Eastern Shimane Prefecture is a region where the culture of “tatara ironmaking”—an ancient Japanese method of iron production—remains deeply rooted. In Hirose-cho, Yasugi City, there is a blacksmith’s workshop that has been in operation since the late Edo period. Building on the foundation of sword-forging techniques, the workshop now crafts tools that fit seamlessly into modern life, such as flower vases and frying pans. Shūsuke Kotō, the 11th-generation master blacksmith, continues to demonstrate through his craftsmanship why warmth resides in iron—a material that should be cold.

The Blacksmiths of Yasugi, Descendants of the Tatara Tradition

Shimane Prefecture has long been known as one of Japan’s leading iron-producing regions. “Tatara ironmaking”—the process of producing iron from iron sand and charcoal—is still preserved today as a Nationally Designated Preservation Technique. This technique, which reached its peak during the Edo period, is known as the only method for producing “tamahagane,” the material used to make Japanese swords, and flourished primarily throughout the Chugoku Mountains region.

The roots of the Hiromitsu Blacksmith Workshop date back to the late Edo period. From the first to the third generation, the family worked as “tatara masters” engaged in the tatara ironmaking process. Amid the changes of subsequent eras, they adapted their craft—shifting from forging cutlery and farming tools to the forging of Japanese swords—while keeping the blacksmith’s fire burning for ten generations.

Once indispensable to local life, blacksmiths were responsible for manufacturing and repairing kitchen knives and farming tools. However, after World War II, as mechanization and mass production advanced, the way of life centered on “repairing and using farm tools and cutlery for a long time” gradually disappeared. As inexpensive products became readily available, the number of blacksmiths across the country declined. It became difficult even to continue the work of ironmaking alone. Even so, Hiromitsu Blacksmith Workshop has continued to create iron crafts suited to the times, passing on its traditions to the present day.

Discovering the Joy of Bringing Art to Life Led Me to the World of Ironwork

Mr. Shūsuke Kotō is the 11th-generation head of the Hiromitsu Blacksmith Workshop. He did not pursue blacksmithing right from the start; after graduating from college, he worked for a company in Tokyo and later at an art museum in Shimane Prefecture. The turning point that led him to blacksmithing came when he helped out at an exhibition for his family’s business. As he spoke directly with visitors and witnessed the moment when the items his family had crafted found their way into people’s daily lives, he realized not only the joy of creating but also the immense joy of seeing his work reach its users. He says that was the moment when the family business—which he had vaguely thought of as something he “would have to take over someday”—began to take shape as his own career.

Committed to handcrafted details, we infuse iron with warmth

The current workshop is home to four artisans, including my father, Hiroya, the 10th-generation master. They create crafts such as candlesticks, vases, paper lanterns, and fire-related items, utilizing techniques derived from sword forging. Just as in the forging of Japanese swords, they heat the iron to high temperatures and strike it repeatedly with a hammer to remove impurities and bring out its strength and toughness. Since even slight differences in temperature or the force of the strikes can alter the iron’s appearance, the artisans proceed with their work while carefully observing the color of the flame and the condition of the iron. Although the items they create have changed, the craft of forging iron and transforming it into functional beauty has remained unchanged since the first generation.

“Forging”: A Time-Honored Tradition of Ironworking

At the heart of their craftsmanship lies “forging,” a traditional method in which iron is heated over a charcoal fire and shaped by striking it with a hammer. In an era where casting—melting iron and pouring it into molds—and machining—shaping metal under pressure—have become commonplace, “forging” is labor-intensive and unsuitable for mass production. However, the process of hammering and shaping the metal increases its strength and toughness, and the hammer marks and subtle variations allow each piece to be uniquely expressive.

Assess the condition of the iron by feel

Iron can only be shaped while it is still soft, immediately after being heated. The working temperature range is approximately 800–1,000°C. If it is heated too much, the iron will melt; if it is heated for too short a time, it cannot be shaped even by hammering. Therefore, the metal is repeatedly placed in the furnace, removed, hammered, and reheated. This process is repeated over and over.

While the iron is heating, the craftsman visualizes where to strike next and how to bend it. Drawing on a sense honed over many years, he assesses the condition of the iron. The timing of when to remove it from the furnace is the most critical moment—it is the moment when the craftsman’s experience is truly put to the test.

The Joy of Handcrafting: Creating One-of-a-Kind Pieces

No two items crafted using the traditional ironworking technique of “forging” are exactly alike. The “tabletop wind chime,” with its striking supple iron ring, produces a unique tone for each piece—even within the same model—due to slight variations in the thickness of the iron and the curves of the ring. The subtle variations inherent in handcrafted work lend each piece a distinctive tone, creating a rich expressiveness not found in mass-produced items. 

An iron skillet named “Tangetsu.” Taking advantage of iron’s excellent heat conductivity, it cooks food so that it remains tender on the inside while developing a fragrant, crispy crust on the outside. Designed without any chemical rust-preventive treatments, it allows you to enjoy the changing character of the iron as you use it. The subtle, uneven texture created during the forging process remains, giving the iron its unique character.

The ability to sell is also part of the craft.

The role of the 11th-generation artisan extends beyond simply crafting objects. At the gallery attached to the workshop, new commissions and projects often begin through conversations with visitors who actually handle the pieces. Through repeated dialogue with customers, the artisan discerns their intended uses and spatial needs, then creates sketches to present proposals. The perspective cultivated in other industries informs not only how the pieces are sold but also the crafting process itself. 

In addition to holding exhibition and sales events about once or twice a month at department stores and galleries outside the prefecture and in Tokyo, the studio has also been participating in overseas exhibitions in recent years, including the “Maison & Objet” trade show held in Paris. Iron crafts may not be a material that feels immediately approachable, unlike wood or glass. Nevertheless, the fact that there are quite a few repeat customers and collectors who keep coming back is likely due not only to the inherent power of the handcrafted pieces themselves but also to the studio’s careful cultivation of relationships with its users.

The Future of Hiromitsu Blacksmith Workshop, as Envisioned by Its 11th-Generation Master

The next challenge Mr. Shūsuke has set his sights on is charcoal-making. Charcoal, which is indispensable to blacksmithing, varies in quality depending on the raw materials and the duration of the heating process. By making his own charcoal, he aims to ensure a steady supply of high-quality charcoal while completing the entire crafting process from the very source of the materials. Mr. Shūsuke’s insatiable spirit of inquiry is poised to propel his blacksmith’s workshop to a whole new level.

The post Infusing the beauty of daily life into forged iron. Mr. Shūsuke Kotō, 11th-generation master blacksmith at “Hiromitsu Blacksmith Workshop” / Yasugi City, Shimane Prefecture first appeared on NIHONMONO.

Iwate Prefecture boasts Japan’s largest charcoal production. In Iwate Prefecture, about a quarter of the charcoal produced is from the town of Hirono in the northern part of the prefecture. One of the charcoal makers in Hoku Sangyo, a longtime charcoal producer in the town of Hirono, is Sachiko Ichijo, a charcoal maker who has won awards at the Iwate Prefecture Charcoal Fair.

Charcoal Production in Hirono Town Developed in Connection with Steel Manufacturing

One of the reasons why charcoal production is thriving in Hirono Town is the abundance of native hardwood trees, the material used to make charcoal. Moreover, the mountains where the hardwood trees grow are gentle, making it easy to cut and transport the charcoal.

Another reason is the connection with iron manufacturing. The Ono area of Hirono Town prospered during the feudal era because of its iron manufacturing industry, known as “tatara-zeki” (tatara iron manufacturing). Tatara-tekketsu is a traditional Japanese iron manufacturing method in which iron sand and charcoal are placed in a clay furnace and burned while air is blown through the furnace to produce iron. Charcoal was indispensable to iron manufacturing because iron sand was transformed into iron oxide by combustion, which was then reduced to iron by combining with carbon, a component of charcoal.

In the Meiji period (1868-1912), Western-style blast furnaces began to be used to make iron, and tatara iron manufacturing declined, but charcoal production continued in the Ono area as the demand for charcoal as a household fuel increased. In addition, many farmers in other areas of Iwate Prefecture also made charcoal during the off-season, and the opening of the Tohoku Line made it easier to ship charcoal to the Tokyo market, and the prefecture encouraged charcoal production. In 1912, the prefecture became Japan’s largest charcoal producer.

The raw material is oak trees 20 to 30 years old.

Charcoal is carbonized by heating wood in the absence of oxygen to remove oxygen, hydrogen, and impurities, leaving only carbon. White charcoal is represented by binchotan, which is made mainly from ubame oak trees. On the other hand, black charcoal is made in Iwate, and the wood used to make it is oak, which grows abundantly in the prefecture. The trees are 20 to 30 years old, and one of the reasons for this is that “when calculating backwards from the thickness of the finished charcoal, a tree with a diameter of 20 cm is suitable,” he says.

Since many of our customers are restaurants, such as Robata-yaki restaurants and Yakitori restaurants, they require charcoal to have a long-lasting flame. Hard and dense oak holds fire well when made into charcoal, which is another reason why we use oak as a raw material,” explains Akira Sasaki, president of Hoku Sangyo, located in Yono-cho. The company was formerly known as “Sasaki Lumber Store” founded in 1952, and started its charcoal-making business a few years later. Currently, the company has 16 kilns producing “Iwate Charcoal,” which is a registered product under the Geographical Indication (GI) protection system, as well as charcoal, powdered charcoal, wood vinegar solution, and other products.

Good Charcoal” Means “Good Fire Life

Sachiko Ichijo began making charcoal three years ago. Until then, she had been in charge of cutting and packing finished charcoal into bags and boxes, but she became interested in the charcoal-making process and decided that she wanted to try it herself, rather than just watching and listening to the process.

He learned charcoal making from a senior craftsman. First, he cut the oak logs to the standard length and thickness, stood them inside the kiln, lit the fire at the entrance, and let them dry for four days. The entrance to the kiln is then closed, and the amount of oxygen in the kiln is adjusted by moving the ventilation openings and smoke openings to carbonize the wood. Once completely carbonized, the kiln is closed at all entrances to shut off the oxygen and allowed to cool for about a week before the kiln is complete. The time from ignition to digestion varies depending on the dryness of the logs and the climate, but it takes about two to three weeks. In other words, it takes three to four weeks to complete the process.

Aiming for “hard,” “heavy,” and “low-pasteurization” charcoal

The most difficult part is to line up the logs in a straight line with no gaps between them in order to keep the inside of the kiln in an acidic state,” says Mr. Kikuchi. But the most important part is to block the entrance to the kiln and move the ventilation openings and smoke openings while carbonizing the charcoal,” says Ichijo. This is where the quality of the charcoal is determined. For Ichijo, good charcoal is “hard and heavy,” or “dense,” which is also a requirement for “charcoal that burns well. If the burning (carbonization) speed is too fast, it will result in low-density, scraggly charcoal, so he adjusts the carbonization speed by measuring the temperature at the smoke opening.

He says, “Before the charcoal is digested, the smoke outlet is opened wide to raise the temperature inside the kiln and increase the carbonization rate. The lower the value, the lower the impurities and the higher the carbon purity (carbonization), in other words, the higher the quality of charcoal. Iwate Charcoal, which has been approved for registration under the Geographical Indication (GI) protection system, is defined as having a purity of 8% or less, and this value is used as the standard for the fair. The bottom part of the finished charcoal is highly refined, so in the case of “Iwate Charcoal” it is cut off before shipping, but Hokubu Sangyo does not cut off the bottom part but inspects it according to its own standards and ships it as “Nara Charcoal.

Senior charcoal makers say that you can tell the state of carbonization and the timing of refining by the smoke and smell, but I have not reached that level yet, so I don’t know. So now I start refining when the temperature at the smoke outlet reaches 320°C. But I hope to be able to tell someday. But someday I would like to be able to understand it. That’s why every day is a learning experience, and that’s why every day is interesting,” Ichijo says with a smile.

Appearance is also an object of evaluation at the fair.

In the course of repeated charcoal making, Ichijo finds charcoal that he thinks is “well done,” and saves it to exhibit at a charcoal show. In addition to the aforementioned “hardness, heaviness,” and “degree of refinement,” Ichijo also considers “appearance” to be a requirement for “good charcoal,” so he selects charcoal with clean bark. As a result, at the 2022 Iwate Charcoal Fair, the company received the Minister of Agriculture, Forestry and Fisheries Award in the black charcoal cut charcoal category and the Director-General of the Forestry Agency Award in the black charcoal long charcoal category. The cut charcoal was approximately 6.5 cm long and the long charcoal was approximately 30 cm long.

I don’t want to end the charcoal-making technique and culture.

According to Mr. Sasaki, there is so much demand for charcoal in Japan right now that the company’s production cannot keep up. The company has been receiving an increasing number of orders for charcoal for use in camping at Corona Disaster and later for use in restaurants such as yakitori (grilled chicken) restaurants.

Even under such circumstances, we always try to produce charcoal of consistent quality. Also, we want to respond to any order. For example, some customers want charcoal that is softer and easier to crush than our Iwate Charcoal or Nara Charcoal, so we sometimes have to search inside the kiln to deliver it to them,” Sasaki says proudly.
Mr. Ichijo, on the other hand, says, “When you make charcoal, you also get ash for incense burners and braziers, and ‘wood vinegar,’ which is made by cooling the smoke, so there is no waste. I don’t want to let this charcoal-making technique and culture die out, so I want to continue making charcoal for 10 years, or even 20 years,” he says. Mr. Ichijo concentrates on each and every task, day in and day out, with only one thing in mind: making “good charcoal. Ichijo’s attitude will surely lead to the emergence of the next generation of young people who aspire to become charcoal makers.

The post Aiming for charcoal with “good fire retention,” which has three key qualities: hardness, fineness, and appearance. Sachiko Ichijo, Hokubu Sangyo / Yono-cho, Iwate Prefecture first appeared on NIHONMONO.