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.
