Do you know the tool called sanbō? Used primarily in Shinto rituals, it is a wooden stand for offerings. It is called sanbō (“three sides”) because of the openings, called kurikata, cut into three sides of its body. A familiar image would be the wooden stand used to hold kagami mochi at New Year’s or dumplings at the moon-viewing festival.

Located in Atsuta Ward, Nagoya, Iwata Sanbō Seisakusho Co., Ltd. (hereafter “Iwata Sanbō”) has carried on the tradition of making sanbō and other ritual implements since the mid-Edo period. Today, the company also applies these techniques to the development of new everyday items. We spoke with Yasuyuki Iwata, the seventh-generation successor.

Having played in the workshop since childhood, Iwata grew up surrounded by craftsmen. Their work environment taught him both the joys and challenges of making ritual implements.

Since the Edo period, Iwata Sanbō has used the prestigious Kiso hinoki cypress to make sanbō, treasured by major shrines and temples across Japan. During our visit, we observed the process of making trays for everyday use, which apply the very same methods of sanbō-making.

Even with high-quality hinoki, careful selection is crucial. Boards with visible knots, reddish tones, or irregular grain are rejected. To achieve beautiful straight grain, planks are cut using the luxurious masame-biki technique. Yet, Iwata says that even then, less than half of the stored planks are suitable, as he flipped through the boards and explained the difficulty of selection.

After cutting, only the best portions of the board are kept. Grooves are carved just short of cutting through, allowing the board to be bent into the tray’s frame. To prevent breakage, the wood is softened in hot water, then bent and pressed before being dried and assembled with the base.

Most products, including sanbō, are left uncoated. “Applying paint to tools used before the gods is seen as deceit. Instead, we are tested on how beautifully we can finish in plain wood. It is a direct, uncompromising challenge,” explains Iwata.

Making Full Use of Precious Materials.

Producing high-quality goods inevitably results in material loss. Given the rarity of 300-year-old hinoki, Iwata felt uneasy about burning the large amount of shavings once generated.

Now, however, the company upcycles hinoki with creative ideas. One such example is an aroma diffuser crafted from shavings shaped like flower petals. Essential oil extracted from the same hinoki is infused, releasing a natural fragrance as it evaporates.

Because the thin shavings soften when soaked and curl as they dry, this property is cleverly used to form blossoms. Shavings are also repurposed as cushioning in packaging, ensuring nothing goes to waste. Initially, Iwata’s wife and friends helped create prototypes. When he shared them on Facebook, the idea received enthusiastic responses and further suggestions.

“As a manufacturer, it’s our responsibility. Such precious hinoki shouldn’t simply go up in smoke,” says Iwata.

Iwata Sanbō has launched a new brand, NUSA, in collaboration with product designer Takumi Shimamura of Kurutz Co., Ltd., to bring its craft to global audiences. With the same discerning eye for hinoki and the careful handwork of artisans, they now create bento boxes, trays, and tables—applying the traditional methods of sanbō-making to modern items for daily life.

“Traditional industries have evolved over centuries by adapting to everyday use. To expect Edo-period tools to be used in the same way in Reiwa is unrealistic. That’s why, while preserving traditional methods, today’s artisans must propose things that fit our times,” Iwata explains.

At its core, sanbō is a tool to express “gratitude.” Now, this tradition—rooted in Japan’s culture of thankfulness—is gradually being embraced overseas, in forms adapted to contemporary life. Perhaps no one in the past could have imagined this development. But Iwata Sanbō has already taken the first step in changing history.