VOL.202 APRIL 2025
ENJOYING JAPANESE SAKE, NIHONSHU
The Beauty of Sake Labels: A Harmony of Calligraphy and Art
A woodblock label from a sake barrel around the early 19th century. At the center, the bold calligraphy design reads ‘sakariichi’ (盛一), meaning ‘the peak of prosperity.’ In the background, there is a fully bloomed cherry blossom tree is depicted, while in the upper-left corner, there is a haiku by BASHO Matsuo1, which reads: ‘From all these trees— in salads, soups, everywhere— cherry blossoms fall.’*.
Photo: ISHIDA Nobuo
*Haiku translated by Sam Hamill, a renowned poet and translator, whose versions of BASHO’s haikus are widely respected.
Summary: While enjoying sake and food during a cherry blossom viewing, the falling petals create the illusion that the blossoms are blooming within the dishes and soup bowls themselves.
Sake labels are beautiful. The lively calligraphy of the brand name and the traditional lucky symbols come together to create a graceful image. We spoke with ISHIDA Nobuo, Professor Emeritus at Hijiyama University, who has collected over 20,000 sake labels spanning the past 150 years, to learn about the charm of sake labels.
Sake was originally packaged in ‘four-to-barrels’ (72-liter wooden barrels; ‘to’ is an old unit of volume, where four ‘to’ equals 72 liters), with the brand name embossed onto the wrapping material. During the Meiji era (1868–1912), labels that were directly affixed to the barrels began to appear. The labels were printed on washi paper (a traditional Japanese paper) using woodblock printing, crafted by artisans who inherited the traditions of 19th-century ukiyo-e2. Eventually, machine printing was introduced, leading to the development of labels for modern issho-bin bottles3 (1.8-liter sake bottles).
“I believe the most distinctive feature of sake labels is that beauty is condensed into them. In the limited space, two forms of beauty—calligraphy and imagery—merge, creating a piece that is both a commercial design and a work of art,” says ISHIDA.
“Particularly eye-catching is the ‘hige-moji’ (literally ‘beard characters’) font, placed at the center of the label. Based on brushstroke calligraphy, this style emphasizes fading and thickness to convey strength and dynamism. The traditional motifs designed in line with the brand name are also striking. These include symbols often found in traditional Japanese poetry (shika), such as cherry blossoms and chrysanthemums in waka and haiku4, as well as symbols of longevity, such as cranes and turtles, and symbols representing good fortune, such as pine, bamboo, and plum (shochikubai)5. A variety of other designs related to the brand name are also used.”
Photo: ISHIDA Nobuo
“Early labels from the beginning of the 19th century took advantage of the woodblock multi-color printing techniques from ukiyo-e, boasting vibrant and beautiful colors. However, the labor-intensive hand-printed labels gradually decreased, replaced by machine-printed labels introduced from the West. Meanwhile, traditional designs became more refined, reaching their peak of beauty between 1955 and 1975, a period often referred to as the ‘Showa6 Classic,’ where the calligraphy of the brand name harmonized with traditional motifs,” explains ISHIDA.
Photo: ISHIDA Nobuo
ISHIDA began collecting sake labels around 1975. Due to the economic conditions of the time, many small sake breweries closed, and numerous regional brands disappeared. He started collecting with the intention of preserving a record of the sake that once existed.
“Sake labels were, in a way, the last stronghold of traditional designs within Japan’s commercial design world, which was becoming increasingly Westernized. That may be why I was drawn to them,” says ISHIDA. “At first, I would peel labels off empty bottles, but over time, I began visiting breweries to ask for unused labels, or I would discover old labels at closed breweries. Now, my collection has grown to more than 20,000 pieces.”
Photo: ISHIDA Nobuo
People from overseas are often amazed by the beauty of the sake labels ISHIDA collects. “Those who see the woodblock-printed barrel labels from the 19th century are especially impressed by the delicate colors and bold designs,” he says. In recent years, just as the culture of collecting wine labels has spread overseas, new value is being found in sake labels as well.
“Unfortunately, many of today’s labels are just text or have lower design quality. However, traditional sake labels are still in existence. You can collect labels not only by peeling them off bottles of sake you have finished, but also through online auctions. I would be delighted if people not only enjoyed drinking sake but also took notice of the traditional beauty of its labels.”
- 1. The haiku poet of 17th-century Japan who laid the foundation for the short form of poetry called haiku. He is known for Oku-no-Hosomichi (The Narrow Road to the Deep North), which consists of haiku and travel diaries.
- 2. A style of woodblock printing and painting developed in Japan from the 17th to the 19th centuries. It depicts beautiful women, kabuki actors, everyday life, and landscapes. Artists such as Hokusai and Hiroshige are famous internationally.
- 3. A standard glass bottle used for sake with a capacity of 1.8 liters.
- 4. A traditional form of Japanese short poetry. Waka consists of five lines with 31 syllables, while haiku consists of three lines with 17 syllables.
- 5. Pine represents longevity, bamboo symbolizes flexibility, and plum embodies vitality.
- 6. The era in Japan from 1926 to 1989 during the reign of Emperor Showa (the 124th emperor). It was a period marked by the post-war recovery and rapid economic growth.
By KUROSAWA Akane
Photo: ISHIDA Nobuo; PIXTA