls fondly the days Washington Heights residents; primarily of officer and senior non-commissioned officer rank in the US military stationed in Japan during the 1945-52 Occupation formed the backbone of his family’s customers at the time.

One afternoon at the height of the Japanese summer, Mr. Kurihara (NK) sat down with TE’s Ed, Mark Buckton (TE) to share a few thoughts on the world of antiques in modern Japan.

TE: Mr. Kurihara, please tell us how Fuji-Torii ended up here on Omotesando in Harajuku.

NK: Well, my father had a store in Ginza. Before that, my grandfather had a store in Asakusa. We moved here in 1949 (showing image of the shop as it once stood).

TE: Why the word Brass on the side of the store at the time?

NK: At the time, brass candle stands and brass lamp stands were very popular with the foreigners here at that time so we carried many nice brass items.

TE: What was your grandfather selling back in Asakusa?

NK: Antiques, we are originally an antiques dealer. Also, the Ginza store sold antiques?

TE: Why did you move (from Ginza) to Omotesando?

NK: We had many nice customers based in Washington Heights, the old base dorms. Washington Heights was a place where the officers and SNCOs were based, no the GIs.

TE: How did you get into the family business yourself?

NK: The shop opened in 1949, but I was born in 1956. At first, the mentality was that sons would be sent to another store, so for a while I was sent to work in a store in Kyoto. The store belonged to a friend of my mother and it enabled me to study the antique business.

TE: What do you think your father would think of the business as it stands here today? Is it the same as in his own day?

NK: Yes it is. After World War II ended, many foreign people asked for specific items. My father saw an opening and so was able to help the customers. He also produced some specially made items (for those customers).

TE: Similar to the decorated glasses you started producing a couple of years ago? (pic?)

NK: Yes, many foreign misunderstand the world of antiques. It is not all about buying and displaying items. The antique business is about maintaining pieces so we can send those pieces to the future. So we can maintain them. I only sell to the customers who can enjoy (the piece in question) and also ensure that the pieces will be passed onto future generations.

TE: That’s an interesting comment. Can I ask what you think about the Japanese paper tycoon who, around 15-20 years ago purchased some famous multi-million dollar paintings and later expressed his intent to have them cremated along with his own body when he died? *

NK: I was very angry. It was crazy. He did not understand art. He just thought art equaled money. I have to tell you, Japanese antiques can generally fall into two different categories. One type is made for presentation. They are not intended for daily use. Of course they could be used for a short while but generally are only displayed on special occasions. At all other times they are kept in a storage house, only used or displayed for those special events. The other type (of antique) is made for daily use.

TE: What constitutes an ‘antique’ in your opinion? In the Japanese mind, how old does something have to be to be called an antique?

NK: One hundred years old. That’s an antique. It’s the same outside Japan too, but usually, I think the word antique refers more to something that is not for daily use so age is not that important.

TE: How has this area (Omotesando) changed in your lifetime? Omotesando really conjures up images of brand goods for young Japanese today.

NK: Everybody has gone now. (Fuji-Torii) is the oldest shop on this street. Also, we are the only store on Omotesando dealing in Japanese hand made goods.

TE: Have you had any famous customers?

NK: Mr. Koizumi, the former Prime Minister once bought one of our screens prior to going to Chile. The screen was to act as a gift from the Japanese nation to Chile. I remember the Foreign Ministry official sent here to buy the screen mentioned a lack of fear when purchasing an item because he knew we only deal in real Japanese goods made here in Japan. We also had Johnny Depp come in, he bought antique lacquer ware.

TE: In terms of nationality, what kind of make-up does your customer base have?

NK: We are about half and half – Japanese and foreign.

TE: What nationalities stand out in the foreign customers?

NK: We have a lot of English, American and Europeans coming in, in part as we serve as an official supplier to foreign embassies. I also have a good connection with the British School in Tokyo and several years ago the children from the school came here to see the Japanese pieces we stock. At the time we had two swords on display, but swords are not items made for killing (I taught them). Those owning swords had to train every day, and the most important thing they had to consider was just how to refrain from drawing their sword. That was the business of the samurai.

TE: Do you have some customers coming in from overseas?

NK: Yes, we do. Many are foreign residents living in Japan like yourself but some come in from overseas.

TE:  Do you have many customers from the mainland (of Asia)?

NK: Yes, we have many nice Chinese customers as China has no artworks. They only have two categories on the Chinese market, expensive antiques and items made for tourists. It is sad, but forty years ago, the Cultural Revolution destroyed their own culture.

TE: Perhaps two years ago you had a series of articles in The International Herald Tribune / Asahi Shimbun. During that time you wrote about the changing face of Japanese antiques, the imports from China etc. Did you get a lot of reaction after those articles were published?

NK: Many customers came in again and again as a result and we are now moving into Chapter Five in that series of articles (started in the IHT/Asahi at the end of July).

TE: You opted to release your articles in the generally construed left leaning Asahi Shimbun, when some might say your views are more right of center. Why not choose a newspaper deemed more right wing such as the Daily Yomiuri?

NK: I have to tell the truth to non-Japanese. Information released on Japan (today) is limited, so I have to tell the truth, but some of the media outlets in English, including the weekly magazines don’t give a correct image of the ‘real’ Japan.

TE: In the world of advertising now, how does Fuji-Torii bring in the custom? You do have a very interesting homepage (link below) but do you think the store will ever have to look towards online advertising as opposed to the in-print form?

NK: Hmmm, it is difficult today in advertising.

TE: What does Fuji-Torii mean? Why did your grandfather / father choose the name?

NK: In 1949, when my father moved here, there was nothing here, and (gesturing), in one direction we could see the Torii of Meiji Jingu and also Mount Fuji.

TE: I know you help promote and protect various forms of Japanese technique in producing pieces of art. Can you tell me about that? And, are the pieces you produce popular enough to attract younger people to work in these areas?

NK: Yes, they are very popular, (laughs) and one of our young artists once said to me “I cannot get married as I have no business” (when he first started) More recently, he said “I cannot get married – I’m too busy.”

TE: Lose lose! If you could promote one area of Japanese antique culture outside Japan, what would you choose?

NK: Hmmm. This is not only about money. This is culture and it must be taken (to) the future. These pieces contain the heart of the artist. I selected these things to take into the future. That’s the most important thing. Of course I have money, and can buy these things but I don’t buy them for me. I buy them for tomorrow’s people.

TE: Do you have a child who will take over the shop?

NK: I have a daughter, and she is interested in the antiques business.

TE: Is it important for you to have a family member take over?

NK: No, the family aspect is not so important, but (along with the antiques) this business must also move forward as well.

TE: Do you have any favorite pieces here in the shop?

NK: Everything I selected (personally) I have feelings for but we must move forwards with the techniques and the antiques.

TE: So you are talking about a combination of developing the new whilst respecting the old? Do you think that respect will still be here in 100-years time?

NK: I’m afraid. But in my lifetime, I want to keep (to maintain) the antiques, to keep the techniques (alive during my lifetime). I can do no more. Hmm, I am confident, but now, on this street, the Japanese equivalent of Fifth Avenue, only Fuji-Torii sells Japanese pieces.

TE: Last question for you. What, in your opinion, does the word beauty mean – in relation to an antique?

NK: Beauty means energy. The energy put into a piece by the artist who made it; his history, technique, everything, his concentration. That is beauty.

Link: www.fuji-torii.com

* the said plan was not realized and the paintings were eventually saved thanks to the horror expressed by many in the art world.