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Maruyama Yushindo Shop and Gallery
Address: 2-6-23 Shimanouchi, Chuo-ku, Osaka City, Osaka Prefecture, 542-0082.Website Tel: 06-6211-6226 Open: 11:00-19:00. Closed: Sat/Sun. Instagram
For those interested in Japanese art and culture, and the many traditional crafts of the islands, there are many things to find all around Kansai, and furthermore, Osaka. Even so much so, that sometimes they might be hiding in plain sight and go unnoticed because of that.
In the heart of Osaka, near Nipponbashi Station, there is one highly recommended hidden gem that might be obvious to many artists in the city but unknown to the larger and less involved audiences. That is the shop Maruyama Yushindo, which specializes in traditional Japanese paper (washi), ink, and especially making and selling their own self-made high-quality brushes.
The Art of Japanese Paper (Washi) in Ink Painting
For artists dealing with printmaking and ink painting, Japanese paper is almost equivalent to the holy grail—only better because it actually exists. There are many different variations of Japanese paper, each fitting specific purposes in terms of bleeding, thickness, and texture, with different materials and fibers, various methods of creating the paper, and managing moisture in the process. It is a well-appreciated and difficult craft for a reason.
The meticulous care and attention to detail that paper makers put into their processes can really be seen and felt in the final product, which can stand the test of time for hundreds of years. The paper is sought after worldwide and is globally acclaimed for its high quality. As with many things, sadly, the modern era has forced many paper makers to either quit or adjust their craft to the changing times. However, the surviving few are a resilient bunch, for which artists like myself feel deeply grateful.
Brush Making at Maruyama Yushindo – A Legacy of Craftsmanship
Alongside paper, the importance of well-made brushes cannot be stressed enough. Good tools last for years, maybe decades or even centuries, in the hands of those who know how to use them and keep them in good condition. A well-made brush can become an extension of the artist’s body and spirit, part of their soul, something that can deepen their expression beyond anything they could imagine achieving before.
Koichi Maruyama, an artist himself, knows the value of a well-made brush. He is a brush maker who runs a shop specializing in selling Japanese paper and brushes for artists who seek materials and tools with a soul. Maruyama Yushindo was founded in Meiji 16 (1883) and has been going strong for four generations. Located in an old building that appears untouched by time, the papers and brushes on the shelves create a unique atmosphere, very different from modern and somewhat generic calligraphy stores, where everything is displayed in the same office-like environment. Here, one can definitely feel the history and long dedication to the craft.
Where to Buy Ink Painting Supplies in Osaka
They also provide a valuable service by shipping brushes and paper abroad to most countries. This article might be helpful for many artists living further away from Osaka. You can contact them through their website, and their service is available in English, making it even more convenient for those not fluent in Japanese. For interested artists who want to visit the store, it is only a few minutes’ walk from Nipponbashi Station.
Exploring the Maruyama Yushindo Gallery in Osaka
The shop also has a small gallery next door, as there was space for it. “It started around the 2000s. There is no particular purpose for the facility; people can use it as they wish, but many of our customers use it,” Maruyama says.
The atmosphere of the old Japanese building creates a very fitting environment for viewing ink paintings on traditionally made paper. Sometimes, when you see something intricately crafted in a generic space like a white-painted gallery, it might feel like there is a gap between the work and the space, as if they are not of the same world or speaking the same language.
This kind of space, where the works and the environment complement each other, makes the experience deeper. It encourages viewers to pay more attention to the details of the works and reflect on the time and effort invested in them. Thinking about all the craftsmen and-women who have contributed their time to making the paper, the brushes, and the inks for artists to use—then the artist putting them all together into their work—it starts to form a chain of thought that connects the painting to the broader history of the craft.
Upcoming Exhibition – Almost Abstract (March 14-16, Osaka)
Amabe: 4-7-4 Tamagawa, Fukushima-ku, Osaka 〒553-0004. Tel:06-6441-6020. Website
Directions: From the intersection on the east side of JR Noda Station or from Exit 2 of Tamagawa Station on the Sennichimae Subway Line, head east to reach Amabe.
Exhibition Dates: March 14 (12:00-19:00), March 15 (11:00-19:00), March 16 (11:00-18:00)
Alongside having exhibitions in his own gallery, Maruyama is also curating them elsewhere. One such exhibition will take place from March 14th to 16th. This three-day exhibition will be held at Amabe, an old Japanese traditional mansion in Fukushima-ku, near Tamagawa Station.
Participants are Nitta Mika, Jere Kilpinen, Hisako Yasuda, Michelle, Sachiko Mochizuki, Hyo Motomiya, aska, and Koichi Maruyama, who has personally invited the artists, including myself.
Maruyama says that curating the exhibition was relatively easy since the shop already has a strong network of artists. The name of the exhibition is also interesting: “Hobo抽象” (Almost Abstract). What is it all about?
“Abstract paintings are often said to be ‘difficult to understand’ compared to representational paintings, so we named the exhibition ‘Almost Abstract Paintings’ to encourage people to view abstract works casually, without stress, and feel closer to them,” he says.
The Venue: An Old Japanese House
Regarding the venue, he explains, “The venue is an old Japanese kominka house with a storehouse, tea room, and tea garden. We intuitively felt that it would be the perfect place to create a new trend in Japanese abstract art—a uniquely Japanese space that is quite different from ordinary galleries.”
This aligns well with the atmospheric continuity of their own gallery, which I think is a good thing. It allows the viewer to spend more time with the works while drinking tea and slowly absorbing the textures and different shades of ink abstractions.
When looking at art, I believe time is the most essential factor. As the eyes adjust beyond one’s initial impression, new details begin to emerge—just like when trying to see in the dark. At first, it’s difficult, but little by little, new patterns appear, and the way of seeing becomes much deeper than initially thought possible.
For this kind of experience to happen, it is necessary to spend more time in the same space with the works instead of merely taking snapshots with a phone and rushing through the gallery or museum. Many of us have probably taken photos of paintings, only to never look at them again.
Traditional Ink Painting vs. AI-Generated Art
In the era of social media, colorful abstract acrylic paintings have gained immense popularity. With screens dominating our lives, it might sometimes be refreshing and even necessary for artists to engage with something “real” in a fundamental sense. Abstract sumi paintings, for example, are very much physical objects in their own right. Through the use of brushes, ink, and paper, they are more than just images to look at—they are objects with a distinctive spirit.
Views on AI
In the era of social media, colorful abstract acrylic paintings have gained immense popularity. With screens dominating our lives, it might sometimes be refreshing and even necessary for artists to engage with something “real” in a fundamental sense.
How does Maruyama view this traditional form of art, which some may consider old-fashioned, in today’s world of endless digitalization, image saturation, and the rise of AI?
“Recently, with the emergence of AI, it has become very easy to give form to whatever we imagine, for better or worse. The ability to generate anything in just a few seconds is convenient, but I am also concerned that it might be one of the factors leading to a decline in human imagination and creativity,” he says.
The other issues with AI are, of course, ethical ones. AI generates images at the command of the user, consuming vast amounts of energy. Moreover, it likely pulls from a variety of source materials—often taken from other artists without consent. One could argue that the imagination of AI is not truly its own but rather a recombination of stolen work.
Sometimes, an artist can make incredibly difficult and time-consuming work appear simple and effortless, even hastily done. And therein lies the beauty of human imagination at its peak.
Towards the Liberation of Imagination
“Ink painting exists in a world of black and white, without color,” Maruyama continues. “It is often called ‘the beauty of blank space’ because it is an art form that values restraint. Due to its extremely limited information, much of what is felt while viewing the painting is left to the viewer’s sensitivity.”
“For this reason, I believe ink painting is one of the forms of art that most stimulates human imagination. I feel that this room for free imagination is not highly valued in the world of AI or digital media. However, I believe that art like ink painting, which challenges human imagination, has great value. By creating or viewing ink paintings, I hope to stimulate the imagination that is gradually being lost and convey the importance of seeing the true nature of things.”
Guiding Artists on the Way of the Brush
Maruyama also teaches many artists how to hold the brush when they draw.
“How one holds a brush is very important when considering a country’s culture. The Japanese style is a way of holding a brush that makes it easy to write vertically flowing kana characters,” he says. “The Chinese style is a way of holding a brush that corresponds to the vertical and horizontal lines of kanji. In this way, the way one holds a brush and the culture of characters are closely connected. Furthermore, a country’s paintings are an extension of its characters.”
This is a very important point when conveying the culture of painting, and Maruyama hopes to spread awareness of it. I have personally experienced this as well. The first time I visited the store, although I was already awestruck by the atmosphere, I was asked to draw something—anything I wanted. As I started drawing, Maruyama instantly corrected my hand and showed me a traditional way of holding the brush.
After trying it, I quickly realized how much easier it was to draw long, flowing lines with an unwavering hand. I felt humbled and grateful and kept practicing my skills until I had acquired at least a basic level of technique. When I later visited Taiwan, the people hosting me for music thought I was a professional calligrapher, though I had only studied calligraphy on my own. That was when I realized that Maruyama’s teachings had served me well.
