The reason why “Nambu iron” became rooted in the area

There are many uses of ”Nambu ironware”. The traditional tea kettle or iron kettle is a good example. And there are frying pans and pots that are related to cooking. And there are small metal ware such as wind chimes. There are many varieties of items within ”Nambu iron”. Sashu Chuzojo where we visited, produces mainly traditional iron kettles. According to Kazu Sato whom we interviewed, the iron kettle makes up 90 percent of everything they produce and is in high demand.
Sato claimed it is not an exaggeration to say that the mold determines everything for iron casting.
Sand and clay are used for casting. The clay that you can get from the Oshu area where the studio is based, is not for pottery, but is more suitable for molds for casting iron. That is the reason why iron casting took root in this area. When you have plenty of material, it is possible to mass produce iron kettles. At the studio of Sato, he can cast up to 120 kettles at a time for normal size kettles. Also, the clay that the mold is made from is strong, so one mold can be used about 10 times to create iron kettles of the same shape.

The product changes as the lifestyle changes

”There is a culture for iron containers throughout the Northeast part of Japan. Amongst those places, we are highly skilled in making large quantities by hand. To support that, we have been making day to day wear. Compared to those made as an art pieces, they may not be quite as refined, however I think the environment of providing products that everyone can buy and use day to day has supported the culture of iron ware in this area.”
Even though it is rooted to daily life, lifestyles and the region can also change with time. Nakata asked ”Do you think the product has changed as the lifestyle changed with the spread of IH?” The response was ”Yes, size has changed. I think it has become smaller. And the bottom became flatter. Many old ones have a round bottom.”

A product created by ex-bartender

Sato used to work as a bartender when he was living in Tokyo. He could not have imagined his current work of making Nambu iron. However the experience as a bartender has benefitted his iron kettle making.
”Now, I am making standard iron kettles, or those with very little arrangement. However when I started, it was different. I felt I needed to be entertaining the customer when I was bartending, so when I started, I think I wanted to make products that would be entertaining.”
As Sato described, we saw an iron kettle in the shape of an apple that was made in the early days. Nakata liked that and suggested a series of fruit shaped kettles. He suggested various fruits such as pears and watermelon. It made an impression as we watched Sato listen to these ideas in amusement. Adding the artisan’s imagination to the traditional iron ware. He will continue to pursue iron ware that only the soil from this area can create.

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A traditional family business continued for 15 generations

There is a studio with about 400 years of history that has been supporting Nambu Ironware since the days of Nambu clan. That is Morihisa Suzuki Studio in Morioka city. It was founded in 1625 and continues to create Nambu ironware with traditional skills that have been passed on through generations. The Suzuki family served the Nambu clan, making cast ironware for generations. Currently it is the 15th generation.
We visited Shiiko Kumagaya who inherited the name of 15th generation Morihisa Suzuki. She is the first woman in the family history to inherit the name, and has been gathering attention for that fact. Shiiko-san had initially been studying metal carving until her father who was the last generation Morihisa Suzuki, passed away, and she decided to inherit the family business. It was apparent that she had studied metal carving by the delicate and graceful patterns on her pieces lining the shelves. And of course the popular item is the iron kettle. We carefully observed the individual iron kettles that had just been finished.

Products with a feminine touch

The traditional iron kettle called ”hinomaru gata” is a design from the Meiji period. Compared to the current ones, it is more sturdy and thick. But the pieces made by Shiiko Kumagaya has a touch of feminine originality in the same round ”hinomaru gata”. The design with rare vertical stripes and Temari （traditional handball) pattern is surprisingly light.

Next we were guided to the studio adjacent to the gallery. The ”Machiya style” building remains as it was built in 1885. Going through the dark pathway, we arrived at the workshop. Currently at Morihisa Suzuki Studio, Shiiko-san and her son Nariaki-san who will inherit the 16th generation and other young apprentices work together.
They think about the design of the iron kettle, create the casting and pour iron into it. The whole process of making Nambu ironware is done in this studio. The skills that have been passed on through the generations can create iron kettles that are delicate or heavy duty.

Starting from overall form rather than from the patterns

At the studio, Nakata got to experience a process called ”pattern pressing” where you put the pattern on the mold. Using various size ”arare” sticks you make patterns by pressing with the stick. We could hear a big sigh from Nakata. He was disappointed that he could not make the pattern evenly. However Shiiko-san told him ”Actually, that makes it more interesting.”
Gradually the conversation centers on the theme of ”creating things”. As he was making the patterns on the mold, Nakata asked, ”For example, I am making the patterns this way now but do you start with patterns first, or do you start from general form?” When he created a product participating in the REVALUE NIPPON PROJECT, he started with the overall shape.
Most of the time, Shiiko-san also starts from the shape. The iron kettle we saw in the gallery certainly had an elegant form and atmosphere. Each era creates a shape that is comfortable for its time. We look forward to seeing what kind of products will come out of Morihisa Suzuki Studio in the future.

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Contemporary “chagama” is stuck with convention.

Nagano is a ”kamashi”, an artisan who makes ”chagama” or kettles used for tea ceremony. One would imagine that there must be many formalities in ”chagama” making.
”Basically, there are hardly any rules as to how a ”chagama” should be. However, after Rikyu, there rose several schools of tea ceremony, and each school had a convention of their own.”

According to Tetsushi Nagano, until the middle of Edo period, ”chagama” were made to order, and there were various designs according to customers’ tastes. When looking at the old ”chagama” of Momoyama Period, ”there were many ”chagama ” of unique designs more modern and original than the contemporary ”chagama”.

The word modern means designs or forms which fit the sense of the era. Contemporary ”chagama” lost its freedom, having to respect the convention of each school.

Remove the convention and pour in the modern sense.

So, his predecessor took the stance of doing ”Momoyama Revival” in contemporary settings. Then after a while he said, ”Now it’s time that we make in the style of our age.”

So, Tetsushi Nagano thought, ”I like Isamu Noguchi, so maybe I will project that to ”chagama”,” and he created works of modern designs. ”People used to say I am a nonconformist,” laughed he, but his philosophy is handed down to his son, Arata, and he also creates works with designs and patterns that never existed before, and his works are highly evaluated.

Japanese traditional iron, ”wazuku”

Through such activities, he encountered ”wazuku”, Japanese traditional iron. ”Wazuku” is made by collecting sand iron, and refining it by ”tatara” iron making method. The productivity of ”wazuku” was very poor, so it was soon to be replaced by imported iron from the West. However, ”wazuku” is resistant to rust, and very durable, and ”chagama” made of this iron is said to last for 200 to 300 years. And it also has the advantage of being able to be processed very thinly and to make light and stylish products. Nagano set up a foundry and started a research, in order to produces works using ”wazuku”

Making works of contemporary design with ”wazuku” of ancient Japanese tradition. It may seem contradictory, but when they harmonize that may create a new tradition.

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“Dora” of the tea ceremony world

People may be surprised to hear that a ”dora”or gong is used for tea ceremonies. It is rung loudly before the guests enter the tearoom.
It is a basic tea tool used by all tea schools, regardless of school differences.
It is said that the ”dora” was imported to Japan by Hideyoshi Toyotomi from China. It was originally used in war, but later the sound was later adopted in tea ceremonies.

Vibration of the low clear tone

Both physical strength and delicate skills are necessary to create the vibrant sound of the ”dora”. This is what we were told by Iraku Uozumi who is a designated Important Intangible Cultural Asset holder.
When struck, a low clear tone vibrates, resonating in your body.
The ”dora” is made with a metal alloy called ”sawari” which is a combination of bronze and tin. The heated metal is poured into a mold to create the standard prototype. Not every item can be completed. If there is a crack when removed from the mold, all is lost. This system is the most primitive way of all template creation, and only about half go to waste.

Making a “dora”

The inside of the casting is hammered to increase the molecule density and then a design is carved on the surface. Nakata tried carving the surface. When the metal-colored surface is shaved using a filing rod, a silver color appeared from underneath. Nakata was taught that the filing process is done by carving fine grid designs. ”I think I might be better off practicing striking the gong instead.” Nakata commented at the end.
Iraku Uozumi is the only ”dora” craftsman in Japan. His mission is to make sure that this is handed down to the next generation, but his son is ready to succeed him as he is going through training now. Iraku-san had trained under his grandfather, also a Living National Treasure and had chosen his life as a ”dora” craftsman. From grandfather to grandson, the sound of sophisticated ”Wabi Sabi” was handed down. The low sound of the gong is heard just before entering the tea room, putting the mind at rest, one last time.

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Tea kettle maker serving the Kaga clan

Kanchi Miyazaki, tea kettle maker, continues to create kettles loved by people who conduct tea ceremonies.
The name has been famous throughout the generations and Kanchi Miyazaki is the 14th generation with the same name.
The first generation was born in 1633, more than 350 years ago. The Miyazaki family had originally been a metal caster, later learning the skills for kettle making in Kyoto. Hearing of the highly appraised skills, the Kaga feudal lord at the time Toshitsune Maeda called him to Kanazawa when constructing Komatsu castle, and then appointed him the official tea kettle maker to the Kaga clan. Kanchi Miyazaki the 1st created many masterpieces, with strong ”Wabi Sabi” concept.
The name lives on to this day as Miyazaki continues to create tea kettle masterpieces.

Enjoying the texture of the kettle

The kettles created by Kanchi Miyazaki the 14th are similar to the ones the very first Kanchi Miyazaki used to make, keeping the tradition of simplicity in color, shape and texture. However, he has added depth and a heavy set tone to the his kettles.
The tea kettles have been loved the by tea masters for generations, and created by the craftsman with the name Kanchi Miyazaki, passed on for 350 years.

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Lacquer a Part of the World of Tea Ceremonies

”Nakamura Sotetsu” is of the lacquerer lineage, one of the ”Senke 10 shoku”, the 10 designated families the Senke school had selected. . ”Lacquer is coated and stroked on very gently. Just like handling a baby. It can therefore be said that it calls for a womanly sensitive touch.” The coating process consists of more than 10 procedures. First the first layer of lacquer is coated on a very thin wooden bow called the ”kiji”. The foundational lacquer needs to be in multiple layers and, and after its ground and polished into shape, the outer coat is applied for finishing. Over this, makie or colored lacquer is added. Various types of lacquer is coated over each other to prevent deformation to last a century’s time.

A Calm Quiet Workshop

When we visited their workshop, craftsmen were working on the foundational layers of lacquer, all requiring delicate skills. It was very quiet and calm, and Sotetsu Nakamura reminisced on how she always used to play while she looked on her grandfather the 11th generation, working. I asked her a simple question, ”I’m familiar with red or vermillion lacquer, but does green lacquer exist?” ”Oh yes. It is called ”seishitsu” and the Kanji for this is literally ”blue lacquer”. It has existed from a long time ago. Colors are created by adding pigments to the lacquer so it allows you to create different hues of color. Blue and white are rather new colors.” Finally we observed the tools that are normally used, such as the brushes and pigments, which made us stop and wonder if joy, sadness, dignity, all emotions have also been passed down the generations through these tools.

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Senkejisshoku, Supports the History of Tea Ceremony

The name, ”Kuroda Shogen” is one of the names listed in the ”Senke jisshoku” which refers to the 10 chosen craftsman families that contribute to the making of tea ceremony tools for the Sansenke. Kuroda Shogen is the family responsible for creating spoons, dippers, daisu (shelf for tea tools), kogo (container for incense) all tools made by bamboo, related to tea ceremony. Today we visited Kuroda Shogen the 13th. The first Kuroda Shogen had become a bamboo craftsman after the battle of Sekigahara. He had been appointed bamboo craftsman for the Edo government by recommendation of Kobori Enshu. The name has lived on for more than 400 years.

Cutting the Bamboo, Giving it Life

We first take a look at the bamboo. The bamboo in stock were all different in size and length. At Kuroda Shogen’s studio, the bamboo is cut and selected by the master himself. The bamboo is then dried and smoked with coal to extract the oil. Later it is dried under the sun and once it turns a whitish color, it is stored in the warehouse for 4 to 5 years. The bamboo is prepared and is ready after this process. The bamboo neatly lined up in the warehouse seemed as though they were waiting for the master, Kuroda Shogen to breathe life into them. Nakata was given a chance to create a tea dipper. The curve by the handle is made by wading it in water, then bending it by heating with a lamp. The shaving is done by using a sharp knife, the blade stronger than the hard bamboo. The apprentices also give Nakata a hand and as he concentrates, he realizes he shaved too much off, making it off balance. He takes a deep breath to give it another try.

Tea dipper Reflects the Creator’s Character

“Tea dippers reflect the creator’s character. People with bold character tend to create a wide fat dipper, while a sensitive person would create a narrow thin one. Nakata, why don’t you try making a wider dipper?” Kuroda Shogen gives Nakata advice. In the beginning, the master stood by Nakata and looked on, but soon he started to work himself. Eventually the sound of the 2 shaving the bamboo filled the studio. Inheriting the tradition and the skills, and then handing it down to the next generation. The title ”Kuroda Shogen” includes 400 years worth of history and tradition.

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What is the origin of Kyo Folding fans

”Miyawaki Baisenan” is a studio that sells Kyo folding fans. The oldest found wooden fan was found in the arms of the Buddhist statue in Toji. It is a fan made with thin cypress bound together said to have been made in the year 877. Later on folding fans made of bamboo and paper were made and then with time the types the same as the present began to be made. Kyo folding fans have been used for Noh and Kyogen, Japanese traditional dances, tea ceremonies, aroma ceremonies, etc. besides to fan yourself in hot heat. The pictures and designs were therefore made to fit the different occasions they were going to be used for. Have you ever seen manga scenes of a mademoiselle of the Bourbon dynasty using fluffy feathered folding fans? There are theories that in the 13th century, the folding fans had travelled from Japan to China and then to Europe via the silk road. It was then reimported and became popular in Japan in the form of silk folding fans, but to think Japanese culture had already been influential at this point in time.

Know the delicacy of fan making

Nakata visited the workshop of Teramura, folding fan craftsman. Teramura is responsible for the last process of fan making. Nakata experiences inserting the core in the fan paper, the task proving to be difficult as precision is required. Finally Teramura is interviewed while giving Nakata a hand with the completion of the fan. ”There are about 30 procedures to the making of a folding fan, and for each procedure, we have a craftsman in charge. The making of a folding fan takes as much care as growing rice.” They are 400 fans that are made per day. The last procedure includes checking it one last time. All the minute procedures inclusive creates a folding fan. Miyawaki Baisenan has been making folding fans for more than 180 years, since its establishment in 1824. What is intriguing about their workshop is that among the many folding fans they have on display, they also have famous Japanese artists’ paintings, calligraphy, and scrolls. See how folding fans have added color to cultural history.

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Pursuing the tea kettle making

Kashihara-shi Nara is where the very first castle of Japan, Fujiwara kyo was built. Imai-city in Kashihara was a self-governed city which had developed in the middle ages being referred to as ”Sakai of the sea, Imai of the land”. You can still see signs of Edo period. Shozo Kawabe 3rd generation of tea kettle creators resides in the city with such a background.
Shozo Kawabe learned his trade from his father and later studied under tea ceremony researcher and Chuo University professor Kazue Hyounenshi, erudite Kenzo Koga and continued his research on tea kettles.
His works can be described with the word, ”hannari”, a word used in Kyoto to mean refined yet gracefully beautiful. His pieces are not lavish, but have a quiet gentle touch.

Making kettles delicate, hot and heavy

Tea cauldrons are made by casting. Nakata experienced the process of pouring the melted metal into a mold to create the body. The red melted metal is obviously hot, but what is more unbearable than the heat is its weight.
When you think about it, there is enough metal to create a kettle. It requires much more strength than expected. After this, Nakata learned how to draw designs on the surface of the kettle, which in turn involved extremely delicate work.
Even before 2004 when he succeeded his father as the 3rd generation, Shozo Kawabe was already being used at various places such as the” Oochamori” at Seidaiji temple, and ”Joju Gama” for Akishino Temple and Todaiji Hokurikuin Houjuin. Currently, his daughter Naoko is busy learning the trade from her father.
It will be exciting to see future pieces created by Kawabe.

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Tradition passed down in the home of “chasen”

The tips of the bamboo lightly touches the tea bowl. The gentle sound of whisking tea is heard during the tea ceremony.
Ceramic bowls and tea vessels are important for the tea ceremony, but ”chasen” is obviously equally as important. Ikoma city in Takayama is responsible for approximately 80 to 90% of all ”chasen” in the country. It is a village home to ”chasen”.

The History of Takayama Chasen

”Chasen” became indispensible for tea around the 15th century, when matcha became the main type of tea served at tea ceremonies. The ”wabi” tea founder Jukou Murata appointed Sozei to create ”chasen” as a tool to whisk tea. After a a period of struggling, he completed the ”chasen”. The ”chasen” he completed was presented to the emperor at the time, who was impressed so much with its beauty, he named it ”Takaho”.This is the start of the Takayama ”chasen”. Techniques used to create Takayama ”chasen” is a family secret, secretly passed on to only one son. Tango Tanimura is the 20th generation who has inherited the secret techniques.

Delicate technique to make “chasen”

”Chasen” is a ”tool”. Therefore the priority lies in usability. It take extremely delicate skills to create, as each bamboo differs and the craftsman needs to adapt to each according to its characteristic. When you observe the ”chasen”, you realize that it is intricately made, with each and every tip delicately completed. It is no wonder the beauty captures your eyes.
At this workshop, the ”chashaku”, the small wooden spoons used to scoop ”matcha” powder, are made as well. Nakata had a try at carving one. It is carved out of one piece of bamboo, and Nakata’s hands need to loosen up for the process.
”Chasen” tends to be regarded as a minor tool in the whole art of tea ceremony, but it in fact has a profound existence. Its graceful appearance represents a tradition that has been continuously carved for over 500 years.

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