A Japanese edge is thin because the steel is hard, and hard thin edges chip. What the board is made of stops being a matter of taste at that point.
Own something else Japanese? Check what will destroy it →
Wikipedia is direct about the worst case: glass cutting boards damage knives because of the high hardness of the material, and cutting on glass tends to dent, roll or even chip knife edges rapidly. It adds that glass used for chopping rather than slicing can shatter or chip itself. Steel boards share the same problem.
Wood works for the opposite reason. It is somewhat self-healing — shallow cuts close up on their own — and it has natural antiseptic properties. What matters within wood is grain: tightly grained species with small pores resist scoring and absorb less liquid and dirt, which is why red oak, despite being a hardwood, makes a poor board — its large pores hold dirt even after washing.
A hinoki board — listed as medium-soft, to preserve edges ↗
Bamboo is worth separating out, because it is not wood in this respect: the same article notes it is less porous yet harder than hardwood cutting boards, and resistant to scarring from knives because of that hardness. Harder boards mark less and transfer more of the wear to the edge. Hinoki, the Japanese cypress used for traditional boards, sits at the other end — straight-grained and highly rot-resistant, and softer than the hardwoods usually recommended in the West, which is easier on an edge at the cost of showing cut marks sooner. Any wooden board needs the same care: oil it, do not leave it standing in liquid, and let it dry suspended so both faces dry evenly.
Board listings tend to lead with looks and with the word “hardwood”, which on its own is not the useful measure — grain and pore size are, and red oak is the standing example of a hardwood that makes a poor board. If a listing names the species, you can look the grain up. If it says only “wood”, it has not told you the thing that matters.
A hinoki board — listed as medium-soft, to preserve edges ↗
That link is not a verdict on which board is best — this site has not cut on any of them to compare, and the choice between species, and between wood, rubber and plastic, is not one it can settle for you. It is there because the listing does the thing this page asks a listing to do: it names the species and states that the wood is medium-soft and gives as you cut. Most do not. What the sources will say either way is that glass and steel are the surfaces to avoid if the knife matters to you.
SourcesThe scent exists because the tree was infected. Uninfected wood is pale and light — whatever was added.
There is no dominant standard behind the number. Two #1000 stones can cut differently.
Two of these are the same knife. And a nakiri suits either hand; the usuba it resembles does not.
JIS defines it — and the definition says most washi today is machine-made from chemical pulp.
Carved from a single piece, so a snapped tine is not a repair. The tine count is a spec, not a score.
Not a quality ladder. Natural hair holds powder; synthetic is built for cream and liquid.
ISO and Japanese labelling define how matcha is made. Neither defines a grade.
Ground on one side only. The wrong side does not cut badly — it does not work.
Blue holds an edge longer and is harder to sharpen. Which is better depends on how often you sharpen.
One protects the blade, the other eats it. Scrubbing the wrong one leaves the knife worse off.
Western knives sit at 52–58 and 20–22°; harder steel is what permits 15–18°. Higher is a different bargain.
Repair is subtraction — grind past the chip on a coarse stone, then work back up the grits.
A gifted knife is said to sever the relationship. The custom is that the recipient hands back a coin.
Friction-fitted, not bonded — so it can be replaced. And a D-shaped handle is made for one hand.
The usual fix starts by soaking it. A seiro maker calls soaking strictly forbidden.
Dishwasher, microwave, sunlight. All normal, all irreversible on urushi.
Uncured urushi gives most people a rash. Cured, reactions are possible but less common.
A prefectural institute put eleven lacquer films through JIS Z 2801. Most came back undetectable.
The original ceased production around 1900. Since 1973 the word has meant pattern welding — decoration.
It conducts heat badly. That is the product — and it is also why it cracks.
Unglazed clay is porous until rice starch seals it — one simmer, once.
Induction heats metal, not clay. Most donabe never get warm — and cannot be converted.
Real urushi cures in a humid box over days to weeks. A kit that sets in an hour is something else.
Not urushi against epoxy. Whether the material states food-contact compliance.
Pointed where Chinese ones are blunt. And two ordinary gestures read as funeral rites.
Sumi is soot held by animal glue. India ink needs no binder and dries waterproof on its own.
The body is impermeable. It is the decoration that is exposed — and you can feel which kind it is.
One boils water and gives you iron. Putting the other on heat cracks its lining for good.
The spots appear in the first week. The makers’ association says do not take them off.
The form is settled by a 2003 paper. The amount is not settled by anything.