suzu tin pewter

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. Legends and Tales from Japan　伝説 - Introduction .
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suzu, suzuki, suzu-ki 錫器 tin, pewter ware - Zinn

. imono　鋳物 ironware, cast iron, metal art .
- Introduction -

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Japanese traditional tin ware
The manufacture of tin ware in Japan dates back to over 1,300 years.
Tin wares from Nara era are kept in Shôsô.in (Todaiji) of Nara. It was, along with gold and silver a popular precious metal for the noble families and prestigious shrines.
Frequently saucers and tin jars are used for the sencha-do (sencha ceremony), a practice which crystallizes in the 19th under the influence of the practice of tea scholars of the 17th and 18th centuries (themselves influenced by Qing China, to ensure about this post in French Stéphane from Tea Masters). Today they are often replaced with stainless steel objects because of the high price of tin.
source : florent japaneseteasommelier.wordpress....


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- ABC - List of tin / pewter ware from the Prefectures

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................................................................................ Kagoshima 鹿児島県

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In 1655, tin was discovered in the suburbs of Kagoshima City.
As the value of tin was on par with that of gold and silver at the time, it was an important financial resource for the Satsuma Domain.
As lifestyles changed after World War Two, demand waned, but its use has become popular again thanks to a special finishing technique called pear-skin finish and its soft luster and weighty feeling.
- source : pref.kagoshima.jp... -


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The traditional attraction of Satsuma Tinware lies in the aesthetic quality of its casting surface called nashiji-hada (pear-skin like surface), and the quality of the product is determined by its first production process called ikomi (casting).
The crystal structure of the metal,
produced when molten tin is poured into a mold, becomes the surface of tinware and cannot be modified in the later processes. During this process, a traditional craftsman holds his breath when slowly pouring tin into a mold.
When watching him throwing himself into work,
you will find marks like insect bites on his arms and chest. These are burn scars caused by splashes of molten tin.
Tinware is a craft
made with arts (molding and surface finish), casting theory of production technology, lathe cutting (machining), etching (chemistry), printing technology, and lacquering (paint).
- making process in detail
- [History of Satsuma Suzu-ki (Tinware)]
The origin of tinware making in Satsuma goes back to the time when a vein of tin was discovered by Yagi Mondonosuke Motonobu in a tin mine, deep in Taniyana, 20 kilometers south of Kagoshima City in 1655 and the lord of the Satsuma domain Shimazu Mitsuhisa obtained the permission of mining in 1701. This brought Satsuma nationwide recognition for its tin and tinware.
It is believed that the tinware began to be made in Satsuma after 1813 when the Taniyana-kozan mine began producing more tin.
In Saiyuki (Journey to the West) by Tachibana Nankei, which is said to be the representative work of travel literature in the Edo period (17-19c), he wrote, "In the castle town of far-away Satsuma Province, there were no ceramic bottles, but all bottles were made of tin."
Another type of tinware production brought from China to Kyoto developed in Osaka as a producing area. This is the origin of Naniwa Suzuki tinware with its branch schools in other areas and its production method is different from that of Satsuma Suzuki.
- source : jtco.or.jp/en/japanese-crafts... -

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薩摩錫器工芸館 岩切美巧堂 Iwakiri Misakido
4 Chome-18-2 Kokubuchuo, Kirishima, Kagoshima
- reference source : satsumasuzuki.co... -



錫彦 浅田錫器 Suzuhiko - Asada Suzuki
6-19 Tenokuchicho, Kagoshima, Kagoshima
- reference source : synapse.ne.jp/suzuhiko... -




................................................................................ Kyoto 京都

Seikadoo 清課堂 Seikado
462 Myomanjimae-cho, Teramachi-dori-Nijo-sagaru, Nakagyo-ku, Kyoto


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Seikado was established here in Kyoto in 1838 (Edo Period) as a pewterer and presently, we are the only pewter art craft speciality shop in Japan. Our 7th owner has devoted himself to making pewter arts as well as running exhibitions displaying a wide range of Japanese metal arts. The gallery introduces contemporary craftsmen.( not open on a regular basis. )
Although historically, Kyoto pewter crafts were originally developed and made available to only the upper classes, we have been endeavoring to design something which is equally in keeping with modern times as it is in maintaining respect for our traditional heritage. The next time you pay a visit to Kyoto, be sure to experience and share with us such distinctive Japanese beauty.
- Tradition
‘Teramachi Street’ on which Seikado is located, used to have many religious institutional buildings, such as temples and shrines as you can guess from its name. (“Tera” means temple.) We were making mainly religious artefacts when we first started our business. These Pewter religious artefacts which were made at this workshop are still seen in shrines all over Japan and they are an essential part of Gion Festival. The Imperial Palace is nearby and it is said that its Pewter sake cups were popular among the nobles of the past. Also, there is a tradition related to “tea” in Kyoto. The Pewter tea sets made at our workshop are essential to any good tea ceremony. We make a wide range of products, from those used in daily life to decorative, modern art, using not only pewter, but also silver and copper.
..... Pewter
It has been mainly used for kitchen utensils especially sake cups because it does not get corroded easily.
We mainly make pitchers and cups for sake. Pewter sake products are essential to those who love sake in Japan.
..... Silver / Copper / Brass / Bronze
- source : seikado.jp/english... -





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




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Osaka Naniwa Pewter Ware 大阪浪華錫器
Pewter ware was first introduced to Japan some 1,300 years ago by envoys from China.
Later during the early part of the Kamakura period (1185-1333), the Zen monk Eisai visited Sung dynasty China and returned with a maker of tea urns. His skills with pewter are said to mark the real beginning of this craft in Japan. It was not until the 18th century, however, that a production center was established in Osaka.
Pewter is a very stable metal. It is ideal for such things as a sake flask as it does not affect the delicate flavors of this rice wine, and the taste of water kept in a pewter container is improved by an ionic action. It is also good for flower vases and especially good for the storage of such things as tea, which would deteriorate in anything less than an air-tight container due to high temperature and humidity.
- source : kougeihin.jp... -

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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 -

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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 -


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. . . CLICK here for Photos 錫器 !

. Reference .

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. Legends and Tales from Japan　伝説 - Introduction .

................................................................................. Miyagi 宮崎県
西臼杵郡 Nishi-Usuki district 日之影町 Hinokage town

kome no batsu 米の罰 punishment of rice
At mount 大福山 Daifukuyama there was the 大吹錫鉱山 ObukiTin Mine. It had been establishe by 高見但馬守 Takami Tajima no Kami.
Around 1700, in the estate of Tajima no kami there worked a woman in the kitchen who always burned the rice and in fear of being scolded buried the brown parts in the ground.
A few days later she dug them out and from the hole a violet smoke rose high into the sky. The woman lost her eyesight.
This was the revenge of the rice.

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- reference : nichibun yokai database 妖怪データベース -

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



涼しさは錫の色なり水茶碗
suzushisa wa suzu no iro nari mizu chawan

the coolness comes
from the color of pewter -
my water bowl

Itoo Shintoku 伊藤信徳 Ito Shintoku (1633 - 1698)
Genroku Haiku Poet

. WKD : suzushisa　涼しさ coolness .
- kigo for all Summer -

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ginki silver objects

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ginki 銀器 objects made from silver
ginseihin 銀製品 silverware




shirogane shi 銀師 craftsman working with silver



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ginbutsu　銀仏 silver Buddha
Bronze was the most frequent metal used in the production of Buddhist statues. Where silver was used instead of bronze, the figure is called ginbutsu.
According to available documents, silver statues were produced in Japan in the Nara and Heian periods, but surviving examples are very rare. Because of the high price of silver, relatively few pieces were produced, and the statues themselves tend to be small in size.
Famous extant examples include a figure (height 23.6cm ) attached to the coronet of Fukuukenjaku Kannon 不空羂索観音 in Todaiji Hokkedo 東大寺法華堂, Nara, and thought to date from the 8c. An Amida Nyoraizo 阿弥陀如来像 (7.6cm high) in Jogon-in 浄厳院, Shiga preference, is believed to have been made in the Kamakura period.
In 1937 the right hand of a Buddha cast in silver, approximately life-size, was discovered under a pedestal in Kofukuji 興福寺, Nara, where, according to records, there once were two silver Buddhas.
- source : JAANUS -


Todaiji Hokkedo 東大寺法華堂

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. shippoo 七宝 （しっぽう）/ 七宝焼 cloisonne, Cloisonné .
ginbari jippoo (ginbari shippoo) 銀貼七宝 cloisonne with silver foil





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- ABC - List of silver ware from the Prefectures


................................................................................ Shimane 島根県

. Iwami Ginzan 石見銀山 Old Silver Mines at Iwami .


銀鉱山王国・石見銀山
遠藤浩巳 Endo Hiromi



................................................................................ Tokyo 東京

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Tokyo Silversmithery 東京銀器



This craft began during the 18th century with the emergence of three kinds of skilled workers of precious metals. First there was 銀師（しろがねし） the shirogane-shi, who fashioned articles that were then skillfully chased by masters of this technique; and then there were skilled metal workers who made such things as combs, hairpins (kanzashi) and the decorative metal fittings for the portable shrines or mikoshi.
The gold and silver mints in Edo contributed significantly to raising the level of skills of such artisans. Moreover, Edo was the center of politics, finance and culture, and were feudal lords were required to live for long periods. Consequently, silversmithery in particular developed with their patronage. Nowadays, many fine articles are being produced, mostly to traditional patterns.
A confluence of so many skills, Tokyo Ginki is of the highest quality, the epitome of beauty and durable besides. Also, because it is not made of a harmful substance, it can be used for so many kinds of containers, ornaments and other everyday household articles. Both wrought and chased articles are made. There are silver tea caddies, sake flasks, flower vases, ornaments and many other small household articles being made.
source : kougeihin.jp...



東京銀器会館 Tokyo Ginki Kaikan Hall
東京都台東区東上野2-24-4 / 2-24-4 Higashiueno, Taito ward
- source : kougeihin.jp/facility... -

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Kazuo Kamikawa succeeded to the name "Sosho" from his father, and received many awards, including "Higashi-Kuninomiya Bunka Hosho," or Higashi-Kuninomiya prize, and "Takuetsu Gino-sho," or superior workmanship prize. He is affiliated with the Hirata school, of which founder is Zennojo Hirata, a smith who distinguished himself as a master craftsman in the late Edo Period.
..... What is Tokyo-style silverware?
In medieval Europe, in order not to be poisoned, people used silver tableware, taking advantage of the property of silver, of which color changes when being sulfurated. In this way, silverware has closely been related to lives of people from old times. In Japan, since silver coins were struck at a silver mint, which was located in present Ginza, in the Edo Period and silver accessories were popular among people in the Genroku era, a period when the economy developed and prospered, Tokyo has thrived as the center of silverware production.
- source : taito-culture.jp... - ...
... Tokyo-style silverware
... Manufacturing processes
... Carrying on craftsmanship that has been handed down for 11 generations



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大淵銀器 Obuchi Ginki 東京銀器 factory -
fukuroo ふくろう Owls
東京都台東区東上野3-1-13
- reference source : obuchi.com... -



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. Ginza　銀座 Ginza district, "Silver Guild", Chuo Tokyo .
district for the making of silver coins.

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ginzan 銀山 silver mines of Japan

生野銀山 Ikuno Ginzan - Hyogo
因幡銀山 / 蒲生銀山 Inaba Ginzan - Tottori
院内銀山 Innai Ginzan - Akita
石見銀山 Iwami Ginzan - Shimane - see above
亀谷銀山 Kamegai Ginzan - Toyama
延沢銀山 Nobesawa Ginzan - Yamagata
佐渡金山 Sado Ginzan - Niigata / 新潟県 佐渡郡
多田銀山 Tada Ginzan - Hyogo
対馬銀山 Tsushima Ginzan - Nagasaki
上田銀山 Ueda Ginzan - Niigata


. Japanese Legends - 伝説　民話　昔話 – ABC-List .

kinginzan 金銀山 gold and silver mines of Sado, Niigata
In 1661, a solitary kujira 鯨 whale had been landed all alive and this was seen as an auspicious omen for the gold and silver mines of Sado.

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Toyama 富山県 中新川郡 Nakaniikawa district 立山町 Tateyama town

guza グザ / （あばた面 abata-men） pockfaced person
A 坑夫 miner had been so fond of the booming economy of the mines that he only ate hot cooked rice. The cold rice he threw down the valley.
Then 横江の宮の神木 he cut a sacred tree from a shrine in Yokoe town and used it as a support for the mine. As he carried the sacred tree to the mine, there came two pockfaced men behind him. As he tried to go inside the mine, there was a loud rumbling of heaven and earth and the silver mine collapses.


亀谷銀山 （かめがい）Kamegai Ginzan

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- reference : Nichibun Yokai Database -


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. . . CLICK here for Photos - 銀器 !
. Reference .


. imono　鋳物 ironware, cast iron, metal art .
- Introduction -


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

新涼や戸棚に光る銀食器
shinryoo ya todana ni hikaru gin shokki

first Autumn chill -
the silverware sparkles
on the cupboard

栗原節子 Kurihara Setsuko
Tr. Gabi Greve

. shinryoo 新涼 Shinryo, first coolness (in autumn) .
- kigo for early Autumn -

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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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- - - #ginki #gin #silver #silverobjects #silversmithery - - - - -
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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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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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