Born and raised in Takayama, a town renowned for metalworking in Toyama Prefecture, the roots of this family trace back to a foundry artisan who served the Kaga feudal lord Maeda Toshinaga. As the third-generation Hata Shunsai, he creates tea kettles with a modern interpretation. While preserving tradition, he deliberately breaks away from conventional norms to propose tea kettles that harmonize with contemporary lifestyles. At the core of his work is the simple desire to “share the joy of tea with as many people as possible.”

Preserving tradition. The courage to challenge without fear.

About a 30-minute walk from the ruins of Takayama Castle lies Kanaya-machi, a town that has flourished as the center of Takayama’s copperware industry. The area is home to numerous shops specializing in “casting”—the process of pouring molten metal into molds to create shapes—and “metalwork,” the craft of creating decorative items from metal.

In this town, Mr. Hata was born into a family that manufactures tea kettles used in the tea ceremony. From a young age, he grew up watching his grandfather and father at work. His family traces its roots back to Kamaya Hiko-bee, a foundry artisan who moved to Kanaya-machi when Maeda Toshinao, the second lord of the Kaga domain, established his castle in Takayama. In 2010, Mr. Hata inherited the family name “Hata Shun-sai,” which had been passed down through generations.

The only material used is iron, where sensitivity and aesthetic sense come to life in the tea kettles.

In the world of tea ceremony, which values tradition, various materials such as stainless steel and ceramic have been used for tea kettles in recent years. Among them, Mr. Hata uses only iron. With a background in casting as a family business for generations, he deliberately limits his materials to iron, pursuing expressions that can only be achieved with this metal. “I want to highlight the unique presence of iron in the tea room,” he says with conviction.

This bold choice drives new challenges. Constraints are the source of innovation. He continues to face iron with unwavering dedication, never stopping his journey as the third-generation Hata Harusai.

His recent works combine a smooth texture, approachability, and a touch of sleek sophistication. They seem to effortlessly bring out the diverse expressions of iron.

See, touch, feel. Constantly refining his sense of style.

What he values most in his work is seeing and touching various things to cultivate his sensibilities. Needless to say, he draws inspiration from tea kettles, tea ceremony utensils, and other art and craft items on a daily basis, constantly updating his values. Sometimes he travels to distant places to learn more by talking with the makers themselves.

Another important practice is revisiting the works of his grandfather and father. He compares them with his own creations, constantly questioning the differences. By engaging with a wide range of works across eras and genres, he gradually incorporates these influences into his own creations. With the pride of a kettle maker in his heart, every day is a continuous process of trial and error.

Expanding with Collaboration

The tea ceremony embodies the Japanese spirit and sense of beauty. Among its various forms, tea gatherings have long been cherished as occasions to enrich time spent with loved ones. However, according to a survey by the Agency for Cultural Affairs, the number of people practicing tea ceremony peaked at 6 million in the 1990s and has since declined to less than 1.8 million today.

In response to this situation, Mr. Hata has been actively promoting the appeal of tea ceremony while continuing his work as a kettle maker. To dispel the image that tea ceremony is “formal and difficult,” he collaborates with other artisans to organize various events. His target audience is young people who have grown distant from tea ceremony, and he is exploring ways to spark their interest. His motivation is simply his desire for more people to enjoy tea.

The charm of tea ceremony lies not only in savoring tea but also in the unique exchange of experiences. At a tea ceremony, one can admire hanging scrolls and crafts, enjoy the scenery outside the tea room, and feel a sense of fulfillment through shared moments.

Recently, we have collaborated with Shimoo Design, a popular woodworker from Toyama, and Miyake Mai, a contemporary artist and sculptor. We propose arrangements that respect tradition while adapting it to the modern era. We strive to create works that are not valued simply because they are traditional, but because they are inherently appealing.

Making tea ceremonies more appealing. Never flashy, but expressing a unique worldview.

The unique presence of Mr. Hata’s teakettle. It is born from a deep understanding of the “role” of the teakettle as a tool, in addition to its beautiful shape. At a tea ceremony, the host arranges the furnishings according to the guests. Each piece must be balanced so that the host can offer a sincere welcome. If one piece stands out too much, it can completely change the atmosphere.

“I think of the tea kettle as the pillar of a house. It’s not something that seeks to be unusual, but it still demands a noble presence.”
The tea kettle stands at the center of the tea ceremony, supporting the worldview. Mr. Hata, who creates tea kettles that embody individuality while maintaining a presence as part of the tea ceremony, receives a steady stream of requests for his work.

Transcending traditional boundaries, creating a free and approachable tea ceremony.

Throughout the generations, the Hata Harusai family has adapted their craftsmanship to the times. The first generation, inspired by his wartime experiences, dedicated himself to creating tea kettles with the belief that “while I am alive, I want to leave something good behind.” The second generation built upon the first’s teachings, infusing innovative ideas to bring a fresh perspective. The third generation, in turn, added modern elements to highlight the tea kettle’s newfound charm.

“While the material we use is iron, we aim for works that are not just heavy and solid,” says Mr. Hatake with a gentle smile. The smooth texture that highlights the refined design evokes a sense of warmth. Even those unfamiliar with tea ceremony might find themselves reaching out to touch it, drawn by its approachable charm.

Iron, often perceived as heavy and rigid, actually combines strength and flexibility, transforming freely when heated. Mr. Hata’s work fully utilizes these characteristics. By adding new pieces to the world that values tradition, he may spark interest in tea ceremony among those who have never had the opportunity to experience it before.

Tradition continues to evolve. Enjoying tea in a casual way.

Every aspect of tea ceremony etiquette has a meaning. However, just as tea ceremony, which was once considered a pastime of samurai, became popular among the common people, it has continued to change with the times.

The era of mass production and mass consumption is over, and now we live in a time where it is important to cater to the needs of each individual. Flexibly adapting to changes in lifestyles and values is what leads to the preservation of tradition. Mr. Hata’s work is deeply rooted in this craftsmanship.

Tea ceremony was originally intended to be enjoyed with cherished people. While etiquette is important, the essence lies in the heartfelt desire to care for and entertain others. Mr. Hata’s ongoing efforts aim to capture the true spirit of tea ceremony and make it more accessible to younger generations. We look forward to seeing what innovative works he will create in the future.

The post Innovation to tradition.Kettle Master Shunsai Hatake, 3rd generation, aims for a new tea ceremony / Takaoka City, Toyama Prefecture first appeared on NIHONMONO.

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.

The post Reviving the “chagama” of Azuchi-Momoyama Period. “Kamashi” Tetsushi Nagano the second, Arata Nagano” first appeared on NIHONMONO.

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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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.

The post Benevolence Seeping from the Works “Kettle creator, Shozo Kawabe” first appeared on NIHONMONO.

Inheriting teal kettle making from his father

Anyone involved in the art of Japanese tea ceremony is familiar with the name Ikkei Kakutani, who was a famous tea kettle maker. He was appointed as a Living National Treasure in 1978, and left many masterpieces until he passed away in 1999. His workshop was succeeded by his son, Masakazu Kakutani.

Having studied and trained under his father, a Living National Treasure, Masakazu has built upon his father’s know-how to come up with his own modern style of tea kettles: simple but with a sharp contour, monotone with a presence.

Land where metal workers and tea masters were raised

Sakai is a place where Senrikyu and his master Takeno Jyo-ou were born. Sakai is a traditional place for tea and tea ceremony. It is also a place of metal casting, which is perfect to make iron tea kettles. In the 8th century, a group of craftsmen called ”Kawachi Founders” lived in this area to work and produce copper casting.

The skill of these craftsmen were highly evaluated even by the government at the time, and they were called to Kyoto to repair the Great Buddha of Todaiji and the Great Buddha in Kamakura. They also contributed to spreading the technique of metal casting throughout the country.

Green tea and iron casting — the city of Sakai embraces the history of both, and still serves as a place where many fine pieces are produced.

The post Tea Kettles masterpieces that embrace the history of metal casting and the art of tea ceremony, “Kakutani Ikkei Koubo” first appeared on NIHONMONO.