Ancient Japanese Candle Making

The 1800s in Japan were an era of light caught between two worlds, the quiet glow of handcrafted warosoku and the industrial precision of imported tin candle moulds. At the heart of this period’s candle-making lay a uniquely Japanese blend of artistry, natural materials, and meticulous technique. From the delicate washi paper and igusa rush grass wicks to the subtle fragrance of haze (sumac) wax, this craft illuminates a story of both continuity and change.

Warosoku: More Than a Candle

Warosoku (和蝋燭) — “Japanese candles”  are unlike their Western counterparts in almost every way. While Europe embraced tallow and beeswax, Japan perfected a plant-based wax derived from the berries of the haze tree (Rhus succedanea). Known as mokurō (木蝋), this pale, olive-toned wax produces a clean-burning flame with little smoke.

In the 1800s, warosoku were still central to religious ceremonies, tea gatherings, and domestic rituals. Their large, steady flames and lack of soot made them ideal for illuminating temple altars, where the candle’s light was as symbolic as it was functional.

The Wick: Washi Paper & Igusa Rush Grass

The soul of a warosoku lies in its wick, a carefully engineered structure that determines how the candle burns. Unlike the braided cotton wicks used in Western candles, Japanese wicks in the 1800s were crafted from:

1. Washi Paper – Handmade from mulberry bark, this strong yet porous paper was rolled into a tight core.

2. Igusa Rush Grass – Thin stalks of Juncus effusus (commonly used for tatami mats) were stripped into fine fibers. These fibers were wrapped around the washi core, creating a textured surface for the wax to grip.

3. Silk or Cotton Thread Binding – In some regions, the wick was bound at intervals to maintain shape during repeated wax coatings.

This wick design allowed more molten wax to be drawn upward, resulting in a large, bright flame, perfect for temple halls and evening gatherings.

Wax Preparation: From Haze Berry to Candle

In rural haze-growing regions like Kyushu and Shikoku, families harvested the berries of the haze tree each winter. The process was labor-intensive:

• Steaming the berries to soften the outer shell.

• Pressing the pulp to extract raw wax.

• Filtering impurities by boiling the wax and skimming the surface.

• Cooling & Storage in blocks or cakes until candle season.

This plant wax had a creamy consistency and a mild, woody aroma when burned, one reason warosoku were beloved for meditation and tea ceremonies.

Hand-Coated vs. Mould-Poured Candles

Before tin moulds arrived, most warosoku were built by hand:

• The wick was suspended vertically.

• Warm haze wax was scooped by hand or with a spatula and layered onto the wick.

• Each layer was allowed to cool slightly before the next was applied, creating the distinctive ribbed surface of a hand-made warosoku.

This method was slow but allowed precise control over thickness and burn characteristics.

Tin Candle Moulds in the 1800s: A Turning Point

By the mid-19th century, Japan’s ports were opening to foreign trade. Among the imported tools were multi-tube tin candle moulds common in Europe and America. These moulds had parallel metal cylinders (often 6–12, sometimes up to 72) where wicks were suspended and molten wax was poured in.

The moulds made it possible to:

• Produce candles faster for household use.

• Create uniform shapes for export or urban markets.

• Experiment with paraffin or tallow blends alongside haze wax.

Wick-Making for Tin Moulds vs. Traditional Warosoku

Even when using tin moulds, some Japanese makers in the 1800s adapted the washi + igusa method to maintain traditional burn properties. This meant crafting wicks exactly as for hand-coated candles, then threading them into moulds instead of free-hanging. This hybrid technique preserved elements of Japanese flame quality while embracing the speed of Western moulds.

Sensory Experience: Flame, Fragrance, and Ritual

A true warosoku wick made of washi and igusa produces a broad flame that flickers in a calming rhythm, a subtle fluctuation found in natural patterns like waves or heartbeat. Combined with the faint, earthy aroma of haze wax, the result is a multi-sensory experience deeply tied to Japanese aesthetics of impermanence and presence (wabi-sabi).

Understanding the story of warosoku and tin moulds is to understand how Japan balanced innovation with ritual tradition, a lesson as relevant to today’s makers as it was in the age of the samurai.