Metalwares were already in use the early part of the Yayoi Period (200 B.C. to 200 A.D.).
Starting with copperware, metal-work eventually expanded to ironware. In the latter part of the same period, swords, halberds and personal ornaments ware made.
In the Nara Period, the ascendancy of Buddhism led (caused) temples to be built and Buddhism led (caused) temples to be built and Buddhist images to be produced, stimulating the development of metal work techniques. In 794, the capital was transferred from Nara to Kyoto, and the Heian Period (794-1185) started. Therefore metal workers having lived in Nara moved into Kyoto, and a great number of metalwares came to be produced in Kyoto.
Incense burners and candle stands with distinct tint from the past copper ware introduced from China during the Muromach Period, which greatly influenced Japanese metalwork.
Traditional Techniques of Metalwork
Casting is the oldest method of making metalwork. Molten metal is poured into a mold made of a hard material to assume that shape.
In “komigata,” the outer matrix is a model made of wood or plaster or Paris and molten metal is poured in between it and the inner core. “So-gata” uses a “hikigata” type of mold with the pattern engraved directly on the inside surface of the mold. After being fired, an inner core is fitted in and molten metal poured in the space between.
In “rogata”, the model is made of “ro” (mixture of beeswax and pine resin). This is covered both inside and out with paste of clay and fine earth, the whole thing then being heated so as to solidify the paste and remove the wax, thus leaving the space for the metal between the outer shell (the matrix) and the interior mass (the core). Even a complex shape can be produced accurately and this method is used for making individual artistic producs.
ForgineThe beating method includes beating the metal ingot or plate into a specific form which the desired shape is fashioned.
CarvingThis consists of engraving or imbedding a design on the metal ground or in relief. Different kinds of burins are used to carve lines, scrape off a part of the surface or make holes. Including both the large and small, there are several hundred varieties of burins.
The more than 30 kinds of carving techniques include “sukashi-bori” (openwork), “kebori” (hair-line engraving), “shishi-bori” (relief carving), and “nanako” (fish eggs), a method go surface ornamentation in which a dense series of minute dots are made by hammering a round burin.
CloisonneColored glassy enamels are attached to the metal ground by heating for ornamentation. Cloisonné can be divided broadly into wired and unwired types.
In wired cloisonné, thin metal strips are pasted on the surface to partition the pattern and the enamel is attached to each framework by heating.
There are no partitions in the unwired type and different colored enamels are directly placed next to each other and attached by heating.
Inlay (Damascene)
In inlaid work, “nunome-zogan” (fabric-mark inlay) is a kind made by placing a burin against the iron surface to cut crisscross lines resembling those in fabrics. A thin sheet of pure gold or fine silver is placed over this and hammered into the engraved lines to produce a pattern.
Coloring is one of the most important processes of the Kyoto’s metal crafts and arts.
However, we do not use paints or lacquers usually.Ancient craftsmen in Japan may think article’s life in longtime span. So, they didn’t choose paints. Because paints have risk of that come off metal soon.
Broadly speaking, there are two main ways in traditional coloring.
First, use the special chemical solution and make reacts with the base material.
Second, use the Japanese lacquer (urushi) or chemicals and fastness by smoking.
However, there are various colors. Each studio has own way of coloring.
There are identity and effort in coloring. Most of coloring technique is secret of each studio. So, coloring is one of highlights in Japanese metal crafts and arts.
Originally, Japanese loved tarnished metal that has the color of antique beauty and shows the passing of time. Though in reality it takes many years for metal to change to that color. Ancient craftsmen made effort and artificially add the oxidized color.There are three characteristic colors in Kyoto.
First one is oxidized silver with pinkish color. Second one is bronze with quiet brown color. That color comes from soaking bronze in a special chemical solution and boiling it for a long. Third one is gold or silver. Put gold (silver) leaf over metal with using Japanese lacquer (urusi) or chemicals.
Also, there are some studios where make a specialty of coloring in Kyoto.
The Te-WAZA Exhibition in NYC
NYC Exhibition
The Nippon Gallery at the Nippon Club
145 West 57th Street, New York, NY 10019Tel:212-581-2223
info@nipponclub.org www.nipponclub.org
■ Purpose of the exhibition
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It is in the Yayoi Era (from the mid 10th century to the mid 3rd century B.C.) that metalworking and use of metal implements began in Japan. In the Kofun Era (from the mid 3rd century to the end of the 7th century A.C.), the creation of various objects from copper mirrors, harnesses, accessories and others contributed to the development of metalworking techniques such as toreutics, hammering, and chasing, and it is thought that it is in this era that these techniques were established. In the Nara Era (from 710 to 794 A.C.), as represented by the construction of the "large statue of Buddha" in Todaiji Temple, foundry technology developed and metalworking, hammering and other techniques improved, which dramatically accelerated the development of metal-working technology. In the following Heian Era (from 794 to 1185 A.C.), metalsmiths moved from Nara to Kyoto, producing a lot of metal crafts and, after that, extending their techniques to armouries, coins, and even large foundry pieces. At this time, like other crafts, metal crafts also shifted from Chinese style to a purely Japanese style.
In such history, Kyoto, which was the center of Japanese culture and politics for a long time, attracted and accumulated many technologies and techniques, which have been handed down to us today. In recent years, once again, contrary to the global-scale technological evolution, the crafts of Kyoto artisans have been gaining attention as inimitable craftsmanship. It is the manufacturing technology of skilled artisans that cannot be achieved by machinery. Even in this nanotechnology age, many core technologies are often supported by traditional handiwork. It is probably not completely unrelated to this climate that has embraced such history and tradition that quite a few leading global manufacturing companies are based in Kyoto. However, because of the low visibility of the craftsmanship and the changing economic structure, there are not enough successors and the valuable techniques are in danger.
Under these circumstances, realizing that we are indeed responsible to convey the tradition of the techniques to the future, the youth organization of the Kyoto Metal Crafts Association has hosted an exhibition each year to have our young artisans demonstrate their traditional metal crafts of Kyoto. The elaboration of the metal crafts has been traditionally reflected in kimono accessories, but at each exhibition we display and sell not only traditional pieces including "hairpins, combs, sash pins, netsuke charms," and others but also newly designed items suitable for Western clothing. In the past, we hosted exhibitions in Ginza in Tokyo in Fiscal Year 2007 and in Gion in Kyoto in Fiscal Year 2008. For Fiscal Year 2009, as an experiment, getting out of Kyoto and even Japan, we have decided to hold an exhibition in New York City in the United States.
As Japanese culture created a big boom in the Meiji Era (from 1868 to 1912) at the Paris expo--the first expo in which Japan participated, we believe that the arts and crafts of Kyoto will without doubt receive considerable attention. But, in order to hold such an event, in reality, we are faced with many problems including finding a venue, learning how to operate the event overseas, and so forth. We would greatly appreciate it if you could understand the purpose of the proposed exhibition and kindly assist us in providing necessary support and cooperation.
Susan Hamaker wrote about this Exhibition on WEBNEWS
- Clich here!
http://www.examiner.com/examiner/x-27833-New-York-Japanese-Culture-Examiner~y2009m11d22-The-TeWaZa-exhibit-at-the-Nippon-Club-features-thirty-metalworking-artists-from-Kyoto
About Order
「How to Order」
About Payment
We can ship to the USA or almost around the world by EMS.
Would you pay for the shipping cost and remittance cost without article price.
We take American Express, VISA, Master, JCB credit card.
If you order us by E-mail,We will send you E-mail that wrtten about payment total price ( with shippment ,remmitance fee ). We are using PAYPAL.
You accompanying a guide,and make a payment by your credit card.
The exchange rate will be applied the order day rate US$ to JPY.
Website of PAYPAL about payment
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About Shipment - Japan post International
Written about EMS shippment in English,Please read here.
http://www.post.japanpost.jp/int/index_en.html
About Payment
We can ship to the USA or almost around the world by EMS.
Would you pay for the shipping cost and remittance cost without article price.
We take American Express, VISA, Master, JCB credit card.
If you order us by E-mail,We will send you E-mail that wrtten about payment total price ( with shippment ,remmitance fee ). We are using PAYPAL.
You accompanying a guide,and make a payment by your credit card.
The exchange rate will be applied the order day rate US$ to JPY.
Website of PAYPAL about payment
Please mail to @@@@@@@@@ @@@@@@@@
About Shipment - Japan post International
Written about EMS shippment in English,Please read here.
http://www.post.japanpost.jp/int/index_en.html
History of Japan Metal Works
Building hardware
"Chion-in Temple Kyoto"
Top of Tower as "SO-RIN"
Made by Bronze,Casting.
"Yasaka Shrine Kyoto"
Parts of beams and pillars.
Made by copper,gold leaf.
"Higashi-Honganji Kyoto"
Metal parts of the gate.
Made by copper,Carving.
"Nishi-Honganji Kyoto"
Metal parts of the gate.
Made by copper,gold leaf,Carving.
Top of Tower as "SO-RIN"
Made by Bronze,Casting.
Parts of beams and pillars.
Made by copper,gold leaf.
Metal parts of the gate.
Made by copper,Carving.
Metal parts of the gate.
Made by copper,gold leaf,Carving.
About Materials
Materials of Metal
Each metal has its own individual qualities and we believe that our job is to make the best use of the materials' characteristics. We take good care to ensure that we employ the traditional techniques which have been painstakingly developed during Kyoto's 1200 year long history.
SILVER
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One of the the characteristics of silverware in Japan is that it is tarnished. This is the spirit of Wabisabi --- the beauty found in things being naturally shifted---. We make kitchen utensils, such as plates and chopsticks, tea ceremony equipment, and accessories, such as netsuke --- a form of miniature sculpture which developed in Japan.
COPPER/BRASS
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They are often used for to make equipment related to fire such as a kettle because they conduct heat quickly. Coloring them with Japanese lacquer is a traditional decorating technique in Kyoto. They are suitable for tea ceremony and will compliment any Japanese style room because the shades and colors are very natural. They are also suitable for casting because the materials are relatively easy to shape.
BRONZE
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Although it is not suitable for kitchen utensils because of its sensitiity to humidity, It is often used for casted objects and statues, vases and incense burners, as well as stationary, such as paper weights because it can be shaped precisely and it radiates light of various hues and colours.
PEWTER
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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.
Articles
Article List of The TE-WAZA Exhibition
No. ,"Title" or design motive, Artist, Item ,size(LWH:cm) ,Material
O-001 Elephant Seiuemon Ohnishi Iron pot 270×200×150 iron
O-002 Ume flower pattern Masatsugu Ono Dish 400×250×50 iron
O-003 Mesh pattern Natsuaki Yamamoto Dish 370×370×40 silver
O-004 "Owl in evening" Youichi Kato Art panel 300×380×50 titanium
O-005 NIL Sannen Ueda Vase 200×200×300 silver
O-006 Ancient China style Zouroku Hata Bronze cup 110×180×220 bronze
O-007 NIL Yoshitaka Morimoto Brass Lantern 400×400×560 copper
O-008 Peacock Masao Kobayashi Jewelly box 180×180×100 gold /silver
O-009 NIL Gorozaburo Kanaya Silver kettle 170×170×220 silver
O-010 NIL Hideki Arahori Buddhism ceremony tool 60×60×240 brass
O-011 Imaginary flower Eiichi Kato Buddhism ceremony tool 380×140×140 silver
O-012 NIL Yorimasa Aiba Lantern 150×150×150 silver
S-001 Peony Yorimasa Aiba Japnese heirpin 190×60×15 silver
S-002 For ornamental armor Tetsuya Saji Samurai helmet 350×460×700 brass/iron
S-003 Peacock feather Chikako Ueda Vase 160×160×120 copper
S-004 "window" Chikako Ueda Vase 30×85×170 copper
S-005 "staggering line" Chikako Ueda Vase 50×50×210 copper
S-006 "swinging line" Chikako Ueda Vase 50×50×210 copper
S-007 NIL Haruhiko Ikeda Vase 0×60×320 silver
S-008 samurai helmet shaped Tatsuya Kobayashi Jewelly box 60×60×70 silver / copper
S-009 Dragon and Tiger Tatsuya Kobayashi Jewelly box 180×110×100 copper
S-009-1 Chrysanthemum and hemp Tatsuya Kobayashi Japanese styled haripin 100×50×20 copper
S-009-2 Butterfly Tatsuya Kobayashi Barrette 100×50×20 copper
S-010 Peacock Yoshiki Kato Samurai sword guard 75×75×2 titanium
S-011 Chrysanthemum and stream Yoshiki Kato Samurai sword guard 75×75×2 titanium
S-012 "Rose" Yoshiki Kato Art panel 297×420 titanium
S-013 NIL Yoshiki Kato Pendant 50×50×1 titanium
S-014 NIL Yoshiki Kato Ring 30×30 titanium
S-015 Circle Yoshiki Kato Dish 200×200×50 titanium
S-016 Moon Yoshiki Kato Dish 90×90×3 titanium
S-017 Ginkgo leaf Yoshiki Kato Dish 90×90×3 titanium
S-018 Snow crystal Yoshiki Kato Dish 90×90×3 titanium
S-019 Circle Yoshiki Kato Dish 145×145×5 titanium
S-020 NIL Yoshiki Kato Choppstick 220 titanium
S-021 Flower and bird Yuuji Koizumi Vase 150×150×300 copper
S-022 Imaginary flower Kazuya Kato Ornament 290×290×20 copper
S-023 NIL Shota Goto Wnie cooler 150×180×190 copper / brass
S-024 Hail pattern Yohei Yoshiha Iron pot 260×260×14 iron
S-025 " Season's " Masaharu Nishina Vase 25×25×230 brass
S-026 10 colors Masaharu Nishina Vase 19×19×180 brass
S-027 NIL Junpei Yamanaka Tobacco pipe 140×10×20 silver
S-028 NIL Junpei Yamanaka Tobacco pipe 160×10×20 silver
S-028-1 Beveling design Junpei Yamanaka Tobacco pipe 160×10×20 silver
S-028-2 Twisted design Junpei Yamanaka Tobacco pipe 160×10×20 silver
S-029 Slot engraving Junpei Yamanaka Tobacco pipe 170×10×20 silver
S-029-1 Hexagonal piller Junpei Yamanaka Tobacco pipe 170×10×20 silver
S-029-2 Bannboo Junpei Yamanaka Tobacco pipe 170×10×20 silver
S-030 Stone finished Junpei Yamanaka Tobacco pipe 240×30×30 silver
S-032 NIL Junpei Yamanaka Sake pichier 40×60×200 pewter
S-033 Wave pattern Junpei Yamanaka Choppstick stand 30×20×10 pewter
S-035 Wave pattern Junpei Yamanaka Dish S φ120 pewter
S-036 Wave pattern Junpei Yamanaka Dish L φ210 pewter
S-037 NIL Junpei Yamanaka Cup 110×110×80 pewter
S-038 NIL Junpei Yamanaka Shot glass 55×55×45 pewter
S-039 Banboo Junpei Yamanaka Choppstick stand 100×20×10 pewter
S-040 NIL Junpei Yamanaka Beer jug 80×80×120 pewter
S-042 Strukmark pattern Junpei Yamanaka Shot glass 55×55×45 pewter
S-043 Cherry blossoms Ryuji Nakajima Japanese styled haripin 210×70×5 iron
S-044 Cherry blossoms Ryuji Nakajima Jewelly box 110×110×60 iron
S-045 Dot pattern Ryuji Nakajima Ring φ20 stainless steel
S-046 "mononofu" Shigeyuki Satomura Vase 200×220×325 copper
S-047 Dragon Shigeyuki Satomura Wallet chain 20×20×600 silver
S-049 Demon Shigeyuki Satomura Ring small 30×15×30 silver
S-050 Dragon Shigeyuki Satomura Bracelet 13×20×220 silver
S-051 Jealous female demon Shigeyuki Satomura Pendant top 29×22×11 silver
S-052 Imaginary animal Shigeyuki Satomura Pendant top 55×18×12 silver
No. ,"Title" or design motive, Artist, Item ,size(LWH:cm) ,Material
O-001 Elephant Seiuemon Ohnishi Iron pot 270×200×150 iron
O-002 Ume flower pattern Masatsugu Ono Dish 400×250×50 iron
O-003 Mesh pattern Natsuaki Yamamoto Dish 370×370×40 silver
O-004 "Owl in evening" Youichi Kato Art panel 300×380×50 titanium
O-005 NIL Sannen Ueda Vase 200×200×300 silver
O-006 Ancient China style Zouroku Hata Bronze cup 110×180×220 bronze
O-007 NIL Yoshitaka Morimoto Brass Lantern 400×400×560 copper
O-008 Peacock Masao Kobayashi Jewelly box 180×180×100 gold /silver
O-009 NIL Gorozaburo Kanaya Silver kettle 170×170×220 silver
O-010 NIL Hideki Arahori Buddhism ceremony tool 60×60×240 brass
O-011 Imaginary flower Eiichi Kato Buddhism ceremony tool 380×140×140 silver
O-012 NIL Yorimasa Aiba Lantern 150×150×150 silver
S-001 Peony Yorimasa Aiba Japnese heirpin 190×60×15 silver
S-002 For ornamental armor Tetsuya Saji Samurai helmet 350×460×700 brass/iron
S-003 Peacock feather Chikako Ueda Vase 160×160×120 copper
S-004 "window" Chikako Ueda Vase 30×85×170 copper
S-005 "staggering line" Chikako Ueda Vase 50×50×210 copper
S-006 "swinging line" Chikako Ueda Vase 50×50×210 copper
S-007 NIL Haruhiko Ikeda Vase 0×60×320 silver
S-008 samurai helmet shaped Tatsuya Kobayashi Jewelly box 60×60×70 silver / copper
S-009 Dragon and Tiger Tatsuya Kobayashi Jewelly box 180×110×100 copper
S-009-1 Chrysanthemum and hemp Tatsuya Kobayashi Japanese styled haripin 100×50×20 copper
S-009-2 Butterfly Tatsuya Kobayashi Barrette 100×50×20 copper
S-010 Peacock Yoshiki Kato Samurai sword guard 75×75×2 titanium
S-011 Chrysanthemum and stream Yoshiki Kato Samurai sword guard 75×75×2 titanium
S-012 "Rose" Yoshiki Kato Art panel 297×420 titanium
S-013 NIL Yoshiki Kato Pendant 50×50×1 titanium
S-014 NIL Yoshiki Kato Ring 30×30 titanium
S-015 Circle Yoshiki Kato Dish 200×200×50 titanium
S-016 Moon Yoshiki Kato Dish 90×90×3 titanium
S-017 Ginkgo leaf Yoshiki Kato Dish 90×90×3 titanium
S-018 Snow crystal Yoshiki Kato Dish 90×90×3 titanium
S-019 Circle Yoshiki Kato Dish 145×145×5 titanium
S-020 NIL Yoshiki Kato Choppstick 220 titanium
S-021 Flower and bird Yuuji Koizumi Vase 150×150×300 copper
S-022 Imaginary flower Kazuya Kato Ornament 290×290×20 copper
S-023 NIL Shota Goto Wnie cooler 150×180×190 copper / brass
S-024 Hail pattern Yohei Yoshiha Iron pot 260×260×14 iron
S-025 " Season's " Masaharu Nishina Vase 25×25×230 brass
S-026 10 colors Masaharu Nishina Vase 19×19×180 brass
S-027 NIL Junpei Yamanaka Tobacco pipe 140×10×20 silver
S-028 NIL Junpei Yamanaka Tobacco pipe 160×10×20 silver
S-028-1 Beveling design Junpei Yamanaka Tobacco pipe 160×10×20 silver
S-028-2 Twisted design Junpei Yamanaka Tobacco pipe 160×10×20 silver
S-029 Slot engraving Junpei Yamanaka Tobacco pipe 170×10×20 silver
S-029-1 Hexagonal piller Junpei Yamanaka Tobacco pipe 170×10×20 silver
S-029-2 Bannboo Junpei Yamanaka Tobacco pipe 170×10×20 silver
S-030 Stone finished Junpei Yamanaka Tobacco pipe 240×30×30 silver
S-032 NIL Junpei Yamanaka Sake pichier 40×60×200 pewter
S-033 Wave pattern Junpei Yamanaka Choppstick stand 30×20×10 pewter
S-035 Wave pattern Junpei Yamanaka Dish S φ120 pewter
S-036 Wave pattern Junpei Yamanaka Dish L φ210 pewter
S-037 NIL Junpei Yamanaka Cup 110×110×80 pewter
S-038 NIL Junpei Yamanaka Shot glass 55×55×45 pewter
S-039 Banboo Junpei Yamanaka Choppstick stand 100×20×10 pewter
S-040 NIL Junpei Yamanaka Beer jug 80×80×120 pewter
S-042 Strukmark pattern Junpei Yamanaka Shot glass 55×55×45 pewter
S-043 Cherry blossoms Ryuji Nakajima Japanese styled haripin 210×70×5 iron
S-044 Cherry blossoms Ryuji Nakajima Jewelly box 110×110×60 iron
S-045 Dot pattern Ryuji Nakajima Ring φ20 stainless steel
S-046 "mononofu" Shigeyuki Satomura Vase 200×220×325 copper
S-047 Dragon Shigeyuki Satomura Wallet chain 20×20×600 silver
S-049 Demon Shigeyuki Satomura Ring small 30×15×30 silver
S-050 Dragon Shigeyuki Satomura Bracelet 13×20×220 silver
S-051 Jealous female demon Shigeyuki Satomura Pendant top 29×22×11 silver
S-052 Imaginary animal Shigeyuki Satomura Pendant top 55×18×12 silver
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