Kumiko Designs

The hishi pattern is a stylized design of the fruit or leaves of the water chestnut (hishi), an annual plant harvested from ponds and marshes. With many variations, it emerged as a family crest during the Heian period. In kumiko, it's commonly used as a base grid; its simple form embodies the archetypal beauty of traditional Japanese patterns.

The hishi pattern shifts through various expressions when done in double or triple layers. Simple yet playfully engaging, this pattern features large and small diamonds linked together in a chain. Hishi symbolizes prosperity and health, drawing from the plant's prolific growth and vitality.

"Saya," one of the silk fabrics introduced to Japan from China, traditionally featured a ground pattern derived from a deformed version of the swastika ("manji"), a sacred symbol in both Hinduism and Buddhism. This style, known as "saya-gata" was esteemed for its dignity. Slightly distorting the saya-gata pattern created the refined, elegant kumiko design called "saya-gata kuzushi."

Izutsu Wari Bishi is a traditional Japanese pattern inspired by the well curb (idzutsu), the wooden surround of a well. It combines four diamond shapes to form a central square, symbolising the well as a source of water. As water represents life and wealth, this pattern embodies wishes for prosperity and stability. It's also used decoratively in family crests and crafts, exuding elegance and refinement.

The hishi pattern shifts through various expressions when done in double or triple layers. Simple yet playfully engaging, this pattern features large and small diamonds linked together in a chain. Hishi symbolizes prosperity and health, drawing from the plant's prolific growth and vitality.

This pattern consists of a bold central thick rail (the "parent") and slender rails (the "offspring"), forming a clean yet richly varied geometric shape. It earns its name from the appearance of a parent and their offspring nestled together. The design embodies wishes for prosperity and health across generations.

This pattern draws from "sanboku," counting rods used in Chinese and Japanese mathematics, arranged vertically or horizontally to represent numbers. Their elegant formation inspired names like "Sanboku Kuzushi" or "San Kuzushi." When arrayed in groups of three like cobblestones, it's called "San Kuzushi"; five rods make "Go Kuzushi." Its sleek, geometric style blends seamlessly into modern designs.

Mitsukude is a technique in which grooves called "kude" are cut into the three-sided latticework and assembled together. In the hand-tool era, it was considered an ultimate technique known only to master craftsmen. Today, it is often made as a base joinery in which leaf motifs are placed within the grooves. It is a design that we highly recommend for those who prefer simplicity.

Asanoha is a geometric pattern resembling hemp leaves, believed to ward off evil since the Heian period and used to decorate Buddhist statues. Hemp's sturdy, straight growth symbolises healthy child development, leading to its traditional use in baby clothes. Among Japanese motifs, it remains highly popular today in textiles and lacquerware.

Kasane rindo is a pattern inspired by the autumn-blooming gentian flower (rindo). Cherished in Heian nobility clothing, its linked forms evoke emerging wheel shapes, leading some regional craftsmen to call it by the homonym "layered wheel trunks" (also pronounced "kasane rindo"). It is a charming, playful design that enjoys widespread popularity.

Ume is one of Yoshihara's original patterns, inspired by Japan's beloved plum blossoms, cherished since ancient times for their charm, fragrance, and graceful branching. The flower's meaning of "nobility, elegance, and splendor" evokes resilience, as seen in their blooming amid winter winds and the vivid beauty of crimson varieties. Its supple curves make this pattern a favorite among women.

The sakura kikko pattern adapts Japan's beloved cherry blossoms into kumiko latticework, expressed in countless variations for its enduring popularity. At Yoshihara, we have modified the core tortoiseshell kumiko to accentuate the delicate "petals," evoking sparkling jewels scattered across the design. It is one of our most widely beloved original patterns.

The shippo kikko pattern weaves bent wood into a "mitsukude" triple joint framework, creating a design especially favored by women. "Shippo" refers to the seven treasures of Buddhist scriptures, paired with the "kikko" hexagonal tortoiseshell form symbolising longevity and good fortune. It represents an endless, expanding chain, evoking harmonious, ever-growing human connections as an auspicious motif.

The goma pattern features crisp, striking straight lines derived from the cross-section of sesame pods. Introduced to Japan in the 6th century, sesame seeds were prized as a health tonic and longevity elixir, making this an auspicious pattern for vitality and well-being. As the official motif of the Saga Nabeshima clan, it graced formal samurai attire (kami shimo), embodying dignified elegance.

The goma pattern features crisp, striking straight lines derived from the cross-section of sesame pods. Introduced to Japan in the 6th century, sesame seeds were prized as a health tonic and longevity elixir, making this an auspicious pattern for vitality and well-being. As the official motif of the Saga Nabeshima clan, it graced formal samurai attire (kami shimo), embodying dignified elegance.

Mikado Tsunagi pattern depicts three hanging elements bound together, symbolizing God ruling over the earth with enduring continuity and prosperity. Its central hexagon—a bringer of good fortune—forms a stable shape of equal-length sides, representing harmony and balance as the foundational essence of nature.

Kagome is a traditional Japanese pattern modeled after the woven structure of bamboo baskets. The kanji for "kago" (basket) combines bamboo and dragon radicals, symbolizing a mystical force with a sealed dragon that wards off evil. Deeply embedded in culture, such as through the famous "Kagome kagome" nursery rhyme, it serves as a protective, auspicious motif.

Kagome is a traditional Japanese pattern modeled after the woven structure of bamboo baskets. The kanji for "kago" (basket) combines bamboo and dragon radicals, symbolizing a mystical force with a sealed dragon that wards off evil. Deeply embedded in culture, such as through the famous "Kagome kagome" nursery rhyme, it serves as a protective, auspicious motif.

The pine tree, which always maintains its lush green leaves throughout the four seasons, surviving the cold and snow of severe winter, has long been considered a symbol of unchanging health and longevity. Its firmly connected leaves represent enduring human bonds as an auspicious emblem. At Yoshihara, we render the pine leaves using a simple radial pattern.

The rindo asanoha pattern fuses the familiar geometric hemp leaf, long believed to ward off evil, with playful gentian-inspired tweaks by kumiko artisans.Countless creative variations emerged from their ingenuity, and this version reveals intriguing circles when linked, a motif preserved in ancient design books. Its familiar yet inventive charm suits traditional wood latticework beautifully.

The tsumishi kikko pattern layers regular hexagons, reminiscent of a turtle's shell, in staggered rows, mimicking the look of stacked stone walls. Long cherished as an auspicious symbol for longevity and prosperity, its honeycomb-like structure creates refined shadows through orderly elegance。

The bishamon kikko pattern combines three tortoiseshell hexagons and repeats them in succession, embodying a wish for eternal prosperity. Its name comes from the armor pattern of Bishamonten, one of the Four Heavenly Kings, revered as a deity of victory in battle and as a bringer of household safety and thriving business.

One of Yoshihara's original kumiko patterns, momiji is inspired by autumn-tinted maples leaves. Maples symbolize maturity and graceful adaptability to seasonal changes, with their falling leaves captured in delicate latticework that delights the eye and evokes fall's vibrant hues.

Kawari goma is a refined take on the classic goma pattern, known for its crisp straight lines inspired by the cross-sections of sesame pods. Introduced to Japan in the 6th century, sesame seeds were prized as a health tonic and longevity elixir, making this an auspicious pattern for vitality and well-being. As the official motif of the Saga Nabeshima clan, it graced formal samurai attire (kami shimo), embodying dignified elegance.

Beloved as the flower of Japan, cherry blossoms (sakura) are extremely popular and, as such, are depicted in a variety of kumiko designs. At Yoshihara, we use different coloured wood for the core as an accent, creating cute, plump, and rounded cherry blossoms. We recommend this design for flower lovers. The inner bent-wood work is called "shippo," depicting human connections expanding harmoniously.

The bellflower, a perennial wildflower and one of autumn's seven herbs, grows gracefully with delicate, gentle blooms. Purple bellflowers are considered noble and are associated with words like "eternal love" and "elegance." White bellflowers are considered "pure," embodying traditional Japanese feminine charm. In kumiko, the repeating equilateral triangles of the bellflower patterns create beautiful variations that delight the eye.

This ancient tortoiseshell pattern has expanded over time, and has long been paired with kanji, animals, and plants. Yae implies "many layers," demanding the highest skill and effort in kumiko. Multiple tortoiseshell motifs overlap like maple leaves, creating a strikingly beautiful effect.

The geometric asanoha pattern is said to ward off evil and has adorned Buddhist statues since the Heian period. Its continuous triangles form "uroko-mon" (scale patterns), likened to a great serpent's scales, said to protect and fortify. Evoking shedding skin, it also symbolizes casting off misfortune for renewal.

The geometric asanoha pattern is said to ward off evil and has adorned Buddhist statues since the Heian period. Its continuous triangles form "uroko-mon" (scale patterns), likened to a great serpent's scales, said to protect and fortify. Evoking shedding skin, it also symbolizes casting off misfortune for renewal.

Yae means "many layers." Unlike standard kumiko, yae patterns weave the wooden leaves ("ha") in double or triple layers to evolve into more complex designs. They demand the highest skill from master craftsmen and rank among the most labour-intensive motifs. Like the original hemp leaf pattern, it's believed to ward off evil.

This pattern has adorned courtly furnishings, clothing, and palanquins since the Heian period. Its distinctive style endures as a celebratory motif for longevity and good fortune. "Kawari urahana" refers to a deformed variation of the standard urahana design, with added triangles that evoke even more beautiful petal shapes.

Beloved as the flower of Japan, cherry blossoms (sakura) are extremely popular and, as such, are depicted in a variety of kumiko designs. This pattern geometrically captures the notched tips of cherry blossom petals, layering overlapping flowers to evoke a scene of full bloom. Its balanced complexity and cut-glass-like sparkle create an enchanting appeal.

This pattern features hemp leaf motifs set within a lattice of squares intersecting at right angles. It is often seen in traditional shoin paper screens and ranma transom panels, and has long been appreciated as one of the most popular kumiko patterns, much like the classic asanoha. One of its charms lies in the way it allows for playful, Tetris-like designs incorporating straight lines and chequered arrangements.

This pattern features hemp leaf motifs set within a lattice of squares intersecting at right angles. It is often seen in traditional shoin paper screens and ranma transom panels, and has long been appreciated as one of the most popular kumiko patterns, much like the classic asanoha. One of its charms lies in the way it allows for playful, Tetris-like designs incorporating straight lines and chequered arrangements.

This pattern evokes a continuous chain of linked masu boxes by inserting criss-cross kumiko latticework into square masu frames. Popular fromthroughout the Edo, Meiji and Taisho periods on young men's hanten jackets, yukata robes, and hand towels, it symbolises good connections between people. Widely loved by the common people, it is also known as "Yoshihara Tsunagi" in some regions.

"Izutsu" refers to the cylindrical or square enclosures built around wells. As a motif tied to water, essential for daily life, it has been depicted in designs since ancient times. It draws from the 23rd episode of The Tales of Ise, an early Heian-era work, where the poem, "Over the well enclosure at Tsutsui, it seems the peak has passed— alas, without seeing my darling all this time.” overlays lovers’ memories onto the well enclosure, expressing longing for each other.

Mizushoji features soft curves alongside a lattice, quietly evoking the gentle flow of water. Water motifs like flowing streams symbolise warding off misfortune, purity, and protection from fire. The curves are crafted by meticulously scoring fine slits into the wood, allowing it to bend to its utmost limit. This creates a serene, traditional Japanese aesthetic.

The Shokko pattern originates from the name of the Shu River (Shokko) in the ancient kingdom of Shu, one of the Three Kingdoms alongside Wei and Wu during China's Three Kingdoms period. This region was renowned for producing fine silk textiles called shokko brocade (shokko-nishiki), featuring octagons and squares linked together, with intricate motifs like karakusa (Chinese floral scrolls) woven inside. The design thus became known as the Shokko pattern.

The Shokko pattern originates from the name of the Shu River (Shokko) in the ancient kingdom of Shu, one of the Three Kingdoms alongside Wei and Wu during China's Three Kingdoms period. This region was renowned for producing fine silk textiles called shokko brocade (shokko-nishiki), featuring octagons and squares linked together, with intricate motifs like karakusa (Chinese floral scrolls) woven inside. The design thus became known as the Shokko pattern.

The Manji Tsunagi pattern depicts a curl of hair on Vishnu's chest in Hinduism, and in Buddhism, it appears as an auspicious mark on Shakyamuni Buddha's chest. Believed to herald fortunate events, it has been cherished across diverse cultures throughout history. Its symbolism encompasses warding off evil, good fortune, auspiciousness, luck, and sanctity.

This pattern draws from "sanboku," counting rods used in Chinese and Japanese mathematics, arranged vertically or horizontally to represent numbers. Their elegant formation inspired names like "Sanboku Kuzushi" or "San Kuzushi." When arrayed in groups of three like cobblestones, it's called "San Kuzushi"; five rods make "Go Kuzushi." Its sleek, geometric style blends seamlessly into modern designs.

The paulownia tree is said to house the phoenix, making its motif an exalted pattern historically reserved for imperial family associations. Crisp vertical lines paired with the classic kiri (paulownia) crest form elegant kumiko screens for prestigious traditional shoin architecture and alcoves (tokonoma). Even in modern interiors, it commands a refined presence.

The paulownia tree is said to house the phoenix, making its motif an exalted pattern historically reserved for imperial family associations. Originating as an adaptation of the Kiri Asanoha pattern, this original Yoshihara Woodworks design, Kiri Hana, blends elegance with a charming, endearing expression.

The nadeshiko pink flower, a perennial flower that blooms in autumn, derives its Japanese name from the fact that they are so charming that they seem to invite stroking, like a beloved child. It is associated with words such as "pure love" and "innocence." It has long been cherished in haiku and waka poetry, symbolizing the beauty and grace of Japanese women ("yamato nadeshiko)." This is an original pattern by Yoshihara Woodworks.

The seigaiha pattern depicts endless gentle waves rippling across a vast ocean, symbolising a wish for calm and enduring prosperity. Its name may derive from a gagaku court music piece mentioned in The Tale of Genji, evoking timeless elegance. Simple yet nostalgic, this auspicious motif conveys the ocean's boundless blessings.

"Funabiki" refer to the weights used on balance scales to measure mass. Typically made of iron or brass, these weights were cast in gold or silver by warlords during the Sengoku period as a hidden reserve, earning them status as symbols of wealth. Today, the pattern remains popular on kimono fabrics.

The shippo tsunagi pattern, commonly seen in temples and shrines, boasts ancient origins. The "seven treasures" from Buddhist scriptures are gold, silver, lapis lazuli, coral, agate, crystal (hari), and the shell of the giant "shakogai" clam, said to live a thousand years. Its interlocking circles symbolise eternal harmony, fulfilment, and human connections, reminding us that bonds between people are the true treasures of this world.

The shippo tsunagi pattern, commonly seen in temples and shrines, boasts ancient origins. The "seven treasures" from Buddhist scriptures are gold, silver, lapis lazuli, coral, agate, crystal (hari), and the shell of the giant "shakogai" clam, said to live a thousand years. Its interlocking circles symbolise eternal harmony, fulfilment, and human connections, reminding us that bonds between people are the true treasures of this world.

Senbon Goshi takes its name from the \"oshi,\" a loom accessory that aligns threads and sets weave density. Its fine gaps resemble the dense, slender kumiko bars in this pattern. Though appearing simple, adjusting the spacing and the thickness of the bars can result in varied expressions. Its austere vertical lines feel endlessly captivating and instinctively comfortable to Japanese eyes.

Masu Goshi derives from the masu boxes used to measure rice or sake, a motif transmitted from ancient China and Korea. Its chequerboard lattice appears widely in textiles and architectural fittings, offering orderly beauty alongside the practical function of softly diffusing light and breeze.

The Naname Goshi pattern features diagonal lines crossing square masu frames, creating a concise and refined design. The slanted lines disrupt the grid's regularity, producing an illusion of overlapping boxes. Its understated elegance blends seamlessly into spaces, suiting a wide range of uses from fittings to partitions.

The masu kasane goshi pattern draws inspiration from bamboo weaving, stacking tilted masu forms into a rhythmic kumiko composition. The repetition of regular shapes gains depth and movement from angular shifts. As a symbol of division and order, the masu form imparts structure, stability, and architectural beauty to any space.

Hishi Kasane Goshi is an original Yoshihara pattern in which lattice grids intertwine with diamond shapes. These diamond shapes ("hishi") symbolise thriving descendants due to their connotation with fertility, as well as robust health because of their resilient form. As such, they have long been cherished as auspicious motifs. Shifting perspectives reveals emergent hexagons, lending the design captivating depth and dimension.

The yatsume goshi pattern draws from bamboo weaving, with overlapping diagonal lattices forming continuous octagons. In feng shui, the octagon draws fortune from all eight directions while repelling evil. The number eight also represents the idea of ​​"widening the horizon," and in Japan it has long been popular as a shape that symbolizes prosperity and happiness.

The nawame pattern depicts entwined male and female snakes in copulation, a motif tied to Jomon-era beliefs that snakes embodied ancestral spirits—hence their sacred depiction on pottery. Sacred shimenawa ropes in shrines and New Year rituals carry wishes for thriving descendants, serving as markers of divine presence or invitations to the gods.

The minamo pattern consists of soft, overlapping curves reminiscent of a gently rippling water surface, delicately capturing the play of light and shadow. The flexibility of the wood is maximized through these gradual curves to evoke the fleeting beauty of nature. Its ever-shifting expressions lend spaces a quiet sense of movement and a refreshing coolness.

The soyokaze pattern takes its motif from the swaying lines of grass and flowers stirred by a soft breeze. Flowing wind patterns have long graced screens and sliding doors, cherished for inviting pure, refreshing air into interiors. Gentle curves, leveraging wood's flexibility, create delicate, airy movement, imbuing the design with subtle seasonality and tender charm.

The yahane pattern draws from the fletchings on arrows, symbolising unerring flight and straight, irreversible progress. This traditional Japanese motif graces wedding attire and crafts as an auspicious emblem of victory, warding off evil, steadfast resolve, and unwavering commitment