Tokyo Shitamachi Pilgrimage

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. Pilgrimages in Edo - Tokyo - Introduction .
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東京下町八社巡り Pilgrimage to 8 Shrines in Shitamachi

This pilgrimage has started in 1981.
There is a deity in each Shinto Shrine for a special purpose and wish.




- quote -
Shitamachi Tokyo old town
Shitamachi literally means "downtown" and is the place to experience a taste of the old town Tokyo atmosphere that existed before the economic miracle of the 1970's and 80's really took hold. The most famous district of Shitamachi is Asakusa. At its heart you find Senso-ji Temple, best known for the giant red lantern situated at the entrance. This is a great place to start any exploration of Tokyo.
- source : insidejapantours.com/experience-japan -




The pilgrimage is also called
Shitamachi Hachi Fukujin 下町八福神 Eight Shinto Deities of Good Luck in Shitamachi Shrines


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amulets for all purposes at the Tori no Ichi Market.

. 酉の市 Tori no Ichi Markets in Edo .


shoobai hanjoo 商売繁盛 Good business

Ootori Jinja 鷲神社 Otori Jinja
台東区千束3-18-7 -- 3 Chome-18-7 Senzoku, Taitō ward

----- Deities in residence :
天日鷲命 Amenohiwashi no Mikoto, Ame no Hiwashi
日本武尊 Yamato Takeru no Mikoto



kakkome　かっこめ Kakkome rake
kakkome is a pun with un o kakikomu 運をかき込む, to rake in good fortune
It contains the rake for farmers, a written amulet and an ear of rice, with the wish for a good harvest in the coming year. It is also good for business and a happy family.

- reference : hachifukujin829/ootori1 -


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縁結び Finding a partner

. 今戸神社 Imado Jinja .
台東区今戸1-5-22 -- 1 Chome-5-22 Imado, Taitō ward

----- Deities in residence :
伊弉諾尊 Izanagi no Mikoto // 伊弉冉尊 Izanami no Mikoto
應神天皇 Oojin Tenno

Famous for the story of the manekineko　招き猫 "Beckoning Cat"



- reference : hachifukujin829/imado1 -

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健康長寿 Long and healthy life

第六天榊神社 Dairokuten Sakaki Jinja
台東区蔵前1-4-3 -- 1 Chome-4-3 Kuramae, Taitō wear

----- Deities in residence :
天神第六代坐榊皇大御神
Amatsukami Mutsu no Miyo ni ataritamau Sakaki no Sume Oomikami
面足尊 Omodaru no Mikoto
惶根尊 Kashikone no Mikoto

- reference : hachifukujin829/sakaki1 -



The temple used to be called 第六天神宮 Dairokuten Jingu, and was renamed in 1873 to 榊神社 Sakaki Jinja.

. Dairokuten Ma-O 第六天魔王 .


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円満和合 Happy couple

下谷神社 Shitaya Jinja
台東区東上野3-29-8 -- 3 Chome-29-8 Higashiueno, Taitō ward

----- Deities in residence :
大年神 Ootoshi no Kami
日本武尊 Yamato Takeru no Mikoto


- reference : hachifukujin829/sitaya1 -

The Deity of Fertility in enshrined here. The Shrine was founded in 730 in Ueno park, and moved to another place in 1672. The final location to Higashi Ueno was done in 1703. The main event is the Grand Annual Festival, Reitaisai.



- further reference -

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学問芸能 Learning and progress in the arts

. Onoterusaki jinja 小野照崎神社 .
台東区下谷2-13-14 -- 2 Chome-13-14 Shitaya, Taitō ward

----- Deities in residence :
小野篁命 Ono no Takamura
菅原道真命 Sugawara Michizane



- reference : hachifukujin829/onoteru1 -

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安産子授け Getting pregnant and easy birth

. Suitengu 水天宮 Shrine for the Water God .
中央区日本橋蛎殻町2-4-1 -- 2 Chome-4-1 Nihonbashi Kakigarachō, Chūō ward

----- Deities in residence :
天御中主大神 Ame no Minakanushi no Ookami
安徳天皇 Antoku Tenno and his mother, 建礼門院 Kenreimon-In
二位ノ尼 Nii no Ama - Taira no Tokiko (1126 - 1185)



- reference : hachifukujin829/suitengu1 -

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強運厄除け Avoiding disaster

小網神社 Koami Jinja
中央区日本橋小網町16-23 -- 16-23 Nihonbashi Koamichō, Chūō ward

----- Deities in residence :
倉稲魂命 Ukanomitama no Mikoto (Uganomitama) / 稲荷大神 Inari Ookami
市杵島姫命 Ichikishima Hime no Mikoto / 辨財天 Benzaiten



- reference : hachifukujin829/koami1 -

- quote -
- History -
A long time ago, the monk 恵心僧都 源信 Eshin Sozu Genshin Eshin Sōzu Genshin lived here in a hermitage, worshipping the Buddhist goddesses Kannon and Benzaiten. It is not known, when exactly the hermitage was built, but it is assumed that the monk lived here about 1000 years ago.
As a plague spread here in 1466, an old net-weaver came here and brought rice-ears that entangled in one of his nets as offering and decided to stay for a few days. Then, one night, Eshin Sōzu appeared to the abbot of temple in a dream and told him, that this old man in fact was the god Inari and that the plague could be taken away if they worshipped him adequately.
The next day, the old man was gone. However, the abbot remembered the advice and prayed to the god – which he now called Koami Inari Daimyōjin (Inari of the small net) – day and night. After a little while the plague was gone and the people could live in peace again. The overlord the region, Ōta no Dōkan, also heard of this miracle and donated a part of his fiefdom to shrine. At the end of the 16th Century then, the area around the shrine was also named Koami and the shrine itself was beginning to be worshipped as a tutelary god.
In the Meiji-period (1868-1912) the state pursued a separation of Shinto and Buddhism, which both had moulded into a syncretic belief during the prior one-thousand years, and so the Koami Inari Shrine was officially registered as a shinto village shrine. The building as we can see it today was built in the 1920ies under the direction of Naitō Komasaburō, who also assisted the building of the Meiji-Shrine. Spared from the destruction of World War II, the shrine nowadays is the only wooden building made out of cypress wood in Nihonbashi. The wooden carvings of two dragons (one ascending, the other one descending) on the porch roof of the main hall symbolize luck and the shrine – now simply called Koami Shrine – stays an important cultural heritage, as which it is registered in the Chūō-district.
- The goddess of luck -
Having been spared from destruction and continuously being linked to health and safety the goddess of the shrine is seen as a god of luck. For instance, all the sons of the families who lived in the shrine, returned home safely from World War II. The shrine also survived the numerous bombings of Tokyo in 1945 and did not – like so many others did unfortunately – burn down completely. However, the building was destroyed once during the Great Kantō Earthquake in 1923, although the abbot of the shrine was able to secure most parts of the sanctuary by bringing them to Shin-ohashi. It is also said, that those people who sought shelter there, have survived the aftermath of the earthquake.
Today a memorial stone reminds us of this episode with an inscription saying:
„Praying to the sanctuary of the Koami Shrine, we seek the goddesses’ protection!“
- The History of the goddess Benzaiten -
At First the goddess Benzaiten was honoured in the Manpukuji temple. Then, as the Meiji-government sought to separate Buddhism from Shintoism and installed the latter as a state religion, the Buddhist temple was destroyed and the goddess Benzaiten was transferred to this shrine in 1869. The image here shows the goddess Benzaiten sitting in a boat.
Every year on October 28th a festivity is celebrated in honour of the goddess, where the sacrificial offerings, which are piled up in front of the altar, later on are raffled to the visitors.
Besides that, there is also a small well (named Zeni-arai-no-i), whose water is said to have the power to multiply the money that is washed with its water.
- Important annual festivities and rituals -
- Doburoku Festival -
- Mimizuku-Charms -

The carving of a dragon is very famous.






- Pilgrimages -
Every year there are pilgrimages to the eight surrounding shrines in Tokyo-Shitamachi and
the temples and shrines of the seven gods of luck in Nihonbashi from January 1th to 7th.
In our shrine we worship the gods Fukurokuju and Benzaiten, which are said to ward of the evil and shape our fate positively. On this occasion we sell popular images of the gods of luck, as well as charms in the form of miniature ships.
- source and photos : koamijinja.or.jp/international -

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交通安全 Traffic safety

住吉神社 Sumiyoshi Jinja
中央区佃1-1-14 -- 1 Chome-1-14 Tsukuda, Chūō ward

----- Deities in residence :
底筒之男命 Sokozutsu no O no Mikoto
中筒之男命 Nakazutsu no O no Mikoto
表筒之男命 Uwazutsu no O no Mikoto
息長足姫命 Okinagatarashi Hime no Mikoto .
徳川家康 Tokugawa Ieyasu

- reference : hachifukujin829/sumiyosi1 -



. Sumiyoshi Shrines of Japan 住吉神社 .
Sumiyoshi Sanjin 住吉三神 Three Deities of Sumiyoshi


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At the end of the pilgrimage, you get a board with eight stamps.





- HP of the Pilgrimage
下町八社会公式ホームページ
- reference source : geocities.jp/hachifukujin829 -


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. Shichifukujin 七福神 Seven Gods of Good Luck .
- venerated in Buddhist Temples
Benten　弁天
Bishamonten　毘沙門天
Daikoku 大黒
Ebisu 恵比寿
Fukurokujuu 福禄寿
Hotei 布袋
Juroojin　寿老人

隅田川七福神 Sumidagawa / 亀戸七福神 Kameido / 柴又七福神 Shibamata and many more

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. - - - - - . kami　神　Shinto deities - LIST . - - - - - .

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. Regional Folk Toys from Japan .

. Japan - Shrines and Temples .


. Tohoku after the BIG earthquake March 11, 2011

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- - - #tokyoshitamachipilgrimage #tokyoshitamachi #shitamachipilgrims #shishifukujin - - - - -
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imono metal art

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imono　鋳物 ironware, cast iron, metal art
chuukin 鋳金 Chukin, metal casting

quote
Having had its foundation laid in antiquity, metal craft using both precious and non-precious materials has achieved a high degree of refinement in Japan. Despite its superb quality, metalwork does not enjoy the renown of other Japanese crafts.
source : japan-brand.jnto.go.jp/category/crafts/metal

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. hoochoo 包丁 Hocho knives .
- waboochoo 和包丁 Wabocho Japanese knives

. suzu, suzuki, suzu-ki 錫器 tin, pewter ware - Zinn .
Kyoto, Kagoshima, Osaka

. tetsubin　鉄瓶 iron kettles .
Iwate Nanbu Tekki

. tsuiki 鎚起, tsuikin 鎚金 hammered metal ware, metalware .
tankin　緞金 beating gold
Also called tanzoo 緞造, uchimono 打物, tsuikin 鎚金 and kaji 鍛冶
Tsubame Tsuiki Dooki 燕鎚起銅器　Tsuiki Doki : hammered metal ware from Tsubame town, Niigata

. ginki 銀器 objects made from silver .

. Edo chookin 江戸彫金 Edo Chokin metal chasing .


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- - - - - quotes from JAANUS - - - - -

chuukin　鋳金 - chukin
Metal casting. A technique used in metalwork to produce vessels or sculptures by melting down metal and pouring it into a mould. Metals used for casting include gold, silver, copper, iron, tin, lead, aluminium, and a variety of alloys. Bronze makes a particularly good casting metal and is highly resistant to corrosion. The casting process can be divided into three stages: i) making the mould, ii) pouring in the molten metal, iii) the finishing stage. Stages ii) and iii) are common to all cast-metal works, but stage i) varies, as there are a great many materials and methods which can be used to make the casting mould igata 鋳型. The best-known methods include:
1　
Stone mould casting *ishigata 石型, which was used to make bronze objects such as the Yayoi period halberd and doutaku 銅鐸 (bell-shaped bronze). Molten bronze was poured into a mould carved into a block of sandstone.
2　
Lost-wax casting *rougata 蝋型 roogata, rogata, was the method used for all bronze sculptures produced from the sixth to the twelfth centuries. A clay model of the images was made as a core, and this was then covered with a layer of beeswax, on which surface features of the image were modelled. Then another layer of clay was added to make an outer shell. Pins were inserted connecting the inner and outer shell, and the entire mould was fired. The wax melted and ran out, leaving an empty space, which was filled with molten bronze. When the bronze cooled and hardened the outer shell and inner core were removed. The surface of the statue was then finished with a chisel, and often gilded with an amalgam of gold and mercury.
3
*Sougata 総型 soogata, sogata, was a casting technique where the surface pattern was engraved on the inside of a clay mould and an inner core *nakago 中型, also made of clay but reduced in size according to the desired thickness of the metal object, was enclosed. After firing, melted metal was poured into the space between the outer mould and the inner core. An adaptation of sougata was kezuri-nakago-chuuzou 削り中型鋳造 (casting with a scraped-off mould). A clay core was covered by a second layer of clay which formed the outer mould. The outer mould was then removed from the core, and the surface of the core was scraped away, according to the desired thickness of the object. The outer mould was then replaced and molten metal poured into the space created by the scraping, between the outer mould and inner core.
4　
Replica casting *fumigaeshi 踏返 was a method used to produce a copy of a flat, simple metal object, for example a mirror. The original object was covered with clay to make a mould. The copy was then made by casting in the clay mould. The dimensions of the duplicate were slightly smaller, and the design less clear than that of the original.
5　
Another technique known as *komegata 込型　(sealed mould), or warikomegata 割込型 (sectioned sealed mould) used a clay mould applied directly over a wood, clay, or stone model of the statue. After firing or simply drying, the mould was divided into pieces and reassembled for casting. This method permitted fine details to be reproduced on the mould, and also had the advantage that it was possible to preserve the original model undamaged.
6　
The simplest casting method used in Japan, suitable for objects like coins or mirrors was the sand mould *sunagata 砂型. Sand was contained in a wooden or metal frame. A raw clay model of the desired object was pressed into the sand. Molten metal was then poured into the hollow impressed in the sand. This method began to be used in the Edo period. The earliest metal casting in Asia began in ancient China for making ceremonial bronze vessels, and later the technique was highly developed for the production of mirrors and Buddhist statues. In Japan important uses included Buddhist statues and implements,temple bells, mirrors, and the iron kettle used in the tea ceremony.

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kigata imono 木型鋳物
A method of metal casting using a wooden model. The wooden model was called kigata 木型.
The kigata was carved first, and over this a clay mould (sometimes called *megata 雌型) was made, which was then used for casting. Recent research suggests that the kigata imono method was used in the production of all gilt bronze images during and after the Late Heian period.

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rougata 蝋型 rogata
Also rougata chuuzou 蝋型鋳造, rougata imono 蝋型鋳物. A method of metal casting known as the lost-wax technique. Frequently used in Japan for casting bronze statues, which were often gilded. See *kondou 金銅. First, a basic model of the desired vessel or statue was made in clay or plaster. This was then covered with a layer of beeswax mixed with pine resin, which was moulded to the required shape and engraved with surface details. An outer layer of soft clay or plaster was then applied over the wax. The outer clay mould and the inner model were secured from the sides, or at the front and back, using fragments of metal *katamochi 型持 or metal pins *kougai 笄. The entire construction was then fired, causing the mould to harden and the wax to melt and run out. Melted metal was poured into the gap left by the wax, between the outer mould and the inner core. When the metal had cooled and hardened the statue was removed from the inner and outer moulds, and the marks left by the pins were repaired. See *ikake 鋳掛.
Solid metal statues were produced from a model made directly from wax without an inner core. This model was then covered, fired and cast.
The lost-wax method allowed free modelling, as the wax surface was very easy to work, and was suitable for casting complex forms and intricate detail. It produced a beautifully smooth, sculptural surface in bronze.
In Japan the lost-wax method was used from the 6c, beginning with small gilt-bronze statues of the Asuka and Nara periods such as the Shoukannonzou 聖観音像 in Yakushiji 薬師寺, Nara. Most of Japan's early bronze statues are believed to have been made by this method. Its use continued during and after the Heian period, and the same technique was used to make small decorative carvings *netsuke 根付 in the Edo period.

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chuuzou 鋳造 chuuzoo, chuzo - - - Also imono 鋳物.
Casting. A technique used to make cast sculptural forms. The base material was heated and melted down to a liquid, which was poured into a mould, igata 鋳型. This was then left to harden and the mould removed to leave a solid form. Metal, plaster, clay or glass could be cast in this way. The term chuuzoubutsu 鋳造仏 refers to cast Buddhist images. *Chuukin 鋳金 refers specifically to metal casting, but since metal was the material most commonly associated with cast images, the terms chuuzou and imono are often used interchangeably with chuukin.


kondou 金銅 kondoo, kondo - gilt bronze
- source : JAANUS : imono -

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- quote -
Kirikane (截金)
is a Japanese decorative technique used for Buddhist statues and paintings, using gold leaf, silver leaf, platinum leaf cut into lines, diamonds and triangles.
- - - History
Kirikane was imported from China during the Tang dynasty (618–907). The oldest examples is Tamamushino Zushi at Horyuji Temple. Kirikane flourished primarily in the 11th century and continued until the 13th or 14th century. After that, however, Kirikane almost disappeared, due to the overall decline of Buddhist art.
- - - Technique
1) Two pieces of leaf (gold or silver, platinum) are heated over an ash-banked fire and bonded together. An additional bonding is then done to further strengthen the leaf and add thickness.
2) The bonded leaf is cut with bamboo knife on a deer-skin-covered table.
3) The bonded leaf is affixed with glue(seaweed glue, funori and hide glue, nikawa) to the object to be decorated. - - - More in the WIKIPEDIA !

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hasami 鋏　scissors
hanabasami 花鋏　scissors for flowers and gardening
Ikebana scissors, gardening shears

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. Edo craftsmen　江戸の職人 .

hakuuchi, haku-uchi shokunin 箔打職人 craftsman pounding gold foil

source : edoichiba.jp.. hakuuti...


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- ABC - List of metal work from the Prefectures
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................................................................................ Ishikawa 石川県 　

. kinpaku 金沢金箔 gold foil, gold leaf foil .
Kanazawa haku 金沢箔 leaf foil of gold, silver or platinum


................................................................................ Kanagawa 神奈川県 　

. Odawara imono 小田原 鋳物 Odawara casting .


................................................................................ Kumamoto 熊本県　 　

. Higo zoogan 肥後象嵌　Higo Zogan inlay .


................................................................................ Niigata　新潟県 　

. roogata chuukin 蝋型鋳金 wax casting .
Sado Island

. tsuiki 鎚起, tsuikin 鎚金 hammered metal ware, metalware .
Tsubame town　燕

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................................................................................ Osaka 大阪　 　

Osaka suzuki 大阪錫器　Osaka tin ware



6 Chome-6-15 Tanabe, Higashisumiyoshi Ward, Osaka / 大阪錫器 company
- reference source : osakasuzuki.co.jp -

- quote -
Osaka Naniwa tin ware
There are many kinds of drinking cups around the world. While the West offers various types of glassware, and Asia has a preference for ceramic cups, in Japan a tin cup style known as suzu-ki (tinware) can also be found in production.

Used since prehistoric times, tin was introduced to Japan by Kenzuishi, a Japanese envoy to Sui Dynasty China, and Kentoshi, a Japanese envoy to Tang Dynasty China, between the seventh and ninth centuries. Thereafter, tin began to be produced in Japan as well. But at the time, it was a material valued like gold and silver are today, so it was only used in limited settings, including the imperial court.

In the Edo Period (1603-1868), tinware became popular among the general public in the form of drinking cups and Japanese tea sets. By the middle of the period, the manufacture and sale of tinware began to center on parts of Osaka, with strong distribution channels in areas such as Shinsaibashi and Tenjinbashi. This heralded the beginning of Osaka Naniwa tinware.



While Naniwa tinware quickly evolved into a full-fledged industry, the start of World War 2 led many craftsmen to be drafted, and material procurement became difficult, plunging the technique into crisis. Following the war, craftsmen from around Osaka gathered to maintain the tradition of Osaka Naniwa tinware, and the industry was reborn. It was recognized by the Japanese government as a traditional craft in 1983.

Tinware is used for a wide variety of products due to its combination of practicality and aesthetic appeal. It is characterized by strong ion properties that have purifying effects on liquids, particularly removing zatsumi (unfavorable taste) from saké to make it smooth and delicious. Tin is also reputed for moisture protection, and is said to help maintain the freshness of tea leaves, making it suited for drinking cups, pots and teacups. Also, given its beautiful, clean color, it’s used for various products including cassolettes, cinnabar seal ink cases, Buddhist or Shinto religious instruments, and decorations.

Osaka Naniwa tinware boasts a tin percentage of more than 97 percent, and this high degree of purity truly brings out the benefits of tin.
- source : japan-brand.jnto.go.jp/crafts/metal -





................................................................................ Toyama　富山県 　

Takaoka imono 高岡鋳物 Takaoka metal ware



- quote -
Takaoka Casting
Each area in Japan is rooted with its own unique metal industry, and in Takaoka, Toyama Prefecture, a wide range of metal casting techniques such as bronze, alloy and tin have been developed. Bronze in particular accounts for 95% of the production nationwide.

Takaoka-Imono emerged from a town called Kanaya machi located along the Senbogawa river in Takaoka city, Toyama Prefecture. In 1609, Maeda Toshinaga, the second head of Kaga Domain and builder of a castle in Takaoka, invited seven Imoji artisans in hope of revitalizing the local industry.

The production of Imono using copper alloy became particularly popular around the 18th century. In 1873, at the Weltausstellung 1873 Wien, Kanamori Soshichi, who ran his own Imono production factory and exported his products, was awarded a prize, which led to more artisans in the country receiving awards, and Imono establishing its status globally. In 1975, it was certified as a Traditional Craftwork by the national government, and has since been used for the creation of a wide variety of products, with new crafting techniques constantly emerging.


source : 4travel.jp/travelogue
- 藤子不二雄 - まんが道 Manga Road in Takaoka -

Takaoka-Imono
has recently been adopted for the production of bronze statues of popular manga characters, which have then been placed in various parts of Japan. For the past few years, local municipalities and people in shopping arcades in the metropolitan area have begun to place bronze statues of popular manga characters as part of their plan to revitalize their communities. In March, 2010, 11 statues of characters from the popular manga most commonly known as Kochikame were placed around the Kameari station in Katsushika Ward, Tokyo. In March, 2012, 12 statues of “family” characters from “Sazae-san”, a ubiquitous manga/anime series that depicts the everyday life of one family, were put in place around the Sakura-shinmachi station of the Tokyu Denen-toshi line as part of the city’s shopping arcade, “Sakura-shinmachi” shopping street in Setagaya Ward trying to enliven its community.
In March, 2013, a bronze statue of Ozora Tsubasa, the main character from the manga “Captain Tsubasa”, was placed in Yotsugi-tsubasa park in Katsushika Ward, Tokyo. All statues are made of Takaoka-Imono. By collaborating with popular manga characters in the form of bronze statues, Takaoka Imono has made itself known to many around the country, which led to boosting the sale of its products as well.

As for plateware, the gorgeous looks of cups and sauce-pouring containers using antibacterial tin make them popular as gifts for loved ones.

Nowadays many companies in Takaoka are shifting their production focus to the making of high-quality interior decoration. These combine modern tastes with the influence of Japanese design to create products you won’t find anywhere else.
- source : japan-brand.jnto.go.jp/crafts -


Takaoka dooki　高岡銅器 bronze work






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................................................................................ Yamagata 山形県 　

. Yamagata imono　山形鋳物 ironware, cast iron, metal art - Yamagata Casting .


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. Join the MINGEI group on facebook ! .  



. Regional Folk Toys from Japan .

. Japan - Shrines and Temples .


. Tohoku after the BIG earthquake March 11, 2011

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Noboribetsu Oni Demons

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. Oni 鬼 demon, ogre, monster - Introduction .
. Hokkaido Folk Toys .
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Oni 登別の鬼　The Demons of Noboribetsu

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Noboribetsu in southwestern Hokkaido is the location of the Noboribetsu, Karurusu, Kaminoboritbetsu hot springs, and has a rich variety of scenery including forests, lakes and marshes. It has been designated a part of Shikotsu-Toya National Park.
The Noboribetsu hot spring is one of Hokkaido's best-known hot springs, and is surrounded by a virgin forest 200 meters above sea level. It has 9 different kinds of water, containing minerals such as sulfur, salt, and iron. The quality of these minerals results in the spa being ranked among the world's most exceptional hot springs.

In the northeastern part of the hot spring grow many sorts of broad-leafed trees, including oaks, and a bamboo grass called 'kuma-zasa.' The area is called Noboribetsu Primeval Forest, and has been designated as a natural monument. To the east is Mt. Shihorei, from which you can view Lake Kuttara, with its clear water said to be the second most transparent in Japan.



The most impressive scene at the hot spring is the 地獄の谷 Jigoku Valley (hell valley), where yellowy gray volcanic gas seeps from the surface of the rocks. This makes the whole place smell strongly of sulfur, and gives it an image like that of hell. The valley is a 450-meter-diameter mouth of a volcano, which produces 3,000 liters of hot water per minute.
source : jnto.go.jp/eng/regional/hokkaido

登別の湯を守る湯鬼神（ゆきじん）。登別温泉の様々なイベントに現われ人々の幸せを願い厄払いをしてくれます。　夏の間だけ繰り広げられる「地獄の谷の鬼花火」では、赤鬼と青鬼が地獄谷を舞台に道内では珍しい手筒花火を打ち上げ、太鼓の音色とともに舞い踊ります。

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Meet the Demons (Oni) of Hell Valley in Noboribetsu Onsen
Every year in summer, you can experience the fable of Hell Valley (Jigokudani) unfold before your eyes.


----- JR Noboribetsu Station Welcome Demon 登別駅前　歓迎鬼像

The Demon’s Fireworks (鬼花火 Onihanabi) burst into life at 8:30pm on Thursdays and Fridays from June 1 through to August 7 at the Hell Valley Observatory. The Yukijin (the demons who protect the hot springs in Noboribetsu) carry large burning torches in the shape of kanabo clubs shooting fireworks like volcanic eruptions along the path into Hell Valley, lighting up the night.
However,
before you enjoy this exciting event, you should first meet the many legendary inhabitants of Hell Valley to help you fully appreciate the festivities.
There are 11 demon spots in Noboribetsu and each of them is unique.

Yukijin 湯鬼神 Demon Guardian of the Hot Springs
The Yukijin are the stars of the show at the Onihanabi fireworks festival. At this time of the year they show up at festivals and events to drive away evil spirits and bring happiness to people.

You’ll see them carrying two symbolic weapons for these dual roles: a sword to protect people from evil spirits, and kagura bells to alert everyone of their arrival as they walk through the streets and drive away bad luck. Away from the festival, most of the demons you encounter carry a large spiked club called a kanabo – making the strong even stronger – and not someone you’d like to meet on a dark night.


----- Romance Demon 恋愛成就




Demon of Business Prosperity シンボル鬼　商売繁盛鬼像
Noboribetsu-Higashi Interchange Demon 登別東高速IC前
Parent and Child Demons 歓迎親子鬼像
Praying Demon Shrine (Onizo Nembutsu) 鬼祠 -念佛鬼像
Sengen Park Demon 泉源公園の鬼っこ
Study Demon シンボル鬼　合格祈願
Yukake Hot Water Demon 湯かけ鬼蔵
- - - - - King Enma Shrine - King of Hell 閻魔堂

If you want to learn more about things to see and do in Noboribetsu Onsen, take a look at the Noboribetsu Tourist Onsen homepage.
- source : takimotokan.co.jp/english/news -

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Noboribetsu Jigoku Festival　登別地獄祭り　




Noboribetsu Onsen Festival　登別地獄祭り



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The festival is for appreciating the powerful water and various quality of “hot water,” and wishing for future prosperity and sound health. Various events are held, such as splashing buckets of hot water and mochi rice cake pounding dance for children.
- source : nihon-kankou.or.jp -


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wasabi from Noboribetsu
登別のわさび
This has started about 100 years ago, when the local doctor found a spring with very good and plentiful fresh water. He introduced the wasabi fields and used the wasabi as a kind of medicine for the villagers, to prevent food poisoning in the hot summer days. Now in the 4th generation, they keep these fields in good order and provide wasabi dishes of all kinds.

. Food from Hokkaido 北海道 .

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- - - - - Haiku and Senryu - - - - -

雪山に噴く湯ゆたかに登別
yukiyama ni fuku yu yutaka ni Noboribetsu

in the snow mountains
hot water sprouts plentiful -
Noboribetsu

清水寥人 Shimizu Ryojin (1920 - 1994)
Famous novelist



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- - - #noboribetsu #noboribetsuoni #demonsnoboribetsu - - - - -
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tsuiki hammered metal ware

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. Niigata Folk Art - 新潟県　- Introduction .
. imono　鋳物 ironware, cast iron, metal art .
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tsuiki 鎚起, tsuikin 鎚金 hammered metal ware, metalware

Tsuiki means shaping metal by hand hammering。

tankin　鍛金　hammering　
The term tankin is used in Japan today to refer to a range of different techniques that broadly divide into tanzo, tsuiki, shibori and bankin.

Tanzo (forging) is the technique used for iron. The other techniques are used for gold, silver, copper and alloys. When a solid mass of metal is hammered out, the technique is known as tsuiki.
Shibori and bankin are techniques used on sheet metal that has been prepared in advance by mechanical means.

Bankin involves the cutting and bending of sheet metal, whereas shibori, which allows the creation of freely conceived forms, involves hammering. Most metals harden when they are hammered and become soft and pliable when they are heated and slowly cooled, a process known as annealing (yakinamashi). These properties are made use of in all tankin techniques except bankin.
- source -　nihon-kogeikai.com - 日本工芸会 -

. Edo chookin 江戸彫金 Edo Chokin metal chasing .

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tankin　緞金 beating gold
Also called tanzoo 緞造, uchimono 打物, tsuikin 鎚金 and kaji 鍛冶.
A basic metalwork technique for hammering out a metal lump with a metal or wooden hammer, beating a metal sheet thin from the front and back, or pressing metal to give it form. Used since the Japanese first started to use metals in the Yayoi period, and employed at first for gold, silver and copper, then for bronze, nickel, brass, iron and tin.
Tankin techniques are divided into categories of tsuikin, bankin 板金 and oshidashi 押出.
Tsuikin (hammer relief) is beating sheet metal from the front and back to give three dimensional form or relief patterns.
In the Kofun period it was used on long swords and harnesses; it is common on Buddhist altar fittings since the Nara period; in the Muromachi period it is seen on fittings of helmets and armor; and in the Meiji period Yamada Sobi 山田宗美 utilized it for sculpture.
Bankin (sheet metal process) is the folding and soldering of metal sheets to create three-dimensional forms such as reliquaries, sutra boxes and hanging lanterns.
Oshidashi (extrusion) uses a thin metal sheet on a template and is beaten from the top to transfer the shape; it can be utilized for mass production. In the Nara period, it was used widely for *oshidashibutsu 押出仏 (extruded Buddhist image) and the *sentaibutsu 千体仏 (thousand Buddhist images) inside the Tamamushi shrine *Tamamushi no zushi 玉虫厨子 in Houryuuji 法隆寺.
It requires a kanatoko 鉄床 (anvil), *kanazuchi 鉄鎚 (iron hammer), *kizuchi 木槌 (a mallet), ategane 当金 (dolly), *tagane 鏨 (graver) and yasuri 鑢 (file) to make *butsuzou 仏像 (Buddhist image), butsugu 仏具 (altar fittings), dora 銅鑼 (gongs), bugu 武具 (armory), *kooro 香炉 (an incense burner), pots, dishes and kettles.
- source : JAANUS -

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tankin no iroha 緞金のいろは the basics of beating metal
- reference source : akaitaro.com/tankin-

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- ABC - List of tsuiki from the Prefectures

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................................................................................ Niigata　新潟　燕市 　

Tsubame Tsuiki Dooki 燕鎚起銅器　Tsuiki Doki : hammered metal ware from Tsubame town
Reference mentions bronze, tin or copper as the main material used.



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Tsubame Tsuiki Coppereware
- - - - - Description
Tsubame Tsuiki Coppereware are metalwork made in an area around Tsubame City, Niigata Prefecture. As traditional craftwork originating in the mid-Edo Period, Tsubame Tsuiki Coppereware have been produced in the form of kettles, and the like, by using copper extracted from the region’s Mt. Yahiko.
Tsuiki means shaping metal by hand hammering, and in this case one piece of malleable copper plate will be extended using a range of traditional skills and techniques. Characteristics of Tsubame Tsuiki Coppereware include a shiny appearance created by tsuiki performed by a master artisan, and with time the texture of copper increases in attractiveness with long-term use and proper care. In addition to kettles, other beautiful Tsubame Tsuiki Coppereware every day articles include vases, water pitchers, teapots, and the like. And apart from looking so fine, tea poured from a copper teapot is said to have a milder taste due to the action of metal ions. Each product is made by several hundred thousand hammer blows making the outer side so smooth it looks like china.
Tsubame Tuiki Coppereware was designated as a traditional craft by the Minister of Economy, Trade and Industry in 1981.
- - - - - HISTORY
Tsubame City, Niigata Prefecture, famous for its production of metalwork, has a history starting from the making of Japanese nails in around the early Edo Period. Tsubame Tsuiki Doki originates with artisans from Sendai visiting Tsubame City sometime in the mid-Edo Period and introducing the copperware techniques of tsuiki; the hammering techniques of that time have been handed down for well over 200 years. Tsubame City is currently the only area producing tsuiki copperware in the country. The main reason for the development of the production of tsuiki copperware in the region is the high-grade copper ore extracted from neighboring Mt. Yahiko. Tsubame Tsuiki Coppereware over time developed techniques beyond the simple making of kettles and in the Meiji Period adopted metal carving techniques suited for more artistic crafts. Copperware, such as teapots, vases, and art work, which become more attractive over a long period of time has been loved for many years, and has become indispensable in daily life.
A vase of Tsubame Tsuiki Coppereware was even dedicated to the Emperor Meiji in 1894.
- - - - - PROCESS
1. Hammering
The production processes of hammered copperware vary depending on the shape of article to be made. The following explanation describes the making of the popular kettle. There are four basic processes: copper plate cutting, plate shaping, decorative work, and finishing. In the first process, a copper plate is cut to size. Hammering is then performed on a side surface part. The copper plate is placed on a wooden table exclusively used for this process, and the side surface part is hammered with a wooden hammer. Varying indentations on the wooden table are important for creating different sections of the kettle, such as a side surface or the spout. The strength and angle of hammering need to be considered depending on the rigidity and malleability of the copper plate. This process requires a very high level of skill, and is a true test of the artisan’s abilities.
2. Uchishibori (Thinning)
Next, the copper plate is hammered and made thinner. The copper plate is placed on a metal tool called a torikuchi (L shaped stake). This tool, which is also called an ategane (stake), is used for a variety of techniques and purposes depending on the item being made, and when used is inserted in an agariban (wooden table) made from Japanese zelkova. The copper plate needs to be hammered many times in order to make a kettle spout; a task requiring much perseverance and concentration.



3. Annealing
Continuously hammered copper plate becomes gradually harder, and needs to be temporarily softened in a furnace at around 650°C. Hammering and heating are repeated many times until completion.
4. Shaping
Any irregularities and deformation on the body are adjusted and balanced to give a beautiful shape. The surface becomes shinier as it is repeatedly hammered.
5. Metal carving
After the product is shaped, the surface is processed. A detailed design is drawn, engraved, and carved with a tool called a tagane (cold chisel). Inlaying is sometimes carried out to overlay the product with gold and silver decoration. Metal carving adds brightness and elegance to the plain copper color of the kettle.
6. Coloring and Finishing
Finally, to give a different texture to the metal surface, the kettle is dipped into a solution and the color changed. There are two kinds of coloring methods. In the black color-based method, the kettle is tinned and fired at 800°C, and then hammered. For coloring, the product is then boiled in the liquid obtained by mixing green rust and copper sulfate, which gives an attractive dark purple color called kinko. In the red color-based method, the product is boiled for several hours longer in the liquid until the creation of a brown color called sentoku. Tsubame Tsuiki Coppereware articles made by repeated hammering of a single piece of copper plate have a unique beauty seen in no other metal work.
The copperware we see today is a testimony to the traditional techniques of tsuiki lying at the heart of Tsubame Tsuiki Coppereware and faithfully handed down through generations of skilled artisans.
- - - - - Tsubame Industrial Materials Museum
- source : kogeijapan.com/locale -

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Hand Hammered Copper Vase by Gyokusendo Corp
- source : themodernvault.com/product -



CLICK for more of Gyokusendo metal art work !

- HP of Gyokusendo 無形文化財 鎚起銅器 - 200 Years Gyokusendo 玉川堂
- reference source : gyokusendo.com-

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Tsubame-tsuiki Bronze Ware
Tsubame-tsuiki bronze ware is a traditional artifact that is created using an extremely complex forging technique, which can be summarized as the hammering of a plate of bronze in a wide variety of ways. This will turn it into the shapes of various accessories such as kettles, flower vases and plateware.

While it might seem a great wonder that one plate of metal can be turned into the shape of an almost round object, this is what makes a Tsubame-tsuiki bronze ware artisan a master of his craft. On the inner side of a bronze plate, one connects an iron stick called “Toriguchi” whose pointed end can come in hundred different kinds of shapes. When the plate is beaten from the outside with a hammer (of which there are hundred types as well), it eventually changes into a 3-dimensional shape. The vibration that is given to the bronze plate creates some unique effects, depending on the shapes of “Toriguchi” and hammers and how the plate is beaten; It can then be stretched or even shrunk. This is the hardest part of its production process, and it would take 20 to 30 years for one artisan to be able to handle the entire process on his/her own.

The metal-processing industry in Tsubame city, Niigata prefecture originated from the making of Japanese nails as a side business for farmers in the beginning of the 17th century. With the convenience of the near Yahiko mountain being a copper mine, many variety of products connected fine skills and creativity came to prominence. These included bronze ware, pipe, file, and yatate (portable writing utensils with a brush and an ink bottle).

During the 18th century, a technique called “Tsuiki” was brought by artisans from the area which covers the current Sendai in Miyagi Prefecture. It enables one to make kettles, flower vases or plates without any joint lines by beating out one bronze plate repeatedly. This was the start of Tsubame-tsuki bronze ware, leading to what has now become a world-famous craft. It has the practicality and artistry of traditional craftwork created by highly-skilled artisans and its luster more comes out after repeated use.

In addition to traditional everyday items, Tsubame-tsuiki bronze ware is now available in the form of new product designs which have never been seen before, such as Western plates or wine coolers, receiving high acclaim in and out of the country. It has been used as plateware, for instance, in a world-famous French restaurant and has been featured in collaborations with well-known brands’ new products, which has served the purpose of spreading traditional Japanese craftwork out to the rest of the world.
- - - - - Tsubame Local Industry Promotion Center
- source : japan-brand.jnto.go.jp/crafts -


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