Cross-Cultural Histories and Traditions Between the Cut and Engraved Glass Scenes of the UK and Japan

Abstract

Recent research conducted by Heritage Crafts, a prominent national advocacy organisation dedicated to preserving traditional heritage crafts in the UK, has unveiled a concerning trend: several traditional craft skills teeter on the edge of extinction within the UK. This revelation stems from the Heritage Crafts Red List of Endangered Crafts, an initiative which identifies crafts facing the risk of endangerment. In their recent 2023 publication, Heritage Crafts highlighted the distressing decline of cut and engraved glass craftsmanship in the UK, categorising and placing both brilliant cutting (as endangered) and copper wheel engraving (as critically endangered) on the Red List of Endangered Crafts in the UK. This means that these crafts pose the risk of not being actively practised. In December 2023, the alarming downturn of these crafts in the UK was explored and discussed during a conference held at Edinburgh College of Art (ECA), entitled Edo-Kiriko: The Art of Japanese Cut Crystal. This event explored the cross-cultural connection and exchange that exists between Scotland and Japan, drawing upon a rich historical exchange that saw the transmission of Western-style glassmaking from Scotland to Japan in the 1870s–1880s. It also details the more recent exchange that has been in place between Edinburgh College of Art (ECA) and the Horiguchi Kiriko glass studio in Tokyo, Japan. This modern-day exchange has seen the recent transmission of glass-cutting skills through a masterclass led by Toru Horiguchi at ECA. This paper presents this conference, introducing the invited speakers and creating a commentary on the proceedings and the plenary discussions that unfolded. Focus and discussion will be given to the factors that have contributed to the current decline of cut and engraved glassmaking in the UK and the possible measures that could be taken to support and safeguard this field. The final part of this paper will offer a reflection on the conference proceedings and will conclude by making an urgent call for the future of cut and engraved glass craftsmanship in the UK. It is hoped this paper will draw attention to the urgent need for support from education and funding bodies, to safeguard and protect these vital heritage crafts, which boast a rich history in the UK.

1. Introduction

This paper will introduce the proceedings of a conference held at Edinburgh College of Art (ECA) in partnership with the Horiguchi Kiriko glass studio based in Tokyo, Japan, a studio specialised in Edo-Kiriko, a traditional type of Japanese cut crystal (see Figure 1). The symposium hosted a range of speakers, a live object handling session, and an object showcase, all held at ECA (see Figure 2). This event revolved around the internationally famed Japanese glass artist Toru Horiguchi, a third-generation master craftsman who specialised in the Edo-Kiriko technique, a traditional type of Japanese cut crystal that is very intricately cut in a geometric style to create repeating patterns, with very detailed sections which are brilliant cut and acid polished to a high shine. The style is unique in terms of the patterns, which draw on traditional Japanese motifs from nature. The use of bold, block colours make this crystal unique, and the colour can be cut through to reveal the clear layer below. This paper will go on to discuss how this conference triggered new debate and discourse around the lost art of cut and engraved glass craftsmanship in the UK.

The conference was split into two parts, the first of which was an introduction to the art of Edo-Kiriko, a traditional form of Japanese glass cutting that has evolved into a refined and sophisticated craft, earning its esteemed status as a recognised traditional art form within Japanese culture. This was done through the presentations of glass historian Sally Haden, social historian Professor Aaron William Moore, and master glass cutter Toru Horiguchi, a master craftsman of the Edo-Kiriko tradition. The second part was focused on the UK glass scene, with presentations from glass historian Dr Jill Turnbull, glass designer and educator Jessamy Kelly, Chris Blade, CEO of Cumbria Crystal, and Scottish glass engraver Alison Kinnaird MBE. This diverse panel of speakers provided a comprehensive and insightful exploration of various aspects of glassmaking, ranging from traditional craftsmanship to contemporary design and spanning across different cultural and historical contexts.

The conference addressed the shared material culture and heritage that exists between these two glassmaking countries and the losses that the now-diminished UK glass scene faces. New perspectives on the value of exchanging and sharing intangible cultural heritage were also explored through the transference of specialist glassmaking knowledge and craft skills. The line-up of speakers for the event was both diverse and distinguished, bringing together a wealth of expertise in the field. This paper will introduce the speakers and unpack the themes and discussions of this event.

2. Part 1: The Transmission of Western-Style Glassmaking from Scotland to Japan

In the first part of this conference, the invited speakers were able to set the scene for both the historical and contemporary context of Japanese cut crystal, which opened this field to new audiences and acted as a catalyst for a new material and cultural exchange between Scotland and Japan. Scholarly research driven by the historical glassmaking connections between these two countries was used to draw upon a joint history that dates back to the 1870s–1880s, when four glassmakers (Thomas Walton, James Speed, Elijah Skidmore, and Emanuel Hauptmann) came from Scotland and helped the Japanese modernise their glass industry.

Sally Haden, a glass historian who has dedicated herself to researching, writing, and lecturing on the topic of the transmission of Western-style glassmaking from Scotland to Japan, was able to introduce this joint history. During her research, she discovered a close family connection—when she discovered that one of her Scottish ancestors served as a lead instructor, advisor, and manager at a ground-breaking glassworks in Tokyo during the early Meiji era. In her talk, she was particularly focused on the Shinagawa Glassworks of Tokyo, a pivotal institution that played a transformative role in Japan’s glass industry from 1873 to 1884. The Shinagawa Glassworks formed a major part of transforming glass production during the Meiji Restoration, a period when Japan intensely focused on modernising and industrialising its economy.

Haden explained how James Speed (1834–1908), her Scottish great-grandfather, was among the four British individuals (listed above) who contributed significantly to these glassworks at Shinagawa. Her years of intensive research, publication (Haden 2013, 2014, 2017) and public speaking in both Britian and Japan have shed much light on the significant impact of this pioneering institution. In her talk, she was able to articulate the historical connection between British and Japanese glassmaking and the influence the Shinagawa Glassworks exerted on the Japanese glass industry, bringing about profound modernisation. The historical ties between British and Japanese glassmaking profoundly shaped the evolution of Japan’s glass industry, serving as a catalyst for a transformation that was integral to Japan’s adoption of Western industrial techniques during the Meiji era. Adding to the richness of this narrative, Sally Haden was accompanied by Diane Irvine, the great-great-granddaughter of Emanuel Hauptmann. Notably, Hauptmann played a foundational role in shaping the Japanese cut glass industry during the eighteenth century. Together, they brought a unique and personal perspective to the intricate tapestry of the historical linkages between Western and Japanese glassmaking, captivating the audience with their ancestral connections to this subject and shared knowledge.

Haden was able to give key insights into this period and to demonstrate how these early Scottish pioneers were able to offer their advice, assistance, and instruction in all kinds of modern Western-style glassmaking to Japan and were instrumental in forming Japan’s first truly Western-style industrial glass factory, which was established in Tokyo during this period (from 1873 to 1884). She was also able to show how this pioneering project was the country’s first workshop for the direct transmission of Western-style cutting and engraving skills which were transmitted directly, for the first time, into Japan, significantly advancing this industry through the transfer of technology and expertise in glassmaking. She addressed a range of key questions: Why did the Japanese want to learn these skills? Who took them from Scotland? And what did Japan do with that knowledge? Haden’s lecture offered key insights into the history and style of a distinct type of Japanese fine-cut glass, unique to Japan. During her talk, she was able to trace its instruction and lineage directly back to Edinburgh (see Figure 3).

From this talk, we were seamlessly transported to a thought-provoking discussion led by Professor Aaron William Moore1, a distinguished scholar with a rich academic background. He earned his PhD from Princeton University in 2006 and, following his doctoral studies, he held prestigious post-doctoral positions at Harvard and Oxford University. His research interests span a wide range of topics within Chinese and Japanese studies. Demonstrating his commitment to advancing scholarship, he assumed the Handa Chair at the University of Edinburgh in 2017. William Moore’s multidimensional expertise and dedication to scholarly inquiry have positioned him as a leading figure in the academic exploration of East Asian history and culture.

In his talk, Professor Moore was able to examine the context in which foreign craftsmen entered Japan during its long nineteenth century (see Figure 4). He was able to describe the fertile ground of that time, which offered vital context to the evolving Japanese industry, craftsmanship, and consumer culture throughout the long nineteenth century. He highlighted how much Japan’s consumer culture advanced during the period of restricted trade in the Tokugawa Era. He introduced a range of scholarly insights into the culture of the time, such as the fact that there was indeed already a surfeit of skilled workers producing several different, high-quality goods for demanding urban markets. Building on this, he articulated how the period of open trade and modern industry after 1868 not only inspired Japanese producers, but also how Japanese aesthetics in turn influenced European craftsmen, creating a dynamic cross-cultural exchange. This context set the stage for the burgeoning demand and appreciation for cut crystal products.

Attention was then turned to the talk by Toru Horiguchi, a third-generation master craftsman deeply rooted in the Edo-Kiriko tradition (see Figure 5), who introduced to the audience the art of Edo-Kiriko, a cut crystal art form that emerged in the late Edo period within the former capital of Edo, now Tokyo, and which can trace its roots back to 1834. During this period, Kyūbei Kagaya, a skilled worker, pioneered the method of using garnet powder to intricately carve and shape glass. In 1999, he embarked on a transformative journey by joining the Horiguchi Glass Company2, where he honed his skills under the tutelage of Tomio Suda. His dedication and mastery culminated in the attainment of the esteemed title of “Shuseki”, designating him as a master craftsman, in the year 2008. In a bold move, Toru Horiguchi departed from Horiguchi Glass in 2008 to establish his venture, Horiguchi Kiriko. This move showcased his desire to carve his unique path within the rich tapestry of Edo-Kiriko craftsmanship. His exceptional skills and contribution to the art form were officially acknowledged in 2012, when the Association for the Promotion of Traditional Craft Industries recognised him as a prominent advocate of Edo-Kiriko.

Toru Horiguchi’s influence extends beyond accolades, as he consistently participates in exhibitions showcasing Japanese traditional crafts and glassware. His creations not only stand as a testament to his artistic prowess but also frequently earn him prizes in these esteemed shows. Through his unwavering dedication, Toru Horiguchi was able to discuss how, through his work, he continues to elevate and promote the enduring legacy of Edo-Kiriko on both national and international stages. He was also able to demonstrate how his artistic endeavours transcend conventional distinctions between “art” and “craft”, utilising the skills he has refined over many years in the realm of traditional crafts to drive his creations.

In his talk, Toru Horiguchi explained how, through his work, he has expanded the boundaries of Edo-Kiriko to demonstrate a keen awareness of contemporary trends and tradition whilst infusing a modern perspective into his creative activities. The talk introduced a range of his work (see Figure 6), and it was evident that his creative approach is a testament to the fusion of heritage and innovation, not only showcasing the mastery of traditional craftsmanship but also reflecting a commitment to pushing the boundaries of this tradition as an artistic form of expression. Furthermore, Horiguchi’s dedication to his craft is not limited to a domestic audience; he was able to talk about how his creations have been widely showcased and appreciated overseas, contributing to the global recognition of Edo-Kiriko as an art form that transcends cultural and geographical boundaries.

The first plenary session was chaired by Dr Caroline McCaffrey-Howarth3, a lecturer in French and British History of Art c.1650–1900 at Edinburgh College of Art. The session (see Figure 7) took in a range of questions from the audience, and the discussion that enfolded saw the rich history between Scotland and Japan further unpacked and celebrated, with a range of historical and cultural observations being made by the speakers.

3. Part 2: The Decline of Cut and Engraved Glass in the UK

In the second part of this conference, the invited speakers were able to set both historical and contemporary scenes for UK cut crystal, and to discuss the history of cut and engraved glass. This included the highs and lows of the landscape in the UK over the years, and the various factors that have contributed to the current decline of the cut and engraved glass practices in the UK.

The first speaker was Scottish glass historian Dr Jill Turnbull, who completed her PhD at the University of Edinburgh in 1999. Her thesis, entitled The Scottish Glass Industry 1610–1750, was published in 2001 by the Society of Antiquaries of Scotland. In 2017, she went on to publish a sequel to her earlier work, extending her coverage to the period from 1750 to 2006. Her contributions have enriched the scholarly landscape, providing valuable insights into the historical evolution of the Scottish glass industry. In her talk, Turnbull gave an overview of glass cutting through the ages, ranging from ancient Rome to the contemporary era (see Figure 8). She was able to cover a wide history of glass cutting from how, initially, the glass cutting wheels were turned by hand, to how the later far more complex cut-glass works were created on large numbers of cutting wheels turned by a steam engine.

This talk was followed by Dr Jessamy Kelly4, a lecturer in glass at Edinburgh College of Art who is also a practising glass artist based in Edinburgh. She was able to introduce how she first studied Glass and Ceramics at the University of Sunderland and went on to complete her Master’s in Glass at Edinburgh College of Art in 2002, which involved an industrial work placement at Edinburgh Crystal. She then worked as an inhouse glass designer for Edinburgh Crystal until 2006, gaining practical experience in the field of cut crystal design and manufacture. She was able to tell the story of her creative journey, which saw her collaborate with a diverse range of clients over the years, and included her recent work designing crystal for Cumbria Crystal. In her talk, Kelly was able to offer an insightful journey through the trajectory of her career as a glass designer for the UK cut crystal industry (see Figure 9).

Kelly offered a range of insights into the realm of cut crystal design in the UK and was able to draw upon her early experiences as a student glass designer gaining practical experience at Edinburgh Crystal in 2001, to the subsequent establishment and management of her own companies, alongside creative endeavours as a freelance glass designer for the industry, designing crystal drinking glasses (see Figure 10). Delving into the nuances of the cut crystal industry in the UK, she was able to share both the triumphs and challenges that have shaped this field, as she talked in depth about the closure of Edinburgh Crystal in 2006 due to the firm’s unfortunate insolvency after a fire damaged the business and it had to close. Moreover, she was able to address the current contemporary landscape, shedding light on the unfortunate decline of the cut and engraved glass scene in the UK, which has witnessed the closure of most manufacturers in this sector. This decline can be attributed to various factors, including economic pressures, reduced demand, and the rise of cheaper, outsourced alternatives that have significantly impacted and flooded the market. As these traditional crafts find themselves placed on the Heritage Crafts Red List of Endangered Crafts, she explored the factors contributing to this decline and considered the implications for the future of cut and engraved glass in the UK.

The penultimate speaker was Chris Blade5, the CEO of Cumbria Crystal, who stands at the helm of one of the last bastions of hand-blown and hand-cut lead English crystal production. He was able to introduce the diverse roles he has held in the fields of glass design, manufacturing, project management, and education. He earned a Master’s in Glass from the Royal College of Art in 1987 and went on to establish his first design and manufacturing business in 1988, in London. His expertise in advanced manufacturing has been a driving force at Cumbria Crystal, which has seen the successful execution of over 500 bespoke commissions for several esteemed clients. He was able to navigate his talk through examples of a complex set of commissions and design projects that reflect his deep understanding of both the design principles and manufacturing intricacies of cut crystal production. He showcased collaborations with the British Embassies, Royal Families, and luxury brands such as Bentley Mulliner. Through his talk, he was able to share both his commitment and passion for cultivating knowledge and nurturing the next generation of talent within the creative industries. As the CEO of Cumbria Crystal, he was able to show how he champions the heritage of handcrafted English crystal, while pushing the boundaries of design and manufacturing in this field. In his talk, Blade was able to introduce the fascinating story of Cumbria Crystal, a distinguished cut crystal brand that preserves centuries-old traditions in the heart of the Lake District (Figure 11).

As one of the last UK producers of hand-blown and hand-cut English lead crystal, Blade delved into the unique challenges faced by luxury goods manufacturers. He was able to explore the highlights of steering a business rooted in rare artisan skills, where every piece is a testament to heritage and excellence. Established in 1976, Cumbria Crystal has become synonymous with luxury, gracing the tables of royalty and celebrities, and enhancing the allure of film sets worldwide. He was also able to unravel the brand’s commitment to keeping rare, heritage skills alive through the production of this meticulous handmade crystalware, which continues to be solely produced in the UK, unlike other brands which outsource all production. Key ranges from the Cumbria Crystal range include more traditional ranges such as Grasmere, as well as more contemporary designs such as Palm, designed by Jessamy Kelly. The glassware ranges in type, including ornately diamond-cut champagne flutes, wine glasses, whisky tumblers, highballs, and decanters (see Figure 12 and Figure 13).

The final speaker of the conference was glass artist Alison Kinnaird6 MBE, who stands as a globally acclaimed artist, renowned for her exceptional work in the realm of engraved glass (Figure 14). Through her talk, she was able to describe her unique artistry, characterised by a fusion of ancient glass-engraving techniques and contemporary lighting technology, which has earned her a place in numerous prestigious public, private, and royal collections worldwide. In her talk, she was able to share both the scale of her projects and the impressive range she has, from intimate engraved glass pieces to large-scale architectural installations. Beyond her role as a prolific engraved-glass artist, she was able to demonstrate her influence upon education and the dissemination of her craft knowledge with others as a speaker and teacher, sharing her expertise and passion with aspiring artists and enthusiasts alike. It became apparent that her diverse talents have left an indelible mark on multiple artistic spheres, making her a respected and influential figure not only in the glass art community but also in the broader cultural landscape.

In her talk, Alison Kinnaird was able to introduce the art of copper wheel engraving, which has been a notable feature of the Scottish glass scene since the middle of the last century (see Figure 14). Significant work was produced by fine glass engravers such as Helen Monro Turner (1902–1977), Harold Gordon (1917–1996), and Alison Geissler (1907–2011), whose pioneering work set out a strong context for the field as it emerged in the UK in the 1940s and 1950s. Recently, however, copper wheel engraving has declined to the point where it has been placed on the Heritage Crafts Red List of Endangered Crafts. Alison was able to unpack and explore the reasons for this decline, and to demonstrate through her work how it is possible not only to preserve an ancient technique, but to extend its creative potential in contemporary artistic expression (Figure 15).

Her work ranges from large architectural commissions and installations, to works for private and public collections within museums and galleries. She often cuts through layers of coloured glass to create a cameo effect, removing the surface layer of colour to create subtle tones with the soft effect of the copper engraving wheels (see Figure 16).

The final plenary session was chaired by Sarah Rothwell7, Senior Curator of Modern and Contemporary Design in the Department of Global Arts, Cultures, and Design at National Museums Scotland (NMS). This session (see Figure 17) answered a range of questions from the audience, and the following discussion formed a stark contrast to the first session, which saw a frank discussion on the decline of the engraved and cutglass scene in the UK and its placement on the Heritage Crafts Red List of Endangered Crafts. The various factors that have contributed to the current decline were discussed, and the possible measures that could be taken to support and foster the scene were also discussed.

At the end of the conference, an object handling and networking session ensued, with the chance for conference participants to interact with the showcase that had been set up by Toru Horiguchi and the workshop participants (see Figure 18, Figure 19, Figure 20 and Figure 21).

A three-day masterclass workshop with Toru Horiguchi, held at ECA, preceded the conference, and a range of the work created by the staff and students was also shown during the conference, in a curated exhibition (see Figure 16, Figure 17, Figure 18 and Figure 19). During the masterclass, Toru Horiguchi was able to share his vast skills and knowledge of cut crystal and the fine art of the Edo-Kiriko tradition with staff and students at ECA. This culminated in a cross-cultural exchange and a modern-day skills transmission, an act that sees the lost art of cut crystal being reintroduced to this group of Scottish glassmakers. The workshop participants were encouraged to try out diamond lathe cutting, many for the first time. They first drew out their ideas as sketches, and Horiguchi helped them to measure out and mark up the desired patterns accurately onto the glass before they were finally realised by cutting into the glass using a diamond cutting lathe (see Figure 22, Figure 23, Figure 24, Figure 25 and Figure 26).

A range of practical cutting exercises were demonstrated, and all participants were able to practise a series of diamond cutting techniques on the glasses provided by Horiguchi. The participants were able to develop their own craft skills and knowledge through this technical instruction and demonstration, which assisted the transmission of key craft skills from Horiguchi to the workshop participants.

Horiguchi took great care and time to share and exchange guidance on cut crystal production. He demonstrated a range of glass-cutting techniques using different sizes and shapes of wheels. He also demonstrated how to set up and shape a wheel, and how to make sure that the wheels were running true to get the best cuts from them. He also shared a range of artistic, practical, and commercial advice with the group as a small business owner and spoke about how he runs his business and trains his apprentices. At the end of the workshop, the final works were shown, and each participant was able to talk through their ideas and how they were cut and finished. Horiguchi was able to give his opinion on the works and give guidance on how the design or cutting might be further improved. This provided key feedback and reflection for all the participants, and vital encouragement to continue to explore their own creative practice through glass cutting.

4. A Final Reflection on the Conference and a Call to Action

The final part of this paper offers a final reflection on the conference proceedings and a call to action by the conference organiser and speaker, Dr Jessamy Kelly. With this final reflection comes an urgent call and appeal for the future of cut- and engraved-glass craftsmanship in the UK, and the urgent need for sector support from education and funding bodies, to safeguard and protect these vital heritage crafts, which boast a rich history in the UK.

Reviewing the living heritage of the Edo-Kiriko cut-glass tradition in Japan brings into sharp contrast the unfortunate case of the dying UK cut and engraved glass scene, which should be viewed as a significant cultural loss if action is not taken. The recent research conducted by Heritage Crafts, a prominent national advocacy organisation dedicated to preserving traditional heritage crafts in the UK, has unveiled a concerning trend: several traditional craft skills teeter on the edge of extinction within the UK.

This revelation stems from a pioneering initiative, the Red List of Endangered Crafts8, which identifies crafts facing the risk of endangerment. In their recent 2023 publication, Heritage Crafts highlighted the distressing decline of cut- and engraved-glass craftsmanship in the UK, categorising both brilliant cutting as endangered and copper wheel engraving as critically endangered on the Heritage Crafts Red List of Endangered Crafts in the UK. At the conference, it was possible to introduce and discuss the alarming downturn of these crafts in the UK. In particular, the various factors that have contributed to the current decline of cut and engraved glass in the UK and the possible measures that could be taken to support and foster the scene were discussed. The sharp contrast of the thriving cut glass scene in Japan and the governmental measures that were put in place to support this alternative landscape were also noted and could be used as a model of good practice to assist the rebuilding of the UK glass scene. Most notably, the Japanese government has offered substantial financial support to the cut-glass industry. This support encompasses subsidies designed to reduce operational costs, fund technological improvements, and bolster apprenticeship programmes. Such subsidies play a crucial role in sustaining profitability and facilitating the transfer of craftsmanship skills across generations, as well as supporting and preserving the intangible cultural heritage of this craft. On reflection, what has become apparent through this conference is that Scotland and Japan are very much a part of each other’s rich and shared cultural history of glassmaking. The cross-cultural connections that this conference revealed also demonstrates the strong modern-day relationship that exists between Scotland and Japan. However, it also highlights a striking contrast between the two countries and the stark differences behind the support of these creative industries.

Toru Horiguchi, a third-generation master of the Edo-Kiriko tradition, was able to convey his mastery as an active practitioner of Edo-Kiriko, a cut-glass technique which dates back to 1834 and he has received government support and official designation as a living tradition. Horiguchi’s practice is testament to this rich tradition of craftsmanship that has been passed down to him through over three generations, an important fact to savour. As previously discussed, he assumed the succession name “Shuseki”, succeeding his mentor Tomio Suda, in 2008. In Japanese culture, succession names, often inherited from one’s father, grandfather, or teacher, carry immense honour and significance. Each successor must strive to uphold the legacy associated with the name, embodying the spirit, style, and skill of all previous bearers. Thus, assuming a succession name is more than a mere formality—it symbolises a profound commitment to preserving and advancing the artistic heritage of one’s lineage and is a form of intangible cultural heritage9. To bear witness to this at the conference and to really take time to consider the meaning of this, is perhaps at the very crux of this discussion. In contrast, in the UK, we do not follow this tradition or approach, and very rarely is a craft handed down generationally in such a formal way. This strong connection and support of intangible cultural heritage through craftsmanship is a standing testament to Japanese culture and society and should be used to evaluate our own standpoint in the UK.

The designation of “Living National Treasure”, which carries significant cultural weight within Japanese society and is a term in Japan that is used to recognise individuals as Preservers of Important Intangible Cultural Properties, comes under Japan’s Law for the Protection of Cultural Properties. Though not formally specified in the law, this term refers to individuals designated as custodians of cultural properties considered National Treasures. This recognition is based on their exceptional expertise and contributions to preserving and transmitting traditional cultural practices, such as craftsmanship. The selection process typically involves rigorous evaluation of the candidate’s mastery, dedication, and significance within their respective cultural domain. Being a generational craftsman is not a strict requirement for being designated as a Living National Treasure in Japan. While having a family history or lineage in a particular craft may contribute to one’s expertise and understanding of traditional practices, the designation is primarily based on individual mastery. Therefore, individuals from various backgrounds and experiences can be considered for this designation based on their exceptional skills and contributions within their cultural domain, regardless of their generational lineage. They are revered as living symbols of Japan’s cultural essence and they must also fulfil a crucial role as mentors, imparting their skills and wisdom to apprentices, to ensure the preservation of these ancient crafts for future generations. Japan was a forerunner of Intangible Cultural Heritage, as discussed by Voltaire Garces Cang (2007): “Japan was among the first countries in the world to legislate for the protection of cultural heritage. One of the early Imperial Decrees of the Meiji government (1868–1911) called, in 1871, for the Preservation of Ancient Objects; this was subsequently followed by several laws that ordered, among other things, the preservation of shrines and temples, sites, monuments and national treasures. In 1949, a disastrous fire that destroyed ancient murals in the Horyuji temple in Nara accelerated the enactment of the Law for the Protection of Cultural Properties in 1950. This law distinguished between intangible and tangible cultural properties for the first time”.

As discussed, Horiguchi was trained by Tomio Suda, a registered Important Intangible Cultural Asset of Koto-ku, Tokyo, an accolade and designated title which is important to savour in this discussion. In 2009 and 2010, Horiguchi achieved consecutive first-place wins at the “Edo Kiriko New Work Exhibition”. From 2010, he has held the esteemed title of Master of Traditional Crafts in Japan. It is apparent that Horiguchi holds a significant role as a living master of this tradition and his actions are significant to the future survival of his craft—a huge undertaking. It is through this act that we see the true inner strength of this tradition and the actions of its proponents. It shows us why it is so important that a craft should be shouldered by a master for transmission to future generations to take on this mantel, as the role they play as forebearers of the craft holds strong and ensures the future survival of this craft. It is important to consider the contribution that this approach brings. Could this approach be taken in the UK to revive the UK cut and engraved glass scene? To help protect and safeguard a creative industry which has suffered significantly over recent decades with the closure of most major glassworks and only one key producer of cut crystal left in the UK.

It is worthwhile considering the UK context when discussing this approach to skills development and the imparting of knowledge to future generations. Take, for instance, the experience of Alison Kinnaird MBE, as discussed, a prominent Scottish glass engraver who was able to share her experience, skills, and knowledge of the field of copper wheel engraving at the conference. Although the UK may not officially recognise artisans as ‘Living National Treasures’, Kinnaird was able to vividly recall her formative learning experiences, having honed her craft under the guidance of the glass engraver Harold Gordon. She further refined her skills through hands-on practice with copper wheel engraving using the lathes at Edinburgh College of Art, a glass-engraving department that was set up by Helen Monro-Turner in 1941. This highlights a less formal yet deeply meaningful connection between a glass apprentice and their teacher, who can be viewed as a master craftsperson and mentor. It is also important to note that Harold Gordon was taught by Monro-Turner. So, we can indeed trace the mastery of this tradition back to this point and person and the significant role that Monro-Turner held as a master training her student apprentices in the art of copper wheel engraving.

In turn, during the conference, Kelly was able to speak about her time at Edinburgh Crystal as a student glass designer studying for her Master’s degree at ECA back in 2001. She was able to share the formative time she spent with master glass cutters at Edinburgh Crystal, a cut crystal factory once based in the Pentlands, Edinburgh, but unfortunately now closed due to insolvency. During her time as this glass factory, she was able to learn first-hand from the skilled and experienced glass cutters at Edinburgh Crystal. It is important to recognise her own role as an educator at ECA, a role which has given her the chance to pass on and transmit her skills and knowledge to new generations of students studying glassmaking at ECA, following in the steps of other educators like Helen Monro-Turner, who led the glass department for 30 years from 1941–1971. During her time at ECA, Monro-Turner taught a wide range of glass engravers who went on to actively practise this craft. In doing so, she opened up and shared these techniques widely, laying the foundation for wheel engraving in the UK. In retrospect, this pioneering act can be seen as a vital step for establishing an educational ground at ECA for this tradition, to ensure its uptake by future generations. Her work today should be valued for its contribution to the field and should be retrospectively viewed as a form of transmitted Intangible Cultural Heritage. As we can trace the inherited knowledge and traditions passed down by Monro-Turner to future generations, whilst not direct descendants by birth, we can see the educational connection was a strong and valid mode for the transmission of these skills. It also brings into focus the role that modern-day glassmaking educators play at ECA, and the role educators play in ensuring the survival of all facets of this discipline for future generations. This is a role which Dr Kelly takes seriously, especially given the threats we face in light of some aspects of this discipline facing extinction in the UK.

The importance of preserving heritage through the sharing and protection of craft skills cannot be overstated. As previously discussed, the recent research conducted by Heritage Crafts (2021–2023) sheds light on the growing challenges faced by vulnerable traditional craft skills. It reports how this situation is made worse by factors such as the energy crisis and inflation, alongside the impacts of the global pandemic, the uncertainties of Brexit, and funding issues that affect the transmission of crafts skills, such as cut- and engraved-glass production in the UK. Despite these obstacles, it is claimed that there are indeed encouraging signs of progress. For instance, crafts like brilliant cutting have experienced an improvement in their status, transitioning from being classified as “critically endangered” in 2021 to being downgraded to “endangered” by 2023. Through its Endangered Crafts Fund, Heritage Crafts has distributed a range of grants and funding to provide support to artisans in the field, helping them to pass on their invaluable craft skills to future generations. Mary Lewis, the executive director of Heritage Crafts, summarises the context of this research (Heritage Crafts 2023): “The effect of the energy crisis, inflation, COVID-19 and Brexit have been tough on everyone, not least the craftspeople who possess our most fundamental craft skills. We know that heritage craft skills operate like an ecosystem; if we lose one part it can have devastating consequences on other parts of the system. If we allow endangered crafts to disappear then we seriously diminish the opportunities for future generations to create their own sustainable and fulfilling livelihoods and deal with the challenges of the future” (Lewis 2023).

Heritage Crafts set out, as part of their listings, the training and market issues that pose significant challenges for each craft. In terms of the listing of “Brilliant cutting”, it discusses the labour-intensive nature of this craft, which can discourage people from learning it, due to the substantial dedication and time required to refine one’s skills10. Additionally, it states that there have been difficulties in sourcing necessary equipment such as grinding wheels. Traditionally, grindstones for brilliant cutting glass were primarily made of sandstone from Craigleith in Edinburgh, but contemporary ones are chiefly composed of aluminium oxide. Sourcing these wheels was challenging for a period. However, a recent development has established a new supply of grinding wheels in the UK, contributing to the increased accessibility of the craft. One of the major hurdles in the market is the high cost of materials and labour and the elevated costs associated with this type of cut glass production. This stark contrast often deters potential clients from commissioning traditional craftwork. These cost differentials pose significant challenges to the sustainability of traditional craft businesses. These challenges underscore the need for innovative solutions to promote and sustain traditional crafts in a competitive market landscape.

Heritage Crafts also set out the training and market issues associated with the decline of copper wheel engraving in the UK which, as discussed, was listed as critically endangered in 202311. The listing cites the time required to master the intricate skills involved in setting copper discs on spindles, centring them, achieving perfect alignment, and profiling. Maintenance also presents a significant barrier, especially when compared to the efficiency of diamond wheels. Additionally, the high cost of equipment, including setting up a basic lathe and acquiring wheels, poses a financial challenge for aspiring craftsmen. The lack of training facilities for copper wheel engraving in the UK highlights a major issue for this craft at the Further Education or Higher Education levels. Many institutions either lack lathes or have disposed of them due to non-compliance with health and safety regulations. This shortage of training resources hampers the ability of individuals to acquire and refine their skills, and this shortage of copper wheel engravers and practitioners in the UK makes it difficult to pass on these skills to the next generation. A further issue was stated as the market preference for modern styles and techniques, with many students of glass opting for modern dremel, diamond wheel engraving, and sandblasting methods over copper wheel engraving, due to its perceived slowness and labour-intensive nature. The preference for faster techniques further reduces the pool of individuals interested in mastering more traditional methods. The commercial viability and cost of the technique of copper wheel engraving is increasingly deemed too slow for commercial purposes. Moreover, the final products tend to be expensive compared to alternative methods of glass decoration, deterring potential clients and limiting market demand. These factors collectively challenge the economic sustainability of traditional copper wheel engraving as a viable craft.

It is important to highlight that the glass scene is not totally bleak in the UK, with many glassmakers working throughout the UK. Glassmaking is currently designated as a viable craft in the UK, and this includes diamond glass engraving and glass working, which includes the techniques of glassblowing, kiln-formed glass casting, and lampworking. However, the following future issues may affect the future viability of these glass techniques, including, most notably, a shortage of training opportunities in glassmaking. This scarcity will likely affect the ability of aspiring artisans to acquire and develop the necessary skills to sustain these crafts in the future. There has been a concerning decline in glass education programmes across the UK. As institutions reduce their courses, there are fewer avenues for individuals to receive formal education and training in these crafts which, if left unaddressed, could lead to a potential loss of expertise and knowledge. Unfortunately, ECA has seen this decline firsthand with the unfortunate closure of its BA Glass programme in 2012–2013 and the closure of its Master’s Glass programme in 2019–2020 due to recruitment issues associated with the global pandemic. Within the field of glass in the UK, it can be said that there is a distinct lack of recognition around many of the techniques, which may diminish the perceived value of these crafts and therefore limit opportunities for glass artists to show and sell their work. Again, there is an awareness that, in the future, experienced glass artists may retire or leave the profession, which could mean that there are not enough custodians to pass and transmit their skills and knowledge to future generations. Fortunately, ECA will launch its MA Craft programme in 2025, which will mean that glassmaking, alongside a range of other crafts such as ceramics, textiles, jewellery and silversmithing, will be safeguarded and taught at ECA.

The importance of transmitting crafts skills such as glass cutting and engraving is summed up aptly by Jay Blades MBE, Heritage Crafts Co-Chair, 2023: “When craft skills are in danger of dying out it’s important that we know exactly where to focus our efforts. Over recent years the Red List of Endangered Crafts has made us realise exactly what we are at risk of losing and has given our team at Heritage Crafts the information we need to direct our support most effectively” (Blades 2023).

Although the UK excels in preserving tangible heritage such as museum collections and monuments, it falls short in safeguarding intangible heritage, which encompasses knowledge, skills, and practices. Notably, the UK has only recently ratified the 2003 Convention on the Safeguarding of Intangible Cultural Heritage on the 7th of March 2024. Furthermore, there is a gap in government oversight for heritage crafts, as they fall between agencies responsible for supporting the arts and heritage, which indicates a need for more comprehensive attention to intangible cultural heritage. The ongoing development of the Heritage Crafts’ Red List of Endangered Crafts plays a crucial role in monitoring the status of heritage crafts in the UK since it was first published in 2017, it provides a vital platform for initiating discussions on how to bring about positive change for the future of traditional craft skills and their transmission to future generations.

5. Summary

In summary, the assembly of such a diverse range of speakers at the Edo-Kiriko Conference has provided a crucial dialogue for the field of cut and engraved glassmaking. Each speaker played a pivotal role in honouring and articulating the cultural heritage inherent within the shared histories and traditions of glassmaking. The conference, exhibition, masterclass, publication (Kelly 2024), and this paper underscore the importance of the transmission of craft skills such as cut and engraved glassmaking to future generations through cross-cultural exchange and debate. This paper has not only set out the proceedings of the conference, but it has also reflected and shed light upon the unfortunate decline of the cut and engraved glass scene within the UK. It has demonstrated how these time-honoured crafts now find themselves perilously listed on the Heritage Crafts Red List of Endangered Crafts in the UK, in stark contrast to their Japanese counterparts. Despite this designation, there is an optimism stemming from this conference that asserts that, through a concerted effort involving education, training, and recognition, we could indeed draw together to elevate these crafts from this precarious status. By examining the contributing factors behind the current decline, it is hoped that this paper can issue a call for action, allowing us to collectively envision the future trajectory of cut and engraved glass, and its future survival in the UK.